BREAKOUT SESSIONS

Breakout Sessions

Full descriptions

**Program schedule subject to change as needed.

Friday, July 1

Breakout Sessions (4:30 – 5:30 p.m.)

Female Midlife Hormones and Singing: Considerations for Voice Science and Pedagogy
Chicago ABC, 5th Floor
Presenters: Nancy Bos, Joanne Bozeman, Cate Frazier-Neely
Introduced by: Karen Brunssen

For cis-females, voice maturation doesn’t end in the teenage years. Some singers will go on to experience somewhat predictable voice fluctuations during the menstrual cycle, which is relatively well-known in the voice community. However, the 8-10 year-long menopausal transition’s potential effects on singing voice remain subject to a “strange secretiveness” in the pedagogic and performance communities. In order to swing the door wide on the issue, Cate Frazier-Neely, Nancy Bos, and Joanne Bozeman interviewed 56 female singers of various genres and backgrounds, and reviewed associated research and professional opinions. The result was “Singing Through Change: Women’s Voices in Midlife, Menopause, and Beyond” (2020, StudioBos), a book written for singers and those who support them. The authors will discuss the book’s historical context, voice research on the menopausal transition, and Singing Through Change’s ongoing, international outreach to female singers in midlife and beyond.

Classroom Strategies for the Independent Voice Studio - Practical applications of educational tools in private voice lessons
Chicago E-H, 5th Floor *STREAM
Presenters: Shannon Coates, Sara Campbell, Gabriela Farias
Introduced by: Marieke Schuurs

Voice teachers rarely have the opportunity to study education theories in a meaningful way, or to apply evidence-based teaching practices long known to classroom educators toward improving voice students’ learning outcomes. This activity-based, interactive session introduces fundamental education strategies including backward design, differentiated instruction and assessment, and student-led/inquiry-based learning protocols. We will explore why these strategies are effective, introduce ways to build on successful strategies already employed in your studio and offer practical guides to implementing new teaching protocols. This session’s presenters have specialized training in adult academic learning, children’s classroom teaching, and one-on-one instruction of voice students of all ages. We are passionate about supporting voice teachers who may not have had formal opportunities to develop their teaching skills in an academic context. Participants will be encouraged to re-envision their studio policies, lesson structures, and learning assessments. We hope you will come away feeling invigorated and excited to get back into the voice studio and teach even more effectively.

Noticing is the Hardest Part: Perceptually-Informed Revisions to Black Box Models in Voice Pedagogy
Denver/Houston/Kansas City, 5th Floor
Presenters: Ian Howell, Chadley Ballantyne, Kayla Gautereaux
Introduced by: Nicholas Perna

Recent years have seen a flourishing of interest in issues at the intersection of perception, cognition, and the singing voice. As concepts from the psychoacoustics and pallesthesia literature filter into voice pedagogy, new ideas and actionable models emerge. This shines light on commonly accepted, but perhaps oversimplified portions of our narrative regarding how the voice works and how we work the voice. These concepts function much like black box models in computer science. There is an input and an output. How it actually works is hard to explain. Yet, we attempt to explain these ideas every year in voice pedagogy classes across the country. The models we currently use must either accommodate this new information or be discarded.

Mini-Recital – Reinvigorating Opera and Song
Avenue Ballroom, 4th Floor
Presenters: Sheila Dunn, Corey McKern, Blake Riley, Thaddaeus Bourne, Jeremiah Sanders
Introduced by: Jason Lester 

This session will include:

• Sheila Dunn, Corey McKern, Blake Riley – “Joy” and “Hope”: understanding the human experience through the lyricism and fusion of style found in the songs of two living composers, Ricky Ian Gordon and Ben Moore
  
  
• In the ever-evolving landscape of 21st century song composition, Ricky Ian Gordon and Ben Moore are masters of lyricism and the nuanced art of communicating the depth of the human experience. Gordon’s songs are an incredible fusion of musical theatre and art song which he brings to operatic heights through exploration of vocal range and breadth of emotion. Moore is known for composing critical works in a variety of genres including art song, opera, musical theatre and cabaret. He infuses his vocal works with tuneful melodies that are romantic and still immediate in their power to connect to the listener. In this mini-recital, we will present settings of Langston Hughes by Gordon as well as Moore’s cycle, “Love Remained,” based on texts concerning LGBT youth. The songs of these living composers foster empathy and teach us to find joy and hope in our modern world.
  
  
• Thaddaeus Bourne, Jeremiah Sanders – Expanding the Lens of Opera
  
  
• Although a diverse array of artists have contributed to the evolution of opera, the vast majority come from a Western white male perspective. Contributors who don’t fit this demographic have been forced to adopt this lens. Therefore, there is a good chance that material from the canon will disparage a group outside of this majority. That doesn’t mean we have to cancel opera. Social Justice is not the enemy of opera; it’s an opportunity to reinvigorate the art form we love. In this session, we will present innovative ways to expand the lens of opera.

Repertoire for Trans/Non-Binary Students: A Panel Discussion
6th Floor, Indiana/Iowa/Michigan/Michigan State
Presenters: Liz Jackson Hearns, Brian Kremer, Juanita Marchand Knight, Deonté Warren
Introduced by: Mark Kano

“What about repertoire?” This is one of the first questions that comes up when discussing gender-affirming voice care for singers and singing students. The question itself is a recognition that the industry of vocal performance is largely cisnormative and still deeply mired in binary concepts of gender expression and gender roles. Part of the solution is to forge a new path and create spaces for gender diverse students; another is to examine historical and contemporary vocal works through a gender-affirming lens to uncover new possibilities. In this panel discussion, voice teachers from various backgrounds come together to discuss ways to support trans and non-binary voice students through repertoire.

Saturday, July 2

Breakout Sessions (9 - 10 a.m.)

Exploring Rap: Groove, Phrase, and Articulation
Grand Ballroom I, 7th Floor
Presenter: Typhanie Monique Coller, Melissa Foster
Introduced by: Kimberly Broadwater

Hip-hop's influence in pop music is transformative, and omnipresent. Hip-hop also has become an influential force in musical theatre. This workshop is the perfect introduction to a practical pedagogical methodology, focusing on the essential teaching and performance pillars of groove, cadence, and articulation in Rap.

Pricing for Generosity: Sustainable Pricing that Brings Peace and Impact
Chicago ABC, 5th Floor
Presenter: Michelle Markwart Deveaux
Introduced by: Mark Kano

Join me for a brief introduction to the six factors for pricing with confidence and sustainability for your private or multi-teacher studio. Learn ways to reframe your money mindset around how and why people spend money, how to determine your best billable hour, and increase your revenue in a way that allows for generosity. With the information from this presentation, attendees will learn the definition of what a billable hour is, calculate their own, and get ideas on how to apply this information to their business model to create a sustainable studio budget. The next steps for attendees would be to look at their model and offers to determine the best way to move forward with this new information.  Download Workbook

Cognition After Corona: The Value of Lessons Learned
Chicago E-H, 5th Floor *STREAM
Presenter: Lynn Helding
Introduced by: Marieke Schuurs

"Cognition After Corona" is the sequel to "Cognition in the Time of Corona," presented at the 2020 NATS national conference. Central to both is cognition, defined as “how humans absorb information and experiences, and learn from them.” Two essential questions are posed: What unique lessons did we learn about teaching and learning singing during the COVID-19 emergency? And, what of value might we retain, post-COVID-19? Of the basic components needed for learning, two of them — strong emotion and effort — figured prominently in the “Time of Corona.” Indeed, COVID-19 conditions engendered many emotions, some of which were painful. Yet without emotion, it is not possible to experience empathy, simply defined as “the ability to feel the experience of others” and more majestically as “a cornerstone of a civilized society.” The presentation concludes by considering how singing might reignite empathy to promote the common good in a post-COVID-19 world.

Mini-Recital – Latinx Song - Part 1
Avenue Ballroom, 4th Floor
Presenters: Amy Kathryn Canchola, Valerie Trujillo, Jessica Rosas Posada, Gjergji Gaqi
Introduced by: Marcía Porter

This session will include:

• Amy Kathryn Canchola, Valerie Trujillo – “Sueños de Esperanza: Stories of Latina Women in Song”
  
  
• Latin American art song is under represented as a whole, but furthermore the music and stories written by or about Latin American women is woefully overlooked. This presentation seeks to amplify the stories of Latina women and promote music written by Latina women. Music by Maria Grever, Babi de Oliveira, Mariela Rodriguez, and Irma Urteaga capped off with “Sueños de Esperanza,” a collection of songs based on the stories of immigrant women. “The stories have a common thread that suggests the difficult and painful experiences of immigration in our society. It is our hope that the stories of these brave women help to raise the awareness of this important issue.” We seek to contribute to the awareness and promotion of the compositions and stories of Latin American women and ensure these voices and experiences are heard.
  
  
• Jessica Rosas Posada, Gjergji Gaqi – Canciones de Manuel M. Ponce: An Introduction to the Mexican Art Song Canon
  
  
• This lecture recital features the works of Manuel María Ponce (1882-1948). Ponce is Mexico’s treasured composer of the art song “Estrellita” and a founder of Mexican musical nationalism. He borrowed traditional folk melodies that served as inspiration for new, original works. Ponce was the first Mexican composer of lyrical vocal music with piano accompaniment, and his legacy is comparable, on a smaller scale, to that of the greatest German composers such as Brahms and Schubert. From its inception, Mexican art song has lacked the necessary representation and diffusion to earn a place in the academic curriculum and recital hall. This presentation is essential to promote the dissemination of this underrepresented repertoire. Through detailed study of Ponce’s essays on Mexican music, this session offers insight regarding stylistic elements, an English translation of the text, and diction strategies.

The NATS “So You Want to Sing Series”: Reflections on 7 Years, 20 Books, and a Glimpse of the Future
Denver/Houston/Kansas City, 5th Floor
Presenters: Matthew Hoch, Allen Henderson, Michael Tan
Introduced by: Jeffrey Carter

This session will celebrate the culmination of the 20 books published in the “So You Want to Sing” series between 2014 and 2020, as well as discuss where the series will go from here. Authors of recent books devoted to spirituals, cabaret, and mind–body awareness will appear as guests in a presentation led by Allen Henderson (executive director of NATS and executive editor of the series), Matthew Hoch (series editor), and Michael Tan (acquisitions editor at Rowman & Littlefield). Amanda Flynn also will describe her journey as the author of a revised and expanded edition of “So You Want to Sing Musical Theatre.” The session will conclude with an opportunity for attendees to ask questions and engage in discussion with the panelists. This 2022 session of “NATS Books” marks a return to the in-person format of the successful 2016 and 2018 NATS conferences in Chicago and Las Vegas.

Breakout Sessions (10:30 – 11:30 a.m.)

Artistic Performance: Songs About Ageing
Grand Ballroom I, 7th Floor
Presenters: Lynn Eustis, Kevin Jones
Introduced by: Randall Umstead

Voice teachers of a certain age know that the older one gets, the more difficult it is to find appropriate repertoire, particularly with regard to text. A soprano in her 50s no longer wants to sing about birds and flowers, and “if I could only meet a boy!” And yet we may not feel comfortable moving into lower repertoire simply because the operatic world sees older women as low-voiced mothers. In musical theatre, singers are expected to pursue different repertoire as they age, and there are far more options from which to choose. Lynn Eustis and Kevin Jones will perform music from two cycles, Schubert's Abendroete Lieder and Tom Cipullo's "Of a Certain Age." These settings employ poetry dealing with more mature themes while maintaining a higher tessitura.

Singing in the Northland: Songs by Living Canadian Composers
Chicago ABC, 5th Floor
Presenters: Susan Gouthro, Patricia Au, Rachel Wood
Introduced by: Kimberly Broadwater

This recital program features repertoire from three living Canadian composers: Matthew Emery (b.1991), Iman Habibi (b. 1985), and Martha Hill Duncan (b. 1955). Soprano Susan Gouthro and mezzo-soprano Rachel Wood join pianist Patricia Au in presenting this program to heighten awareness of two up-and-coming composers who are rapidly gaining national and international recognition. Emery’s music has great appeal among voice students and is particularly suitable for undergraduates. Iranian-Canadian composer Habibi’s orchestral works have been performed widely throughout North America, and we will be performing his first song-cycle. Hill Duncan is an established composer also known as a choral conductor and music educator. The featured duets are settings of Canadian poets Bliss Carman and Charles G.D. Roberts. The performers were all participants of the 2020 NATS Intern Program.

I Could Never Do That: The Musical
Chicago E-H, 5th Floor *STREAM
Presenter: Eden Casteel
Introduced by: Ruth Ellis

What if your next studio recital was a livestreamed, interactive musical variety show? Eden Casteel shares how the pandemic transformed her independent studio in a hilarious one-woman musical cabaret, "I Could Never Do That: The Musical." Learn how Eden turned her studio's events into customized showcases, using music technology and a lot of trial and error. You'll leave with ideas of how to change your studio's "I Could Never" into "What If?" (Why is this NATS presentation a musical? What's the title again?)

A Year in Song: Collaborative Expressions of Artistry and Faith
Avenues Ballroom, 4th Floor
Presenters: Sarah Holman, Karen An-hwei Lee, Xavier Beteta, Howard Whitaker, Tony Payne, Misook Kim, Timothy Holman, Jill Peláez Baumgaertner, Tiffany Kriner, Jeffrey Galbraith, Nathan Holman, Miho Nonaka, Shawn Okpebholo, Karin Redekopp Edwards
Introduced by: Tom Hueber

Moderated by NATS Executive Director Allen Henderson, this session will inspire artistic collaboration! Joined by Chicago-based composers and poets Shawn Okpebholo, Jill Peláez Baumgaertner, Xavier Beteta, Tiffany Eberle Kriner, Tony Payne, Karen An-hwei Lee, Misook Kim, Miho Nonaka, Howard Whitaker, Jeffrey Galbraith, and Timothy Holman with mezzo-soprano Sarah Holman, pianist Karin Redekopp Edwards, percussionist Nathaniel Holman, and violist Timothy Holman, the session will explore their diverse collaboration on a multi-year recording project of 14 accessible, contemporary art songs appropriate to the studio and concert hall.

Interpersonal Dynamics in the Voice Studio: An Introduction to Trauma-Informed Voice Care
Indiana/Iowa/Michigan/Michigan State, 6th Floor
Presenters: Megan Durham, Elisa Monti
Introduced by: Mark Kano

From the individual experiences of abuse, neglect, and disconnection, top societal stressors such as a global pandemic and systemic oppression, it is increasingly clear that working with singing bodies means navigating trauma. Acknowledging this reality, how can we honor the lived experiences of our students, provide a compassionate environment, and maintain our scope of practice as singing voice teachers? This workshop will provide an overview of the psychophysiology and neurobiology of trauma, and offer accessible practices to help both teachers and students increase their capacity to be present with emotional reactivity. We will explore nervous system support tools and embodiment practices that can be incorporated into lessons, clinical work, and performances. Trauma-informed voice care prioritizes the singer’s lived experience, honors the voice professional’s boundaries, and empowers individuals to more clearly identify their vocal agency and dignity. 

Out of the Night We Came
Denver/Houston/Kansas City, 5th Floor
Presenters: Martha Guth, Javier Arrebola
Introduced by: Jason Lester

Not one of us remains untouched by the events of the past two years, and yet our experiences are not uncommon when contextualized through the lens of history. Both individually and collectively, we have struggled through grief and loneliness as we labor to keep perspective around our loss. This recital frames the breadth of these human emotions in songs spanning nine countries, eight languages, and more than six centuries — all speaking to our shared experience. Meditative, urgent and soulful, these songs invite you to journey from the fearful night, toward love.

Breakout Sessions (4 – 5 p.m.)

Mini-Recital – Celebrating African American Song
The Unknown Arranged Negro Spirituals of Roland Carter
Chicago ABC, 5th Floor
Presenters: Marquita Lister, Roland Carter
Introduced by: Jill Terhaar Lewis

Distinguished composer, conductor, educator and pianist Roland Carter has received worldwide acclaim for his choral and solo voice arrangements of the Negro Spiritual. The lecture/recital will highlight Dr. Carter's unknown solo spiritual arrangements. The performance explores the compelling aspects of salience of the prosody in each work, the depth of the storytelling through dynamics, coloring of tone and varying the use of vowels and consonants. The lecture will be interspersed with song performance.

Mini-Recital – Latinx Song - Part 2
Beyond Carlos Chávez: A Lecture Recital of 20th Century Mexican Art Songs
Chicago E-H, 5th Floor
Presenters: Valerie Trujillo, Marcía Porter, Katherine Calcamuggio Donner, Rachel Wood, Eric Rieger, Casey Robards, Natalie Sherer, Qiao Zheng Goh, Patricia Au
Introduced by: Randall Umstead

20th century Mexican art song is a diverse repertoire often centered on the culture, poetry and art of Mexico. Composers such Manuel Ponce and Maria Grever are known throughout the country for their tuneful and memorable melodies and text settings. “Beyond Carlos Chávez: A Lecture Recital of 20th Century Mexican Art Song” will explore Mexican composers who composed in a more formal way. Some of the composers to be included on the program are José Rolón, a student of Nadia Boulanger, Maria Teresa Prieto, a composer who often modeled her compositions after Mexican folklore and Carlos Gómez Barrera, a union leader and syndicate leader of female composers.

Mini-Recital – Reinvigorating Opera and Song: Operas and Arias of Living American Composers - Is There Opera Beyond the Met...You Bet!
Avenue Ballroom, 4th Floor
Presenters: Oswaldo Iraheta, Melanie Long, Richard Pearson Thomas, Nancy Rhodes
Introduced by: Jason Lester

What singer has spent way too much time looking for the perfect contemporary American aria, only to be disappointed by the usual fare in published anthologies? What collaborative pianist has completely run out of suggestions of arias by living American composers? What college professor — doing double duty as an opera workshop director — has spent months looking for the perfect small ensemble opera in English with mostly female parts, good characterizations, lyrical vocal lines and great storytelling? If any of this sounds familiar, then this is the lecture/recital for you! Nancy Rhodes, artistic director of Encompass New Opera Theatre, with singers Melanie Long, mezzo, Oswaldo Iraheta, tenor, and composer-pianist Richard Pearson Thomas, will showcase arias by living American composers from six chamber operas, premiered by Encompass. They will feature highlights of working with legendary composer Virgil Thomson, and how new operas with themes and stories for today are created. 

Singing for Us All
Denver/Houston/Kansas City, 5th Floor
Presenters: Jeanne Goffi-Fynn, Emily Perkins
Introduced by: Cynthia Vaughn

In working toward an inclusive and diverse singing community, the literature is sparse in terms of practical solutions to invite all to join. Many choral singers have deep-seated fears of singing, told years ago that they were not capable of singing. In this workshop, we will share vocal development exercises and opportunities for musical growth and diverse styles of repertoire. Additionally, developing a community of learners will be shared in the ways in which a vocal curriculum might address culturally specific vocal aesthetics to empower rather than silence all students. In short, developing a curriculum and pedagogical approach to educate and empower all singers with the wonders of singing and music is the ultimate goal in this workshop.

Advancing International Connectivity Among Voice Teachers
Indiana/Iowa/Michigan/Michigan State, 6th Floor
Presenters: Karen Brunssen, Susan Yarnall-Monks, Sandra Oberoi, Stephen Ng, Bronwen Forbay, Caroline Schiller, Allen Henderson, Alexander Lee, Diana Allan, Ellen Pieterse, Carole Blankenship, Sarah Holman
Introduced by: Torin Chiles

For many decades international connectivity among voice teachers has been enhanced thanks to NATS and ICVT. The desire for more frequent sharing of "vocal perspectives" has increased as we shared live and virtual conferences, presentations, and master classes, visited one another to learn and teach, visited one another's Facebook pages, learned about common interests that brought us together, and more. What factors have contributed to this? What has been gained through such experiences? This panel will offer viewpoints, examples of specific initiatives and events, newly integrated means of communication, and more that have contributed to bring the world of singing together. What means and opportunities can facilitate how we learn and share with each other? What is the value of sharing concepts, research, priorities, and perspectives for voice teachers around the world? What are the barriers?  Should we, and if so, how do we, move the needle so this moves beyond the idea to a more integrated reality?  What can we carry forward from our experiences during the pandemic? Could/Should we:

• Invite members to one another’s conferences or activities?
• Be international members of one another’s organizations?
• Invite presentations for events from those outside our organizations?
• Provide virtual access to certain events each year?
• Hold an annual discussion with leadership?

A panel of voice teachers from around the world will tackle these questions in a thought-provoking discussion.

Sunday, July 3

Breakout Sessions (9 - 10 a.m.)

Creating Crossover Curriculum
Grand Ballroom I, 7th Floor
Presenters: Sarah Wigley, Nathan Gunn, Yvonne Gonzales Redman, Michael Tilley
Introduced by: Katie Tupper

Initiated in 2018, the University of Illinois Lyric Theatre BMA (Bachelor of Fine Arts) is uniquely positioned in a School of Music, training the singing actor in the repertoire and techniques of all genres of sung theater. Join the Lyric Theatre faculty for this discussion of how a traditional opera program revolutionized itself in becoming the first BMA of its kind in the nation while learning how collaborative teaching models, shared resources, and creative thinking can inspire dramatic change.

Nothing But Practical: Pre-Performance and In-Performance Strategies to Minimize Anxiety
Chicago E-H, 5th Floor *STREAM
Presenters: Katherine Jolly, Karen Leigh-Post
Introduced by: Melinda Brou

This experiential workshop will provide participants with proven pre-performance and in-performance strategies for optimal and even peak performance absent anxiety. Exercises are founded in performance-based research with measurable outcomes for well-being (e.g., reduced heart rate and stress-hormone levels) from the sciences of perceptual-motor psychology and neural anatomy, as well as mind-body awareness techniques incorporating yoga, breathing, and meditation. Music Performance Anxiety (MPA) is a common and often debilitating problem for high-level singers. If the overarching purpose of the nervous system is to maintain homeostasis, how do we zone-in to an ideal performing state? Per the Yerkes-Dodson law of arousal, performance is optimized when we regulate anxiety by matching energy levels to the task at hand. When we get our thinking right, we are rewarded by heightened awareness and the synchronization of the whole of our neural being. We look forward to sharing new collaborative research, with time for a question-and-answer session.

Mini-Recital Through the Lens of 21st Century Composers
Chicago ABC, 5th Floor
Presenters: Darci Bultema, Philip Everingham, Audrey Miller, Evan Jones, Timothy Hoekman, Julie Liston Johnson, Leah Bateman, David Grogan, Ava Johnson
Introduced by: Alisa Belflower

This session will include:

• Darci Bultema, Philip Everingham, Audrey Miller – Songs of Inclusivity: Four New Sets of Vocal Chamber Music for Soprano, Clarinet, and Piano
  
  
• This is a recital performance of songs written specifically for the Virinca Trio, a South Dakota-based trio who actively commissions works by American composers. Members of the Virinca Trio include Darci Bultema, soprano, Audrey Miller, clarinet, and Philip Everingham, piano. The recital presentation features an exciting world premiere by Minneapolis-based composer, Jocelyn Hagen, as well as performances of commissions by the Virinca Trio for soprano, clarinet, and piano by Jonathan Bailey Holland, Richard Pearson Thomas, and Christopher Stanichar. Poetry for these selections is from a wide range of poets including Noor Unnahar, Langston Hughes, Rita Dove, and Richard Pearson Thomas. All of the songs are accessible to both students and professionals in the field.
  
  
• Evan Jones, Timothy Hoekman – “Your Devoted Hugo” a Song Cycle by Timothy Hoekman
  
  
• There are over 2,200 published letters Hugo Wolf wrote to various people in his life. These letters provide an extraordinary window into the personality of this talented, troubled, egocentric, witty, caustic, bipolar composer. The 10 songs in the song cycle “Your Devoted Hugo” use several of the letters in an English translation created especially for this cycle. They trace the composer’s life from his first extant letter as a 13-year-old boy trying to explain away his boarding school troubles to his parents, all the way to one of his last letters, written to his sister Modesta from the asylum where he spent his final few years. The song cycle is one that should be enjoyed by all audiences familiar with Wolf’s music and style.
  
  
• Julie Liston Johnson, Leah Bateman, David Grogan, Ava Johnson – Pieces of 9/11: Memories from Houston by Jake Heggie
  
  
• Pieces of 9/11: Memories from Houston by Jake Heggie and Gene Scheer was commissioned by the Houston Grand Opera for the 10th anniversary of the September 11th terrorist attacks. It is a cycle of six songs based on events and interviews from different residents of Houston which captures many horrific events of that day while also incorporating elements of hope for the future. This is a wonderful piece to commemorate yearly remembrances of the attacks because of the brilliant storytelling of the collaborative team of Heggie and Scheer as well as the varied musical styles which appeal to a wide audience. As a person with personal experience at the World Trade Center site during the attacks, I have found great comfort and healing through this lovely composition. The piece is scored for soprano, baritone, and two young sopranos (14-18) accompanied by flute, guitar, violin, and cello with a piano version also available.

Bridging East and West: Embracing Indian Vocal Music Traditions in Western Studios
Avenue Ballroom, 4th Floor
Presenters: Sarah Holman, Sandra Oberoi, Nirmalya Roy
Introduced by: Tom Hueber

Join International Region Governor Sarah Holman with Sandra Oberoi, founding director of Harmony - The Music School in Bangalore, India, and Nirmalya Roy, founding director of Music Mantra Institute in Kolkata, India, in an interactive session that explores the oral-aural continuum of Indian vocal music and how it can be embraced in Western studios. The basic principles and history of Hindustani classical music will be presented and its influence on the music of Bollywood explored. Attendees will be guided through a series of raga-inspired vocalises for use in the Western vocal studio.

American Academy of Teachers of Singing - The singing voice specialist. Who is it, what do they do and how are they trained?
6th Floor, Indiana/Iowa/Michigan/Michigan State
Presenter: Mary Saunders Barton
Introduced by: Nicholas Perna

The care and restoration of the injured voice of a professional singer or voice user is best served by a clinical team that includes a singing voice specialist, that is, an experienced voice teacher (habilitator) who has received further instruction and mentoring in the care and rehabilitation of injured voices. The need for singing voice specialists has been acknowledged for decades, yet to date, there is no recognized certification process for obtaining this training.  This paper reviews the history and current status of this specialty and suggests steps essential for its realization.

Breakout Sessions (5 – 6 p.m.)

Navigating Standard and Contemporary "Belt": A Vowel Guided Approach Denver/Houston/Kansas City, 5th Floor
Presenters: Kevin Wilson, Lori L’Italien
Introduced by: Ruth Ellis

Teaching musical theatre is a complex task requiring technical understanding, nuance, and great flexibility. In this workshop, you will learn to aesthetically define legit, mix, and belt concepts and learn to navigate the first passaggio for AFAB and second passaggio for AMAB voices to organize the filter for a variety of musical theatre styles and sounds. There will be an in-depth discussion of open and closed vowel production and their perceived influence on weight, color, and registration as well as a presentation of systematic organization of the voice for musical theatre singing. In addition, you will learn tools to help your student discover what their voices and bodies already can do versus what we prescribe them to do!

2020 NATS Intern Program Alumni Recital
Chicago ABC, 5th Floor
Presenters: Qiao Zheng Goh, Patricia Au, Casey Robards, Natalie Sherer, Samuel Handley, Katherine Calcamuggio Donner, Elizabeth Gray, CJ Greer, Gretchen Windt, Sarah Bucher, Susan Gouthro, Michael Hendrick, Charles Moore, Daniel Stein, Rachel Wood
Introduced by: Karen Brunssen

The 2020 NATS interns will present an alumni recital based on selections from the vocal literature and music scores generously donated to them by publishers, distributors, and composers. With the effort by Vocal Literature Liaison Dr. Tana Field, we received music scores that highlight female and BAME (Black, Asian, and Minority Ethnic) composers, Canadian composers, music from lesser-known publishers, and self-published works. In addition to highlighting living composers of different backgrounds, the recital also will feature music that is accessible to young singers and pianists. This presentation reunites the 2020 interns and continues the strong NATS tradition of making collaborative art.

Mini-Recital: Celebrating African American Song – Queens of Composition: Excellence in the music by Black-American Women
Grand Ballroom I, 7th Floor
Presenters: Rae-Myra Hilliard, Dana Brown
Introduced by: Marcía Porter

A highlight of the rich Chicago heritage in classical music composed by Black-Americans, Florence B. Price, Margaret Bonds, Dr. Lena McLin and Regina Harris Baiocchi.

Mini-Recital: Latinx Song – Songwriting Goddesses of Mexico & Latin America: A Diverse Vocal Resource for CCM and Classical Singers
Avenue Ballroom, 4th Floor
Presenters: Juanita Ulloa, Katya Roemer
Introduced by: Katie Tupper

Female popular songwriters garnered the rapt attention of U.S. audiences during the 1960s with ballads by Laura Nyro, Joni Mitchell, and Carole King. It is surprising to discover that Mexico and Latin America’s female songwriting balladiers can be traced much further back to the early 20th century. Each songwriter had challenges that they surmounted with a unique music-cultural contribution. They established an important foundation for future generations of songwriters and singers. This session features information on songwriters from Mexico, Cuba and Chile, including Grever, Velásquez, Valdelamar, Carrillo, Vera, and Parra. They offer us a valuable resource for CCM repertoire in Spanish, and many of the songs can be sung in folklore, popular, or classical styles. Dr. Ulloa also will mention some of the crossover vocal techniques and accompaniment options often used to switch between a mariachi versus a ballad or bolero interpretation. This canon deserves its place in music education and the songwriting world. Join us as we highlight the diverse colors, styles and ranges of Latin America’s rich tapestry of popular and folk based music.

Careers in the Children and Family Performance Space with Red Grammer, Jazzy Ash, Justin Roberts, and Tim Ferrin
6th Floor, Indiana/Iowa/ Michigan/Michigan State
Presenters: Red Grammer, Jazzy Ash, Justin Roberts, Tim Ferrin
Introduced by: Robert Wells

After hearing their artistry in concert, hear the stories of each presenter and what led them to their career in the family and children’s performance space. Discover how they combined their skill sets into strong and diverse careers, and learn more about how they built their brand.

Monday, July 4

Breakout Sessions (9 - 10 a.m.)

A Systematic Approach to Voice Studio Application: A Real-Time Workshop
Grand Ballroom I, 7th Floor
Presenter: Kari Ragan
Introduced by: Nicholas Perna

This session will use singers, in real-time, to demonstrate the application of a systematic approach in training the voice athlete. The focus is to provide strategies for the voice teacher to diagnose vocal challenges and design exercises to develop efficient and artistic singing. This approach provides a clear roadmap for the betterment of in-studio application. Decades of research have provided an organizational template from which to study voice mechanics through five-voice systems: respiration, phonation, registration, articulation, and resonation. Knowledge of both the independence and interdependence of these systems enables teachers to devise a strategy for training a functional singing technique. Structuring voice lessons through a science-informed systematic template enables singing teachers to build a dependable approach to voice lessons, provides an effective way to identify technical challenges, and creates strategies for developing vocal efficiency. This leads to the ultimate goal of great artistry.

Mini-Recital Highlighting the Heritage of Jewish Song
Chicago ABC, 5th Floor
Presenters: Timothy Renner, Casey Robards, Melissa Malde, Edward Rothmel, Orna Arania, Ken Smith
Introduced by: Karen Brunssen

This session will include:

• Timothy Renner and Casey Robards – Give Them Peace: The Terezín Ghetto Requiem
  
  
• Czech composer Sylvia Bodorová’s Terezín Ghetto Requiem (1997), a short three-movement work scored for string quartet and baritone soloist, was inspired by the indomitable courage of the Jews and other persecuted people who suffered in the Holocaust. At the concentration camp at Terezín (Theresienstadt), many prisoners continued artistic pursuits while interned, some engaging themselves in musical composition and staging theatrical works and concerts. One of their culminating achievements was the mounting of some 20 complete performances of Verdi’s Messa da Requiem, a masterwork the Bodorová requiem references. Bodorová masterfully weaves Jewish liturgy with the Roman Catholic Requiem Mass in a powerfully moving piece that serves as a stirring call for peace and reconciliation in a time when both are desperately needed. This lecture recital contains discussion of the historical basis for the work, performance considerations, insights from the composer herself, and concludes with a complete performance.
  
  
• Melissa Malde and Edward Rothmel – Children's Songs in Hebrew: A Delightful Addition to Recital Repertoire
  
  
• The waves of immigration (aliyah) to Palestine that began in 1882 brought Jews from the Diaspora together. Immigrants brought traditions and language from their home countries. Hebrew, their only common language, was modernized and an extraordinary flowering of Jewish literary and musical culture ensued. Many poets wrote delightful verses for children, intent on bringing them up with Hebrew as their native language. Composers set these verses to sophisticated, yet accessible, piano accompaniments. This charming repertoire ranges from humorous songs about animals to touching lullabies and nature songs, and combines classical European sensibilities with popular elements like Klezmer and Sephardic folk melodies. These gems offer colorful recital repertoire to all singers, not just those who learned Hebrew as part of their religious education. We will give a brief background on the composers and include performances of favorite songs featured on SingInHebrew.
  
  
• Orna Arania and Ken Smith – One Musical Fabric, Many Musical Threads: An Introduction to Israeli Vocal Music
  
  
• The return of the Jewish diaspora during the 20th century to the land of Israel and the simultaneous revival of the Hebrew language resulted in the creation of a new repertoire of Jewish vocal music, namely that of Israeli art song. Israeli art song reflects a richness of cultures and musical influences brought by composers who immigrated to Israel from all over the world and combined their musical heritages with local Middle Eastern influences and the rhythmic patterns of the Hebrew language. This presentation introduces this rich repertoire, which is not well known outside of Israel, through a brief historical background and an exploration of the music of the originating composers of this genre. This session also includes a hands-on introduction to Hebrew phonetics and diction to both vocal performers and music educators interested in including this repertoire as part of curricula that expose students to a wide range of music and cultures.

What Do You Really KNOW About The American Negro Spiritual (TANS)? Let’s talk: what it is, what it isn’t and how to present respectful performances of The American Negro Spiritual in classical vocal programming, with experienced guidance and student demonstrations! PART ONE
Chicago E-H, 5th Floor *STREAM
Presenters: Alexis Davis-Hazell, Barbara Hill Moore, Marcía Porter, Everett McCorvey
Introduced by: Diana Allan

Presenters for this session have served on the committee for NATS American Negro Spiritual and Hall Johnson Spirituals competitions and are frequently consulted regarding repertoire for both categories. In the first session of this two-part presentation, the presenters will discuss the history and origins of the American Negro Spiritual as well as situate the genre in the classical repertory. Other topics covered will include performance practices, suitable omissions of text, appropriate embellishments, use of dialect, and vocal styles. Participants from the Hall Johnson competition will perform select examples of repertoire. The afternoon session will cover different topics related to the spiritual.

"HOW" - Bringing Hands-on Work into the Voice Studio
Denver/Houston/Kansas City, 5th Floor
Presenter: CJ Greer, Erik Raymond Johnson
Introduced by: Alisa Belflower

This workshop is beginning a conversation exploring best practices from Theatrical Intimacy Education (TIE), Open Source Forms (OSF) (movement method), the rules of stage combat, and other movement, dance and acting training, and how to integrate hands-on work into the voice studio to create safe and brave working spaces. This workshop is two-fold. For the first section, we will work on our feet with partners exploring selected best practices from these methodologies, including verbal and non-verbal communications, setting boundaries, seeking permission, energetic transfer of information (proximity, eye contact, tone of voice, level of touch, approach) and how to incorporate them into the voice studio environment. The second section of the workshop will offer information regarding other existing training sessions, suggestions for syllabus/in-take forms and studio policies, and begin the discussion with the larger NATS community of the relevance, need, and applications for this work with a Q&A and feedback discussion.

The Cultural Crossroads on Gagok (Korean Art Song): Achieving DEI Education and the Pedagogical Advantages through the Repertoire
Avenue Ballroom, 4th Floor
Presenters: Sooah Park, San-ky Kim, May Phang
Introduced by: Melinda Brou

Gagok (Korean art song) allows voice teachers, students, and performers to diversify their repertoire and receive pedagogical benefits. European art song tradition (Western) and Korean folk song (Eastern) are merged into Gagok, creating a cultural crossroads that many voice teachers can use as a tool for DEI education. Moreover, the characteristics of the cardinal vowels and dental consonants in Korean help singers achieve the acoustic advantages in resonance. Among many Minyo (Korean folk songs), “Arirang” is one of the most popular that Korean composers set their songs to because it is a symbol of diversity and inclusion in Korean sentiment. The presentation will include a performance of the representative Gagok, interactive breakout sessions to learn Minyos and their distinctive rhythms, and distribution of resources for the Korean alphabet, a glossary of terms for Korean art song, a list of suggested repertoires, and translations and IPA transliterations of selected songs.

Breakout Sessions (5 - 6 p.m.)

What Do You Really KNOW About The American Negro Spiritual (TANS)? Let’s talk: what it is, what it isn’t and how to present respectful performances of The American Negro Spiritual in classical vocal programming, with experienced guidance and student demonstrations! PART TWO
Grand Ballroom I, 7th Floor
Presenters: Alexis Davis-Hazell, Barbara Hill Moore, Marcía Porter, Everett McCorvey
Introduced by: Diana Allan

Presenters for this session have served on the committee for NATS American Negro Spiritual and Hall Johnson Spirituals competitions and are frequently consulted regarding repertoire for both categories. In the second session of this two-part presentation, the presenters will discuss repertoire appropriate for the NATS American Negro Spiritual Competition. Other topics covered in this session will include sources for further study such as recently published materials, recordings, and scores. Participants from the Hall Johnson competition will perform select examples of the repertoire. The morning session will cover different topics related to the spiritual.

Brand New Art Song from the NATS Mentoring Program for Composers
Chicago ABC, 5th Floor
Presenters: Tom Cipullo and Lori Laitman
Introduced by: Cynthia Vaughn

Since NATS began the Composer Mentoring Program in the summer of 2020, 20 composers at the early stages of their professional careers have received in-depth advice, on matters both musical and non-musical, from some of the most accomplished composers in the country. As a special feature of the program, the Cincinnati Song Initiative (CSI) commissioned and premiered a song from each of the composer mentees. For this breakout session, CSI Artistic Director Samuel Martin will join composers Lori Laitman and Tom Cipullo, who administer the program for NATS, in a discussion of the history of the initiative and a look at where it will go in the future. Video from the CSI “Let It Be New” concerts will introduce attendees to works by some of the mentees — a diverse group who may well be the next generation of great vocal composers.

Story-driven Singing: Training expressive voices in CCM styles
Chicago E-H, 5th Floor *STREAM
Presenters: Matt Edwards, Jacqlyn Zito-Edwards
Introduced by:  Ruth Ellis

Cultures throughout the world sing to communicate the human experience in all of its highs, lows, and in-betweens. Yet oftentimes when discussing voice pedagogy, we get so excited by the science that we focus on sound production alone. But what if our attempt to categorize technical adjustments is actually taking away artists’ ability to authentically communicate their experiences? What if the real secret to success is not a vocal quality that we can quantify with a spectrogram but rather a vocal quality that matches our expectations for certain emotional states of being? In this workshop, participants will learn how to teach singers to let their special awareness, circles of energy, and intent lead the way in making vocal and musical choices. By training singers to let the voice follow the actor/storyteller, teachers will be able to help singers from all cultural backgrounds bring their stories to life like never before.

Teaching Voice Students from East Asia: Understanding the linguistic challenges and advantages unique to native Mandarin, Cantonese, Korean and Japanese speakers
Denver/Houston/Kansas City, 5th Floor
Presenters: Sahoko Sato Timpone, Wei-En Hsu, Ryu-Kyung Kim, Mutsumi Moteki, Stephen Ng
Introduced by: Sarah Holman

Voice teachers today are working more often with students for whom English is their second language, and it is increasingly helpful for them to understand the linguistic tendencies of represented languages. This presentation followed by a panel discussion will explore specific examples for speakers of Mandarin, Cantonese, Korean and Japanese, where these languages present both challenges and advantages to vocalists compared to American English speakers. Each of the presenters are native speakers of these four languages and currently hold academic positions in voice and collaborative piano. Handouts with additional resources and exercises also will be provided for attendees. The goal of this presentation is to help voice teachers become more acquainted with these languages and to provide them with practical tips to apply in their studios. Through examining linguistic perspectives, using pre-recorded video samples, and providing specific exercises, we aim to advance vocal teaching for East Asian singers.

Singing in the Key of T
Avenue Ballroom, 4th Floor
Presenter: Ari Agha
Introduced by: Robert Wells

Genderqueer sociologist-singer Ari Agha was 39 years old when they had to decide whether they were willing to risk their singing voice by taking testosterone as part of their gender transition. Upon deciding to take testosterone, they started Key of T, the first rigorous, empirical research on this kind of singing voice transition. In this immersive, multi-modal performance/lecture, you will experience the transition of their singing voice and learn about the embodied, emotional experience of going through a voice change in adulthood through video reflections, monologue, spoken word, soundscape, and of course, song. Before attending the session, please use your phone to record your answers to these questions: (1) Please describe your voice, (2) How do you feel about your voice? and (3) How do you feel when you sing? During the session, you’ll have a chance (but not be obliged) to share the recording.

The Effects of Virtual Reality Training in Reducing Performance Anxiety
6th Floor, Indiana/Iowa/ Michigan/Michigan State
Presenters: Mark McQuade, Bobbie Ticknor
Introduced by: Jeffrey Carter

Musicians spend countless hours preparing for performances. Despite this time and preparation, anxiety may creep in and derail what would otherwise be a marvelous musical experience. The majority of a performer’s time is spent preparing in environments different from those in which their actual performances take place. However, virtual reality technology can recreate the actual performance environment, providing singers with regular opportunities to perform virtually “in the space” in order to reduce performance anxiety. The history, processes, and results (both physical and mental manifestations of performance anxiety and if/how they changed) of a VR singing study will be presented. Additionally, this interactive presentation will share insights on different types of VR technology and how it can be implemented in the training of singers. Attendees also will be given the opportunity to experience the technology and enter the VLEs.

Tuesday, July 5

Breakout Sessions (9 - 10 a.m.)

Laban for Singers: Laban Movement Analysis for Body Release and Character Development
Grand Ballroom I, 7th Floor
Presenters: Frank Ragsdale, Doug Carpenter, Meredith Pyle Pedley, Tomasz Robak, Kyle Sackett
Introduced by: Sarah Holman

Rudolf Laban was a Hungarian dancer, choreographer, and theorist, and is known as the father of European Modern Dance. His method and language of movement were originally used by dancers and choreographers but have been adapted for use by actors, musicians, conductors, athletes, therapists, anthropologists, and many more disciplines. The Laban Movement Analysis (LMA) uses eight different words with correlating actions to express all human emotions. “Laban for Singers: Laban Movement Analysis for Body Release and Character Development” is an interactive presentation that will show how these words and movements can greatly enhance teaching in the studio to assist with body release. It further helps the student to find new and creative ideas for character analysis.

Vocal Literature for Children in a Changing Society
Denver/Houston/Kansas City, 5th Floor
Presenters: Dana Lentini, Michael Ching
Introduced by: Jeffrey Carter

As the world changes and in tandem with many musical tastes, children are just forming their opinions of aesthetics in musical styles. However, children are an underserved population of artistic singers — particularly when it comes to repertoire that speaks to their experiences and matches them in ages and stages. As our communities change, we must keep the eyes and ears of children open to not only the breadth of repertoire choices but what their young voices are capable of achieving. This presentation will share inspiring ways to teach children and bring more repertoire to young singers who are often not exposed to a broader selection of musical genres and cultures.

Flipping the Voice Pedagogy Frame
Chicago E-H, 5th Floor *STREAM
Presenters: Yvonne Gonzales Redman, Joshua Glasner, Nicholas Perna
Introduced by: Diana Allan

This presentation will share new ideas that consider both what can be taught in a voice pedagogy course and how it can be taught. Instructors have many competing considerations related to designing voice pedagogy curricula. Such considerations include but are not limited to: determining a hierarchy of fundamental topics, choosing supplementary material, and selecting appropriate delivery methods/modalities. A voice pedagogy instructor's greatest asset is not simply command over a vast field of knowledge, but the way in which they use that knowledge and their experience to help singers to communicate expressively and freely. A 'flipped' voice pedagogy course prioritizes not the transfer of knowledge, but the many opportunities to help future voice teachers to hone their skills and to apply evidence-based pedagogy in a controlled environment. Join us in a conversation that explores the ways in which we may inspire future voice teachers as well as our own methods.

Mini-Recital: Music by and about Women
Chicago ABC, 5th Floor
Presenters: Susan Hochmiller, Scott Crowne, Meredith Ziegler, Oliver Worthington, Dana Zenobi, Chuck Dillard, Nicole Asel, Tim Burns, Madeline Jazz Harvey
Introduced by: Melinda Brou

This session will include:

• Susan Hochmiller, Scott Crowne, Meredith Ziegler – Equality of Voices: Duets by Women Composers from the Classical Era to the 21st Century
  
  
• This recital will highlight duets by women composers from the 18th through 21st centuries, including Corona Schröter, Pauline Viardot, Luise Adolpha Le Beau, Laura Netzel, Lori Laitman, Martha Hill Duncan, and Juliana Hall. Ranging in style, language, and technical demand, these often overlooked vocal works offer enhanced recital programming possibilities for performers, and pedagogical benefits for students in recital and in the studio. Attendees will leave this session with increased knowledge of repertoire by women composers, fostering inclusivity, equity, and diversity in programming. A resource guide for exploring duets by women composers, and suggestions for pedagogical application, also will be provided.
  
  
• Oliver Worthington, Dana Zenobi, Chuck Dillard – Expanding the Canon: Soprano/Baritone duets by Women Composers
  
  
• Join soprano Dana Zenobi, baritone Oliver Worthington, and pianist Chuck Dillard as we present previously unexplored art song duets by women composers of the Baroque, Classical, and Romantic eras. They will perform selections from their recently released recording and the accompanying anthology with the goal of incorporating works of women composers into the male-dominated canon. While there has been some exploration of treble duets, the wealth of soprano/baritone pairings by women composers is relatively unknown. The duets presented encompass multiple languages and varying degrees of difficulty; you will find one appropriate for your students at any level. Composers include works by more well-known composers including Barbara Strozzi, Francesca Caccini, Pauline Viardot, Cecile Chaminade, Fanny Hensel, and Amy Beach along with lesser-known composers like Augusta Holmès, Ella Adayevskaya, and Johanna Kinkel Mathieux. The session presenters also will share previously unpublished duets by Rebecca Clarke.
  
  
• Nicole Asel, Tim Burns, Madeline Jazz Harvey – Elevating the female perspective: A story of loss, pregnancy, and motherhood in the words and music of women
  
  
• In Lauren Spavelko’s song cycle, “Baby Book,” with text by Chloe Yelena Miller, a woman grieves the loss of her unborn child, becomes pregnant again, carries her child to term, and reflects on motherhood. This project aims to bring art song out of the recital hall and into the community with the goal of building compassion and understanding though music. Dancer Madeline Harvey will choreograph in collaboration with input from women who have suffered pregnancy loss and subsequent births. This will be performed throughout the community with the goal of giving a voice to both the struggle and the celebration of childbirth and parenting. The performances will be a multimedia sharing of collected stories, images, movement, and art song with the aim of sharing honest, raw, and beautiful stories of motherhood.

Musicking Your Experience, Singing Your Soul: Applying principles of Gospel voice pedagogy and performance to the vocal and artistic development of CCM Styles
Avenue Ballroom, 4th Floor
Presenters: Trineice Robinson-Martin, Victoria Ortiz, Minque Taylor
Introduced by: Marcía Porter

Gospel music voice pedagogy is uniquely positioned to provide a pedagogic framework for all American folk-derived musical styles. Most popular music styles of 20th century music can be heard in gospel music performances or have been influenced by gospel music. As established in the legacy of music-making from which gospel music is derived, gospel music represents a unique approach to music-making. The performer’s emotional articulation of their life experience is ultimately the epitome of what makes the performance of these styles compelling, often duplicated, and greatly appreciated. Robinson-Martin defines soul expression as the “Unapologetic, Passionate, Communication of who you are, what you believe, and how you feel about it.” Training parameters have been codified and published for gospel music in “So You Want to Sing Gospel.” The lecture will provide examples of how to apply these pedagogic principles for developing artistry and self-expression to singers of any style.

Breakout Sessions (4 – 5 p.m.)

You're Not the Boss of Them: Empower Your Popular Musics Students to Take Charge of Their Own Artistry
Grand Ballroom I, 7th Floor
Presenters: Jessica Baldwin, Kat Reinhert
Introduced by: Katie Tupper

In popular musics, the original artist is the ultimate authority over their own work and the focus of each performance. This stands in stark contrast to what many have learned in classical music traditions where the teacher is the master, the student is the apprentice, and the composer is the artistic authority and focus of each performance. In this session, you’ll begin the process of transitioning your mindset and praxis from the master-apprentice model of classical music to the facilitator-coach model of popular musics, using decades of research from the field of popular music education, as well as wisdom from the coaching industry. This shift in mindset will create an environment that nurtures what your students need as artists — courage to take risks, connection to their gut instincts, self-trust, and the ability to chart their own course.

Toward Justice and Shared Humanity: Art Song of Black Americans as Lens, Language, Vision, and Hope
Chicago E-H, 5th Floor *STREAM
Presenters: Ollie Watts Davis, Casey Robards
Introduced by: Karen Brunssen

Soprano Ollie Watts Davis and pianist Casey Robards will share a recital of art song by Black Americans. Representative works include song literature by Francis Hall Johnson, Henry Thacker Burleigh, Margaret Allison Bonds, Charles Lloyd, Jr., H. Leslie Adams, and John Daniels Carter, with texts by the foremost Black writers of the early to mid-20th century. An interactive lecture, narrating the objective and development of the recital and including a time for questions and responses, will follow the performance. This session traces the experiences of Black Americans through their song and literature and in their voice. It advances the notion that progress is beyond statements and initial inclusion of “underrepresented” works, but demands initiatives that lead to an understanding of the social and cultural histories and contexts that informed the creative output.

Gender Neutral Voice Pedagogy: It’s Not Just for Transgender Singers Anymore!
Denver/Houston/Kansas City, 5th Floor
Presenter: Loraine Sims
Introduced by: Kimberly Broadwater

Language, like gender, is fluid. Our ideas about voice as it relates to gender may also have changed. Yet most current voice pedagogy texts used in college classes today refer to male voices and female voices. Are we simply perpetuating this idea for the next generations of voice teachers? I think we can agree that vocal folds do not have genitalia. I think we also can agree that hormones have a profound effect on vocal folds. However, are we limiting all our students by having gender labels and gender expectations in our pedagogy? How can we move beyond this to consider all voices as individuals, whether they belong to cisgender or transgender folx. My presentation will offer some ideas about how to move toward a more inclusive, gender neutral voice pedagogy for all singers, since they all need voice teachers who understand creating safe spaces and gender neutral learning environments.

FormantVision: Strategies for the Learning and Teaching of Voice Acoustics
Avenue Ballroom, 4th Floor
Presenters: Nicholas Perna, Sarah Pigott
Introduced by: Torin Chiles

Are you frustrated by formants? In awe of auditory roughness? Intimidated by inertance? You are not alone! In this session, the VocalFri Podcast team will acknowledge these challenges, present divergent paths to learning about voice acoustics, and give attendees strategies to overcome the many roadblocks on the journey to familiarity with voice acoustics. The VocalFri Podcast team will present models of how to approach this rich and varied topic either for yourself, your singing students, or your pedagogy classes. It will also include the framework that Dr. Perna currently uses in his own pedagogy and voice acoustics courses.

Healthy Teachers, Healthy Students, Healthy Studio: Easy, Inexpensive Post-Pandemic “Forever” Strategies for Personal Safety and Safe Teaching/Performing Spaces
6th Floor, Indiana/Iowa/ Michigan/Michigan State
Presenters: Lucinda Halstead, Jill Terhaar Lewis
Introduced by: Alisa Belflower

Tired of being sick every year? The COVID-19 pandemic brought to the forefront personal safety and safety in teaching and performing environments. Although attention focused, appropriately, on the aerosol spread of the COVID virus, we tended to forget our chronic exposures to airborne cold and flu viruses, which many cannot be vaccinated against. We have endured these illnesses and the economic and physical tolls they incur for decades. Based on the extensive research exploring the transmission of aerosols during singing, there are many straightforward and user-friendly strategies to make teachers and students safe. They are certainly less expensive compared to missed income resulting from hiatuses of a week or two from studio teaching or weeks to months of recovering from injury due to singing or performing while sick. This presentation will focus on these preventative strategies, how to implement them, and personal health strategies germane to teachers in all settings.