Podcasts about ingo titze

Are ‘warm ups' and ‘cool downs' really necessary for singers? In this episode, Alexa and Line dive into the why, when, and how of warming up and cooling down the voice. With a mix of science, personal insight, and practical tips (yes, including vibrators!) Tune in to rethink your routine and pick up tools that actually work for your voice.  WHAT'S IN THIS PODCAST? 0:43 Should singers warm up? 2:01 What does the science say? 6:26 How do we know when the warm is working or not?  8:27 Who are warm-ups for? 11:21 How long should a warm up take? 13:56 How to warm up for shorter lessons  15:28 What are some of the best warm up exercises?  32:36 How to lead group warm ups  36:45 How should singers cool down?  About the presenter click HERE RELEVANT MENTIONS & LINKS Article Reference List Singing Teachers Talk Ep.153 Mastering the Spoken Voice for Recording PMVS Article  Dr Ingo Titze Singing Teachers Talk Ep.170 Understanding the Science of SOVTs: In Conversation with Ingo Titze & Karin Titze Cox Joshua Alamu Katie Holmes Smith Singing Teachers Talk Ep.177 Using Physiotherapy to Treat Voice Problems with Genevieve Tawiah  Singing Teachers Talk Ep.155 Part One: Building Neurodiversity-Inclusive Voice Studios Singing Teachers Talk Ep.156 Part Two: Building Neurodiversity-Inclusive Voice Studios Mindy Pack Chris Johnson Singing Teachers Talk Ep.197 Backing Adele and Beyond: The Art and Craft of Backing Vocals  Instagram: @basttraining  BAST Training helps singers gain the confidence, knowledge, skills & understanding required to be a successful singing teacher. "The course was everything I hoped it would be and so much more. It's an investment with so much return. I would recommend this course to any teacher wanting to up-skill, refresh or start up." Kelly Taylor, NZ ...morebasttraining.com | Subscribe | Email Us | FB Group

How can singing teachers set boundaries that help them thrive - both in and out of the studio? In this 2024 finale, Line Hilton shares her tips to maintaining work-life balance, protecting vocal health, and creating clear policies that work for you and your students. Are your 2025 boundaries ready to transform your teaching life? About the presenter click HEREInstagram: @basttrainingWHAT'S IN THIS PODCAST 1:00 What can teacher training really do for your confidence and career? 12:00 How do we maintain work-life balance without sacrificing success?22:00 How can we run a business and negotiate illness? 26:00 What's the secret to managing student behaviour and expectation? 30:00 How can we follow opportunity and protect income? 35:00 How can we handle emotional moments without overstepping as a teacher?41:00 When do student relationships cross a boundary? 47:00 How can we recognise when boundaries are being challenged? 50:00 What is BAST planning for 2025?RELEVANT MENTIONS & LINKS Line HiltonSinging Teachers Talk - Ep.149 Part One: Finding the Best Posture and Alignment for Singing with Jennie MortonSinging Teachers Talk - Ep.150 Part Two: Finding the Best Posture and Alignment for Singing with Jennie MortonSinging Teachers Talk -Ep.164 Music and the Brain: The Science of Learning & Practice with Dr Molly Gebrian Part OneSinging Teachers Talk -Ep.165 Music and the Brain: The Science of Learning & Practice with Dr Molly Gebrian Part TwoSinging Teachers Talk - Ep.170 Understanding the Science of SOVTs: In Conversation with Ingo Titze & Karin Titze CoxSinging Teachers Talk - Ep.183 How to Fix Your Inhale and Transform Your Singing with Lucinda AllenSinging Teachers Talk - Ep.191 How to Set Up the Best Exhale for Singing Success with Lucinda AllenSinging Teachers Talk - Ep.151 How to Sing with Twang with Kerrie ObertSinging Teachers Talk - Ep.146 How to Understand and Apply Vocal Acoustic Pedagogy with Ken BozemanSinging Teachers Talk - Ep.146 How to Understand and Apply Vocal Acoustic Pedagogy with Ken Bozeman - Ep.172 Understanding Acoustic Registers with Ken BozemanSinging Teachers Talk - Ep.185 How to Sing Better by Sleeping Better with Dr Jill McGarrySinging Teachers Talk - Ep.180 Student Spotlight: How I Got to Know My Voice Through Singing Lessons with Jackie Pryce (Maud's Dog)Singing Teachers Talk - Ep.184 Student Spotlight: How Singing Lessons Helped Rebuild My Voice with Lucia NevilleSinging Teachers Talk - Ep.188 Student Spotlight: Singing Lessons Gave Me the Confidence to Call Myself an Artist with Kristina MannSinging Teachers Talk - Ep.160 Tuning into Trauma: Strategies for Singing Teachers with Psychologist Dr. Lydia StoneMental Health First Aid EnglandMental Health First Aid AustraliaBAST Training helps singers gain the confidence, knowledge, skills & understanding required to be a successful singing teacher. "The course was everything I hoped it would be and so much more. It's an investment with so much return. I would recommend this course to any teacher wanting to up-skill, refresh or start up." Kelly Taylor, NZ ...morebasttraining.com | Subscribe | Email Us | FB Group

Vocal pedagogy expert Ken Bozeman returns to the podcast, joining Alexa to explore laryngeal vs. acoustic registration, how vowel modification impacts vocal range, and the role of sensory feedback in refining vocal technique.  KEY TAKEAWAYS Laryngeal registration involves physical changes in the larynx and muscle use to shape vocal folds for different pitches. Acoustic registration focuses on the interaction between pitch, harmonics, and vowel resonance to produce different timbres. Understanding both helps singers and teachers refine vocal techniques. To understand vowel resonance and acoustic registration, try these exercises: modify vowel shapes to note resonance changes, whisper different vowels to explore natural resonances, sing with nasal consonants to feel nasal resonance, focus on harmonics and resonance shifts, and use vocal fry and whispers to identify resonances.  To apply acoustic registration concepts, adjust vowel shapes for timbres like whoop (smooth), close (sizzly), and open (buzzier). Practise smooth transitions and use nasal consonants to explore resonances. Focus on sensory feedback, experiment with expression, and train your ear for harmonics. Record and analyse your singing for improvement. Ken recommends that singers and teachers focus on developing a strong understanding of acoustic principles and how they can be applied to improve vocal technique. He suggests using tools like the chiaroscuro whisper to explore and understand vocal resonances. BEST MOMENTS  "Laryngeal registration deals with how the vocal folds are shaped for pitch, while acoustic registration is determined by the relationship between the pitch being sung and the potential harmonics of that pitch." "In non-classical styles, the goal is to keep the entire range as speech-like as possible, which may involve compromises due to the different paint set of each pitch." "Open timbre in acoustic terms is more oral. You feel it in the mouth." "Attitude, is it an emotion or is it an attitude?” EPISODE RESOURCES Guest Website: http://www.kenbozeman.com/ Get Ken's book ‘Practical Vocal Acoustics' here: https://rowman.com/ISBN/9781538174647/Practical-Vocal-Acoustics-Pedagogic-Applications-for-Teachers-and-Singers Get Ken's book ‘Kinesthetic Voice Pedagogy 2' here: https://www.voxped.com/KVP2.html BAST Level 5 Singing Teacher Training Qualification BAST Book A Call Relevant Links & Mentions:  (Podcast) Singing Teachers Talk: Ep.146 How to Understand and Apply Vocal Acoustic Pedagogy with Ken Bozeman The work of Ingo Titze  The work of Ian Howell  (Podcast) Singing Teachers Talk: Ep.167 Understanding Nasality and Perception in the Singing Voice with Dr Nicholas Perna  Wolfgang Saus: https://www.oberton.org/en/ (Book) Voice is FREE After SOVT by Karin Titze Cox & Ingo Titze (Podcast) Singing Teachers Talk: Ep.170 Understanding the Science of SOVTs: In Conversation with Ingo Titze & Karin Titze Cox Approximate First Formant Locations from Ken Bozeman: http://www.kenbozeman.com/formant-location.php Kaya Herstad-Carney: kayamusic.com (Podcast) Singing Teachers Talk: Ep.103 How to ‘Measure' a Singer with Kaya Herstad-Carney Voce Vista: https://www.vocevista.com/ The work of Donald Miller  ABOUT THE GUEST  Kenneth Bozeman, BM, MM, is Professor Emeritus of Music, having taught at Lawrence University for 42 years. He holds degrees from Baylor University and the University of Arizona, and studied in Munich. He authored "Practical Vocal Acoustics" and "Kinesthetic Voice Pedagogy." Bozeman's students have performed with major opera companies worldwide. He is a noted expert in vocal acoustics and continues to present at international conferences. ABOUT THE PODCAST BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events. basttraining.com Updates from BAST Training

Join voice scientist, Dr Ingo Titze and Speech and Language Pathologist, Karin Titze-Cox as they discuss their book 'Voices Free after SOVT', exploring the science and application of Semi-Occluded Vocal Tract exercises. They delve into the benefits, implementation, and clinical applications of SOVTs, including using straws and tools to improve vocal health and performance. The interview is preceded by a brief review of the book from singing teacher and podcast host, Alexa Terry. KEY TAKEAWAYS The book 'Voices Free after SOVT' provides a comprehensive understanding of the science and application of SOVT exercises. SOVT exercises can be beneficial for singers, clinicians, teachers, and anyone interested in understanding the mechanics of the voice. Repetition, analogy, and clear explanations are used in the book to make complex concepts accessible to a wide audience. Different types of SOVT exercises have varying intraoral pressures and can be used to achieve specific vocal objectives. SOVT exercises can be used for evaluation, conditioning, and rehabilitation in clinical settings. SOVT exercises, such as using straws, can be beneficial for vocal health and performance. Finding the right resistance and pressure is important for effective SOVT exercises. Different materials and configurations can be used for SOVT exercises, depending on individual preferences and needs. SOVT exercises can help improve vocal resonance, muscle tension, and overall vocal technique. BEST MOMENTS  "When you pick up a book by Ingo Tietze and Karen Tietze-Cox, you know you're entering academic territory." "The deeper you go into the water, the less the tube or the straw makes a difference." "The material doesn't really matter much. That's our first conclusion." EPISODE RESOURCES BAST Book A Call https://ncvs.org/ Get your copy of  ‘Voice is FREE after SOVT' here: https://ncvs.org/book-purchase-voice-is-free-after-sovt/ Further watching: Why Straw – NCVS The Science Behind the Straw Exercise: Video 1  NCVS.org The Science Behind the Straw Exercise: Video 2 NCVS.org The Science Behind the Straw Exercise: Video 3  NCVS.org High Resistance Straw in Water (Karin Titze Cox and Ingo Titze) short update Relevant Links & Mentions:  Singing Teachers Talk: Ep.131 Mastering Research Papers: How to Read with Ease and Extract Knowledge with Kate Cubley Chris Johnson's Teach Voice: https://www.teachvoice.com/ John Henny: https://johnhenny.com/ The Intelligent Vocalist: Episode 356: SOVTs with Karin Titze Cox & Ingo Titze The work of Marco Guzman The work of Anne-Maria Laukkanen  Lessac-Madsen Resonant Voice Therapy  Singing Teachers Talk: Ep.164 Music and the Brain: The Science of Learning & Practice with Dr Molly Gebrian Part One Singing Teachers Talk: Ep.165 Music and the Brain: The Science of Learning & Practice with Dr Molly Gebrian Part Two Journal of Speech and Hearing Research: https://pubs.asha.org/journal/jslhr The work of Kitty Verdolini Abbott  (Singer) Renee Flemming  Vocal Tubes: https://www.vocaltubes.com/ Belt Box: https://www.beltyafaceoff.com/ Mindy Pack: https://www.mindypack.com/shop Resono Straw by Oren Boder: https://www.rayvox.co.uk/collections/all ABOUT THE GUEST  Ingo R. Titze, known as the father of vocology, coined the term with George Gates in 1989 and developed the original vocology curricula in 1990. He has held various appointments and written over 500 publications and six books on voice production. Karin Titze Cox, SLP-CCC, specialises in vocology and voice habilitation. She received her BA from BYU and MA from University of Iowa. She's worked in research, private practice, and clinic director roles in Salt Lake City. She's served on the Pan American Vocology Association board and National Center for Voice and Speech executive board.  

Are you a vocal coach who has been avoiding vocal acoustics, you know that topic with words such as formant, harmonic, spectrogram and frequency? Maybe you just aren't sure how it applies to teaching singers, or maybe you've tried but it just seems too much to get to grips with. This week Alexa Terry is joined by Ken Bozeman , who is here to help you understand and apply vocal acoustic pedagogy. KEY TAKEAWAYS Vocal Acoustic Pedagogy is the study and application of the scientific principles governing the acoustic properties of the singing voice. It informs vocal instruction, focusing on resonance, pitch control, diction, and breath management to enhance vocal technique and performance. Acoustic analysis enables teachers to teach effective vowel modification. By adjusting vowel shapes based on acoustic principles, singers can achieve better balance between clarity and resonance, especially in different parts of their vocal range. Mastering the principles of vocal resonance allows teachers to guide students in optimising their resonance for different styles and genres. Knowledge of formants and resonances helps in shaping the vocal tract to achieve desired tonal qualities. Understanding articulatory phonetics and its connection to acoustic properties helps teachers guide students in achieving clear diction and precise articulation. This is crucial for effective communication, especially in vocal genres with specific language requirements. If you're trying to understand formants then remember that sounds encompass a spectrum of frequencies. Timbre represents peaks and valleys in frequency strength. The first formant is akin to the lowest peak, defining a sound's distinctive quality. BEST MOMENTS  ‘If you have no flexibility to explore options your body will move towards efficiency'  ‘We're the only primates that are vocal learners'  ‘Frequencies have a vowel like tone colour'   EPISODE RESOURCES  Guest Website: http://www.kenbozeman.com/ Get Ken's book ‘Practical Vocal Acoustics' here: https://rowman.com/ISBN/9781538174647/Practical-Vocal-Acoustics-Pedagogic-Applications-for-Teachers-and-Singers Get Ken's book ‘Kinesthetic Voice Pedagogy 2' here: https://www.voxped.com/KVP2.html Use Ken's Discount Code: RLFANDF30 Relevant Links & Mentions:  The work of Ingo Titze: https://ncvs.org/ingo-titze/ Journal of Singing: https://www.nats.org/cgi/page.cgi/about_journal_singing.html The work of Heidi Moss Erickson: https://www.heidimosserickson.com/ The work of Wolfgang Saus The work of Ian Howell: https://www.ianhowellcountertenor.com/ The work of Dr Brad Story: https://vocalpedagogy.com/vocal-pedagogue/brad-story/ Voce Vista: https://www.vocevista.com/ Chadley Ballantyne: https://chadleyballantyne.com/ Singing Teachers Talk Podcast: Ep. 52 Getting to Grips with Vocal Acoustics with Chadley Ballantyne  Singing Teachers Talk Podcast: Ep. 102 Understanding Singing and Menopause with Joanne Bozeman  BAST Book A Call   ABOUT THE GUEST  Kenneth Bozeman, BM, MM, Professor Emeritus of Music at Lawrence University for 42 years, chaired the voice department, receiving two teaching excellence awards. Holding degrees from Baylor University and the University of Arizona, he studied at the Munich Conservatory. In 1994, he earned the Van Lawrence Fellowship and was inducted into the American Academy of Teachers of Singing in 2019. As the Journal of Singing's editorial board chair, Bozeman authored acclaimed books on acoustic voice pedagogy. His students performed globally with esteemed opera companies. A renowned voice acoustics expert, he presented at NATS conferences, served as a master teacher, and spoke at British Voice Association and International Congress of Voice Teachers events.  ABOUT THE PODCAST BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events. basttraining.com Updates from BAST Training Presenters Bios

In this episode, John interviews Karin Titze Cox and Ingo Titze about their book 'Voices Free After SOVT.' They discuss the groundbreaking approach to voice and the importance of semi-occluded vocal tract exercises (SOVTs). Episode highlights: Having that back pressure helps the vocal folds maintain a more stable and a more efficient posture for vibration. Getting the motor memory from SOVTs is a very individual system. Do a lot of practice, and do variable practice. Don't resist resistance. To learn more about Karin Titze Cox and Ingo Titze, and to get the book, visit https://ncvs.org/book-purchase-voice-is-free-after-sovt/ To learn more about John Henny, his best-selling books, on-line courses, Voiceschool.com featuring his Teaching Team of Experts, Speaker Training and the Contemporary Voice Teacher Academy, visit: JohnHenny.com

Het Mysterie van SOVT -The Voice Boys Podcast: Aflevering 8-In deze aflevering nemen The Voice Boyz de wereld van SOVT (Semi-Occluded Vocal Tract) oefeningen onder de loep.We bespreken wat deze populaire hedendaagse term nu eigenlijk inhoudt en waarom deze oefeningen zo handig zijn voor zangers en sprekers. We behandelen hoe deze oefeningen de adembalans beïnvloeden en waarom dit gunstig is voor het ontwikkelen van een gezonde en krachtige stem. Volgende SOVT's komen aan bod:Natuurlijk:LiptrilTongpunt R, Huig RRaspberryTrompet zacht/ luidM, N, NG (Pahn methode)OE, U aangeblazen (Sven Schmitt Methode)Z, W, VMechanisch:Lax Vox (laxvox-institute.eu)Resonance Tube (hyperphysics.phy-astr.gsu.edu)Medisch Masker A capella (www.vitalitymedical.com)Airofit, ademtrainer (www.airofit.com)Straw: simpele rietjesStraw: Universal Voice Straw (universalvoice.nl/product/universal-voice-straw)Straw: Mind The Voice trainer (www.mindthevoice.be/mind-the-voice-sovt-trainer)Straw: Rayvox (https://www.rayvox.co.uk/)Bronnen:Uitleg over verschillende SOVT methodes door Alberto ter Doest: https://www.youtube.com/watch?v=_4Dhm6VT_ZwDr. Ingo Titze over straw phonation: https://www.youtube.com/watch?v=asDg7T-WT-0Meer info over het Universal Voice Symposium:https://universalvoice.nl/product/symposium-2024/Shout-out:Mirte BronOnze info:IG @thevoiceboyz || @daansmits88 || @timjstuart Voor meer links en de oefeningen van de week, kijk op https://linktr.ee/thevoiceboyz Wil je meer weten over ons, kijk dan op www.thevoiceboyz.com Je kan ons ook altijd bereiken op info@thevoiceboyz.com

Joining Alexa this week to discuss all things vibrato is Professor of Voice and Voice Pedagogy and Chair of Voice at the University of Texas at San Antonio, John Nix. John is a voice researcher himself, and his mentors include Barbara Doscher and Ingo Titze. John has produced 50 published articles and eight book chapters, co-chairs the Voice Science Advisory Committee, and serves on both the Journal of Singing and the Rowman and Littlefield/NATS book editorial boards. KEY TAKEAWAYS Vibrato encompasses several components. Firstly, it involves the rhythmic modulation of the fundamental frequency, which translates into changes in perceived pitch. Secondly, it includes fluctuations in amplitude, affecting the perceived loudness or intensity. Lastly, vibrato introduces variations in timbre as harmonics traverse the resonant frequencies associated with vowel sounds, resulting in shifts in tonal quality. The rate of vibrato refers to how frequently the frequency oscillates, essentially measuring the speed of those pitch variations. Extent quantifies the range by which the pitch rises and falls, indicating the breadth of the oscillation. Vibrato jitter assesses the regularity of these cycles, gauging the consistency in the rate of vibrato. A regular, stable vibrato with moderate extent and rate indicates a singer's improved balance and control, reflecting refined vocal technique and skill. Respiratory Vibrato originates from variations in the breath pressure from the lungs controlled by singers managing their diaphragm to create fluctuations in airflow. Abdominal Vibrato is produced by controlled abdominal muscle contractions. Laryngeal Vibrato occurs due to oscillations in the tension of the vocal cords themselves.   BEST MOMENTS   ‘Vibrato extent is measured in cents not hertz because that confuses it with rate' ‘The vibrato esthetic has become more international than regional over time' ‘Heightened emotion imprints itself upon our voice through the tremulousness' ‘It's easier to target something slower than your natural rate'   EPISODE RESOURCES Website: https://www.johnnixvoiceteacher.com/ Contact John Directly! Nix@utsa.edu Relevant Links & Mentions: Research/Researchers mentioned: Carl Seashore; Ingo Titze; Joshua Glasner; Iwata & Large; Thomas Shipp; Paul Patinka; King & Horii; C. Dromey; Dr Jenevora Williams; David Howard; Graham Welch; Eric Prame; Randy Wooding Voce Vista: https://www.vocevista.com/ Journal of Singing: https://www.nats.org/cgi/page.cgi/about_journal_singing.html (Article) Shaken, Not Stirred: Practical Ideas for Addressing Vibrato and Non Vibrato Singing in the Studio and the Choral Rehearsal by John Nix Oren Brown   ABOUT THE GUEST John Nix is Professor of Voice and Voice Pedagogy and chair of the voice area at the University of Texas at San Antonio.  His mentors include Barbara Doscher (singing, pedagogy) and Ingo Titze (voice science).  Current and former students have sung with the Santa Fe, Arizona, Chautauqua, St. Louis, Nevada, Omaha, Utah Festival, and San Antonio opera companies, and two have served as NATS Intern Program Master Teachers.  In addition to his active voice teaching studio, he performs research in voice pedagogy, literature, and acoustics, having produced 50 published articles and 8 book chapters; he also co-chairs the NATS Voice Science Advisory Committee, serves on The Journal of Singing's editorial board, and serves on the Rowman and Littlefield/NATS book editorial board.   ABOUT THE PODCAST BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events. Website: basttraining.com Get updates to your inbox: Click here for updates from BAST Training Link to presenter's bios: basttraining.com/singing-teachers-talk-podcast-biosThis show was brought to you by Progressive Media

Kaya Herstad-Carney joins Alexa to tackle the subject of how to measure a singer. That doesn't mean marking their height on the wall in pencil; it's about understanding someone's limitations and exceptions. Kaya is creative with a wide skill set, ranging from powerful performances of her original music to vocal coaching, singing teacher training, and artist development.  KEY TAKEAWAYS There are two things that come into play when looking at a singer: their nature; and their nurture. When we, as singing teachers, look at their nature, there are things we can change and things we can't. We're not going to change their size and shape, but we can change how things are coordinated and how their body is positioned.  The lamina propria is a thin layer of connective tissue that forms part of the moist linings known as mucous membranes or mucosae, which line various tubes in the body, such as the respiratory tract. It is part of the vibrating filament of the vocal fold.  If someone has problematic large tonsils, it will influence their sound because the biggest bass will boost the lower frequencies, and the smallest bass will boost the higher ones. Kaya has had students who have had them removed and liked their new sound, while others have found it harder to adjust.  We have moved away from the idea of that very rigid head-up posture. Not everyone's ideal posture is the same. We need to work with the student to find the ideal posture for them as an individual.  BEST MOMENTS‘Measure but don't mention the physical appearance of someone and what we can expect from their sound' ‘People's ideal posture is individual'‘If in doubt, go and check it out'‘Breathing out literally lowers your heart rate' EPISODE RESOURCES Guest Website: kayamusic.com Social Media:  @kayamusic Relevant Links & Mentions:  BAST Blog - The Vocal Fold Layers: https://www.basttraining.com/the-vocal-fold-layers/e vocal folds article  Singing Teachers Talk Podcast - Ep. 40 Integrated Skills: Teaching Singing to Dancers with Jennie Morton Singing Teachers Talk Podcast - Ep. 97 Elevate Your Performance Through Anatomical Efficiency with Jennie Morton  Spotlight: https://www.spotlight.com/ Chris Johnson & Teach Voice: https://www.teachvoice.com/ Kerrie Obert: https://obertvoicestudios.com/ Voce Vista: https://www.vocevista.com/ The Work of: Ken Bozeman; Ian Howell; Ingo Titze; Johan Sundberg  Singing Teachers Talk Podcast - Ep. 101 How to Belt with John Henny Voice Science Works: https://www.voicescienceworks.org/ Pitch Analyser App Vocal Pitch Monitor App  Waterbear: https://waterbear.org.uk/ ABOUT THE GUEST Kaya is a creative with a wide skill set, ranging from powerful performances of her original music, vocal coaching and singing teacher training, artist development and co-writing, artistic direction for Threshold Festival and gig promotion, band and choir direction/arranging, mentoring and community workshops, in addition to her lecturing career across the popular music subjects including voice, songwriting, band skill and music industry studies. Originally from Norway, she made the UK her home in 1999. She is an established artist with a track record of performances at The Royal Variety Show, to the BBC Songwriting Showcase, touring UK and Europe.Kaya has a varied portfolio career and is a passionate singer, songwriter, performer and a harmony/vocal fanatic, vocal arranger and producer, festival director, mentor, musical/choir director, vocal geek and senior lecturer with a wide range of experiences and interests on and off the stage. She has a particular love for vocal habilitation and artist development in the Contemporary Commercial field of music, including popular music, musical theatre and extreme vocals. ABOUT THE PODCASTBAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events.Website: basttraining.comGet updates to your inbox: Click here for updates from BAST TrainingLink to presenter's bios: basttraining.com/singing-teachers-talk-podcast-biosSee omnystudio.com/listener for privacy information.

We kick off episode 201 with a preview of the Summer Vocology Institute with distinguished guests Ingo Titze, Lynn Maxfield, and Brian Manternach. Are you considering summer continuing education opportunities? Are you interested in the science, pedagogy, and performance aspects of voice? This is the program for you! Learn all about SVI's history, its "blocks," and its All Star faculty. The deadline for summer 2023 is rapidly approach so don't delay! Learn more at https://vocology.utah.edu/svi/index.php. 

Joining Alexa today on Singing Teachers Talk is the Head Tutor of Singing at Italia Conti who additionally works in private practice as a singing teacher with both aspiring and professional performers. His work also encompasses singing voice rehabilitation. Michael Vickers is here to talk about preparing singers for drama school auditions.  KEY TAKEAWAYS Michael's advice for choosing where to audition for in the first place is to do your research. Ask yourself what are your skillets right now? Where do you want to be in X number of years? Talk to staff and go to open days.  For an audition a performer will typically need to prepare one to three songs which contrast. Some schools might only ask for one song of your choice for the first round.  Some schools will always ask for one song being pre 1965 and some will always ask for one post 1965. Not all musical theatre songs pre 1965 are legit. Know what the criteria is for the Drama School. Tick all the boxes. When it comes to eye contact, start at a level just above the panel but if they give direction on where to look then take it. BEST MOMENTS ‘There are things I started teaching differently after having seen how panels work' 'Go to the website and constantly check what they're looking for' 'Be flexible in that moment. Whatever they ask, dive in and try it' EPISODE RESOURCES  Guest Website: www.voiceteacher.co.uk  Social Media:  @michaelvickersvoice Relevant Links & Mentions:  Italia Conti: italiaconti.com NATS Rubric Video 2018 Final with Matt Edwards: https://youtu.be/42lTQYJXxTY Singing Teachers Talk Podcast - Ep. 89 How to Teach Musical Theatre Styles Successfully with Dr Matt Edwards: https://linktr.ee/basttraining?utm_source Mix Registration by Ingo Titze: https://vocology.utah.edu/_resources/documents/mixed_registration_titze.pdf Linda Hutchison: https://www.bapam.org.uk/practitioner-search/miss-linda-hutchison/ Lewisham Voice Clinic: https://www.lewishamandgreenwich.nhs.uk/voice-clinic/ Singing Teachers Talk Podcast - Ep. 87 How to Manage Allergies and Upper Respiratory Infections with Laryngologist Declan Costello:https://linktr.ee/basttraining?utm_source ABOUT THE GUEST Born in Leeds, Michael Vickers is an established singing teacher and educator based in London. He is the Head Tutor of Singing at Italia Conti and additionally works in private practice as a singing teacher with both aspiring and professional performers. His work also encompasses singing voice rehabilitation. Michael trained at the Guildhall School of Music & Drama, where he received his undergraduate degree in Vocal Studies and then his Master's Degree on the school's prestigious Opera Course. Michael's teaching is underpinned by substantial study and teaching experience, and he has been fortunate to learn from a range of world-leading pedagogues and clinicians. Notably, Michael has a significant collaborative relationship with the Voice Clinic at Lewisham Hospital, where he has volunteered weekly since 2018. ABOUT THE PODCAST BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events. Website: basttraining.com Get updates to your inbox: Click here for updates from BAST Training Link to presenter's bios: basttraining.com/singing-teachers-talk-podcast-biosSee omnystudio.com/listener for privacy information.

In today's episode, BAST founder Line Hilton returns to discuss the best vocal exercises for sick voices. Listen in to discover the differences between a sick voice and a well one. Line also explores the challenges of working with a student who is feeling below par, or post-operative. KEY TAKEAWAYS Often we don't hear or notice things in our own voices, so having a singing teacher who can point out issues such as breathiness and tension can be very useful. Vocal injuries can be very obvious, or quite subtle and more noticeable to the singer than to the external listener. This is why it's important to have good communication with your students to find out exactly what they're feeling. Line also discusses topics such as diet and hydration with students. It's important to make sure that, where possible, the singer is as healthy and fit as possible and that issues such as reflux and allergies are addressed. When working with someone who's post-op, the first thing Line will do is check that they have been cleared to return to singing. She will then ask them about the rehabilitation work they've been doing, for example, if they've been working with a vocal rehab coach or an SLT.   BEST MOMENTS ‘It's always good to have a second pair of ears as well' ‘Extrinsic muscles are quite deep, and so you don't necessarily realise one of those deeper muscles is being hyper contracted and overworking' ‘I'll just gradually start to increase the range and get more challenging' ‘I'm always just checking in and changing one thing'   EPISODE RESOURCES  BAST Training Guest Website: basttraining.com Social Media: @basttraining Relevant Links & Mentions: Singing Teachers Talk Podcast: Ep. 62 How to Choose the Best Vocal Exercises with Line Hilton: https://open.spotify.com/episode/4dWJ0kU0g65yJIpgVVWP6I?si=5c4983e81ec84c57 Singing Teachers Talk Podcast: Ep. 73 The Best Vocal Exercises for Laryngeal Stability with Line Hilton: https://open.spotify.com/episode/434D7YZ7hWphm1ebzDi9ku?si=fc488543ded04559 Dr Jenevora Williams: https://jenevorawilliams.com/ Singing Teachers Talk Podcast: Ep. 75 Vocal Rehabilitation for Singers with Dr Jenevora Williams: https://open.spotify.com/episode/4MMPy91Bhy0u58P01PUXo9?si=b67efa92d1a84498 British Association of Performing Arts Medicine (BAPAM): https://www.bapam.org.uk/ Voice Care Centre: https://voicecarecentre.co.uk/ Vibrant Voice: https://www.vibrantvoicetechnique.com/ Singing Teachers Talk Podcast: Ep. 32 The Bio-Psycho-Social Model with Stephen King: https://open.spotify.com/episode/4R13bvilWjwQnd9WOfTiVc?si=12271e4e200446b7 The Voice Clinic Handbook by Tom Harris & David Howard Clinical Voice Disorders by Arnold Elvin Aronson Anatomy of Voice by Blandine Calais-Germain & Francois Germain Laryngeal Endoscopy and Voice Therapy by Sue Jones & Carrie Garrett Principle of Voice Production by Ingo Titze Vocology by Ingo Titze and Kathrine Verdolini-Abbott The Voice Book by Kate DeVore and Star Cookman The Performer's Voice by Meredith Dame-Bunch Vocal Health and Pedagogy (Volumes 1 & 2) by Robert T. Sataloff British Voice Association (BVA): https://www.britishvoiceassociation.org.uk/ National Association of Teachers of Singing (NATS): https://www.nats.org/ Pan American Vocology Association (PAVA): https://pavavocology.org/   ABOUT THE PODCAST BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events. Website: basttraining.com Get updates to your inbox: Click here for updates from BAST Training Link to presenter's bios: basttraining.com/singing-teachers-talk-podcast-bios  See omnystudio.com/listener for privacy information.

This is Part II of our conversation with musician, bass singer, and arranger, Geoff Castellucci. Last week, we started to brush just the surface of what makes Geoff Castellucci so incredible. We talked about his origins and how he began singing with members of VoicePlay way back in middle school.  We also discussed some of his role models and he's able to manage time between his passion and his family life. Plus, we took our first plunge into understanding how he learned to make sounds so low they can cause the screws in your furniture to come loose.  In this episode, we continue our discussion around subharmonics and its origins. We'll also take a closer look at his recording tools and tips, including one of the voice tools nearest and dearest to my heart – straw singing. I also particularly love how Geoff gave us so many details about his recording process. Every singer has a different instrument but we all have to figure out how to record that instrument well. Geoff's understanding of what works best for him can be applied to many others. Finally, we have some extra fun questions at the end, including which roles he'd most like to play in the future and how many marriage proposals he has received!   In this episode, you will hear: The two main types of throat singing Tips in recording low notes and full voice  Geoff's pre-performance routines  Why preamps are one of the most overlooked recording gear for vocalists The benefits of using preamps Why SOVTs (semi-occluded vocal tract exercises) work so well Dr. Ingo Titze's research on SOVTs The best and worst things about his profession His favorite performance venues Harnessing the power of great partners   Subscribe and Review Have you subscribed to our podcast? We'd love for you to subscribe if you haven't yet.  We'd love it even more if you could drop a review or 5-star rating over on Apple Podcasts. Simply select “Ratings and Reviews” and “Write a Review” then a quick line with your favorite part of the episode. It only takes a second and it helps spread the word about the podcast. Supporting Resources: https://www.geoffcastellucci.com/   https://www.thevoiceplay.com/   Episode Credits: If you like this podcast and are thinking of creating your own, consider talking to my producer, Emerald City Productions. They helped me grow and produce the podcast you are listening to right now. Find out more at https://emeraldcitypro.com Let them know we sent you.

Creator of Teach Voice and one half of The Naked Vocalist, Chris Johnson discusses vocal registers and keeping your dynamic range long term. He also explains abduction and adduction and explores the TA/CT dominance debate.   KEY TAKEAWAYS Chris recognised the need to create a course dedicated to vocal registers after listening to the opinions of a lot of different people in the vocal coaching community. Many teachers change their views and understanding of pedagogy as more information and research comes out about the voice.  Chris recommends teachers make time to stay up to date with the latest voice research. Abduction: The vocal folds abduct (come apart) in order to let air in and out of the lungs during breathing. Adduction: The vocal folds may adduct (come together) to trap air in the lungs. They may also adduct to vibrate to produce vocal sound. The TA/CT debate is a little problematic. TA-dominance is responsible for chest voice quality and CT-dominance is responsible for head voice quality as the vocal folds become either thick and short or thin and lengthened. TA-dominance is all about perception rather than reality, it doesn't necessarily have to do with the chest.    BEST MOMENTS ‘Most pedagogues will have changed their ideas over time as more evidence comes out' ‘If you don't practice functional chest, then you will effect your ability to be dynamic in the long run'  ‘Chest voice is a perception, it's not a reality'    EPISODE RESOURCES  BAST Training    Guest Website Teacher Training: https://www.teachvoice.com Artist Coaching: https://www.chrisjohnsonvocalcoach.com   Social Media: @teachvoicetraining @chrisjohnsonvocalcoach   Relevant Links & Mentions:  The Naked Vocalist Podcast: https://www.thenakedvocalist.com/ Glottal Configurations by Christian Herbst & Jan Svec Dr Ingo Titze Singing Teachers Talk Podcast: Episode 31 - Where to Start with Digital Marketing with Candi Louise. LCA = Lateral Cricoarytenoid IA = Interarytenoid Falsetto Voice Example: Robin Thicke (Lost Without You) Principles of Voice Production by Dr Ingo Titze Vocology by Dr Ingo Titze and Kitty Verdonlini Nathalie Henrich Bernardoni National Association of Teachers of Singing: https://www.nats.org/ NATS Snakepit: YouTube.com/watch?v=zcFi6QvEduA   ABOUT THE GUEST  Chris Johnson started his performance career in a casual choir before working as a professional singer for 12 years. During the early part of his career, Chris's busy schedule took its toll on his voice. Narrowly missing a serious vocal injury, he relearned his instrument and started on a never-ending journey of vocal development. After seeking help and turning his own seemingly ‘hopeless' voice around, Chris realised he might also be able to help other singers and moved into vocal coaching. Chris has worked with major label artists, West End leads, backing vocalists, singer/songwriters and vocal coaches. He also helps singing teachers worldwide to up-skill, navigate the overwhelming amount of pedagogical options, and develop their own technical and business acumen. Chris has also trained in manual laryngeal therapies and studied with scientists in vocal acoustics, physical and somatic therapy, and laryngology. He's also one half of The Naked Vocalist podcasting/blogging duo. ABOUT THE PODCAST BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events. Website: basttraining.com Get updates to your inbox: Click here for updates from BAST Training Link to presenter's bios: basttraining.com/singing-teachers-talk-podcast-bios See omnystudio.com/listener for privacy information.

Heather Lyle: NCVS Vocologist, B.M., M.M., F.V., E-RYT, C.Ht. Heather Lyle is a graduate of the National Center of Voice and Speech's Vocology Program with renown voice scientist Ingo Titze. In 2015 she studied at NYU Medical Center with the other most renown voice scientist in the world, Johan Sundberg and Dr. Brian Gill. 2017 Lyle was the key note presenter for professional actors and students at the Hong Kong Academy of Performing Arts and she was also a presenter at the Asian Voice and Speech Teacher's Association in Singapore. January 2017 Lyle and Catherine Fitzmaurice took 28 people to India to teach Vocal Yoga® and Fitzmaurice Voicework® in Auroville, India. In 2016 Lyle taught a Vocology Course for the professional singers in Kolkata, India, public speaking skills for the upcoming teachers at Loreto College in Kolkata, sound healing in Southern India and Vocal Yoga at The Hong Kong Academy of Performing Arts. Lyle spent 2014 in Kolkata, India where she worked with the educational division of the TV show “Indian Idol” creating vocal pedagogy for the new singing academies that opened last all over India year. Lyle also taught for Probir Guha's acclaimed “Alternative Living Theatre. Heather Lyle is considered one of the leading voice teachers in Los Angeles for singers, actors, public speakers. She is a dedicated educator who received her Bachelor and Master Degrees in voice, specializing in singing, diction and speech science graduating summa cum laude. A winner of the prestigious California University Sally Casanova Doctoral Scholarship, Lyle completed advanced doctoral voice research and a doctoral internship in vocal pedagogy at the Indiana University School of Music under the tutelage of renown voice teacher Paul Kiesgen. Heather Lyle is also a Certified Associate Teacher of Fitzmaurice Voicework, and has taught in the Fitzmaurice Teacher Certification Program numerous times. Fitzmaurice Voicework is one of the leading voice works for actors today, taught at Harvard, Juilliard and professional acting conservatories. Lyle teaches singing and vocal technique for the University of Southern California's School of Dramatic Arts and Santa Monica College. She also teaches speaking skills for the doctoral economics and finance students attending the UCLA Anderson School of Management. Lyle has also taught for LA Mission College, the Los Angeles High School for the Arts, Mount Saint Mary's College, Loyola Marymount's Yoga and the Healing Sciences Program, Studio 5 in New York, Seydways Acting Studio in Hollywood, numerous other acting schools, and the private sector. Internationally she has taught for “Indian Idol Academy” Hong Kong Academy of Performing Arts, Loreto College and Probir Guha's acclaimed “Alternative Living Theatre”. Lyle is the founder of the patented Vocal Yoga Method®, a somatic voice work synthesizing techniques from Yoga, Pranayama, Alexander Technique, Physical Therapy, Roy Hart, the Bel Canto School of Singing, Qi Gong, kirtan chanting, primal voice work, circle singing and voice science to free the voice. Lyle began her practice of yoga at age 14 through the influence of her father, yoga teacher Auro Arindam. She has been a life long student of Integral Yoga and a devotee of Sri Aurobindo and the Mother. www.vocalyoga.com --- Send in a voice message: https://anchor.fm/david-lesondak/message

The 8th episode of Let's Talk Singing is with Eimear McCarthy Luddy of Vocology Ireland. We talk Voice Science, Ingo Titze, Vocology Ireland and also Eimear talks about how she would like to break the stigma of shame around vocal health problems. An open conversation in Ireland needs to be available for singers to feel they will be looked after. It was an excellent interview I must say, Eimear really gave so much. And we could have kept going – maybe she'll come back for another.

Music Artist  and Voice teacher Whitney Cytryn shares today all about the company she founded called The Singing Straw. She show us how this tiny straw tool can change the ways that we take care of our voices—both for singers and for speakers. Whitney teachers us how a straw/straws can help our singing be easier, more efficient and very healthy! In her early years, Whitney had no interest in being a teacher—she just wanted to be a singer. In her 20's she found a teacher she connected with in contemporary styles that helped lead her into her own teaching.  Part of the reason she developed The Singing Straw was because of touring and noticing that her voice seemed tired often. Dr. Ingo Titze influenced her in her knowledge of straw phonation and how it would help the voice. On another tour Whitney was on, she said this about using a straw: “I was using a straw on my warmups and my cool down and I was noticing that it was helping keep me less fatigued and it was helping me warmup quicker.” On using a straw in general: “With partially obstructed airflow comes back pressure.” “It allows you to carry less tension and sing efficiently.” ++++++Songbird Studios was started by Whitney and her husband in California to help other singers with their vocal journey. They now have 3 different studios. Different ways that The Singing Straw can help a singer/speaker: With fatigue in voices Warmup/cool downs Balancing a mixed voice Reduce tension in a belt Increase flexibility for riffing What's important in the Singing Straw is its diameter of 3mm and that there are 3 straws! Using a variety of 3 straws allows the singer to have more or less resistance, depending on the day and how they feel The 3mm size is considered the best size in research that can help with the voice and the back pressure The Singing Straw is wonderful not only for singers but for speakers as well. Any job where the voice is used often can benefit from using the Singing Straw!   You can find Whitney at both Songbird Studios: https://songbirdsf.com Or The Singing Straw: https://singingstraw.com You can also find her at Instagram: @singingstraw YouTube: https://www.youtube.com/channel/UCDae_BabRlw9bIr7ysxBSqA AND….. **THE SINGING STRAW is now available for you right here: http://lddy.no/f7zu You can get 10% off with my code: tarab   For more info about this episode and to hear other episodes, go to: www.theengagingvoice.com  You can find this and other episodes at Stitcher, Google Play, Spotify, iHeart radio, and Apple Podcasts. Please go to Apple Podcast and click on RATINGS AND REVIEWS to rate this podcast. I would be so grateful! Thank you! https://podcasts.apple.com/us/podcast/the-engaging-voice/id1448497465

An in depth interview with Dr. Ingo Titze and Ryan Luchuck

Dr. MATT SCHOLONEGER ES048 The purpose of Matt's study was to examine the use of dosimetry-derived tessituragrams and Voice Range Profiles (VRPs) in selecting appropriate voice repertoire for singing students. Matt’s project for the Van Lawrence fellowship, funded by a grant from NATS and the Voice Foundation, was a study in Voice Dosemetry - that is, measuring and studying individual’s voice range profiles - the actual pitch range and loudness range of a persons voice. Specifically, he focused on the voice load of songs - how much time on each pitch, how many vibratory cycles on each pitch - in different keys.    The singers were recorded singing the same song in 3 different keys. He got their own perception of difficulty, had an expert panel listen, and using the score, kind of like the map of the song, which he calls a score based tessituragram. With each singer he made a voice range profile with the dosemeter. (A dosemeter looks like earbuds on a hard collar, that sits around your neck and rests in the front. It measures skin vibration in the neck.)   He also looked at overall voice use through the day. He found that people think about how much they sing, but not how much they talk, or how loud the environment is.    ------------   To revisit the episode with voice scientist, Ingo Titze, you can look for episode 16 in your podcast player or visit the podcast page here. http://everysing.libsyn.com/016-every-sing-dr-ingo-titze-voice-scientist   Matt’s first episode on Every Sing was episode #2 http://everysing.libsyn.com/002-every-sing-dr-matthew-schloneger-on-voice-dosimetry   You can find Matt @ Friends University in Wichita, KS   matthew_schloneger@friends.edu   Others involved in Matt's project: Eric J. Hunter, PhD, Dept of Communicative Sciences and Disorders, Michigan State University  Lynn Maxfield, PhD, National Center for Voice and Speech   Previous Studies  Thurmer, Stefan, “The Tessiturogram,” Journal of Voice 2, no. 4 (1988): 327–329.  Titze, Ingo, “Quantifying Tessitura in a Song." Journal of Singing, 65:1 (September 2008), 59–61.  Hanrahan, Kevin, "Use of the Voice Range Profile in Assigning Repertoire: An Evaluation." NATS National Conference, Salt Lake City, UT, July 2010 (Best Poster Award) Nico Paolo Paolillo and Frano Fussi, “The Vocal Score Prole/Vocal Range Prole Rate and APM in Artistic Voice Evaluation: Application Tested on Opera and Musical Singers; An Evaluation of Voice Suitability and Vocal Fatigue,” in Claudia Manfredi, ed., Proceedings of the Seventh International Workshop on Models and Analysis of Vocal Emissions for Biomedical Applications (Firenze, Italy, August 25–27, 2011), 85–92. Nix, John, "Measuring Mozart: A Pilot Study Testing the Accuracy of Objective Methods for Matching a Song to a Singer.” Journal of Singing, 70:5 (June 2014), 561-572 Thanks Go To The Van L. Lawrence Fellowship – The Voice Foundation and the National Association of Teachers of Singing Matt’s work was partially supported by the National Institutes of Health Grant R01 DC012315 from the National Institute on Deafness and Other Communication Disorders.

Today we're joined by Allan Hubert-Wright, the founder of Le Chanteur Moderne, one of the most respected voice training institutes in France, and one which is remarkable for using modern voice science to help singers and singing teachers be more effective by leveraging what we actually know about the human voice. He is also the director of the voice department at the prestigious IFPRO performing arts school in Paris and conducts ongoing research into vocal function. We recently had the chance to see Allan give a presentation, and we came away determined to have him on the show, because he shares the kinds of thing that can save years of frustration, confusion and wasted effort. So whether you don't sing at all yet, you're at the beginning of learning to sing, or you've been singing for years, you're going to want to pay attention!   In this conversation we talk about:   • Why being told he was a bad singer as a child didn't hold him back • How he helped one singer finally find her own authentic voice after years of imitating various singers and styles • And we bust three big myths in singing: about breathing and support, about what to eat and drink, and about how to correctly produce vowel sounds.   This conversation was such a pleasure and we know it's going to be an enlightening one for any of you listening who sing or who would like to - but find some of the teaching a bit confusing.   Subscribe For Future Episodes! Apple Podcasts | Android | Stitcher | RSS   Full Show Notes and Transcript: Episode 086   Links and Resources • Le Chanteur Moderne • Le Chanteur Moderne on Facebook • Singing and Teaching Singing: An Holistic Approach to Classical Voice, by Janice Chapman • Vocology, by Ingo Titze • Principles of Voice Production, by Ingo Titze     Enjoying the show? Please consider rating and reviewing it! Click here to rate and review

How do we talk? And how do we sing? Most of us walk around making sound all day without any real idea of how we do it. We'll speak with vocologist Ingo Titze about how the human voice sings, the parts of a human singing voice, and more. We'll also speak with Tecumseh Fitch about why we talk... but monkeys don't. The reason? They've got the voice, but not the brains. We've even got some creepy recordings. Related links: Ingo's tips for tired voices: grab a straw! A reflex resonance model of vocal vibrato in The Journal of the Acoustical...

Ever wonder if voice science takes the artistry and joy out of music? Tune in to hear about this from Dr. Titze, who a big part of the foundation of modern voice science. I think of him as our Albert Einstein.  He is the director of the National Center for Voice and Speech (NCVS) and President of the Pan American Vocology Assoiation. He has tenured professorship at the Univ. of Iowa, where he is teaching this semester, and teaches at the University of Utah.   The Conversation   Dr. Titze says his passion is to cover the whole territory of voice. But the field has gotten so big that it is difficult for him to do; music, theater voice, laryngology, speech pathology, and so on. Now one has to make some choices. The field now includes biologists, physiologist, engineers, and physicists. They try to serve the physicians. Also the field of neurology is exploding. NCVS works with Rachelle and Renee Fleming with what goes on in the airway for production of various different styles of sing.   Dr. Titze started down this road over 40 years ago, after starting a career at Boeing in engineering. He was studying singing and performing in the chorus of the Seattle Opera. In searching for a way to learn more about the science of singing, and following his passion for singing, he found that very little work had been done. There was very little knowledge of how the voice works. He sought out Harvey Fletcher, acoustician, at BYU in Provo, UT, who developed stereophonic sound for Bell Laboratories. He also worked with Bill Strong at BYU.   We took a side-trip to the story of his father, who was a German soldier in WWII. It is a touching story of his father who had to fire in the direction of Russian soldiers but was proud that he didn't think he ever shot anyone. Dr. Titze's father enjoyed talking about the community that soldiers from opposite sides of the war would occasionally have the opportunity to make. He was miraculously rescued after being shot. After the war the family was very poor and moved to the US in 1955 for a new chance.    Back on topic, if a person wants to get into voice science, they need to be willing to devote their focus to it as an engineer, or if not an engineer then to humbly jump in with a program like the NCVS Summer Vocology Institute, and learn as much science as they can in order to serve a team. Behavior sciences and neurosciences are also welcome. He says to, "keep in mind that we are all neophytes in something."   NCVS started in Denver as a bigger group than it is now. It has gotten smaller because of grants. A big part of their focus is education. They are largely funded by the National Institute of Health.    Dr. Titze gave a definition of the word Vocology. 1. The study of vocalization of any type and any animal. 2. The science and practice of voice habilitation. The Pan American Vocology (PAVA) is discussing creating credentials for a PAVA recognized vocologist.   In the area of the aging voice, Dr. Titze had a lot of advice for older singers (everyone post-midlife). The voice is always changing throughout life, and after midlife it requires more upkeep for various reasons such as atrophy, slow reflexes, tremors, hydration, arthritis, and stamina. He recommends that older singers sing frequently but not for very long, perhaps 15 min. at a time. In a choral rehearsal, singers often only need to sing for 15 min. here and 15 min. there, with breaks between.   He highly recommends semi-occluded vocal track exercises. Singing through a straw and doing slides and sirens. Learn more about the exercises from this video by Dr. Titze.   https://www.youtube.com/watch?v=0xYDvwvmBIM   https://www.youtube.com/channel/UCY_UnMI5Y-WIONNHdW8WJGA is the site for all NCVS videos.    Human voices are generally at their prime for singing around ages 45 - 50 when the cartilage has reached more calcification but the vocal ligament is still very flexible.   The vocal ligament is the cord part of the old term Vocal Cord. We now call them Vocal Folds to consider the skin on the outside, the lamina propria, ligament, and muscle. He likes to call the vocal folds a Fiber-Gel model. They are good at withstanding the thousands of collisions we have each minute while making sound. High pitches are controlled by the ligament, so keeping it healthy is important for a good voice in later years.   Regarding hydration, know the environment you are going to sing in. If you change environments (altitude or dryness) allow at least two days to sense the change. Drinking extra water during a climate adjustment doesn't really help that much because you pass it out quickly. It takes time to adjust.   He is not a big fan of personal steamers and such, because the effects only last 20 min. or so. He is a fan of Mucinex and expectorants to create mucus. The "object is to sniffle!"    Dr. Titze encourages engineers who have a passion for music to make room for it in their lives and pursue letting emotions go with singing. Dr. Titze greatly admired tenor, Fitz Wundelich but has found that opera singing doesn't work well with his voice. "At some point you have to stop putting your voice in a song and start putting the song in your voice."   Samples of Dr. Titze's singing are at NCVS.org under his biography.   Give Every Sing an iTunes review and contact Nancy so she can send you a free audiobook of her Amazon bestselling book, Singing 101: Vocal Basics and Fundamental Singing Skills for All Styles and Abilities. Contact Nancy on Facebook: Every Sing Podcast, on nancybos.net, or email her at nancy@studiobos.com   The gorgeous podcast cover art is by Ken Feisel at Ken Feisel Design.    Please donate to hurricane relief for voice teachers. Go to www.nats.org/nsaaf.html   Join the Every Sing podcast group on Facebook at www.facebook.com/groups/1711090705861666/    Every Sing on Twitter: @Every_Sing_Pod   Nancy’s website: NancyBos.net/podcasts   Support this podcast and add your name to the short list of deeply appreciated contributors who have direct input on show content through a small monthly donation and receive great rewards at https://www.patreon.com/everysing    

Time stamps: 7.37 Should extrinsic muscles be used in singing? Should we be disengaging as much as possible? 14.42 Does whispering make you more hoarse? What does the science say? 19.10 How can I find out more about formants and harmonics? Why should I? 27.45 Why are some singers vibrato fast and some slow? Can you change it? 32.54 Karin listens to a listener's voice and gives her verdict 45.20 The PAVA organisation and the vocal tract simulator 53.29 The premier of Dr Ingo Titze's brand new video explaining the scientific ins and outs of the straw, straw therapy and semi occluded exercises for singing Welcome to The Naked Vocalist singing podcast. Whether you are a pro singer, novice, a performer or a vocal coach, there's something in here for you. For the supporting blog and extra info, please visit: http://www.thenakedvocalist.com/podcast And please share us! We'd love to reach more people. Website: http://thenakedvocalist.com Facebook: http://facebook.com/tnvquestions Snapchat: nakedvocalist Twitter: http://twitter.com/tnvquestions Instagram: http://instagram.com/thenakedvocalist

Today we are unbelievably honoured to have leading voice researcher Dr Ingo Titze giving us the lowdown on vocal science. This episode is definitely for those who want to get a deeper understanding of vocal function and resonance. Check out the blog post at www.thenakedvocalist.com/podcast/20 for a detailed transcription and jargon buster.