Note: this program will be offered entirely remotely for summer 2021.
July 8–11, 2021
The Vocal Pedagogy Professional Workshop (VPPW) is designed to provide collegiate and private voice instructors and vocal music educators with unique learning opportunities in both musical theater and classical voice pedagogy.
Topics will include:
- The Musician’s Mind: The Third Pillar of Voice Science
- Breathing for Singing: One Way? No Way!
- Anatomy and Physiology: An Overview
- Registration and Acoustic Perception
- Necessary Migrations: The Acoustic and Somatosensory Transitions of Range
- Teaching Musical Theater: Securing Belt, Mix, and Legit
- Exploring Vocal Legacies in African American Folk Based Music Styles
- Natural Pathways: Conditioning the classical voice for soul expression
- The Singing Teacher’s Guide to Transgender Voice
- Getting High: Exploring Belt and Falsetto Options in the Male Voice
- Teaching Mezzos and Sopranos: Building a Foundation
- Comparative Pedagogy Lessons with Master Teachers
- Pop/Rock & Drop It: A Vowel Driven Approach to CCM Pedagogy
Courses are taught by Boston Conservatory at Berklee faculty, prestigious master teachers and guests, and doctors and staff from the Massachusetts General Hospital (MGH) Voice Center. See the faculty list below.
Who Should Register
Collegiate and private voice instructors and vocal music educators. No audition is required.
|Tuition—Boston Conservatory Students, Faculty, and Alumni||$750|
No scholarships are currently available for this program.
Faculty and Guest Instructors
Kevin Wilson, program director and head of vocal pedagogy
Ken Bozeman, author of Practical Vocal Acoustics
Tara Stadelman-Cohen, senior speech pathologist/singing voice specialist, Massachusetts General Hospital Voice Center
Carey Dawson, vocal pedagogy faculty
Kerry Deal, vocal pedagogy faculty
Liz Jackson-Hearns, Author/coauthor of One Weird Trick: A User’s Guide to Transgender Voice and The Singing Teacher’s Guide to Transgender Voices
Lynn Helding, University of Southern California; author of The Musician's Mind
Ian Howell, guest instructor, New England Conservatory
Dr. Trineice Robinson-Martin, Princeton University, creator of the Soul Ingredients® teaching methodology
Dr. Justin John Moniz, associate director of vocal pedagogy, NYU Steinhardt
Mike Ruckles, owner Mike Ruckles Studio, New York, New York
Patty Thom, chair of voice
Jared Trudeau, voice faculty
2021 Workshop Schedule
|11:00 a.m.||Foundations of Voice Technique with Kevin Wilson|
|2:00 p.m.||Question and Answer Session with Dr. Ian Howell
|3:00 p.m.||Breathing for Singing: One Way? No Way! with Tara Stadelman-Cohen|
|10:00 a.m.||Movement for Singers “Heart, Mind, and Soul” with Carey Dawson|
|10:30 a.m.||Exploring Vocal Legacies in African American Folk-Based Music Styles with Dr. Trineice Robinson
|12:00 p.m.||Natural Pathways: Conditioning the Classical Voice for Soul Expression with Dr. Trineice Robinson
|2:00 p.m.||Question and Answer with Ken Bozeman—Necessary Migrations: the Acoustic and Somatosensory Transitions of Range|
|3:30 p.m.||Question and Answer with Dr. Kerry Deal and Bradley Williams—Comparative Ped|
2021 Workshop Courses
Necessary Migrations: the Acoustic and Somatosensory Transitions of Range
Kenneth Bozeman, voice teacher and author on acoustic vocal pedagogy, will briefly review the acoustic landscape that all singers, regardless of genre, inhabit. He will then detail the migrations of vowel, timbre, vibrotactile and acoustic sensation we experience across range through a live demonstration lesson. Knowing, anticipating, allowing, and even facilitating these necessary migrations significantly improves laryngeal register transitions across range.
Anatomy and Physiology Overview
Tara Stadelman-Cohen, CCC-SLP, voice pathologist and singing health specialist at Massachusetts General Hospital Voice Center, will guide you through understanding anatomy and physiology as the foundation of technique across genres and how it serves to avoid faulty motor practice when singing. The four subsystems of voice and speech (respiration, phonation, resonance and articulation) will be outlined as related to singing function.
Breathing for Singing: One Way? No Way!
Tara Stadelman-Cohen, CCC-SLP, voice pathologist and singing health specialist at Massachusetts General Hospital Voice Center, will discuss “Is there a 'proper' or 'correct' way to breathe for singing?” Discussion and lecture will help with distinguishing respiratory facts from fiction, recognizance of the potential for an individual's variance, and acknowledgement of various genre requirements assisting effective breathing technique and subsequent singing artistry. A deep focus on respiratory anatomy and physiology, the ever-changing demands of breathing patterns when singing, will be addressed.
Teaching Musical Theater: Securing “Belt,” Mix, and Legit
Kevin Wilson, associate professor of voice and head of vocal pedagogy at Boston Conservatory, will discuss how to functionally train singers for the demands of a 21st-century Broadway career. Discussion will present standard and contemporary concepts around belt, mixing, and legit. He will discuss conceptual registration and demonstrate how to cultivate the voice as a whole to navigate the many aesthetic demands of the musical theater singer to keep your students singing for a lifetime.
Getting High: Exploring Belt and Falsetto Options in the Male Voice
Jared Trudeau, assistant professor at Boston Conservatory, will explore various approaches to developing a flexible approach to the middle and top of the male voice. He will describe a training agenda that addresses the myriad of vocal colors required of the singing actor in musical theater. He will provide various exercises for training the transitions between falsetto, belt, and legit so that students are comfortable in whatever styles are asked of them.
Registration and Acoustic Perception
Ian Howell, director of vocal pedagogy at New England Conservatory, will discuss an exploration of the historical, physiological, aerodynamic, and perceptual models used to conceive of registers in singing. This class will cover common language used today to discuss the registration phenomenon.
The Musician’s Mind: The Third Pillar of Voice Science
Given that pedagogy is defined as “the method and practice of teaching,” it is ironic that what has been missing from science-informed voice pedagogy—until very recently—is both the delivery system and the receptacle for information: the human mind. To be successful, a teacher must understand how humans learn. This question—how do humans learn?—is the essential one of cognitive science. Lynn Helding, voice pedagogue and author of The Musician’s Mind, has proposed a paradigm in all music pedagogy, in response to the cognitive revolution: a shift in emphasis from how well teachers teach, to how well students learn. This course will introduce the most essential elements from cognitive science to assist teachers in leveraging what they know toward how to actually train their students.
Teaching Mezzos and Sopranos: Building a Foundation
Patty Thom, chair of voice at Boston Conservatory, will discuss the development of a secure foundation in the young female voice through the presentation of a set of curated exercises. These exercises are designed to guide a young singer in accessing and exploring resonance, ease, and connection through the range of the voice. Drawing on a number of sources, these exercises take the singer through her full range, addressing an array of both technical and psychological considerations with particular attention to that special relationship between a girl and her chest voice.
Foundations of Voice Technique
Kevin Wilson, director of vocal pedagogy at Boston Conservatory, will discuss a process for voice development in a presentation and discussion on warming up, vocalizing, learning styles, ordering the technical aspects of singing, and understanding modifications necessary for honoring genre aesthetics. Wilson will break down the difference between prescriptive and discovery-based teaching and help you find a foundation with your students in a time-efficient manner.
The Singing Teacher’s Guide to Transgender Voice
Liz Jackson Hearns—author of One Weird Trick: A User’s Guide to Transgender Voice, coauthor of The Singing Teacher’s Guide to Transgender Voices, and cofounder of the Voice Lab, Inc.—will guide voice teachers through an interactive session to help you serve transgender and non-binary students. You will learn how to support your gender diverse students with appropriate language and care, learn to navigate repertoire choices for trans/non-binary students, learn to inform students about aspects of voice transition, and explore voice masculinization and feminization. Topics include cultural responsiveness, considerations for vocal repertoire, elements of transition relevant to singers, and techniques for gender-perceived voice. Ariel Zetina of the Voice Lab will join Jackson Hearns to conduct a live Q&A and offer insights into the information as a transgender woman currently exploring voice femininization techniques.
Natural Pathways: Conditioning the Classical Voice for Soul Expression
Based on extensive research, Soul Ingredients® is a teaching methodology created by Dr. Trineice Robinson-Martin to develop a singer-performer's musical style. This methodology shows students how to take their musical influences and models and execute the different components in a manner that is personal to the singer-performer’s own personal expression.
Exploring Vocal Legacies in African American Folk-Based Music Styles
More than notes, Black music is a music of liberation, expressed through life experiences and the cultural context of being Black in America. This master class, led by Dr. Trineice Robinson-Martin, will explore the roots of African American folk-based music styles, including gospel, jazz, blues, soul, R&B, to provide insight into understanding the sound, feel, interpretation, and function of the music within a culturally viable performance.
Broadway voice technician and singing voice specialist Mike Ruckles will teach live lessons and host questions throughout a two-hour demonstration of his teaching process. Combining multiple modalities for teaching, Ruckles specializes in a healthy and transformative technique for both musical theater and contemporary commercial styles.
Pop/Rock & Drop It: A Vowel Driven Approach to CCM Pedagogy
Dr. Justin John Moniz, associate director of vocal pedagogy at NYU Steinhardt, will explore the fundamental elements of efficient and sustainable production in various contemporary commercial music (CCM) styles of signing. This two-part workshop addresses both theoretical concepts and the practical application of resonance strategies based on the necessity for duality of muscular engagement and balance of laryngeal function. Attendees will leave with a comprehensive understanding of the systematic approach to vowel selection and its significant impact on the vocal process.
Registration and Payment Deadlines
Registration and Payment: July 1, 2021
Questions? Contact Boston Conservatory at Berklee’s Academic Office by email at email@example.com.