Speaking Fundamental Frequency and Voice Classification for Sopranos and Mezzo-Sopranos
Jennifer Burks, soprano, is known for her “lovely, gleaming soprano voice” and “effortless virtuosity”. She performs a wide range of repertoire and has a passion for early and chamber music. Most recently, she was a winner of the 2022 Rhode Island Civic Chorale and Orchestra’s Collegiate Vocal Competition and will be debuting as the featured Soprano in Handel’s Messiah with the group in December of 2022. Jennifer has also held a private voice studio since 2017 and has developed a passion for helping voices of all ages and experiences to find their most authentic, joyful voice.
Jennifer has recently caught the research bug and has been exploring the relationship between the singing and speaking voice. Her current project is exploring differences in the speaking voices of mezzo-sopranos and sopranos and is looking forward to expanding her research. Jennifer is a graduate Vocal Pedagogy student at the New England Conservatory of Music under the direction of Dr Ian Howell and is in the voice studio of Lisa Saffer. She holds a Bachelor of Music in Vocal Performance from the University of Arkansas (2015).
Interprofessional Collaborative Approaches in Graduate Curriculum to Improve Vocal Health Outcomes in Stage Actors
Kathryn Cunningham (she/her) is an Assistant Professor of Theatre at the University of Tennessee, Knoxville and a certified teacher of Knight-Thompson Speechwork. As an actor, she has appeared on a host of stages in New York and across the country as well as in film and television. Recent voice, text, and dialect coaching includes Nashville Rep; River & Rail Theatre; Southwest Shakespeare Company; and multiple productions at Clarence Brown Theatre. Her work has been published in the Voice and Speech Review, The Conversation, and the International Dialects of English Archive. In addition to a graduate certificate in vocology from the Department of Speech and Hearing Science at Lamar University, she holds an M.F.A. in Acting from Florida State University/Asolo Conservatory for Actor Training. She is a proud member of Actors’ Equity Association since 2010, SAG-AFTRA, VASTA, and PAVA.
Lady Catherine Cantor Cutiva
Effect of Quality Sleep and Stress on Voice Functioning of Colombian College Professors during Covid-19 Pandemic
Speech-Language Pathologist and Audiologist, Masters in Health and Safety at Work from Universidad Nacional de Colombia, Masters in Health Sciences with specialization in Public Health, and Doctor in Health Sciences from Erasmus University in Rotterdam (Netherlands). She was a scholarship holder of the European Commission in the Erasmus Mundus (ERACOL) program, and of the Administrative Department of Science, Technology and Innovation – Colombia (COLCIENCIAS) in the “Francisco José de Caldas Scholarship Credit” program. She was a Research fellow at DENERG at the Polytechnic University of Turin and a Postdoc at VBALAB at Michigan State University. Since 2018, she has been a professor in the Department of Collective Health at the National University of Colombia. Starting from August 2021, she is a Research Faculty at the Communicative Sciences and Disorders Department at Michigan State University.
Postural Modifications for Vocal Training and Therapy, Do They Work?
Adrián Castillo-Allendes, M.Sc., SLP, is a Fulbright scholar from Santiago, Chile. He received his M.S. in Speech-Language Pathology and Hearing, and M.Sc. in Clinical Exercise Physiology from Universidad Mayor, Santiago, Chile. Besides, Adrián completed his studies by taking diplomas in Voice Habilitation, Research Methodology, and a diploma in Teaching for Higher Education. He has almost ten years of experience working in various clinical settings with people with voice disorders, including professional voice users, and people with Parkinson’s disease. In the last years, he worked as a lecturer in the Health Sciences Department at the Pontifical Catholic University of Chile, Faculty of Medicine.
Currently, he is working as a Research Assistant in the Voice Biomechanics and Acoustics Laboratory with Dr. Eric Hunter at Michigan State University. Adrián likes biking, running, listening to and playing music, and enjoying time with his wife, Javi, who is also an SLP.
Adrián’s research interests include the voice exercises prescription under the use of concepts linked to the principles of exercise physiology and sports training in subjects with vocal fatigue; and the use of voice exercises to favor the quality of voice and swallowing in people with hypofunctional vocal patterns.
Ashley E D'Agosto
Speech–Language Pathology Students Identification and Perception of Modal Register, Vocal Fry, and Uptalk
Raised in Staten Island, NY, Ashley E D’Agosto graduated from the New York University in 2022, with a Master’s degree in Speech-Language Pathology. She is currently working as a speech-language pathologist in private school settings, with an emphasis in Autism Spectrum Disorder (ASD). She is also a research assistant under Dr. Celia Stewart.
PAVA's Swing Dance Lesson & Party on Friday, August 19th at 7:30PM CDTDee Daniels started Swing Dancing at the age of four with her Dad in the basement, wearing her Mom’s heels and her favorite plaid skirt. With a hiatus into hip-hop during her school years, she was called back to Lindy Hop, becoming an influential member of the Minneapolis scene, where you can find her teaching at Uptown Swing.Dee loves feeling free on the dance floor. She advocates for self-expression and individual creativity as the spirit of solo jazz and Lindy Hop. She loves Lindy Hop’s particular way of encouraging collaboration between music and partner, priding herself on making each dance unique to the musical experience and partner.Dee has taught, performed, and choreographed nationally and internationally. She specializes in vintage jazz, Charleston, and Lindy Hop.For more information: https://deedanielslocke.wixsite.com/jazzy
The Influence of Multisensory Input on Voice Perception and Production using Immersive Virtual Reality
Internal vs. External Focus of Attention for Voice Learning
Ümit Daşdöğen, MSc., SLP, Ph.D. Candidate, began his career in acting in Turkey, earning an acting diploma from Müjdat Gezen Art Center in Istanbul. Then he earned a BA in opera performance from Istanbul University State Conservatory and a post-graduate degree in vocal performance from the University of Music and Performing Arts Vienna. Related employment included working as a vocalist in the Vienna State Opera and as an actor and singer at Istanbul Municipal Theaters. In 2017, he received an MSc. in Speech and Language Pathology from West Virginia University. Currently, he is a Ph.D. Candidate in Communication Sciences and Disorders at the University of Delaware. His research interests include professional vocal performance, voice training, voice acoustics, motor control and learning of voice production, and using virtual reality in voice learning.
Cricothyroid Visor Maneuver (CVM): A New Treatment Protocol for Muscle Tension Dysphonia
Ali Dehqan. Ph.D., Assistant professor and Member of Iran Medical Council and Dean of rehabilitation Faculty at Zahedan University of Medical Sciences, Zahedan, Iran. He is an experienced speech pathologist and experienced in evaluating and treating hyper-functional voice disorders, especially muscle tension dysphonia (MTD). As a voice therapist, he introduced a new treatment protocol (CVM) to release muscle tension and improve joint movements in primary MTD patients. Currently, he is a member of the voice lab at Bowling Green State University in Ohio USA. Moreover, he has researched and co-authored many papers on different aspects in voice disorders and mechanical dysfunction of the larynx. His h-index is 8 according to the Scopus report. Finally, it should be noted that continuously researching the effects of Laryngeal manipulation on the production of voice is one of Dr. Dehqan’s main research domains.
Gleidy Vannesa Espitia Rojas
My Voice: Voice Care Tips – Blended Learning for Professors
Gleidy Vannesa Espitia Rojas is a speech-language pathologist and occupational health specialist at the Universidad del Rosario in Bogotá, Colombia; voice specialist, Master’s in Science degree, and a PhD in Science from the Department of Ophthalmology, Otorhinolaryngology and Head and Neck Surgery, School of Medicine of Ribeirão Preto, University of São Paulo, in Brazil. She is currently an associate at the School of Medicine and Health Sciences at the Universidad del Rosario in Bogotá. She works in the voice clinic and voice occupational.
- Speech and Language Pathology
Skills and expertise
- Speech Science
- Speech Acoustics
- Acoustic Analysis
- Voice Diagnostics
- Voice Therapy
- Voice Training
Cognitive Developmental Model of Vocal Learning in Children
Hagar Feinstein is an Israeli Speech-Language Pathologist. Currently, she is a PhD candidate in Communication Sciences and Disorders at the University of Delaware, with Dr. Katherine Verdolini Abbott as her doctoral advisor. She is interested in pediatric voice and specifically voice as a major component of communication. Her main interest is in the connection between language and cognitive development and voice, and the effect of these factors on voice disorders and voice treatment in young children. Her clinical experience working with children at risk and their families highlighted the importance of direct intervention in voice disorders in young children and the need for theoretical and clinical knowledge in this domain. In addition to treating children with voice disorders, Ms. Feinstein has also treated children with different types of developmental difficulties including language impairments, childhood apraxia of speech, speech disorders, stuttering, and autism. She is dedicated to the proposition that as clinicians we should treat based on cutting-edge knowledge and she aspires to contribute to the evolution of pediatric voice treatment to help children and their families.
Does a Systematic Vocal Exercise Program Enhance the Physiologic Range of Voice Production in Classical Singing Graduate-Level Students?
Effectiveness of a Physiologic Voice Therapy Program based on Different Semioccluded Vocal Tract Exercises in Subjects with Behavioral Dysphonia: A Randomized Controlled Trial
Dr. Guzman is a voice pathologist with eighteen years of clinical and academic experience. He received his Ph.D. in Speech Techniques and Vocology from the Tampere University, Finland. He also holds a certification in vocology from the University of Iowa and National Center for Voice and Speech (USA). Dr. Guzman joined the faculty at the Universidad de los Andes, Department of Communication Sciences and Disorders in 2018 following a 15-year academic career at the University of Chile. He also works as a clinician in the Department of Otolaryngology, Las Condes Clinic, Chile. Moreover, He joined the Tampere University (Finland) as Adjunct Professor in 2018.
Dr. Guzman is an active researcher and author of numerous scientific articles and book chapters related to the underling physiology of semi-occluded vocal tract exercises, physiologic voice therapy, and supraglottic constrictions during singing and speaking voice. Dr. Guzman is frequent speaker and lecturer at national and international meetings on topics related to assessment and management of voice disorders. He belongs to the editorial board of the Journal of Voice and to the Pan American Vocology association (PAVA) Advisory Board.
Effects Of Nebulized Saline On Vocal Fatigue In Classically Trained Sopranos
Soprano Maegan Hoogerhyde is a graduate student at New England Conservatory, where she is working toward her Master of Music in Vocal Pedagogy and studying with Karen Holvik. She holds a Bachelor of Music in Vocal Performance from Montclair State University. She has been teaching privately since 2019 and enjoys research, teaching, and performing, all aspects she has been able to take part in at NEC. Her paper, “Effects of Using a Personal Steam Inhaler on Phonation Threshold Pressure and Acoustic Voice Quality Index,” was published in a research report by the NEC Voice Pedagogy Department in February 2022, and she presented her paper “Effects of Using Nebulized Saline on Vocal Fatigue in Classically Trained Sopranos” at NEC’s Vocal Pedagogy Symposium in May 2022. As a performer, she has sung the roles of First Lady in Die Zauberflöte, Asteria in Tamerlano and First Conversa in Suor Angelica, and has covered the role of Bubikopf in Der Kaiser von Atlantis. She has appeared in scenes as Blondchen and Konstanze in Die Entführung aus dem Serail, Catherine in Le mariage aux lanternes, Frau Herz in Der Schauspieldirektor, Najade in Ariadne auf Naxos, the title role in Semele, the Princess in Transformations, First Priestess in Iphigénie en Tauride, and Serpina in La serva padrona.
If You Can Speak You Can Scream!
Nicolás Hormazábal is a voice teacher and Extreme Vocals Coach who has dedicated more than half of his life to the study of singing, he began to sing in the national circuit of bands (Chile) when he was 14 years old, at the age of 20 he decided to start dedicating himself to the vocal training of other people, under the scoop that anyone can sing in any vocal aesthetic they want. As time went by, Nicolás noticed a great gap in the teaching of “vocal distortions” or “extreme voices” in Chile, which led him to study further, which has led him to carry out research with prestigious speech therapists and present at various international conferences.
The effective and rapid progress of the people who have worked with Nicolás has made his name reach recognition in different Spanish-speaking countries, reaching more than 1000 people trained in 11 different countries.
Maíra dos Santos Jaber
How to Teach Your Students (Or Yourself) to Sing Runs
Voice Performance from a Neurocognitive Perspective
Maíra dos Santos Jaber, MM, is an active professional singer, singing teacher and music director native of Rio de Janeiro, Brazil. Currently, she is a PhD Student at the Music Program of the Federal University of Rio de Janeiro, where she develops research on voice performance/pedagogy and music cognition. In 2021, she received the “Paulo Pontes Award”, an important incentive award for voice research in Brazil. She is the founder and director of the SING Studio, where she teaches Contemporary Christian Music, Brazilian Music, Gospel, Jazz, R&B and other CCM styles. She works as a diction coach for non-portuguese-speakers-singers who want to sing Brazilian Jazz in its original language. In 2018, she worked with the brilliant singer Donna McElroy (Berklee College of Music voice professor), coaching her Brazilian Portuguese pronunciation for the recordings of the album “Carinhoso”. Maíra Jaber is also a Contemporary Christian Music recording artist, worship leader, choir conductor and voice producer.
Voce Vista Video Pro: Basic Training
Pilot Study: Perceptual Ratings of Two Groups of Young Adult Treble Singers
Margaret Kennedy-Dygas, D.M., CCC-SLP, Professor of Music, Ohio University, teaches voice and voice pedagogy. Her career has spanned performance, scholarship of practice, and higher education administration. Research interests include the scholarship of teaching, voice literature and pedagogy, and the acoustic analysis of the speaking and singing voice. Kennedy-Dygas has presented sessions for the Pan-American Vocology Association (PAVA), National Association of Teachers of Singing (NATS), College Music Society (CMS), Music Teachers National Association (MTNA), National Association of Schools of Music (NASM), and a2ru. She has published articles in the Journal of Singing, American Music Teacher, Notes, and The College Music Society Newsletter. As a soprano soloist, she has presented over 200 performances in the United States and abroad in concert, recital, and opera. Administrative positions held include Dean of the College of Fine Arts at Ohio University; Associate Dean, College of the Arts, University of Louisiana at Lafayette; Chair of the Department of Music, Hope College; and Head of the Voice Area at the University of Nebraska-Lincoln, and University of Kentucky.
Kennedy-Dygas holds degrees in voice performance from the Cleveland Institute of Music and the Jacobs School of Music, Indiana University Bloomington, as well as the M.A.-SLP degree from The University of Akron. In 2006, she was awarded the John and Ruth Reed Faculty Achievement Award from Hope College for her work in program development. She has served the College Music Society at the chapter and national levels, and is a site evaluator for the NASM Commission on Accreditation.
A Single-Subject Self-Study on Daily Vocal Function Throughout the Menstrual Cycle
How We Did It: Remote Collaboration on a Scoping Literature Review of the Belt Voice
Performer, pedagogue, and speech language pathologist, Sarah Kervin, MM, MS, CCC-SLP, splits her time between the worlds of vocal artistry and clinical voice rehabilitation. Sarah served as an Assistant Professor of Voice at Berklee College of Music for almost a decade and is also an active performer as a singer, songwriter, and instrumentalist. She completed her master’s degree in speech language pathology at New York University, studying under Doug Roth and Dr. Edie Hapner as a clinical intern in voice as well as conducting research with Dr. Aaron Johnson’s lab at NYU Voice Center. Sarah recently completed her clinical fellowship in voice, swallowing, and upper airway at The Voice Rehab in Miami, Florida, and is excited to return home to New York City in 2022 to join the team at the Grabscheid Voice and Swallowing Center at Mount Sinai.
Sympathetic/Parasympathetic Balance: Increase Mindfulness. Enhance Readiness.
Carol Krusemark is a voice-specialized speech-language pathologist at the Massachusetts General Hospital Center for Laryngeal Surgery and Voice Rehabilitation. Current clinical focus includes rehabilitation of the speaking and singing voice, the impact of trauma on the professional and emerging vocalist, and trauma-informed care in voice therapy, the vocal studio, and clinical supervision. She has worked in a variety of settings, including hospitals, out-patient clinics, schools, and military treatment facilities, with clients across the lifespan. As a vocalist and former voice teacher, she brings her understanding of voice terminology and technique to her work with vocalists, while her speech pathology background informs her understanding of vocal function.
Pilot Study: Perceptual Ratings of Two Groups of Young Adult Treble Singers
Dr. Laurie Lashbrook, soprano, is an Associate Professor of Music, and Chair of the Voice area at The University of Akron School of Music where she teaches voice, vocal pedagogy, and song literature. A versatile performer in recital, oratorio, and opera productions, she has sung throughout the United States and internationally. She has developed expertise in the music of Czech composers and has been an invited lecturer and performer at the Wagner Symposium, the Czech and Slovak Music and Related Arts Conference, the International Conference on the Arts in Society in Australia, the International Czech and Slovak Competition, the 2020 OMEA Professional Development Conference, 2020 National Association of Teachers of Singing National Conference, and Moravian Master Class in the Czech Republic. In 2009, acclaimed Czech composer Sylvie Bodorová wrote her song cycle Jabloňový Vlak [Apple Train] for Lashbrook, pianist Timothy Cheek, and dancer Bohuslava Jelinková. In addition to teaching at The University of Akron, Dr. Lashbrook served on the faculty of the Vianden International Music Festival and School in Luxembourg. Former students are singing at Minnesota Opera, San Francisco Opera, Pittsburg Opera, Indianapolis Opera, and Resonance Works.
Seeing the Whole Person: Translating Well-being Science to the Classroom
Babette Lightner, RSME (She/her)
My work, Wholeness in Motion (WIM), is an ongoing synthesis of 40 years of exploring movement, somatic work, nature, mythology, and culture. WIM informs my contribution as Co-Creative Director for the Center of Sound Music Education as well as the workshops, residencies, and courses that I teach. WIM is informed by my training as a Certified Alexander Technique teacher and Registered Somatic Movement Educator (RSME-30 years), and a LearningMethods™ teacher (20 years). I bring to WIM what I learned from years of teaching with the VoiceCare Network, University of Minnesota’s Music Department and Professional Actor Training Program, and the lectures, workshops and courses given for many universities, institutions, and organizations, including the Guthrie Theater, Sister Kenny Institute, Balk Opera Music Institute, Taipei National University of Arts in Taiwan, Western University in Ontario.
Wholeness in Motion and my writing, teaching, and video work center on co-creatively exploring what it is to thrive and reclaim wholeness. WIM offers tools to transform the dominant hierarchical-based western cultural framework that is embedded in many of our bodies and our strategies. The work is one voice in the global movement to embody and regenerate Life-Giving paradigms on a personal level for global change.
Coaching Strategies for Singing Lessons
Luiza Lobo is a professional singer, singing teacher, voice coach, and co-founder of the Full Voice® Institute, company in which she has already trained more than 1500 singing teachers in Brazil. Over the years, Mrs. Lobo participated in several singing courses, in different methodologies and pedagogical approaches to seek the best references for the method used in her company today. In addition, she has a strong background in voice science. She holds a specialization degree from the University of Coimbra in the sciences of speech and singing and has attended the Vocology Institute at the University of Utah. She also completed an MBA in Coaching and People Management, where she learned and studied techniques and strategies from the business world that she adapted to teaching singing in order to optimize and accelerate student results.
Caio César Loesch Ferreira
Vocal Mapping – How to Analyze Voices And Learn from Them?!
Caio Loesch is a Brazilian vocal technique teacher, singer and songwriter. A teacher since 2017, he has experience and received recognition for teaching, through biomechanics and laryngeal physiology, the various adjustments of contemporary singing, as well as vocal distortion techniques.
He realized early on that he was looking for a scientifically supported approach to singing teaching, which would explain the production of vocal sounds from a physiological point of view. In this sense, in addition to a degree in Music Education, he graduated in Contemporary Singing from the Brazilian Institute of Contemporary Singing (IBCC) and Psychology (studying). In addition to international experience with individual classes and workshops, he served as a monitoring teacher in the courses of the Brazilian Institute of Contemporary Singing; and in 2021, he started teaching international students.
During the last few years, Caio has had his work presented at several congresses and workshops, highlighting the 2021 edition of the symposium of the Pan-American Vocology Association (PAVA SYMPOSIUM) and the “6o Congresso Brasileiro de Profissionais da Voz Rock” (6th Brazilian Congress of Professionals in Rock Voice). His main theoretical-methodological references are Vocal Anthropophysiology, a field of study and intervention in singing voice that aims to make contemporary singing feasible in all its nuances; and Behavior Analysis, a science that studies the conditions for learning and maintaining behaviors based on the individual’s interaction with their environment.
“What makes a singer unique is the ability to produce with their voice the sounds that only someone with their history could imagine.” — Caio Loesch, 2021.
Effects of Semi-Occluded Vocal Tract Exercises on Singing Teacher Voice Fatigue After Varied Teaching Modes
Brian Manternach, D.Mus., is an associate professor in the University of Utah’s Department of Theatre and a research associate for the Utah Center for Vocology. He is an associate editor of the Journal of Singing, writes “The Singer’s Library” book review column for Classical Singer, and has given presentations for the Voice Foundation, the Pan American Vocology Association, Voice and Speech Trainers Association, Physiology and Acoustics of Singing, Fall Voice Conference, the National Association of Teachers of Singing, and TEDxSaltLakeCity. His voice students are actively pursuing performance careers from New York to Los Angeles and abroad.
For more info: www.brianmanternach.com
Jeremy N. Manternach
Effects of Semi-Occluded Vocal Tract Exercises on Singing Teacher Voice Fatigue After Varied Teaching Modes
Jeremy N. Manternach, Ph.D., is associate professor of vocal music education and area chair of music education at the University of Iowa. He teaches undergraduate and graduate choral pedagogy, voice science, music education, and research courses and coordinates and conducts the UI Youth Chorale, a high school outreach choir. He currently serves on the editorial board of the Journal of Research in Music Education and as the editor of Sounding Board, the journal of the Iowa Choral Directors Association.
Dr. Manternach is a frequent guest clinician and conductor in Iowa and beyond. He has conducted all-state, conference, region, and city honor choirs in Arizona, Colorado, Idaho, Iowa, and Kansas. His research interests include choral conducting gesture and singer efficiency, choral and vocal acoustics, and pre-service teacher voice use. Publications to date include articles in the Journal of Research in Music Education, Psychology of Music, the International Journal of Research in Choral Singing, the Journal of Voice, Voice and Speech Review, and The Choral Conductor’s Companion.
Reconnection and Resilience: Proprioception for Improved Pedagogy and Presence
Dr. Stacey Mastrian is a soprano, voice teacher, functional anatomy facilitator, and diction and presentation coach who empowers her clients to uninhibit their true voices and to make holistic changes through a process that she calls Endogenous Education™. She is the founder of Mindful Vocal Engineering™, Singing with Ease™, Sounding the Voice Within™, and Vocal Freedom for Life™.
For the past three decades, she has been on a journey of exploration through a multitude of modalities incorporating mind, body, breath, and voice—including the Alba Method, Alexander Technique, Feldenkrais, Franklin Method® (certified Level I Movement Educator and Lower Back and Pelvic Floor trainer), mindfulness practices, Pilates, sound healing, and more—in order to offer client-centered experiences that facilitate self-awareness and a felt understanding of anatomy that enables expressive communication in performance and in life.
Dr. Mastrian has been a Fulbright fellow to Italy and has sung in over a dozen languages and around the globe at venues such as Carnegie Hall and Lincoln Center in NY, the Kennedy Center in DC, the Konzerthaus in Berlin, and Teatro La Fenice in Venice. She has been an Assistant Professor of Voice and Coordinator of Voice/Opera at the Sunderman Conservatory of Music at Gettysburg College and has taught at American University, Peabody Conservatory of the Johns Hopkins University, and the University of Maryland Baltimore County and College Park.
Dr. Mastrian currently maintains a select virtual private studio, and gives masterclasses and workshops as a guest clinician worldwide. For more information, see www.mastrianstudio.com.
Trauma-Informed Voice Care
Geneva Mayne, SLPD, CCC-SLP, is a speech-language pathologist and graduate of the Doctor of Speech-Language Pathology program at Kean University. She is currently completing a summer research internship at Emory Voice Center. Her research interests include health and healthcare disparities in communication disorders, and psychosocial risk factors in patients with voice disorders.
The Effects of Vocal Demands on Professional Voice Users With and Without Voice Disorders
Sarah McDowell is a speech-language pathology master’s student at the University of Texas at Dallas. Currently, Sarah is a member of the Integrative Laryngeal Biophysiology Lab at UT Dallas, where she is involved in multiple research projects regarding supraglottic laryngeal configuration patterns and extrinsic laryngeal movement patterns. In 2021, Sarah completed the Summer Vocology Institute through the National Center for Voice and Speech. She holds a BM in vocal performance from the University of North Texas and a BS in communication disorders from Utah State University. Outside of her studies, Sarah is a 200-hour Yoga Alliance registered yoga instructor and has been teaching yoga since 2015.
Edrie Means Weekly
Crossing Over from Classical to Commercial Styles
Edrie Means Weekly, “Rock Star of Vocal Crossover” (The Cultural Feed), is an internationally recognized expert in training singers in all vocal styles and an active professional singer. She is the recipient of the 2021 Van Lawrence Fellowship Award. Edrie was a Master Teacher for the NATS Intern Program in 2013 and is the Co-Founder of the Contemporary Commercial Music (CCM) Vocal Pedagogy Institute. Edrie has presented numerous papers, countless workshops, and master classes at national and international conferences. She regularly presents at the Voice Foundation Symposium, NATS National Conference, Pan-American Vocology Association (PAVA), the Southeastern Theatre Conference, Mid-Atlantic NATS, Northwestern NATS, and universities throughout the United States. She serves as a peer editor for various professional journals and publishers. As a leading researcher in functional voice training and healthy vocal production, she has authored research publications in The Journal of Voice regarding the teaching of the Broadway voice. Edrie’s first publication in The Journal of Voice (2003), led to establishing the Shenandoah University’s CCM Vocal Pedagogy Institute. She is a contributing author of four books: Teaching Singing in the 21st Century, The Vocal Athlete (second edition), The Voice Teacher’s Cookbook: Creative Recipes for Teachers of Singing, and Training Contemporary Commercial Singers. Edrie is on the Advisory Boards for the NATS National Musical Theatre Competition and NATS National Student Auditions, the Voice Foundation, the Pan American Vocology Association, and the Musical Theatre Educator’s Association. Edrie is the biological daughter of The King of Bluegrass, Jimmy Martin. Her students can be heard on Grammy Award recordings, on Broadway, Off-Broadway, National and International Tours, Regional Theatre, TV (including The Voice, American Idol, Kidz Star USA), Recordings, Cruise Ships, Theme Parks, Films, NYC and Regional Cabaret Venues, Concert Halls and Opera Houses worldwide. Edrie has been in demand as a contemporary music specialist. She has sung lead roles in the world premieres of works by Philip Glass, Dominick Argento, Jacob Druckman, and in Kaballah by Stewart Wallace, in which the role of Binah was written for her and a CD recording made with Koch Records. NPR broadcast Dominick Argento’s The Dream of Valentino, in which she created the role of Jean Aker and PBS broadcast Philip Glass’ The Making of The Representative of Planet 8, in which she created the role of Klin. Nationally and internationally, she has appeared in leading roles with the Houston Grand Opera, Washington Opera, Wolf Trap Opera, Cleveland Opera, Des Moines Metro Opera, Opera Mid-Michigan, Opera Grand Rapids, Pittsburgh Playhouse, and the State Opera of Cairo, Egypt. Her many performances have been broadcast internationally on NPR and PBS. She was last seen nationally and internationally on TV in the role of Suzy in the opera La Rondine directed by Marta Domingo which was released on DVD by Decca. In addition to her operatic roles, she has sung extensively in leading roles in musical and operetta productions, including Follies, My Fair Lady, Carousel, The King and I, West Side Story, Show Boat, The Sound of Music, The Merry Widow and Zorba. Recitals in the United States and Canada include a New York City debut in the New York Festival of Songs Series with pianist Michael Barrett and Guest artist with symphony orchestras of Houston, Cleveland, Corpus Christi, Victoria, and the National Symphony. Edrie was the standby for Patti LuPone in the title role of Regina at the Kennedy Center and was a member of the Sondheim production of Follies starring Bernadette Peters. She has been on standby for Broadway stars Elaine Paige, Linda Lavin, and Terry White. She returned recently to the Kennedy Center in My Fair Lady with Jonathan Pryce and Cloris Leachman.
Psychology and the Voice
Stephanie Misono, MD, MPH, FACS, is Director of the Lions Voice Clinic, Associate Professor in the Department of Otolaryngology-Head and Neck Surgery, and adjunct faculty in the Department of Psychology at the University of Minnesota, Minneapolis, Minnesota. Her clinical and research goals are to optimize outcomes in patients with laryngeal disorders. She completed medical school at Harvard University, an otolaryngology residency and MPH at the University of Washington, and a laryngology fellowship at Vanderbilt University. She is a recent member of the Voice Committee of the American Academy of Otolaryngology and her research on psychological factors and voice disorders is supported by the NIH and the American College of Surgeons/Triological Society.
The Tongue as a Gateway to Voice, Resonance, Style, and Intelligibility
Tongue “Secrets” Revealed
Angelika Nair, Ph.D., is a professional singer, Vocologist, voice pedagogue, and owner of Pro Voce LLC, a voice studio providing private vocal instruction and habilitation, in addition to an academic teaching career.
Dr. Nair researches and specializes in the use of voice technology and kinesthesis and pioneered the practical use and implications of ultrasound as both a voice research and biofeedback tool in the voice studio. Using MRI, Ultrasound and spectrographic techniques, she has conducted groundbreaking research investigating the physiology of the Low Mandible Maneuver (drop of the posterior mandible) and its ramifications for resonance production, as well as the rehabituation of tongue shapes required for all phonemes in high-ranking singers.
Building on these new scientific discoveries, Dr. Nair has developed a regimen of exercises combined with step-by-step instructions and pedagogical tools that help accelerate the learning of various vocal strategies (physioacoustic) and address the multitudinous challenges of sensory awareness, flexibility and control within the tongue.
The critical success of this work has led to her newly released book The Tongue as a Gateway to Voice, Resonance, Style, and Intelligibility (Plural Publishing 2021), publications in peer reviewed journals, 1st Place in the 15th Annual David W. Brewer Award for Best Poster, recipient of the Van Lawrence Award 2020 by the Voice Foundation and NATS as well as presentations worldwide. Dr. Nair teaches voice workshops, master classes, and lectures at music schools, conservatories, and universities both nationally and internationally.
Dr. Nair also maintains an active professional performing career throughout the United States and Europe.
Interprofessional Collaborative Approaches in Graduate Curriculum to Improve Vocal Health Outcomes in Stage Actors
Dr. Sri Nandamudi is an ASHA-certified Speech-Language Pathologist and Assistant Professor in the Department of Communication Sciences and Disorders at the College of Health Professions, Grand Valley State University in Grand Rapids, MI. She teaches undergraduate and graduate level dysphagia and voice disorders, and supervises adult section of SLP clinical practicum in SNF/LTAC settings. She is one of the recipients of the 2020 distinguished early career professional certificate from ASHA in recognition of making an impact in the areas of leadership and/or advocacy in the field of speech and hearing. Dr. Nandamudi is passionate to learn and advocate for interprofessional collaborative practice in management of voice, upper airway, and swallowing disorders. She developed many interprofessional dysphagia and voice labs/simulations in collaboration with other healthcare disciplines as part of her coursework to improve student’s self-confidence and preparedness on clinical and professional competencies before beginning their medical SLP placements.
Theodora Ivanova Nestorova
Convergences in the Articulatory Settings of Bulgarian, Russian, and English: Bulgarian Lyric Diction as an Accessible Gateway to Singing in Cyrillic
Bulgarian-British-American soprano, researcher, and teacher Theodora Ivanova Nestorova loves creating interdisciplinary and cross-cultural musical connections. Theodora was a 2018-2019 Fulbright Study/Research Grant Recipient to Vienna, Austria, studying MA Lied/Oratorio at the Universität für Musik und darstellende Kunst Wien and conducting voice science research. Theodora is currently pursuing an Interdisciplinary PhD at McGill University’s Schulich School of Music, graduated in 2021 with a MM (Vocal Pedagogy & Music-in-Education Concentration) from the New England Conservatory, and a BM (Voice Performance/Musicology) from Oberlin Conservatory in 2018.
As a scholar, Theodora was awarded the Pan American Vocology Association (PAVA)’s Best Student Presentation for her original vibrato research and has presented at The Voice Foundation’s 50th Anniversary Symposium, the 10th International Congress of Voice Teachers, the 7th International Physiology & Acoustics of Singing Conference, the National Opera Association conference, The Voice Foundation’s New Investigator Research Forum, and the International Symposium on Performance Science. Theodora’s work has been published in PAVA’s InFormant.
Serving on the e-board of International Montréal National Association of Teachers of Singing (NATS) Chapter/ NATS International Chapître, Theodora is an active pedagogue, continuing to maintain a private voice teaching and language coaching studio while serving as a course lecturer/instructor at Framingham State University.
The 2018-2019 first-place winner of the American Prize in Vocal Performance (Art Song), Theodora is an avid early and contemporary musician. She has recorded world premiere compositions for international record label album releases with the Wladigeroff Brothers, at the Bulgarian National Radio, with the Indictus Project, and has performed in New England Conservatory (NEC)’s Liederabend Series in Jordan Hall, Wien Modern Festival, Bang on a Can, and Emmanuel Music’s The Bach Institute. Theodora is one-half of the experimental soprano-cello duo, Pizzicanto.
For more, visit: theodoranestorova.com
Diversity and Equity in Repertoire Selections for Western Classical Voice
Paul M. Patinka (they/them/Mx.), MM, MM, Certificate in Vocology, is an independent researcher living in beautiful Providence, RI. Their research interests include bridging the intersectional gap to include race, queer, and gender studies in voice science and pedagogy. A frequent recitalist, Paul enjoys delving into underperformed works and the music of marginalized composers.
Breathing for Performing and Rehabilitation
Louise Pinkerton, MM, MA, CCC-SLP, is a clinical singing voice specialist, clinical assistant professor coordinating voice services at the Wendell Johnson Speech and Hearing Clinic at the University of Iowa, and speech-language pathologist for the LGBTQ Clinic at University of
Iowa Hospitals and Clinics. She provides voice and upper airway services across the lifespan, rehabilitation for professional voice users, and gender affirming training. Her professional and research interests include voice perception and training perceptual skills, culturally sensitive practice, graduate student supervision, and group voice training and therapy. Louise earned vocal performance degrees from Indiana University and the University of North Dakota, and a master’s degree in speech-language pathology from the University of Iowa. Louise has a certificate in vocology from the University of Utah and the National Center for Voice and Speech (NCVS). She presented
at conferences with the Voice Foundation, Pan American Vocology Association (PAVA), American Speech-Language-Hearing Association, National Association of Teachers of Singing, National Federation of Music Clubs, and this fall with the National Association for Music
Education. For PAVA, Louise serves as the Continuing Education Administrator for ASHA CEUs. Louise received the prestigious ASHFoundation Graduate Award and numerous singing awards including regional finalist in the Metropolitan Opera Competition. She is a soprano with professional opera and musical theatre experience and training in vocal pedagogy for classical and contemporary commercial music (CCM). For 20 years, Louise taught singing, privately and at the University of North Dakota and Minnesota State University Moorhead. She is certified in SPEAK OUT! and LSVT LOUD.
The Role of Yōga (Āsnās - Postures, Prānāyāma - Breathing, and Dhyāna - Meditation) in Developing Singing Capacity and Techniques
Fr. Dr. Paul Poovathingal is a Carmelite Catholic Religious Priest who is popularly known as the Singing Priest of India. He is an accomplished Indian Classical Vocalist (Karnatic) and an NCVS (National Center for Voice and Speech) trained Vocologist from Kerala, India. He took his Ph.D. in Indian music from the University of Madras. Performed music concert for the President of India at President’s house, New Delhi; and also in USA, Canada, UK, Europe, Africa, and Gulf Countries. Paul studied voice first with Prof. Dr. Jeannie Goffi at Columbia University, New York in 2003. Then he joined for Vocology summer course at the National Center for Voice and Speech under the supervision of Dr. Ingo Titze in 2006.
He is the founder of Chetana National Institute of Vocology, the first vocology institution in India. He has been running regular vocology workshops and certificate courses for professional voice users, with the help of the Government of India. He has developed a novel treatment method for professional voice users by integrating Indian (yoga) and western methods of voice therapy. Paul has presented workshops for the virtual symposiums of PAVA for the last two years. He also made a presentation on Vocology in India for the international Vocology Symposium organized by NCVS in 2010. He has played an important role to popularise vocology in India.
Musical Theatre Performance: What's the Difference?
Adam Roberts has served as artistic director, musical director, and consultant for a wide range of companies, productions, and projects throughout his career. An Austin-based artist, he can be found at St. Luke United Methodist Church (Director of Music), Resolution Creative (Cofounder and Principal), TILT Performance Group (Cofounder and Producing Artistic Director), The Actor’s School and Carol Hickey Acting Studio (Voice and Movement Faculty), The Long Center for the Performing Arts (Resident Musical Director for Education), and as a freelance director and conductor on projects throughout Central Texas. His students have performed in principal roles on Broadway, Off-Broadway and in regional theatre, been nominated for the Tony Award, and appeared in film, national tours, and on network television.
In addition to his role as musical director of Music Theatre Online and Libretto with the New York Public Library for the Performing Arts, Adam was the Founding Artistic Director of the Austin Jewish Repertory Theater and a Contributing Expert for Backstage. He holds an M.M. from Florida State University, Executive Certificate in Arts and Culture Strategy from the University of Pennsylvania, Vocology Certificate from Lamar University, and undergraduate degrees from Kent State University and Youngstown State University’s Dana School of Music.
With affiliations including PAVA (Cofounder and Chair, Central Texas Chapter), Stage Directors and Choreographers Society, and Voice and Speech Trainers Association (VASTA), Adam is a recipient of multiple B. Iden Payne Awards and Shalom Austin’s Exemplar of Excellence Award.
Learn more about his work at adamkroberts.com and on social @adamrobertsvoice.
James D. Rodriguez
Diversity and Equity in Repertoire Selections for Western Classical Voice
Praised for his “authoritative and rich baritone”, James D. Rodriguez has appeared as Escamillo (Carmen), Figaro (Il barbiere di Siviglia), Dandini (La Cenerentola), Don Profondo (Il viaggio a Reims), Harlekin (Ariadne auf Naxos), Faninal (Der Rosenkavalier), Belcore (L’elisir d’amore), Captain Magallanes (Salsipuedes), Dr. Rappaccini (La Hija de Rappaccini), Baron de Gondremarck (La Vie Parisienne), Harašta (The Cunning Little Vixen), Vicar (Albert Herring), Nardo (La finta giardiniera), Figaro (Le nozze di Figaro), Tonio (Pagliacci) and as the title roles in Don Giovanni and Rigoletto with such companies as Des Moines Metro Opera, Opera IOWA, Opera in the Heights, Utah Festival Opera & Musical Theatre, Opera Theater of Pittsburgh, the Natchez Festival of Music, and the Moores Opera Center. Concert appearances include Beethoven’s 9th Symphony & Mass in C, Fauré’s Requiem, Handel’s Messiah, Carlisle Floyd’s Pilgrimage, Mahler’s Lieder eines fahrenden Gesellen, and Rossini’s Petite Messe Solennelle with the Houston Camerata, Fort Bend Symphony, and San Antonio Symphony, among others.
Marianna “Annie” Rubino
Student Impressions of Lessac Kinesensics Training
Marianna “Annie” Rubino, MFA, MS, CCC-SLP, is a PhD student at the University of Delaware in the lab of Katherine Verdolini Abbott, PhD, CCC-SLP, MDiv with additional mentorship by Maria Dietrich, PhD. Annie received her Master of Fine Arts degree in acting from the University of Houston Professional Actor Training Program, and her Master of Science degree from New York University – where she has taught Voice Disorders, Advanced Voice Disorders, Motor Speech Disorders, Neurogenic Bases of Speech, and Critical Evaluation of Research as an adjunct in the online modality of the MS degree in CSCD since 2017. Prior to becoming an SLP, Annie acted professionally in New York City, London, Chicago, Houston, and Milwaukee primarily in classical theatre. Research interests associated with voice include identity, implementation science, adherence, personality, and actor voice. Annie has studied Lessac Voice and Body Training with Deborah Kinghorn, the Suzuki Method of Actor Training and Viewpoints with Anne Bogart, and Fitzmaurice Voicework with Catherine Fitzmaurice. She is a current member of The Voice Foundation, PAVA, and VASTA.
The Upper Vocal Tract Contribution on the Auditory Perception of Twang
Binary and non–binary trans women’s perception on voice care in Santiago, Chile
Marcelo Saldías is a Chilean SPL. He completed a specialty diploma in Vocology and a specialty diploma in Research Ethics in Humans at the University of Chile (2016 and 2019, respectively). Currently, Marcelo is a student of the Doctoral Program in Vocology at Tampere University, Finland, with Dr. Anne-Maria Laukkanen as his advisor. His line of research is “Vocal economy in CCM singing technique.”
Marcelo also completed the Voice Teacher Training Program (New York Vocal Coaching studio) in 2015, with Mr. Justin Stoney as his mentor. In 2017, Marcelo became an Authorized VIP Instructor. Later, from December 2019 to March 2020, he served as a board member of Vocology in Practice.
In Chile, he works at the Chilean Vocal Academy and the University of Chile Hospital. Additionally, he is an Assistant Professor at the Department of Communication Sciences and Disorders of the University of Chile.
Manual Therapy as a Modality for Treating Jaw and Tongue Tension in Singers
LEDA SCEARCE, MM, MS, CCC-SLP: A singer and voice teacher for over 30 years, Leda Scearce provides voice evaluation and rehabilitation therapy to singers, actors, and other vocal performers with voice injuries. She holds bachelor’s and master’s degrees in voice performance from Indiana University, and a master’s degree in speech pathology from Boston University.
Scearce is a frequent speaker at national and international voice conferences. Her performance experience includes appearances as a leading soprano and soloist with opera companies, orchestras, and music festivals across the US. She is the author of Manual of Singing Voice Rehabilitation: A Practical Approach to Vocal Health and Wellness (Plural). She is a founding member of the Pan American Vocology Association and served as President from 2017-2019.
A Longitudinal Case Study of Singer Voice Range Profile and Song Tessituras
Dr. Matthew Schloneger is Associate Professor of Voice at Friends University in Wichita, Kansas, where he teaches applied voice, vocal pedagogy, lyric diction, opera, and musical theatre. He holds a PhD in vocal pedagogy from the University of Kansas as well as an MM from the University of Cincinnati CCM and a BA from Goshen College. He was a Rotary Scholar at the Civica Scuola di Musica di Milano and holds a certificate in French language from the Sorbonne.
Schloneger has performed principal roles with Opera Theatre of St. Louis, Operafestival di Roma, Wichita Grand Opera, Opera Kansas, and others. He frequently performs vocal chamber music with The Sunflower Trio, which includes his wife, violinist Rebecca Schloneger.
Schloneger currently serves as President of the Kanas Chapter of NATS and recently completed his term as Central Region Governor of PAVA. Research awards include the Van Lawrence Fellowship (2017 co-winner), Best Research Poster at the NATS National Convention (2014) and Best Student Presentation at the Voice Foundation Symposium (2015). His research has been published in the Journal of Voice, Journal of Singing, JRME, and International Journal of Research in Choral Singing.
Erica V. Simmons
The Associations between Sleep Patterns and Singing Voice Quality during the COVID-19 Pandemic
Dr. Erica Vernice Simmons, lyric soprano, is an Adjunct Professor of Voice (TCC) and a Studio Artist with Fort Worth Opera. She was a McNair Scholar and a former Teaching Fellow at the University of North Texas. She is currently enrolled in the Performing Arts Medicine Association’s (PAMA) course for Performing Arts Medical Certification in Vocal Health. Dr. Simmons’ past guest lectures/presentations include: Black Heritage Recital at the Texoma Artist Series Conference (NATS 2020), Black Repertoire Guest Lecture (Arkansas State University 2020), Art Song and Aria Prep Guest Lecture (Louisiana Tech University 2020), Vocal Health and Anatomy (Tarrant County College 2019), (Voice Science and Pedagogy UNT (Vocal Arts Society 2018).
Artistically, Dallas Morning News’ review of her title role in the (2021) world premiere of A Lily Among Thorns in The Winspear Opera House with Das Blümlein Project described her “supply shaping lines and spinning out high notes with a beautiful silvery tone…with a full-bodied low register.” She has performed in Spoleto, Italy (CCM Spoleto Festival), Graz, Austria (AIMS), in the Porgy and Bess opera (2019) with FWO, and various other operas across the US. She was a first-place winner in the Memphis Beethoven Club 2017 Young Artists Competition and will be making her directing and assistant directing debut for Fort Worth Opera’s ‘22-‘23 Season. She’s been featured as a soloist with the Memphis Symphony Chorus. Additionally, students of Dr. Simmons have gone on to receive vocal scholarships at several distinguished universities and superior ratings in solo and ensemble.
The Contemporary CCM Sung in Portuguese: Fado Novo and Nova MPB
Luciano Silva, D.M.A., M.A., M.M., is a singer (baritone), voice teacher, choral conductor, and researcher. Since 2014 he has been a tenured professor of music (voice and choral music) with the Latin American Integration University in Brazil, where he teaches voice technique and many different vocal styles (including jazz, musical theatre, and Latin-American genres such as bossa nova and tango). He holds a doctorate of musical arts from Michigan State University in voice performance, as well as two masters’, one in music (choral conducting) and another one in arts (musicology), from the same university. He has completed post-doctoral research at the University of Coimbra, investigating the Fado voice, and the São Paulo State University, where he investigated belt technique. Dr. Silva has a firm knowledge of voice science, having completed courses such as “Integrated Training in Voice” (under Dr. Mara Behlau), “The Science of the Singing Voice” (under Dr. Johan Sundberg), and “ProVox” (under Dr. Filipa Lã). His former voice teachers include Patricia Green, Richard Fracker, and Martha Herr.
Dr. Silva has been presenting papers and research at some of the most important conferences in voice, such as ICVT 2022, PAVA 2021, PEVoC 2019, and ICVT 2017, as well as masterclasses and lectures in universities such as the University of Coimbra, Mozarteum University in Salzburg, Georgia State University and the University of Bremen. Notwithstanding, Dr. Silva is the official translator to Brazilian Portuguese of Richard Miller’s The Structure of Singing, published in 2019. Moreover, Dr. Silva has extensive choral and vocal ensemble experience, which started 34 years ago with the vocal group Beijo. He also sang with the São Paulo Symphony Chorus, the Elmer Iseler Singers and the MSU Chorale, and directed choirs in Brazil, USA and Canada.
Lori L. Sonnenberg
Registration Balance for Singers in the Treatment of Muscle Tension Dysphonia: A Comprehensive Training Model
Lori L. Sonnenberg is a Licensed Speech-Language Pathologist, Clinical Voice Specialist, and Singing Voice Specialist. With over 20 years’ experience in the Singing and Speech Pathology fields, she combines her passion for treating injured voices with her extensive background as a singer and voice teacher. As a voice teacher, she uses her unique background to help singers of all ages, styles and genres overcome vocal difficulties and develop their voice to their full potential. She has achieved remarkable results in working with her own students and patients as well as in assisting some of the country’s most respected voice teachers and clinicians.
Ms. Sonnenberg works exclusively with voice, upper airway, and singing disorders and specializes in helping singers overcome voice injuries, muscle tension dysphonia, post-operative voice struggles, and problematic technical voice issues. She is a certified member of the American Speech and Hearing Association (ASHA) holding the Certificate of Clinical Competency (CCC-SLP) and is a member of the National Association of Teachers of Singing (NATS). After a successful and rewarding career as a team member at a busy voice center and laryngology practice, she is now the Owner and CEO of Sonnenberg Voice, located in Downers Grove, Illinois, and has been teaching private voice since 1998.
Acoustic and Aerodynamic Characteristics of Infant Cry
Ingo R. Titze is a vocologist with formal education in physics (PhD), electrical engineering (MSEE), and music. He directs the National Center for Voice and Speech at the University of Utah, where he holds adjunct appointments in Surgery, Biomedical Engineering, and Music. He is a Fellow and Honoree of the American Speech Language Association, a Silver Medalist of the Acoustical Society of America, and served as the first elected President of the Pan American Vocology Association. He has authored four books, edited three books, and published over 450 journal articles. Dr. Titze continues to be an active singer.
Does Vocal Fatigue Affect Low Vocal Range in Professional, Female Opera Singers?
Melissa Treinkman, DMA, is a singer and voice teacher based in Los Angeles. She teaches musical theatre voice at the University of Southern California and classical voice at Loyola Marymount University. Melissa has sung with opera companies throughout the US, including LA Opera, Sarasota Opera, Utah Opera, Opera North, Chicago Opera Theater, and Cedar Rapids Opera Theater. She can be heard as part of the Featured Ensemble on the GRAMMY award-winning recording of The Ghosts of Versailles. Also with LA Opera, she has sung the role of the Vendor in Carmen, a Noble Page in Tannhäuser, and is a regular member of the LA Opera Chorus. A champion of new music, Melissa recently sang the role of El Ángel in a workshop performance of the newly commissioned opera by Carla Lucero, Las tres mujeres de Jerusalén. She also sang the role of Dulcinea in the world premiere of Juan Colomer’s opera Dulcinea XL with the LA Grand Ensemble.
Melissa earned a Doctor of Musical Arts degree from the University of Southern California, a Master of Music from DePaul University, and a Bachelor of Music from Northwestern University. Her research interests include the focus of attention in voice training and vocal fatigue.
Melissa’s papers have been published in the Journal of Singing and the Journal of Voice. She was the 2020 recipient of the Voice Foundation’s Sataloff Award for Young Investigators and was the first researcher ever to win the award in the category of vocal pedagogy.
Applying Pain Science to Voice Therapy
Judith Wodzak (MA, CCC-SLP, PGCert Professional Practice Voice Pedagogy, NCVS Vocologist) is a speech language pathologist and vocal health educator in Wisconsin. She came to the field of speech language pathology after her own experience as a singer with a functional voice disorder. She is currently completing an MA in professional practice voice pedagogy via the University of Wales, Trinity St. David. Her research interests include functional voice disorders, chronic pain, and non-shaming vocal health education for young vocalists.
Can a Self-Talk Instructional Aid Assist in the Development of Singing Student Self-Efficacy?
Fernando Zimmermann is a professional singer, singing teacher, voice coach and co-founder of the Full Voice® Institute, company in which he has already trained more than 1500 singing teachers in Brazil and lead a team of more than 40 singing teachers.
Mr. Zimmermann was certified in Speech Level Singing and Somatic Voicework, participated in several singing trainings and voice conferences seeking different approaches that served as references for the method used in his company today. He also holds a specialization degree in Neuroeducation and is currently in the MA program in Vocal Pedagogy at Voice Study Centre + University of Wales Trinity Saint David. As a singing teacher, he has trained many participants of The Voice Brazil, renowned recording artists, and singers ranging from beginners to advanced levels.
As a singer, he has vast experience singing different music genres, from rock’n roll to music theatre. He has already sung in concerts in front of one of the most prominent orchestras in Brazil – Camerata Florianópolis – as well as toured around the country.