Voice Pedagogy in Development: New Voices, New Insights Saturday 27th and Sunday 28th April 2019
The Voice Geek Conference will be held at the stylish Visual Arts Centre, Colchester. The purpose of the conference is to give a voice to those engaged in pedagogical research and the programme will provide a platform for MA, Doctoral and Postdoctoral studies. The focus is linking theory to practice and the exciting programme is below.
Kerrie Obert, is a speech language pathologist in Columbus, Ohio (USA) over 20 years’ experience in the diagnosis and treatment of voice disorders. Ms. Obert is currently on the faculties of both The Ohio State University Department of Otolaryngology and Capital University Music Conservatory. Ms. Obert spent the first 18 years of her career working in the voice disorders clinic at Ohio State where she completed between 15,000 and 20,000 laryngeal examinations. She has transitioned from full-time clinical work to focus on research, teaching and writing. She is the principal executive with Get Vocal Now (Getvocal-now.com), an online forum for science-based webinars and podcasts. She has written or co-authored four books on voice including an anatomy book with Steven R. Chicurel Stein, Geography of the Voice (2004) and a vocal health text, The Owner’s Manual to the Voice, written with co-authors Rachel Gates, DMA., and L. Arick Forrest, MD. Ms. Obert is currently working on an exercise book for opera, Targeted Exercises for Opera, and expects to release it later in 2018. This combines science lessons with problems and solutions in standard opera repertoire. Ms. Obert’s research interests are currently geared toward understanding the mechanisms of pitch change, ventricular folds, velum, and twang as well as ethnophonetic studies involving Japanese cake sellers. She is involved with research teams in the USA, Greece and Japan with studies involving endoscopic evaluation, acoustic, MRI and airflow. Ms. Obert is certified at the highest level with Estill Voice International and has been very active with the organization since Ms. Estill retired in 2003. She has served on the Estill Advisory Board several times and has chaired or co-chaired two of its symposiums. Ms. Obert co-wrote the current workbooks that are in use on the Estill courses and she conducted and published clinical research with Ms. Estill. Ms. Obert is currently on the Board of Advisors for the Voice & Speech Review Journal.
Carolyn McGettigan completed a BA in Natural Sciences at the University of Cambridge, followed by a PhD in Human Communication Science at UCL. Her current research is concerned with understanding the behavioural and neural processes involved in vocal communication. She set up a lab at Royal Holloway, University of London in September 2012. She is also an honorary Research Associate at the UCL Institute of Cognitive Neuroscience.
Her research concerns the neural and behavioural aspects of human vocal communication. Themes include: speech perception and perceptual learning (and individual differences in these processes), audio visual speech, voice identity processing, perception and production of emotional vocalizations, social cues in spoken communication. Techniques include fMRI, MEG and behavioural testing.
Ben McPherson is a Senior Lecturer and Course Leader for Musical Theatre and an active composer/lyricist. His interests include approaches to voice in performance, the British musical and national identity (1890 – Present), embodiment and reception theory, and how maps and diagrams can be used to understand and analyse performance. From 2007–2013, he worked as a freelance lecturer at various institutions, including the University of Winchester where, in 2011, he gained his PhD in musical theatre and reception theory. During this time, he also taught at University of Portsmouth, the Royal Central School of Speech and Drama, acted as a visiting voice and performance coach at several FE colleges, and worked as creative consultant for Phoenix Theatre Company in Toronto, Canada, and students at the University of Hull.
Ben is joint founder and convenor of the Centre for Interdisciplinary Voice Studies. He co-edits the Journal for Interdisciplinary Voice Studies and co-edited the book Voice Studies: Critical Approaches to Process, Performance and Experience (Routledge, 2015). Hei is also a member for the British Musical Theatre Research Institute, which was established in 2012.
British bass James Platt was educated at Chetham’s School of Music and went on to study at the Royal Academy of Music and on the Opera Course at the Guildhall School of Music and Drama. A member of the Jette Parker Young Artist Programme at the Royal Opera House, Covent Garden from 2014-2016 his roles in the house included Gremin Eugene Onegin, Caronte Orfeo, Dr Grenvil La Traviata, Frontier Guard Boris Godunov and Blansac in Rossini’s La scala di seta. He made his debut with the Welsh National Opera as the High Priest of Baal Nabucco and as a Jerwood Young Artist at the Glyndebourne Festival he sang the role of Notary Don Pasquale. The 2016/17 season sees him make debuts with Scottish Opera, La Scala, Milan and with the Dutch National Opera. He was both a finalist in the GSMD’s Gold Medal Competition and was awarded the Silver Medal by the Worshipful Company of Musicians. He has also been the recipient of a Richard Van Allen Award and an Independent Opera Scholarship.
As a vocal pedagogue, he has given a lecture series on the anatomy and physiology of classical voice at the Wellcome Collection’s ‘This is a Voice’ Exhibition and has given talks on voice at the Royal Opera House. He is currently working towards his PhD focussing on respiratory function.
She also wrote the first Vocal Pedagogy syllabus for a university-accredited MA. Some of her teaching work is in vocal rehabilitation; she offers guidance for singers who may have challenges with vocal health or technique. Jenevora’s PhD research looked into the vocal health of intensively trained child singers.
The purpose of the Voice Geek Conference is to provide a platform for new researchers to present alongside established researchers and we warmly invite you to submit a paper for consideration on any area of voice pedagogy. We are also open to receive applications involving practical work. We are particularly interested in new areas of learning and welcome both established and new researchers.
Please submit an abstract and bibliography to Deestallan@voiceworkshop.co.uk
A) Research Papers
Please note the following guidelines:
1) The abstract should be 300 words or less. Abstracts exceeding the word limit risk disqualification.
2) Please ensure that you cover the major aspects of the entire paper in the following sequence that includes:
a) the overall purpose of the study and the research problem(s) you investigated.b) the basic design of the study.c) the major findings or trends found as a result of your analysis.d) a brief summary of your interpretations and conclusions.
a) the overall purpose of the study and the research problem(s) you investigated.
b) the basic design of the study.
c) the major findings or trends found as a result of your analysis.
d) a brief summary of your interpretations and conclusions.
3) Please be aware that a bibliography is key to assessing the academic rigour involved in the research process, abstracts without a bibliography attached risk disqualification.
B) Practical Demonstrations:
Applications are welcome for work involving a practical demonstration. Please consider the following when applying:
1) Please label your work clearly indicating the words Practical Demonstration.
2) Provide 300-word synopsis of the demonstration. Within that synopsis provide details of your objectives, content and research basis. The delivery time must not be longer than 20 minutes.
3) Only demonstrations built on rigorous research will be considered.
4) Please attach a bibliography with your application. Please note that any application without a bibliography runs the risk of disqualification as will applications that exceed the word limit.
5) The practical demonstration must be capable of being delivered to a theatre with limited standing room.
Once your application has been received your name will be removed. All abstracts will then receive a blind review by an independent specialist and a grade will be allocated. Speaker slots will then be allocated according to grades.
All participants will be notified by Friday 8th February 2019
Conference costs are £95.00 (Vat Inc) for 1 day and £175 (Vat Inc) for both days, starting 9:15am until 5pm (approx.)
Please note that in accordance with standard conference practice, all participants will be expected to pay the conference fee for the days that they are attending. This is because of the cost implications of hosting a conference.
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