How are singers and teachers of singing professionally trained in the United States and Germany? In what context do degree programs function and how do they compare in both countries? Using methods of comparative education, data from twelve institutions were collected and analyzed. Findings show that American programs emphasize performance studies, music scholarship, and general education. Programs with pedagogy emphasis are found in only a small number of US institutions raising questions about the purpose and content of graduate degrees in voice, especially the Doctor of Musical Arts. In Germany, vocal performance and pedagogy programs are found in every college of music. However, in the wake of the EU Bologna Declaration, German institutions are struggling to adapt performance and pedagogy programs to bachelor's and master's degree structures, yet maintain traditionally high standards and international competitiveness.

The practices of singing and teaching singing are inextricable, joined to each other through the necessity of understanding the vocal art and craft. Just as singers must understand the physical functions of voice in order to become musically proficient and artistically mature, teachers too need to have a similar mastery of these ideas - and the ability to explain them to their students - in order to effectively guide their musical and artistic growth. With this singer-instructor relationship in mind, Richard and Ann Alderson's A New Handbook for Singers and Teachers presents a fresh, detailed guide about how to sing and how to teach singing. It systematically explores all aspects of the vocal technique - respiration, phonation, resonance, and articulation - with each chapter containing exercises aimed at applying and teaching these principles. Beyond basic vocal anatomy and singing fundamentals, the handbook also covers such understudied topics as the young voice, the changing voice, and the aging voice, along with helpful chapters for teachers about how to organize vocal lessons and training plans. Thoughtfully and comprehensively crafted by two authors with decades of singing and teaching experience between them, A New Handbook for Singers and Teachers will prove an invaluable resource for singers and teachers at all stages of their vocal and pedagogical careers.

This volume brings together a group of leading international researchers and practitioners in voice pedagogy alongside emerging academics and practitioners. Encompassing research across voice science and pedagogy, this innovative collection transcends genre boundaries and provides new knowledge about vocal styles and approaches from classical and musical theatre to contemporary commercial music. The work is sure to be valuable in tertiary institutions, schools and community music associations, suitable for use by private studio teachers, and will appeal to choral leaders and music educators interested in vocal pedagogy. “I thoroughly enjoyed reading this book and I am confident it will help bring all aspects of vocal pedagogy firmly into the 21st century. Refreshingly, many different areas of pedagogy are included in the text so we can all work together to more fully understand the singing voice. Up to the moment research is included along with an exploration of the evolving contemporary styles of singing. Further, areas regarding teaching and curriculum in higher education are also reviewed. All in all, this text a crucial addition to a professional's vocal library.” Jeanne Goffi-Fynn, Teachers College, Columbia University, USA.

Vocal, Instrumental, and Ensemble Learning and Teaching is one of five paperback books derived from the foundational two-volume Oxford Handbook of Music Education. Designed for music teachers, students, and scholars of music education, as well as educational administrators and policy makers, this third volume in the set emphasizes the types of active musical attributes that are acquired when learning an instrument or to sing, together with how these skills can be used when engaging musically with others. These chapters shed light on how the field of voice instruction has changed dramatically in recent decades and how physiological, acoustical, biomechanical, neuromuscular, and psychological evidence is helping musicians and educators question traditional practices. The authors discuss research on instrumental learning, demonstrating that there is no 'ideal' way to learn, but rather that a chosen learning approach must be appropriate for the context and desired aims. This volume rounds out with a focus on a wide range of perspectives dealing with group performance of instrumental music, an area that is organized and taught in many varied ways internationally. Contributors Alfredo Bautista, Robert Burke, James L. Byo, Jean Callaghan, Don D. Coffman, Andrea Creech, Jane W. Davidson, Steven M. Demorest, Robert A. Duke, Robert Edwin, Shirlee Emmons, Sam Evans, Helena Gaunt, Susan Hallam, Lee Higgins, Jere T. Humphreys, Harald Jers, Harald Jørgensen, Margaret Kartomi, Reinhard Kopiez , William R. Lee, Andreas C. Lehmann, Gary E. McPherson, Steven J. Morrison, John Nix, Ioulia Papageorgi, Kenneth H. Phillips, Lisa Popeil, John W. Richmond, Carlos Xavier Rodriguez, Nelson Roy, Robert T. Sataloff, Frederick A. Seddon, Sten Ternström, Michael Webb, Graham F. Welch, Jenevora Williams, Michael D. Worthy

Since the publication of the first edition of A Spectrum of Voices there have been significant advances in voice studies. Prominent members of the new generation of voice teachers join their voices with now-canonized teachings. Asking questions about technology, pedagogy, and stylistic changes within the field, Elizabeth L. Blades brings the wisdom from the past and present to voice students at all levels. A Spectrum of Voices draws from the brilliance and combined experience of an elite group of exemplary voice teachers, presenting interviews from more than twenty-five notable teachers, six of them new to this second edition. Voice teachers offer valuable insight into their teaching philosophies, the types of auxiliary training they recommend to their students, and how they structure their lessons. This second edition also addresses significant technological advances of the past twenty years, especially the impact on vocal performance and pedagogy. A quick-and-handy reference for the studio teacher, this book also serves as a text for vocal pedagogy courses and as an essential supplement for physiology and vocal mechanics, teachers and students of singing, music educators, and musical theater performers.

The most comprehensive reference on voice care and science ever published! Substantially revised and updated since the previous edition published in 2005, Professional Voice: The Science and Art of Clinical Care, Fourth Edition provides the latest advances in the field of voice care and science. In three volumes, it covers basic science, clinical assessment, nonsurgical treatments, and surgical management. Twenty new chapters have been added. These include an in-depth chapter on pediatric voice disorders, chapters detailing how hormonal contraception, autoimmune disorders, and thyroid disorders affect the voice, as well as chapters on the evolution of technology in the voice care field, and advances in imaging of the voice production system. The appendices also have been updated. They include a summary of the phonetic alphabet in five languages, clinical history and examination forms, a special history form translated into 15 languages, sample reports from a clinical voice evaluation, voice therapy exercise lists, and others. The multidisciplinary glossary remains an invaluable resource. Key Features With contributions from a Who's Who of voice across multiple disciplines120 chapters covering all aspects of voice science and clinical careFeatures case examples plus practical appendices including multi-lingual forms and sample reports and exercise listsComprehensive indexMultidisciplinary glossary What's New Available in print or electronic format20 new chaptersExtensively revised and reorganized chaptersMany more color photographs, illustrations, and case examplesFully updated comprehensive glossaryMajor revisions with extensive new information and illustrations, especially on voice surgery, reflux, and structural abnormalities New Chapters 1. Formation of the Larynx: From Hox Genes to Critical Periods 2. High-Speed Digital Imaging 3. Evolution of Technology 4. Magnetic Resonance Imaging of the Voice Production System 5. Pediatric Voice Disorders 6. The Vocal Effects of Thyroid Disorders and Their Treatment 7. The Effects of Hormonal Contraception on the Voice 8. Cough and the Unified Airway 9. Autoimmune Disorders 10. Respiratory Behaviors and Vocal Tract Issues in Wind Instrumentalists 11. Amateur and Professional Child Singers: Pedagogy and Related Issues 12. Safety of Laryngology Procedures Commonly Performed in the Office 13. The Professional Voice Practice 14. Medical-Legal Implications of Professional Voice Care 15. The Physician as Expert Witness 16. Laryngeal Neurophysiology 17. The Academic Practice of Medicine 18. Teamwork 19. Medical Evaluation Prior to Voice Lessons 20. Why Study Music? Intended Audiences Individuals While written primarily for physicians and surgeons, this comprehensive work is also designed to be used by (and written in language accessible to) speech-language pathologists, singing voice specialists, acting voice specialists, voice teachers, voice/singing performers, nurses, nurse practitioners, physician assistants, and others involved in the care and maintenance of the human voice. Libraries It is a must-have reference for medical and academic libraries at institutions with otolaryngology, speech-language pathology, music, nursing and other programs related to the human voice.

The Singer’s Audition & Career Handbook is a comprehensive guide to the training, audition technique, and professional development essential for launching and sustaining a rewarding career in classical singing. Expanding on author Claudia Friedlander’s online collaboration with mezzo-soprano Joyce DiDonato and the Weill Music Institute at Carnegie Hall, the book brings together insights from nearly seventy prominent performers, educators, and opera industry professionals. Whether you are a young singer preparing for conservatory auditions, a professional opera singer, or an avocational singer seeking to improve your technique and pursue local performance opportunities, this book will help you take inventory of your skills and achieve the next stages of your musical journey.

Neurolaryngology brings together in one volume the latest concepts in this important and developing field. In order to make this text as useful as possible for clinicians, selected chapters on general concepts important to clinical care have been included, including chapters on history, physical examination, clinical voice laboratory assessment, common diagnoses and treatments, and other topics important to all voice patients, including those with neurolaryngological complaints. Starting with a perspective on modern voice medicine, including neurolaryngology and a brief historical overview of the development of laryngology, the text goes on to describe neuroanatomy and physiology, laryngeal function, and the role of chaos in voice disorders. It contains fascinating new ideas on applications of nonlinear dynamics to voice care and research, a topic of great relevance in neurolaryngology. Beginning the section on clinical assessment of voice disorders is a description of the current approach to history and physical examination recommended for patients with neurolaryngological voice disorders. The text contains the most current research and references throughout, presenting the latest information about many conditions, including some rarely covered in the laryngologic literature; it highlights diagnosis and treatment of a wide array of motor and sensory disorders that may impair voice. The interdisciplinary expertise of numerous authors has been invaluable in the preparation of this text; however, every effort has been made to maintain style and continuity throughout. Clinically relevant and thought provoking, Neurolaryngology is the definitive encyclopedic reference in this new subspecialty of laryngology.

The vast majority of singers with a degree in performance are un- or under-employed in their field. Despite the fact that talented singers are discovered every day, there are far too few jobs in the field of classical music to accommodate all of them, a problem evidenced by regular reports of opera companies and symphony orchestras closing their doors. Young classical singers, particularly recent graduates of music programs, need not only artistic ability, but also intelligence and an acute business sense to navigate the world of professional singing. In The 21st-Century Singer: Making the Leap from the University into the World , author Susan Mohini Kane has created a user-friendly guide for these recent graduates. Kane combines the benefits of an instructional manual with those of a self-reflective workbook to provide emerging classical singers with both practical and inspirational advice. She begins with a section on self-evaluation, allowing readers to define what motivates their desire to sing professionally and reflect on their passions, before moving on to career advice. In the sections that follow, Kane presents a variety of career paths, such as singing, teaching, and consulting-realistic alternatives to the rise to stardom as an "overnight sensation" that so few will experience-and provides the reader with the tools to develop a concrete plan for whichever path they decide to pursue. Other sections offer instruction on how to develop support systems, train oneself holistically, and take advantage of the newest technological resources available for professional self-promotion. With its dual emphasis on artistic motivation and modern-day business sense, The 21st-Century Singer will prove an essential text for anyone pursuing a professional singing career.