JOS On Point

CCM versus Music Theater - A Comparison

At the turn of the present century, music theater pedagogy was often considered synonymous with CCM pedagogy. As we near the end of the second decade of the 21st century, separate pedagogies are emerging that distinguish important differences between the training of commercial singers and that of music theater performers. These are explored by noted scholars and voice practitioners Matthew Edwards and Matthew Hoch, in “CCM versus Music Theater: A Comparison,” published in the November/December 2018 issue of “Journal of Singing.”

JOS-075-2-2018-183_-_CCM_versus_Music_Theater_-_Edwards-Hoch.pdf (application/pdf, 230.3 K) posted at 11:35 AM, December 17, 2018

Cinderella Meets Cendrillon: Music Theater and Opera Living Under the Same Roof

For many years, opera and music theater have occupied separate—and often antagonistic—worlds, playing to very different audiences. In “Cinderella Meets Cendrillon: Music Theater and Opera Living Under the Same Roof,” featured in the November/December issue of “Journal of Singing,” authors Mark McQuade, Jennifer McQuade, Allen Henderson, and David Sisco outline a modern trend in U. S. and European performance venues to include both genres, a movement that has financial, attendance, and pedagogic ramifications.

JOS-075-2-2018-121_-_Cinderella_Meets_Cendrillon.pdf (application/pdf, 626.5 K) posted at 3:12 PM, November 27, 2018

Cognition in the Age of Corona

Singer, voice pedagogue, cognitive scientist, and author Lynn Helding has long espoused adding to the two pillars of voice science, physiology and acoustics, a third pillar, cognitive science. In her article, “Cognition in the Age of Corona: Teaching Students How to Learn,” published in the November/December issue of Journal of Singing, she examines how to leverage what is known from cognitive science about the connection between volition and learning so that music students might examine their own agency and responsibility for learning, and teachers might create the best cognitive conditions of online learning in the Age of Corona.

JOS-077-02-2020-249.pdf (application/pdf, 1361.4 K) posted at 9:36 AM, November 4, 2020

Collab Corner - “The Art and Skills of Learning (New) Music: Lucy Shelton’s Practice Guide”

Internationally acclaimed soprano Lucy Shelton has made a career embracing challenges of new music. In “The Art and Skills of Learning (New) Music: Lucy Shelton’s Practice Guide,” found in the March/April issue of Journal of Singing, Ms. Shelton shares her method for learning contemporary works. Her carefully constructed toolkits provide practical approaches designed to greatly reduce the fear of seemingly daunting scores and render them more easily accessible to the interested singer.

JOS-075-4-2019-477_-_Collab_Corner_Art_and_Skills_of_Learning_New_Music_-_Shelton.pdf (application/pdf, 2048.6 K) posted at 12:39 PM, April 16, 2019

Collab Corner: Dalton Baldwin: His Personal and Musical Legacy

Surely one of the great collaborative pianists of our time was Dalton Baldwin, whose musical legacy includes performing and recording with the world’s most distinguished artists, such as Elly Ameling, Jessye Norman, José Van Dam, and a host of others. But perhaps his most significant collaboration was with Gérard Souzay, with whom Baldwin recorded much of the great French art song literature. Margo Garrett, herself a well known collaborative pianist and teacher, pays tribute to the artist in an article, “Dalton Baldwin: His Personal and Musical Legacy,” in the May/June 2020 issue of the Journal of Singing.

JOS-076-05-2020-601.pdf (application/pdf, 517.1 K) posted at 2:03 PM, June 9, 2020

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