Sunday, 30 October 2016

Davids Chapter 12 and Williams Interlude G

2 A-HA moments/comments:
    1)   I particularly enjoyed the section on “Attention to Dynamics” (pages 194-195). In this section of the book, Davids talks about how “blend is improved when all singers within a section produce the same dynamic level.” I am sure most of us have been in choirs before where there is one singer that sings above all of the rest. I feel as if it might be a bit of a tough situation sometimes, trying to explain to that student that they need to learn to “blend” and trying not to come across as rude at the same time. I recently visited a choir where this was happening and the director kindly told the student to move one row back for a particular piece, because she wanted a more blended sound. This is a great way to go about blend in my opinion, and I will definitely use this in the future.     
    2)   I like the “easy” examples of images Williams gives us on page 173. Words such as “bright, warm, ringing, and dark” are words that should be easy for our students to understand when we are asking them to sing in a particular style. Williams then goes on to list some more difficult words, such as “clear, open, rich and full.” I can see how these words may make your students feel a little lost. I believe this will help me in the future, and it is a great tip for everyone who leads a choir.

2 Questions:
    1)   On page 192-193 of Davids book, we see ways to help blend a choir (tuning, diction, color and balance). What are some ways/exercises we can help our singers stay in tune, or teaching them to sing in tune? In my choir experiences, we have never focused on tuning, so I do not have any exercises or approaches to helping a choir sing in tune.

    2)   On page 174 of “Teaching Singing to Young Students” I see that telling your students to sing with a “yawning sensation” can be disastrous for the singer… I had no idea that this was not a healthy thing. I have often heard my choral conductors tell us to sing like we are yawning before. What is another way we can help our students keep an open throat while singing, without damaging their voices long-term.

Monday, 24 October 2016

Pecha Kucha Presentation Write-Up - Choral Resource Teaching Kids to Sing by Kenneth H. Phillips

Slide 1: I would like to start off my presentation by saying that Teaching Kids to Sing is a great book and a great resource for us future choral conductors. It was written for children and adolescences from grades 1-12. Throughout my presentation, we will look at some of the topics covered in the book and some great information we can use and take from the author.

Slide 2: Dr. Kenneth H. Phillips was a professor at The University of Iowa. He received his BM from Westminster College, his MM from West Virginia University and his Ph.D. from Kent State University. He has written a number of significant books and he has received several awards.

Slide 3: Phillips dedicated this book to the children he has taught, the authors he has cited, the illustrator – Donald Alvarado, and his wife, Donna who supported him throughout his many accomplishments. He also dedicated it to Lowell Mason, “the father of singing among the children.”

Slide 4: This book is divided up into two sections. The Young Singer, and Vocal Technique for Young Singers. “It consists of ninety sequential techniques grouped by five major areas: respiration, phonation, resonant tone production, diction, and expression.”

Slide 5: Part one; The Young Singer consists of five chapters.
   1.     Vocal Pedagogy for Young Singers
   2.     The Psychomotor Process
   3.     Vocal Parameters
   4.     The Child and Adolescent Singer
   5.     The Healthy Voice

Slide 6: Vocal Pedagogy for Young Singers – This chapter consists of multiple sections explaining vocal pedagogy for young singers, such as: Philosophical and historical perspectives, the song approach, the roots of systematic vocal instruction, change in philosophies, and a real life example of a student named Justin who disliked singing. Phillips also speaks about Lowell Mason (the man in the picture), and how Mason believed that “all children were capable of singing.”

Slide 7: The Psychomotor Process – This is a process that is divided into four steps
   1.     The teacher provides a model or stimulus
   2.     The student perceives and decodes the model
   3.     The students imitate the model
   4.     The student analyzes feedback regarding their effort
The diagram shown on the slide represents the levels of taxonomy of psychomotor behavior by Elizabeth Simpson.

Slide 8: Vocal Parameters – Is a chapter that reminds me a lot of what we are reading in class. It goes through the changing of the voice through adolescence, and focuses on different grades of students and their vocal ranges.
Slide 9: The Child and Adolescent Singer – This chapter explains many different traits found in young singers voices. The first thing talked about is the characteristics of vocal development in the pre-school singer. The list on the slide represents “a suggested procedure for discovering or learning to use the upper-adjustment voice.”

Slide 10: The Healthy Voice – This was one of my favorite chapters. As shown on the slide, there were many diagrams like the one to the right that helped show what is happening inside the body as we sing (the larynx). One thing I believe that all of us future teachers can use is the image to the left. This is a worksheet called “Knowing Your Voice.” There are a series of 14 True/False questions for students to answer about voice health. I highly recommend doing this with your students!

Slide 11: Part two; Vocal Technique for Young Singers consists of seven chapters.
   6.     Vocal-Technique Curriculum
   7.     Respiration
   8.     Phonation
   9.     Resonant Tone Production
   10. Diction
   11. Expression
   12. Vocal-Technique Summaries

Slide 12: Vocal-Technique Curriculum – This chapter highlights topics such as The Rationale for Teaching Children to Sing, The Curriculum, Curriculum Goals, and Vocal Technique Evaluation Forms. The picture on the slide is the Vocal Technique Evaluation Form. This is another great resource in this book that I suggest would be a good thing to use with your students on a regular basis. It outlines each of the fundamentals of singing covered in this book, and gives a 1-5 ranking, 1 being Poor and 5 being Superior. It also lists explanations next to each ranking.

Slide 13: Respiration – This chapter was great because it had numerous photos. Although the style of the clothing may be outdated, the pictures really work. This chapter highlights how important it is for teachers to start demonstrating breathing right away and as early as possible. This will help the students’ long term.

Slide 14: Phonation – This was another great chapter because of the high use of photos. The image to the left on the slide demonstrates “voice placement” and an exercise we can do called “Focus on the Mask.” The image to the right focuses on the intrinsic muscles of the Larynx and labels each section. It is then explained what should happen to the vocal folds when we produce sound. This chapter was very similar to what we are learning in class.

Slide 15: Resonant Tone Production – The image to the left is called a Vowel Color Chart. The goal of this chart is to help “the student… develop the technique of uniform vowel color for resonant singing, through exercises involving shaping of the vocal tract, increasing resonance, and legato movement.” I thought this was cool! The picture to the right uses the image of an elastic band to show correct and incorrect vowel formation.

Slide 16: Diction – This chapter speaks mainly about the use of the International Phonetic Alphabet, the consonant IPA is shown in the diagram to the left. This is a great tool for us teachers who haven’t studied voice. What is also great about this chapter is that it shows some exercises that we can show our students and help them through. The image to the right is a “Forward Tongue Exercise.” The exercises are explained in the book and the images are present for each one.

Slide 17: Expression – This chapter is another one of my favorites. This chapter covers a number of different topics on expression such as, phrasing, dynamics, and tempo. In the images on the slide is a diagram of dynamic levels and tempo markings with their meanings in Italian. I believe it is important to post these in our music classrooms for our students to see. This will help them develop an appreciation for music long-term. 

Slide 18: Vocal-Technique Summary – This chapter gives the reader an “overview of each of the main areas of vocal development in the method: respiration, phonation, resonance, diction, and expression.” It is very brief and it is a great/simple explanation of each of the topics covered. In the photo on the slide is an example of a way we can keep a record of our students. It is implied in the book that we can rate our students out of 10 across from each exercise listed in the book.

Slide 19: Criticisms – The only criticism I have about this book is the lack of picture-imagery used in the first 5 chapters of the book. I understand that it is not always easy to use pictures, but they helped me understand in the last 7 chapters of the book what he was trying to explain. Pictures are a nice touch!

Slide 20: Conclusion – This is a GREAT book for choral teachers. Two things I really enjoyed were: at the beginning of each chapter they had a goal listed to remind us as readers what each chapter was supposed to help us with. The second thing I enjoyed was that at the end of each chapter they had “Study and Discussion Questions.” These questions remind us what we should be asking ourselves at the end of each lesson or practice. They remind us of the goal.


Phillips, K. H. (1992). Teaching kids to sing. New York: Schirmer Books.

Sunday, 16 October 2016

Davids Chapter 15 & Williams Chapter 7

3 A-HA moments:

   1)   Davids writes on page 234 “Eating before singing is important because of the energy required in what is truly an athletic endeavor. Nonetheless, eating too close to a performance is problematic because unfinished digestion can result in burping and other hindrances to singing. A full stomach also interferes with breathing because the diaphragm must descent to fill the lungs.” This is something I never really considered. These are things I have never had to be concerned with when playing the trumpet, so it is great to know these things now for future reference when a choir performance is coming up.

   2)    Davids explains on page 238 that certain medications can potentially “lead to vocal fold hemorrhage” such as aspirin and ibuprofen. This is an interesting fact…

   3)   I really enjoyed Williams segment on “strategies for anxiety management.” When I attended school, I would get VERY nervous before a performance, but I was never taught how to deal with that. I believe it is very important to help our students with performance anxiety at an early age, so when they become more independent in their performances, they have a way to cope with that. On page 169, Williams has a “stress-buster exercise.” It explains how to help handle with stress through breathing methods. I love this and it is something I will definitely use with my students in the future.  

2 Questions:
  
   1)   After reading Davids explanation on hydrating the body before performances, it brought me back to music school days. A lot of singers, I noticed, used to drink tea, with lemon and honey. What does this do for the voice? Is it better than drinking lots of water? Or does it have the same affect?

   2)   Willaims states on page 149 that 20% of school-aged children are affected by voice disorders. I recently attended a choir practice at an elementary school and the choir practice consisted of a number of games where screaming (voice projection) was involved… This has to be damaging to their voices. Can “voice disorders” be caused by games such as these?


Works Cited

Davids, Julia, and Stephen A. LaTour. Vocal Technique: A Guide for Conductors, Teachers, and Singers. Long Grove: Waveland, 2012. Print.


Williams, Jenevora. Teaching Singing to Children and Young Adults. Oxford: Compton Pub., 2013. Print.

Davids Chapter 16 & Williams Chapter 6

Two A-HA moments I took away from the readings were:

   1)   One thing I enjoyed about Chapter 16 (Davids) was the thorough explanation of how warming up with your choir is important. The chapter explains that even though you may have a choir of professional singers, you should never assume they are already warmed up. I particularly liked how he explained what we need to cover in our warm-ups, what each segment of the warm up accomplishes, and some examples of exercises. Here is a list the book gives of what we should include in our warm-ups:
·      Stretching
·      Breathing
·      Resonance
·      Range
·      Linking of Registers
·      Articulation, rep. specific exercises

   2)   The Williams book goes through each of the segments of a warm up, lists the “theory” behind it and how to apply it with your students. I found this especially helpful because as a non (trained) singer I always don’t understand why we do what we do in warm-ups. For example, under the “Explore Resonance” section it explains the theory behind it. Theory: “This covers voice qualities dependent on the set-up of the vocal tract, such as voice projection, larynx/raising, soft palate raising and pharyngeal widening/narrowing…” It then goes on to explain how to practice this. Practice: “Play with witchy noises and quacking, making sure that you are deconstructing. Then try this sensation with the resonance in the mouth and not the nose…”

Two questions I decided upon were:

   1)   I recently attended a choir practice at a school where there was a short warm-up, but nothing extensive. They did one exercise, and then they went on to singing. If they are not singing challenging repertoire, can a short warm-up damage their voices? At the beginning of each choir practice, is it necessary to include all of these areas (stretching, breathing, resonance, range…) in our warm-ups?

   2)   I recently had a student that thought her belly moved in when she breathed. When I explained to her that the lower abdomen/belly region moved out when inhaling, she did not believe me! I then asked her to lean over in her chair and breathe in. I asked what had happened? She responded with “I rose up.” She then discovered that her belly should expand when inhaling. After this, I could tell that whenever she was breathing in, she would push her belly out (drastically) unnaturally just to show me that she was doing what I told her was correct. What do you do in these types of situations with younger students when they aren’t really understanding? 

Works Cited

   Davids, Julia, and Stephen A. LaTour. Vocal Technique: A Guide for Conductors, Teachers, and Singers. Long Grove: Waveland, 2012. Print.


   Williams, Jenevora. Teaching Singing to Children and Young Adults. Oxford: Compton Pub., 2013. Print.