Posted February, 2007
An Inside View of the Voice

“The generations of voice teachers who cut their pedagogic teeth on books with grainy black-and-white images will marvel at the breadth and clarity of this teaching package.” (Debra Greschner)

In the November/December 2006 Journal of Singing, a NATS publication, I read a review of Scott McCoy’s textbook with CD-ROM, entitled Your Voice:  An Inside View. Multimedia Voice Science and Pedagogy.  Princeton, NJ:  Inside View Press, 2005. This article was written by Debra Greschner for her “Bookshelf” section of the publication.

Being a visual learner, I was intrigued with the idea of an interactive text such as this.  I bought the book ($77.50 for book and CD-ROM or $65.00 for CD-ROM only from www.VoiceInsideView.com) and devoured it, and came away feeling that I finally completely understood the workings of the voice.  I have never come across such a great resource on this subject, and I found valuable ideas and concepts that I was able to apply immediately in voice building for my choirs. The interactive nature of the material, clearly written so that even neophytes to vocology can understand, also includes a check for understanding at the end of each chapter.  This would make a valuable text for choral and voice majors, and be a terrific resource for any choral conductor or private voice teacher at any level who is concerned with developing healthy voices. It has greatly enhanced my own offerings as an adjudicator.

We have obtained permission to reprint the review, which follows. [Journal of Singing, November/December 2006, Volume 63, No. 2, pp. 227-229, Copyright 2006, National Association of Teachers of Singing.]

Good reading,
Leora Schwitters

“Voice pedagogy has changed considerably since the venerable William Vennard found it necessary to rationalize the study of science in relation to singing in the preface to Singing:  The Mechanism and the Technic (New York:  Carl Fischer, 1967).  Contemporary pedagogy classes consistently incorporate a study of anatomy, physics, and acoustics.  The resources available to pedagogy students also have improved drastically.  One of the most recent additions to the field is Your Voice:  An Inside View by Scott McCoy, a multimedia work that sets a new standard for voice science and pedagogy texts.
           
The text is excellent for two reasons:  first, the writing is clear, detailed, and accurate; second, the book skillfully employs software technology.  High quality audio, video, and photographic examples, as well as the entire text of the book, are contained on a computer program.  The CD-ROM is packaged with a hard copy of the book, or can be purchased separately for a reduced cost.

Throughout the work, McCoy finds the delicate fulcrum that exists between science and art.  The opening chapter acknowledges singing as a subjective pursuit; as a result, the terminology that voice teachers and singers use to describe voices is not the technical language of a scientist, but rather an adjective-laden vocabulary befitting a poet.  The author offers a list of paired words that can serve as descriptors for the vocal sound, and includes audio examples to hone critical listening skills—a crucial aptitude for voice teachers.  The chapter ends with an exercise in evaluating eleven singers—performing in styles ranging from popular music to opera—based on objective criteria.

McCoy devotes a chapter to each of the underpinnings of vocal sound:  acoustics, resonance, and formants.  The latter topic—which has befuddled many a pedagogy student—is explained succinctly as a resonance of the vocal tract that is best thought of as potential for sound.  The fifth chapter, entitled “Voice Analysis” distinguishes Your Voice: An Inside View from other pedagogy textbooks by discussing computerized voice study in detail.  Specific analysis of the sound, and the manner in which the data may be used, comprises this chapter.  A variety of programs are cited, including Gram, SpeechStation II, Real Analysis 4, and Sona-Match.  However, McCoy again underlines that the human ear and brain are the ultimate authority on vocal aesthetics.

The chapter dealing with registration precedes any discussion of anatomy.  Because McCoy avoids traditional (and often confusing) nomenclature by eschewing the use of terms such as “chest voice” and “head voice”—relying instead upon labels based on laryngeal function—he does explain the roles of the thyroarytenoid and cricothyroid muscles in the production of low and high pitches.  The difference between the two productions is highlighted by electroglottograph images of pitches sung by both men and women.  Finally, the author addresses the controversial topic of belting.  It is not inherently unhealthy, he maintains, but it is not achieved by pushing the chest voice as high as possible in the range.  Instead, there are physiologic strategies to belt correctly.

Anatomy does not become the focus of discussion until midway through the book, and at that point, McCoy introduces the topic by spending a chapter on different vantages of the body (such as posterior, lateral, and cranial) and how muscles are named.  The next four chapters explain the roles of the respiratory system, the phonation anatomy, the physical structures of articulation, and the hearing anatomy.  The chapter on the structures of the ear is a welcome—and often overlooked—inclusion in a voice science textbook.  The importance of preventing auditory damage by avoiding excess noise exposure (even that of forte singing in a small voice studio) is stressed.  These chapters dealing with anatomy conclude with detailed charts summarizing the structures and functions of each system.

The final chapter in the book is devoted to vocal health.  Written with the assistance of Anat Keidar, a speech-language pathologist, the section provides an introduction to disorders of the voice.  Two dozen video clips of folds with pathologies indelibly impress readers with the importance of healthy voice use.

Each chapter in the book ends with review questions (and answers), and a list of references and recommended reading.  Scattered throughout the book are shaded boxes entitled “Exercise you brain” (which pose additional questions relating to the material) or “Experiments.”  The text is replete with diagrams of all varieties from anatomical drawings to representations of computerized voice analysis.  Equally as important as the diagrams is the discussion of the implications of anatomical and acoustical knowledge; for instance, how a  high laryngeal position affects resonance.  The author gently corrects some common misconceptions (the jaw is singular, not plural, for example; nor is there a physiologic connection between raising the cheeks and lifting the soft palate) and touches upon current challenges in pedagogy, such as the “litigious climate” that prevents—or even prohibits—teachers from touching their students.  The book does not catalogue exercises, or venture beyond the physiology; instead, it focuses upon the science of the voice.

The examples on the computer program set this book apart from other pedagogy texts.  The book’s black and white illustrations appear in color on the disk.  As well, there are supplementary diagrams on the CD-ROM.  The chapter “Anatomy for Singing”, for instance, contains a list of categories of muscles names; the program augments the inventory with color illustrations.  An effective pedagogic aid is the rollover capability.  The student can click on a specific muscle group--for example, the cricothyroid muscles of the intrinsic muscles of the larynx—and see the muscles “move,” while reading an explanation of the phonatory function.

The generations of voice teachers who cut their pedagogic teeth on books with grainy black-and-white images will marvel at the breadth and clarity of this teaching package.  Having the extensive collection of diagrams and video clips in the hands (or rather, the computers) of each student is invaluable.  Students enrolled in pedagogy and/or voice science courses can order the book and CD-ROM for a reduced price; information about ordering is available at the website address given above.  Your Voice, An Inside View is highly recommended for pedagogy instructors and their students, and for everyone interested in acquiring—or expanding—their knowledge of how the voice works.”
Debra Greschner

Posted September, 2006
International Touring…
MAKE IT HAPPEN!

A recount of my travels to Ireland in 2006, and some steps to follow in planning your own adventures

By Russell Seaton, Multicultural R & S Chair

It’s July 3rd, 2006. On a starry night in the downtown streets of Dublin, just after having performed at St. Patrick’s Cathedral, I, along with 20 students who are part of the Lirico Chamber Singers, approach Christ Church, a thousand-year-old cathedral with beautiful spires, flying buttresses, and an amazing array of gravestones surrounding the grounds. We walk to the side door and are greeted by Dublin singer-songwriter John McGlynn. He takes us down into the crypt, which might remind you of a scene out of Indiana Jones and the Last Crusade, where we are witness to candle-light, tombs, stone walls, and best of all, Anuna standing there holding candles and singing one of their more popular songs, Dulaman. What a night to remember.

Michael McGlynn
The founder and composer of Anuna, Michael McGlynn, was on site to greet us as well. Anuna was preparing the release of their latest album, Sensation, and was filming for their next DVD release.

After having taught the music of Michael McGlynn in the classroom, presenting his music at the 2004 Washington State ACDA Summer Institute, and doing an extensive interview on the choral music scene in Ireland, it was truly awe-inspiring to meet this gentleman face-to-face (more to come about hitting the pubs in Ireland with brothers John and Michael watching the World Cup…).

Michael has made quite a name for himself and his ensemble, Anuna, not only throughout Ireland, but across the globe. From Japan to Canada, from Israel to Seattle, WA (coming this November!), he has shared his music with thousands, and such groups as the King’s Singers and Chanticleer have enjoyed his original compositions. Michael is unique in his writing, and a master at combining pure choral sound with what one might call “new movement” in choral music, combined with ancient philosophy and text.

Back to Dublin
My students are led to the center of the crypt where a handful of chairs and film equipment are set up. With only candlelight to show us the way, Michael invites us to sit down and we are treated to a private concert put on by Anuna, including the opportunity to request songs, talk about the music scene in Ireland, and answer any questions.

His singers are amazing. Looking around the crypt at my students I remember thinking to myself, This is the most valuable thing I have given my students. It sure beat listening to a cd or watching a video of the group. To be surrounded by professional singers in a place where music like this was meant to be sung, my students were witness to the best kind of music education: hands-on!

The Lirico Chamber Singers (my students) were given the opportunity to sing a few pieces for Anuna, including a piece by diLasso and a piece by Whitacre, and were truly inspired to be singing in the crypt with Anuna listening. It’s the best they have ever performed. But it wasn’t in their sound that their song was so crafted. It was in their eyes. And it was in their spirit.

We ended the evening with a joint performance of Anuna and Lirico singing McGlynn’s Wild Song, with only Michael and I sitting side-by-side in the audience listening. I tried my hardest to hide those overwhelming tears as I watched the pride glow in my students’ faces, and became even more ever-thankful for the gift that is choral music. What a world we live in. Music that can span the ages and the oceans… I would never choose anything else to do with my life.

As Lirico and I headed back to the hotel in Dublin that night, we all gathered in the lobby and were permitted by the hotel staff to turn the lights off and listen to Anuna’s newest album. We were the first. Michael had gifted me with one of the first copies released before the official release date, which would be a month later. As I looked around at my students, I saw the passion and hunger for more choral sound, and was able to see a motley group of students come together as one.

Two years ago, after having interviewed Michael McGlynn and determining that it was time for an international tour, I put together some research ideas that seemed to help me get the show on the road, so to speak. The values of international tour are indescribable. To provide students the opportunity to sing in cathedrals and settings where music was composed for, well that it worth all the paperwork, head-ache, fundraising, and everything else that goes along with a large tour.
       
Your turn
So now it is your turn. How do you get started? Where do you begin? I will take you through the process that I used, and I hope that some ideas may come to mind in your next travel plans for your ensemble(s).

1. DESTINATION. I chose an English speaking country (except the occasional use of Gaelic) as this was my first international tour. Getting rid of the language barrier created less stress and more opportunities for communication with locals. I also knew that with the concert order I had put together, this would be the ideal country.
2. REPETOIRE. Avoiding Irish music, but celebrating American music with some roots from Ireland, was received very well by the locals. Attending a madrigal feast at Bunratty Castle and watching my students perform a set of madrigals and motets was quite a unique experience in itself. And yes, I was crowned Lord of the Manor for the evening. “To the gallows, ye buggers!” Ahhh… sweet revenge on those crazy tenors!
3. ITINERARY. I can’t stress this enough, so PLEASE make sure you do this: find a tour company that fits your needs. By allowing a company to put together a tour package and itinerary, I was able to focus on what I needed to: music. I proposed the tour plans to four companies, and was extremely pleased with the company that I chose. There are many resources available on the Internet. Simply type in the phrase “music ensemble international tours” in any search engine.  You’ll be surprised at how many hits you find. Or give me a call or email. I’d be happy to give you suggestions.
4. FUNDRAISING. Parents must be part of this process. I was overwhelmed with other issues… like teaching… and was thrilled to find that parents wanted to do everything in their power to make this trip happen. And they did. Every student was able to go. I had parents writing grants, going to businesses, talking to city counsels, and even standing on street corners during car washes to make sure that this dream would become reality.
5. BEING INFORMATIVE. Before the trip, I put together a power point presentation for the parents of the Lirico Chamber Singers. I took them on a virtual tour that showed them the beauty of Ireland and the amazing performance venues we would visit. This won the parents over immediately. We were off and running.
6. DISTRICT SUPPORT. The tricky topic. My district does not support out-of-state travel. I knew it was time to get creative. I set up, with the help of a parent, a booster’s club that was not associated with the district. This got rid of any liabilities on the district’s part, which made for happy administration. I was not able to mention University High School in any of our promotion, but it was a small price to pay to get to Ireland.
7. INSURANCE. In order to cover myself from any liabilities, the company that I used set up a travel insurance policy for each traveler. I also had a lawyer draw up a no-fault contract stating that I was free from any and all instances that might jeopardize my position or safety. This was truly the most important step in the process that I must stress, is VITAL in planning a trip. Peace-of-mind… there is no better state to be in.

With the above steps taken, I was able to put together a tour that was life-changing, educational, enlightening and most importantly, fun. To draw together different cultures in music and give students the chance to perform in venues older than our own country, was a step in my career that was desperately needed. I am a better teacher because of it, and I am ready to start plans for the next trip. In 2008 we will be going to Florence, Italy. I can hardly wait to begin the process. I hope you too will begin your own plans to travel internationally. The rewards are everlasting.

Last note
As a last note, if in Dublin, you’ll find yourself surrounded by soccer-lovers. I would highly suggest NOT cheering for the French… I learned that the hard way. I’ll never forget sitting in a neighborhood pub with a pint of Guinness, the World Cup on the screen, people yelling at the officials in angry Gaelic and Irish, and Michael, John and myself raising our glasses to music spanning the oceans. Definitely an experience to remember.
        

For more information on Anuna and ordering their sheet music, please visit www.anuna.ie

Posted August, 2007
Judy Filibeck presents Leadership and Service Award to Neil Lieurance, July 25, 2007

Note: The following is the text from Judy's presentation speech for this year's award during Wednesday afternoon's Summer Institute event, July 25, 2007.

It is my honor to present the 2007 Leadership award.  This year’s award goes to an extraordinary member of the Washington State choral community.   An amazing musician whose choirs have consistently exemplified what is possible.   The Cal Ripkin of the choral world, he taught his entire career at the same high school.  During his tenure they sang at numerous regional and national MENC and ACDA conventions.

His students had the opportunity to experience all that music has to offer; the challenge and reward of rehearsing and performing excellent choral literature, all the lessons learned as a member of an ensemble and pride of developing their own skill as a musician.  His students use their high school choral experience as the ‘gold standard’—I know, I work with a number of them. 

After retiring a number of years ago, he went on to work with students who will become the next generation of music educators at Seattle Pacific University.  In his spare time—between adjudicating and mentoring —he has taken up gourmet cooking and big game hunting. 

A trip to Alaska last year to ‘shoot’ grizzlies was the prelude to the ‘big’ adventure coming   up in January ‘08—a safari in Kenya, Africa.  As in Alaska, the ‘shooting’ will consist of taking pictures of big game.  Traveling with an internationally acclaimed photographer from National Geographic, it will be the trip of a lifetime.

You may best know this year’s recipient as that adjudicator who is always positive with your students (and you) but who always gives you something to work on--always kind, always on point and always eager to assist in the musical journey. 

You may remember hearing his choirs from Shorecrest, wonderful no matter which group you heard.   Over the years, I’ve heard many of his concerts, because I bought my home so that my children would have the opportunity to sing with him.   I was always amazed at what he accomplished.  

This conductor/educator   has contributed in countless ways to our choral community for 40+ years and he is truly unique, one-of-a kind. It is a tremendous honor for me to present the 2007 ACDA Leadership award to Neil Lieurance.

(Editor's note: Neil Lieurance missed this year's Summer Institute...one of the rare times he's not been able to attend. Neil underwent quadruple bypass surgery on July 13th. He's recovering beautifully and fully expects to return to work at Seattle Pacific as well as take the African Photography safari next year. The presentation was taped and Judy Filibeck was able to visit with Neil and to let him know of the award.)
 

Neil Lieurance retired in 1993, from teaching choral music at Shorecrest High School, whose choirs, under Neil’s direction, performed at national conventions of both ACDA and MENC and received many awards, including First Place in the Best in the Northwest Festival. Selected as the 1991 “Teacher of the year” in the Shoreline School District and the 1988 Washington Music Educators Association “Outstanding Music Educator,” Neil was also inducted to the WMEA “Hall fo Fame” in 1998. In 1991, he received the Generations United “Hand in Hand” award for outstanding efforts to promote intergenerational relationships. He is an active adjudicator, clinician, and guest conductor in the Northwest.

Neil has led student and church groups on European concert tours, including that of the 1988 Montana State Youth Choir. He has served as interim conductor of the Seattle Symphony Chorale and was Associate Conductor of the Choir of the Sound, a 110-voice adult choir associated with Shoreline Community College.

Neil has filled sabbatical teaching positions  in choral music and conducting at the University of Puget Sound and Edmonds Community College. Currently, he is an adjunct professor at Seattle Pacific University, where he directs the Women’s Choir, teaches sight-singing and ear-training, and supervises student teachers.

Also a church musician for over 25 years, Neil served as co-director of the Worship Choir for the Sixth Assembly of the World Council of Churches held in Vancouver, B.C. in 1993 and presented subsequent workshops in Toronto, Canada, and Manila, Philippines. His church positions included Director of Music at Seattle First Baptist Church and Seattle First United Methodist Church in downtown Seattle.

Neil attended Lower Columbia College and hold bachelor’s and master’s degrees from Western Washington University. He is a member of the Music Educators National Conference (MENC), the American Choral Directors Association (ACDA), and the International Federation of Choral Music (AFCM), and has served on the state boards of both MENC and ACDA.

Neil  lives in Shoreline, north of Seattle, and enjoys hiking, gardening and nature photography.

Music in Worship: How Big Is Your Choir?
Ron Mallory, WA-ACDA Music in Worship R&S Chair

As I talk with other music ministers at ACDA conventions, a question that sometimes arises is "How big is your church's choir?"  In our work as choral directors, it's easy to ignore a deeper meaning behind this question.  One of the joys of my work at Shepherd of the Valley Lutheran Church is that our members really love to sing. 

Although the choir itself has been quite small (typically 10-12 members) during most of my seven years at SVLC, our worship services are filled with energy as hundreds of people enthusiastically lift their voices together in hymns and songs.  Yet, truth be told, how much time do I spend selecting anthems and rehearsing them with my choir while ignoring opportunities to facilitate the singing of a much larger vocal ensemble?

Recently I've been exploring ways to further support and encourage our congregation's singing.  One of the methods I've found for doing this is to write instrumental obbligato parts for the hymns we use most often.  In the past we've generally incorporated woodwind, brass, and string players into worship through purely instrumental solo and ensemble pieces, but having them play on the hymns allows them to continue using their gifts while not taking away from the congregation's opportunities to sing. 

I've also begun to have some older hymns accompanied on piano or guitar, or even handbells, rather than organ; this brings variety and new life to well-worn favorites.  And pairing up amateur poets in our congregation with some of our more experienced music volunteers has led to the creation of new hymns and liturgies which represent the unique faith expressions of our own members.

Something else with which we've had positive experiences is the use of video screens and PowerPointTM.  While some traditionalists oppose the use of video technology in a church setting, it can be an amazing tool for facilitating group song.  Use of overhead screens encourages good singing posture, with the head level rather than lowered into the chest as when reading from a hymnal or bulletin.  It also fosters a sense of group unity: with congregation members looking upward and forward, they can also see one another and have a fuller grasp of being part of a larger body engaged in worship. 

At my church we project sheet music for our songs and hymns, as opposed to just words.  I use the notation software FinaleTM to create sheet music files which can be saved as JPEG images and imported into PowerPoint.  This is time-consuming—which may be why the practice isn't as common as it might be! It does enable those in the congregation with some music literacy to join in singing a new song immediately, rather than being relegated to learning it by rote over a period of weeks.

While there will always be a place for well-prepared choral anthems in services of worship, let's remember to give our "larger choirs" the attention they're due.  As pastor and musician Richard Allen Farmer writes, "We cannot all preach together.  We can't usher together.  Nor can we provide childcare as a large group.  But we can sing in unison.  We can lift our voices together in praise to our magnificent God."1

Ron Mallory is the Music Director at Shepherd of the Valley Lutheran Church in Maple Valley, WA.  He is also the Worship in Music R&S Chair for the Washington chapter of the ACDA.  Ron can be reached by e-mail at music@svlcfamily.org.

1 Richard Allen Farmer, in Experience God in Worship, edited by Michael D. Warden (Loveland, CO: Group Publishing, 2000), 128.