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JOURNAL OF THE NEW YORK SINGING TEACHERS’ ASSOCIATION

ACCESSINGThe Inner Divo/DivaApril 19, 2009 Sunday, 4:00 PM - 6:00 PMUnderstanding the psychology of performance can aid a voice teacher in taking a student tothe next level. NLP Practitioner and Certified NGH Hypnotist Sarah Carson and NLP MasterPractitioner and Trainer, Certified NGH Hypnotist and Certified Clean Language FacilitatorShawn Carson will outline cutting edge techniques of peak performance psychology in thesinging arena drawn from the disciplines of Humanistic Neuro-Linguistic Psychology, NLP, EFTHypnosis and Clean Language.Teachers’ College, Columbia University, Room 435 Horace Mann, 120th Street, betweenBroadway and Amsterdam Avenue, NYC.Photo ID required. Free to members, $25 non-members, $15 students with valid ID.

Sarah Carson studies classical voice and opera and has used many NLPtechniques to overcome performance anxiety and to enhance the vibrancy ofperformance. She is an Early Years Educator with 18 years experience teachingkindergarten 1st and 2nd grade students in the USA and the UK. She has aMasters Degree in Drama-in-Education and believes in using hands-on experienceand in using the creative medium to teach. Sarah is an NLP Certified MasterPractitioner and Trainer, Certified Hypnotist, Certified Hypno-fertility specialistand holds an MA in Education.”NLP and hypnosis have helped me personally to overcome my own performanceanxiety, deal with inner critics and move towards performing with passion andintensity. I am eager to share my knowledge and skills with you to help you unlockyour full artistic potential and reach your peak performance in life.”

Shawn Carson is a director of the International Center for Positive Changeand Hypnosis. Shawn has 20 years of experience working in multinationalprofessional services organizations, including board of director level, managingand coaching teams of professionals, and selling and delivering complex projectsto clients. Shawn is an NLP Certified Master Practitioner and Trainer, CertifiedHypnotist and Certified Clean Language Facilitator.”I am dedicated to my client’s success. I love to help people reach and surpasstheir goals, put limiting beliefs and experiences behind them and maximize theirpotential. Studying NLP and hypnosis is helping me to create the life I want to liveand I want to share that experience with others.”

IN THISIssue:March/April FEATURED EVENT.......................................................Page 1

NYSTA Distinguished Voice Professionals......................................Page 1

Message from President David Sabella-Mills .................................Page 2

Calendar of Events Spring 2009....................................................Page 2

NYSTA New Members.................................................................. Page 3

Feature Article: Free Vocal Health Screening for Singers: WORLDVOICE DAY, by Michael J. Pitman, MD..............................Pages 4-5

Book Review: Donald Gray Miller, Resonance in Singing,by Brian Gill, DMA............................................................Pages 5-6

Event Report: Holiday Party/Master Class, by Dora Ohrenstein.....Page 7

Message from Editor Matthew Hoch....................................Back Cover

NYSTANews..........................................................................Back Cover

NYSTADistinguishedVoice ProfessionalsThe following is a list of teachers ofsinging who have taken the completefive-course curriculum of the NYSTAProfessional Development Programand passed all examinations. Each hasearned NYSTA’s Distinguished VoiceProfessional Certificate.

Catherine AksLarry AlexanderAdrienne AngelTanya ApelbaumMaria ArgyrosAlan BowersEnzo CitarelliJan DouglasJack EpplerCarol FlammEna FreemanRobin Lynne FryeCandace GoetzHilda HarrisGrace HartKathryn HoffmanPatricia KadvanJoan LaderPeter LudwigNatasha LutovJosephine MongiardoFoteini MoschidiLily NehmanJanet PranschkeBethany ReevesMichelle RosenDavid Sabella-MillsJane SeamanPatricia SheridanCharlotte SurkinDebra Vanderlinde

MESSAGE FROM THEPresident

Bel Canto vs. Can Belto:Can’t We All Just Get Along?

Ever since I became a member of NYSTA I havebeen incredibly impressed by the air of cooperationand collegial equanimity for which our membersstrive, and indeed achieve. In a profession wheredifferences of opinion (not to mention musicaltastes) can far outweigh a consensus, NYSTA hasalways made room for the discussion and com-parison of all types of vocal pedagogies (andteachers) without prejudice. At the same time wecontinue “Educating the Voice Teacher of Tomor-row” in an effort to dispel “The Mystery School ofSinging” (see NYSTA link #1, below) and shed lighton the pedagogical truths that can be found in thesciences of anatomy, acoustics, and our other corecurriculum courses that we offer. And, our Consti-tution and Code of Ethics upholds a standard ofprofessional behavior and respect toward oneanother, and our students, second only to the Hip-pocratic Oath.

Therefore, it always surprises me when I amconfronted by a teacher, or pedagogy, that doesnot seem to allow for the variance of opinion, ormusical taste, that we know to be apparent withinour profession.

I was reminded of this in a recent conversation Ihad with a fellow teacher (however, not a NYSTAmember) who was quite adamant about the virtuesof a purely bel canto technique, and its application

to all styles of singing, including Musical Theaterand Contemporary Commercial Music. Personally,I LOVE these discussions. Having completed theNYSTA PDP Core Curriculum (several times over) Ifeel I can speak with some assurance, and evenauthority, when confronted with a more empiricalvoice pedagogy, so I held my own. But, whatstruck me most about this conversation was thisteacher’s insistence that their position andpedagogy was the only possible one to have.

Now, of course, in my early years of trainingand performance in Baroque music as a counter-tenor, bel canto technique was certainly themainstay, and a standard to be upheld at all costs.But now, in my present work with contemporarycommercial music singers, including musicaltheater, I find myself dealing less and less with theprinciples of bel canto and more and more with therigors and requirements of a life on the stage, andthe professional marketability (and health andsafety) of my students’ voices. And, in my humbleopinion, a beautiful bel canto voice that cannot gethired in the singer’s chosen professional marketserves neither the professional goals of the singernor the teacher.

So, yes, these days I find myself aiming for

something other than purely bel canto sounds.Does that mean I no longer see the virtues ofthem? Of course not. For me it’s apples andoranges, with an occasional clementine thrown injust to keep me on my game. But, when my ownvoice needs a tune up, where do I go first? Rightback to the original bel canto exercises given tome by my own beloved teacher and mentor (andNYSTA Member), Marie Traficante. (Thank you,Marie!)

I mention this only as a means of starting aconversation on the NYSTA Forum Board (seeNYSTA link #2, below). I would appreciate yourfeed-back on this very divisive issue. And, I wouldlove to know your thoughts on the use of anotherwise classical (bel canto) technique, whentraining singers in a contemporary commercialformat.

I am confident that there will be many differentopinions expressed. And, I am equally confidentthat our membership (and visitors to the site whomust also agree to our Code of Ethics) willcontinue to “make room for the discussion andcomparison of all types of vocal pedagogies (andteachers) without prejudice” as stated above. Or,at the very least, politely agree to disagree, whennecessary.

I look forward to your comments on the NYSTAForum (see NYSTA link #2, below), and thank youin advance for your openness and courage toparticipate in the discussion.C U There.

Sincerely,

David Sabella-MillsPresident, NYSTApresident@nyst.org

ACCESSINGThe Inner Divo/DivaApril 19, 2009 Sunday, 4:00 PM - 6:00 PMUnderstanding the psychology of performance can aid a voice teacher in taking a student to the next level.NLP Practitioner and Certified NGH Hypnotist Sarah Carson and NLP Master Practitioner and Trainer, CertifiedNGH Hypnotist and Certified Clean Language Facilitator Shawn Carson will outline cutting edge techniques ofpeak performance psychology in the singing arena drawn from the disciplines of Humanistic Neuro-LinguisticPsychology, NLP, EFT Hypnosis and Clean Language.Teachers’ College, Columbia University, Room 435 Horace Mann, 120th Street, between Broadwayand Amsterdam Avenue, NYC.Photo ID required. Free to members, $25 non-members, $15 students with valid ID.

OREN LATHROP BROWN PROFESSIONAL DEVELOPMENT PROGRAM *

COMPARATIVEPedagogy Weekend 2009June 13-14, 2009 Instructors TBADuring this course, six master teachers will present teaching demonstrations after case histories of students have been discussed. Concrete links will be made betweenvarious teaching strategies and the scientific and medical information covered in other courses of the PDP program.Teachers’ College, Columbia University, 120th Street, between Broadway and Amsterdam Avenue, NYC.

NYSTACalendar Spring 2009

All PDP courses are $220 and can be registered and paid for online at www.nyst.org. Half-price for repeaters, and $60 per individual teaching session.One graduate credit per course is available from Westminster Choir College for an additional $150. A form is available at the class. The courses take place at ColumbiaUniversity, Teachers’ College, 525 West 120th Street, between Broadway and Amsterdam Avenue, NYC. Check desk at entry for class location. For more informationcontact Janet Pranschke at pdp@nyst.org or www.nyst.org.

Sarah Carson and Shawn Carson

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LINK #1: http://www.nyst.org/fileCabinet/Mystery_School_of_Singing.pdfLINK #2: http://www.nyst.org/forumboard.html

Jennifer Cece is a singer, accompanist, and a certified yoga and Pilates instructor. She has been teaching classicaland contemporary styles privately for fourteen years.

Jennifer has developed a “Yoga for Performers” workshop which she currently presents in the New Yorkmetropolitan area that explores the scientific validation of yogic breathwork, meditation, and postures for improvedfocus and overall fitness. She attended the University of Richmond with a vocal scholarship, and received her MM inclassical Vocal Performance at New Jersey City University. She earned certification in Somatic Voicework™—TheLoVetri Method at Shenandoah University, where she studied with its acclaimed founder, Jeannette LoVetri.

First place winner in a NATS 2000 competition, Jennifer enjoys performing chamber music, opera, musical theatreand vaudeville. She has premiered the work of many new composers. Favorite performances include Mostly Mozartat Lincoln Center, Mabel in The Pirates of Penzance, Vivaldi festivals with Baroque Orchestra of New Jersey, andGesualdo at the Dramatists Guild, New York City.

Please visit her website at http://www.JenniferVocals.com.

Tracy Bourne’s Australian and world premieres of contemporary music have won her wide acclaim.She has worked for Chamber Made Opera, Next Wave Festival, Libra Ensemble, Melbourne International Festival, theABC and others. In 2000, she undertook a five-week mentorship program with leading contemporary classicalsinger/teachers in Europe and America funded by the Australia Council Music Fund, The Ian Potter Cultural Trust andthe University of Ballarat. In 2007, she travelled to the United States to complete certification (Levels I–III) in SomaticVoicework™—The LoVetri Method, at Shenandoah University.

Tracy has completed a BM degree (vocal) from Queensland Conservatorium, Dip. Dramatic (acting) from VCADrama School and an MM degree (performance) from Melbourne University. She is currently a part-time PhDcandidate at Sydney Conservatorium of Music researching vocal qualities in musical theatre voice.She has been a Lecturer in Singing at the Arts Academy, University of Ballarat since 2000, working with students inthe BA musical theatre program. She is delighted to be an international member of NYSTA and can be contacted att.bourne@ballarat.edu.au.

Maria Guida, speech teacher, Broadway actor, and jazz singer, offers individual and group coaching in twoseparate disciplines: (1) Acting for Singers and (2) Foreign Accent Reduction for Foreign-born Singers and Actors.For over fifteen years, Maria has conducted training programs for professionals singers and actors and for youngperformers at HB Studio and New York University. She has New York State teaching certification. Maria’s CD,“Soul Eyes” received excellent notices and is available on CD Baby and on her website:http://www.mariaguida.com.

Maria has sung and/or recorded with many instrumentalists respected in the jazz community. As an actor,she has worked on Broadway and television and has been a principal spokesperson on national televisioncommercials. Her expertise with accents earned Maria her first of two roles on Broadway, and she has workedon stage with many well-known artists, including Kevin Kline and James Earl Jones.

Maria may be contacted for a free consultation at 212-567-4653.

Soprano Sarah Adams Hoover, DMA, performer, teacher and writer, has degrees from Yale University and thePeabody Institute. Recently elected to the board of NATS-NYC, she is also a member of the Voice Foundation andAndover Educators. Trained at the Johns Hopkins Center for Laryngeal and Voice Disorders and with MargaretBaroody, SVS, she has also pursued additional studies in yoga and Alexander Technique, and holds certifications inPilates and Body Mapping. She has presented workshops on vocal health and body awareness throughout the UnitedStates. Upcoming workshops include programs at Concordia Conservatory, Washington Opera Summer Institute, andShenandoah Conservatory, as well as “Body Mapping: Practical Applications in the Singing Studio” for the VoiceFoundation’s 38th Annual Symposium in Philadelphia.

Dr. Hoover is also a music journalist; her reviews and articles have been published in the Washington Post andBaltimore Sun. She also writes program notes for organizations including Strathmore Hall and the BaltimoreChamber Orchestra. She may be reached at sahsing@verizon.net.

NYSTANew Members

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WORLD VOICE DAY. What a wonderful con-cept. A day to increase public awareness of thehuman voice and the need for vocal preventivecare and treatment. World Voice Day was estab-lished in Brazil in 1999 as the Brazilian NationalVoice Day. It was a mixed initiative of physicians,speech-language pathologists and singing teachers.The Day spread internationally and in 2002 wasrecognized by the American Academy of Otolaryn-gology and renamed World Voice Day. Thoughstrides have been made, the word has not spreadbeyond those who already realize the importanceof the voice and this day wallows in relativeobscurity.

As vocal professionals it is our job to spread theword, whether we are speech-language patholo-gists, singers, singing teachers or physicians. This isa day to be celebrated and publicized so the worldcan gain an appreciation for the importance of thevoice. To many, the voice comes easily and is such apart of their lives that they take it for granted untilit is impaired. Whether it is the soprano or rocksinger, politician or grandmother, we are all at riskfor voice disorders. With advances in technology,our voice demands have increased. What waspreviously time to rest our voice, such as a car rideor solitary stroll, is now seen as an excellent time tomultitask and make calls on our cell phones. Thenumber of jobs requiring verbal communicationversus manual work has been increasing. As aresult, the incidence of voice problems has risendramatically over the years. More than 7.5 millionpeople have some form of a voice disorder thatimpacts their ability to communicate. Because thevoice has become such an integral part of ourworldly interactions, when difficulty with the voicestrikes it can be economically, socially andpsychologically devastating.

When this difficulty occurs, many people will beable to seek medical help so they can be nursedback to health. The field of Laryngology has pro-gressed dramatically over the last twenty years.Our understanding of vocal production, our diag-nostic modalities and treatment armamentariumhave become more extensive and sophisticated,allowing excellent recovery for most maladies.Unfortunately, in our present age not everyone hashealth insurance. 44 million people are uninsuredin America. As the economy suffers the decision topay the daily bills or spend money on medical careis one with which many people struggle.

Many professional singers experience timesof economic instability. As artists, they are nowhaving as much, if not more, difficulty than others.Despite their level of success and reputation and inmany cases years of work, if singers do not cur-rently have health insurance through a union,professional guild or a record label, they are oftenleft without health insurance. Many of these artistscannot afford to pay privately for health insurance,

yet they do not qualify for government assistance.As a result they are without insurance and henceneglect their general medical care and vocalmedical care. Preventive care is not practiced anddysphonia is often ignored until their vocal instru-ment is so severely damaged that they can nolonger perform.

At the Voice and Swallowing Institute at TheNew York Eye and Ear Infirmary, part of our missionis to provide “specialized and professional care tothe professional singer.” Wrapping this missionwith the modern difficulties of health care and thehope to spread the word of World Voice Day weheld our first World Voice Day Free Vocal HealthScreening on April 12, 2008. The second of whatwe intend to be annual screenings will take placeon April 4, 2009.

Last year’s vocal health screening was spon-sored by MusiCares, the philanthropy wing of TheRecording Academy and we are partnering withthem again. The function was also supported byThe New York Singers Collective, KayPentax andStarky. With everyone’s help we reached out tosingers in need and had almost 300 singers whowished to be screened. This confirmed the very realneed that exists.

Five videostroboscopy stations and a laryngealfunction testing station were set up at The NewYork Eye and Ear Infirmary. Our five voice thera-pists and laryngeal physiologist manned eachstation. After the completion of an extensivequestionnaire the singers had their laryngealfunction/efficiency tested, were interviewed by thevoice therapist and then underwent a laryngo-videostroboscopy. After the tests and question-naires were completed and the informationprocessed, I and in many cases our singing voicespecialist were able to examine the singer, reviewthe results of the testing and then present thesinger with a diagnosis and treatment plan. At theend of their visit each singer left with a Singer’sResource Packet that contained photos of theirlarynx, results of their laryngeal function testing,the medical results of the screening, a MusiCares

information packet should they need financialassistance with future care and tips on vocal carefor the professional voice user. With this support ofequipment and personnel 71 professional singershad a free comprehensive vocal health screening inone day.

The results of this screening were staggering.Some singers had come for a preventive screening.13 people had normal larynges and 16 had mildlaryngitis due to poor vocal hygiene. The 42 othersingers had significant pathology. While somesingers had multiple pathologies, the primarydiagnoses of the patients are seen in table 1.These are significant disorders with significantimpact on vocal production. In some cases thefindings were career-threatening, while in othercases the singer’s career had already ended due tothe malady. These findings attest to the need forvocal care that many vocal professionals are notreceiving due to limited access to health care.

The singers were uniformly grateful for re-ceiving a diagnostic evaluation that many knewwas long past due. Patients who needed furthercare and qualified for MusiCares support weregiven grants to pay for the care and other financialsupport that was needed.

The experience of this event reinforced ourbelief in the need for this initiative and highlightedthe barriers to proper care that singers areexperiencing. As a result, we pledged to make thisscreening an annual event to aid singers in need aswell as promote the cause of World Voice Day.

Dr. Michael J. Pitman

Table 1. Primary Diagnoses of SingersMild Laryngitis 16Nodules 15Normal Larynx 13Reflux (LPR) 7Atrophy 5Polyp 4Muscle Tension Dysphonia 3

FREE VOCAL HEALTH SCREENING FOR SINGERS:A World Voice Day Celebrationby NYSTA Member Michael J. Pitman, MD

Rhinitis 2Acute Hemorrhage 1Remote Hemorrhage 1Tracheal Stenosis 1Paresis 1Sulcus Vocalis 1Scar 1

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Last year World Voice Day was celebratedthroughout the country and around the world. Toname a few examples: Emory Voice Center coordi-nated a symposium to raise money for voice re-search, Drexel University sponsored a children’sprogram with a nationally renowned story tellerand The Philippine Society of Otolaryngology Headand Neck Surgery sponsored a concert.

World Voice Day presents a unique opportunityfor, speech-language pathologists, singers, singingteachers and physicians to work towards a com-mon goal. As vocal professionals, we each have aunique relationship with the voice that gives it aspecial place in our lives. World Voice Day is achance for us to give back to something that hasenriched our personal worlds and a chance toshow others how important the human voice is tous all.

However you decide to celebrate World VoiceDay, please join us and many others around theglobe in spreading the word about the complexityand beauty of the human voice, its central role inall our lives and the need for vocal preventive careand treatment.

Michael J. Pitman, MDDr. Pitman is a recognized expert in voice restor-ation, conservation and care of the professionalvoice. He is a graduate Albert Einstein College ofMedicine, where he is a member of the AlphaOmega Alpha Honor Society. He completed hisotolaryngology residency at The New York Eye andEar Infirmary. Dr. Pitman was a fellow in Laryngol-ogy and Care of the Professional Voice at Van-derbilt University Medical Center, where he trainedin laryngeal framework surgery and phonosurgery.He is the Director of the Division of Laryngologyand the Voice and Swallowing Institute at TheNew York Eye and Ear Infirmary. Dr. Pitman hasauthored numerous articles for peer reviewedjournals as well as book chapters, and he has pre-sented nationally in the field of laryngology.

If you or a singer you know is interested in thelearning more about The New York Eye and EarInfirmary and MusiCares 2009 Free Vocal HealthScreening you can obtain more information atvoiceandswallowinginstitue.comor grammy.com/Musicares. For general information on World Voice Day, goto entnet.org/AboutUs/worldVoiceDay.cfm.

Donald Gray Miller, Resonance in Singing—Voice Building through Acoustic Feedback(New Jersey: Inside View Press, 2008). $70.00

Hang on to your formants (or at least tunethem)! It is a thrilling ride! Resonance in Singing –Voice Building through Acoustic Feedback byDonald Gray Miller is a wonderful guide to theworld of formant tuning/resonance strategies.The premise behind the book is that voice teachers/singers can use acoustic feedback as well as signalsfrom an Electroglottograph (a device that measuresconnectivity at the vocal fold level) to aid in thedevelopmental training of the voice. With a

BOOK REVIEWby NYSTA Treasurer and Board Member Brian Gill, DMA

program like VoceVista-Pro, a hardware/softwareprogram developed by Dr. Miller (included withthe book), one can see how effectively the vocaltract, or filter, is resonating the information(harmonics) generated by the vibration of thevocal folds, or source.

The book begins with an Introduction byDr. Scott McCoy. He very aptly points out that“Science will never replace art in singing andteaching. But it can—and does—inform the art,enabling singers to perform with optimal beautyand vocal efficiency through a technique that isgrounded in fact, rather than wishful thinking.” Hecontinues by saying, “[Don Miller’s] work will helpus all become better singers and teachers, whilemoving voice pedagogy toward full integrationwith scientific reality.”

In the Forward, Dr. Miller discusses how lan-guage is insufficient when it comes to describingsung sound. He says the goal of the book is “toilluminate some of the important phenomena thatare now, thanks to generally available technology,open to objective description, and to bring thesephenomena within the reach of a commonlyshared language.” This is a very ambitious goal,but, with this book, Dr. Miller advances us welldown the path of discovering this commonlanguage.

Resonance in Singing is only 130 pages long,including the Index in the back of the book, but itis filled from cover to cover with invaluable infor-mation regarding the singing voice. Due to thescientific nature of the information, some may findit taxing to read straight from beginning to end;therefore, Dr. Miller invites the readers to startwherever they wish, i.e., they may begin byexploring Voce-Vista-Pro, or by flipping throughthe chapters to start with the one that piques theirinterest most. I believe the information in thisbook, thanks to the glossary of terms and thehighly intelligible commentary along the way, isaccessible to most anyone. But, it wouldn’t hurtto brush up on some fundamentals of voicescience, particularly in the area of acoustics,before tackling this book.

All of the chapters are well-organized andprovide a wealth of knowledge to the reader. Whilescanning through the book at first, Chapter One,“Pavarotti: King of Second Formant Tuning,”jumped right out at me (after all, I am a tenor!). Itpays tribute to one of the greatest singers of alltime, the late, beloved Italian tenor, LucianoPavarotti. Proclaimed “King of the high C’s,” thereis something otherworldly about Pavarotti’s singing.Dr. Miller discusses in great detail one noteworthyaspect of Pavarotti’s voice: his consistent employ-ment of a resonance strategy in the higher registerof his voice that involves tuning the second for-mant of whatever vowel he is singing to either thethird or fourth harmonic. This resonance strategy isusually present in his voice beginning around F4 or

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F#4. While it is only one aspect of the “magic”produced by Pavarotti, its importance should notbe overlooked. The split screen in the figure onPage 6 shows the two different spectra repre-sentative of this transition. The top of the screenshows how the second harmonic is being reso-nated by the first formant on the pitch F4; thebottom of the screen shows how the third har-monic is being resonated by the second formantonce the singer reaches the pitch G4. For thoseworried whether they will be able to understandhow to use VoceVista-Pro, Chapter 2, “The Signalsof VoceVista,” discusses the many elements ofthe hardware/software program, including: thespectrogram, the power spectrum, the electro-glottograph waveform, the audio waveform, thewaveform envelope, the closed quotient (CQ),and the criterion level (CL).

Dr. Miller provides a clear discussion of harmon-ics and spectra and, in Chapter Three, includes anexample of the harmonic series for the note G2;this example is well-chosen as it provides us withapproximate frequencies for “reference notes”throughout most of the singing range of both themale and female voice. He goes on to discussformants and vowel space, outlining the principlesof vowel modification, including the rationale forwhy vowels need to be modified. Generallyspeaking, vowels need to be adjusted, or tuned, sothat the formants (usually one of the two “vowelformants”) become more acoustically sensitive tothe harmonics produced at the vocal fold level. Agood example illustrating the necessity of formanttuning is seen when considering the compatibilityof closed vowels and the pitches in the high rangeof the female voice. Since we know that while inhead voice, in the upper range, a woman tracksthe fundamental frequency with the first formant,we must conclude that it would be impossible tosing an [ i ] with its usual articulation. The [ i ] has

a first formant frequency in the vicinity of 300 to400 Hz. For notes in the upper range of the femalevoice, the fundamental frequency is around 700Hz and higher, which is well above that of the firstformant of [ i ], rendering it acoustically incom-patible. The only way to ensure proper resonationand ease of production, considering this acousticalmismatch, is to modify the vowel. A sensiblemodification might be to open the front of themouth which will have the effect of raising thefrequency of the first formant by narrowing thespace in the pharynx. If that space is not alteredand too much of the “pure vowel” is maintained,the acoustical mismatch will most likely result in:the pitch being flat, irregular vibrato or no vibrato,increased effort, strident tone, and in extremecases, the cessation of phonation.

Finding one’s formant frequencies, Dr. Millerpoints out, can be achieved fairly simply by em-ploying vocal fry, “a bubbling of air through closedvocal folds at a rate slow enough that the individ-ual impulses are heard as separate ticks.” (Thereare informative definitions throughout the book!)While forming a vowel as if you were singing it,begin to employ the vocal fry. Using VoceVista-Pro,you will see a power spectrum that shows at leastthe first two formants, which will show up aspeaks in the spectrum. One key to successfullyemploying this method is to make sure that thevocal tract posture is maintained as accurately aspossible. The success can be verified by comparingthe spectra of the sung vowel sound and the vocalfry “imitation.” With VoceVista-Pro one can overlaythe two spectra to see exactly how the formantsboost the signal of the harmonics that are locatednear them. If the peaks line up properly, we knowthe vocal tract posture was maintained. Withpractice this gets increasingly easier to do. Onceyou know your vowel formant frequencies youpossess the numbers that will help you decide how

to modify your vowels.Dr. Miller discusses many resonance strategies

throughout the book, while addressing topics suchas: registers in male and female voices, the maleupper extension, and the female middle voice.Accompanying the book is a CD-ROM, whichincludes an invaluable multimedia player for allof the examples in the text. I found this elementto be quite helpful as all of the examples are well-executed and clear. In addition, the CD-ROMprovides the reader with the VoceVista-Pro Primer,which is a tutorial that acts as a supplement to thehelp file included with the program.

Resonance in Singing provides an example ofhow science can meet the voice studio in an exci-ting and highly applicable fashion. The ability touse VoceVista-Pro as a tool to enhance one’steaching is now possible for all, thanks to thisinsightful, well-organized, multimedia presentationby Dr. Miller. I would encourage all readers to dotheir own investigation into all of the resonancestrategies found in this book before drawingconclusions. Within these pages, one finds afoundation for intelligent, fact-based conversationregarding the sung sound. I consider this book tobe a necessary and welcome addition to thelibraries of anyone interested in having a deeperunderstanding of how the singing voice functions.

Dr. Brian Gill is Clinical Assistant Professor ofVoice at New York University, where he teachesapplied voice, diction and vocal pedagogy. Beforecoming to NYU, he served on the voice faculties ofPace University and Eastern Kentucky University.While working as a graduate assistant at theUniversity of Kentucky, he taught applied voice,diction and assisted with the vocal pedagogyprogram. he is currently Treasurer of NYSTA andserves on the NYSTA Board of Directors. His fullbiography may be read in the September-October2008 issue of VOICEPrints.

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VoceVista-Pro: tenor passaggio

Brian Gill, DMA

Every year, NYSTA throws a Holiday Party for itsmembers and in recent years, the chosen spot hasbeen a very pleasant and classy cabaret space atthe Westbank Cafe. To satisfy our members’ thirstfor knowledge, the party is coupled with a teach-ing event, and this year it was a master class withCatherine Malfitano.

Ms. Malfitano’s illustrious career on the operastage is founded on her skills as one of the finestsinging actresses of her generation. The class al-lowed her to share her insights with young singers,and revealed the understanding the soprano has ofthe relationship between the technical side of sing-ing and a deep connection to the text of an aria.

Four singers worked with Ms. Malfitano, and itwas one of the best crop I’ve seen yet at a NYSTAevent. In Menotti’s “Steal me Sweet Thief,” so-prano Andrea Covais, began with a good con-nection with the work, giving a convincing ren-dition. Yet with Malfitano’s technique of textanalysis, consisting of unpacking the meaning ofevery word to the character uttering them, thelong opening section became far more nuanced. Itwas found that the word “steal” appears eighteentimes in the aria—why? How many layers ofmeaning can the word hold? The age of the char-acter was discussed—was her vision of love that ofa mature woman, or the fantasy of an inexperi-enced eighteen-year-old? Much in the singer’sperformance was enhanced by this approach,including vocal production and sound quality.

Next came Liu’s aria—”Signor, ascolta”—from Puccini’s Turandot, sung by soprano JuliannaDempsey. Malfitano began her coaching by dis-cussing the advantages of going to a place op-posite what is indicated in the text: rather thanexpressing sadness, she suggested, in this aria thinkinstead “I can talk to him—this is my chance.”With this attitude, Liu’s phrases took on a newradiance, facially, vocally, and emotionally. Ms.Malfitano offered another piece of wisdom: in ourage, we speak bluntly; there is little beauty in howwe communicate. But Liu expresses herselfpoetically and it is this poetic level toward whichthe singer strives. Ms. Malfitano made anotherpoint: precede every sung line with the facialexpression appropriate to it—anticipate with yourthought what you are about to sing. Malfitano’semphasis on positive expression, even where thetext is sad or grim, produced amazing vocal resultsthat remained true to the meaning of the aria.

Tenor Kenneth Harmon next sang Edgardo’saria from Donizetti’s Lucia di Lammermoor. Ms.Malfitano began with some technical comments,and it was clear she wanted to delve further intovocal production for this singer, particularly his lackof physical engagement. She found a marvelousway to do so: “Don’t lift your eyes away from theaudience,” she said. “This is a way of escaping intoa comfort zone that fails to connect with listeners.Instead, sing the piece like you were a Baptist

preacher in front of a bunch of sinners. Lookdirectly at individuals.” Then, as the young mansang, she threw words and attitudes at him:“angry, confident, disdain, lusty,” etc. Thetransformation was tremendous—a completelydifferent timbre, size and communicative powerwas revealed.

Last was the aria “Must the Winter Come soSoon,” from Samuel Barber’s Vanessa, sung bymezzo-soprano Adrienne Alexander. Although thiswas again a melancholy piece, Malfitano soughtthe hope within the despair. She spoke about thedeer that is pictured in the text, and whether thecharacter was identifying with it. “What aboutthe woods? What do the woods represent?” Thesinger found a great deal more mystery, subtletyand depth in the piece as the delving andexploration continued.

Along the way several themes emerged inMalfitano’s remarks, one being the advantage ofworking on contemporary pieces. She explainedhow her work with living composers such asWilliam Bolcom, Carlisle Floyd, Conrad Susa, andThomas Pasatieri has given her a better under-standing of how to interpret the music of the past.She discussed the undogmatic flexibility of thesecomposers, and their support of the performer’sinterpretive role. We mustn’t think of these olderworks as inflexible relics, but make them our own.Yet, when learning older music, the singer mustlearn the piece as written before taking liberties.

In response to audience questions, Malfitano

explained that though she aims to nurture singerswho are committed actors, the recent emphasis inopera houses on acting at the cost of fine singingwas not to her taste. All young singers must studymusic from the older periods, and not skip any,going back to Monteverdi and proceeding throughall the periods to our own. Bel canto is the back-bone of our art, she believes.

All the singers were open to Ms. Malfitano’sguidance, responding with enthusiasm andopenness. Of course, Malfitano created a kind,supportive relationship which encouraged this.She and the singers were very well supported bypianist John Lidal. We thank all the participantsin this lovely class for affirming our raison d’êtreas singing teachers: to foster the art of songfulcommunication by delving deep into ourcommon humanity.

From left to right: President David Sabella-Mills; his daughter Iraina Sabella-Mills (with dollPenelope); Past President Mara Waldman; Archivist Sally Morgan; Registrar Lisa Hogan (in back); Secretary RebeccaSharpe; Catherine Malfitano (her pianist in back); Events Coordinator Paula Liscio; PDP Director Janet Pranschke;Vice President Josephine Mongiardo; and Past President and article author Dora Ohrenstein (also above, lower right).

Catherine Malfitano

EVENT REPORT:NYSTA’s 2008 Holiday Party & Master Classby NYSTA Past President Dora Ohrenstein

7

VOICEPrintsJOURNAL OF THE NEW YORK SINGING TEACHERS ASSOCIATION

March-April 2009NYSTA, c/o Dr. Matthew HochEditor-in-Chief, VOICEPrintsShorter College 315 Shorter AvenueRome, GA 30161-4267

www.NYST.org

NYSTANewsMESSAGE FROM THE Editor

NYSTA member Sally Morgan’s VocalPower Tools will send you 52 weeks ofessential practice tips for signing up for hermailing list:http://www.VocalPowerTools.com.Thanks! Breathe,

Sally

Sally Morganinfo@VocalPowerTools.comwww.VocalPowerTools.comwww.SuperheroSelfEsteem.comPHONE: 917.210.1443http://www.youtube.com/sallymmorgan

Each issue, in my “From the Editor”column, I usually end by reminding ourreadership of the following: “VOICEPrints isYOUR publication...” While we often featurearticles from voice professionals outside ofour organization, many of these articles aregenerated from our remarkable roster ofmembers, whether they are from New YorkCity or in some other part of the world.(Note Australian NYSTA Member JoanMelton’s excellent article, “Ab Prints andthe Triple Threat,” from January-February ofthis volume.)

The three features in this issue werewritten by three of our members who can bethought of as representatives of NYSTA’s past,present, and future. I would like to sincerelythank NYSTA Past President Dora Ohrensteinfor her informative review of the recentCatherine Malfitano master class (p. 7).

NYSTA Treasurer Dr. Brian Gill—an officeron the current NYSTA Board of Directors—shares his vast knowledge of voice science in

his review of Donald Miller’s new book,Resonance in Singing (pp. 5-6).

Finally, otolaryngologist Dr. Michael J.Pitman, who joined NYSTA only monthsago, has already made a contribution aboutthe upcoming April 4th event related toWorld Voice Day (pp. 4-5).

So, whether you’ve been active in NYSTAfor decades, are just joining, or are simplyinterested in becoming more involved,please do remember that, as always,VOICEPrints is YOUR publication, so pleasesend all questions, comments, and ideas forfuture articles to me atvoiceprints@nyst.org.

Sincerely,

Dr. Matthew HochEditor-in-Chief, VOICEPrintsvoiceprints@nyst.org