Joyce Hall Wolf (left) presented in 2016
We are pleased to announce the Poster Paper presenters who have been selected for the 55th NATS National Conference in Las Vegas. Listed in the categories and schedule below are 40 presenters, representing a total of 31 presentations. The judging of submissions was completed in January and we thank all who offered their knowledge and expertise.
Poster Paper Sessions will take place during the lunch break (noon to 2:00 p.m.) on Saturday, June 23 and Sunday, June 24. Attendees have the opportunity to visit each table and chat with paper presenters. Posters will be judged by a panel and a winner will be chosen at the end of the Conference.
Listed below are the presenters, by category. Each is linked to the program schedule below.
Timothy Lupia, Kelsey Lewis, Kirsten Brown, Dorothy Shrader, and Kathy K. Price; Westminster Choir College - Examining Voice Efficiency: A Comparison of Voice Parameters Following a Voice Lesson and a Choral Rehearsal
Poster Paper Session I • Saturday, June 23 • 12:00 p.m. to 2:00 p.m.
Location: Trinidad Pavilion
Poster Paper Session II • Sunday, June 24 • 12:00 p.m. to 2:00 p.m.
Location: Trinidad Pavilion
Rufus Wainwright's Songs for Lulu: When a Rock Musician Goes Classical
Presenter: Nicole Asel, Sam Houston State University
American-Canadian rock musician and singer/songwriter Rufus Wainwright (b.1973) has had a prolific career in pop music, but has long been fascinated with classical vocal music and opera. The year that Songs for Lulu was composed was a period of significant professional growth and creative output that was influenced by events in his personal life including the passing of his mother, Canadian folk singer Kate McGarrigle, and the birth of his daughter, Viva Katherine. The song cycle incorporates both an aria from his first opera, Prima Donna and songs from a project with the Berliner Ensemble entitled Sonnets (text by William Shakespeare) along with autobiographical songs (text by Wainwright). The vocal and pianistic demands, juxtaposition of contemporary and Shakespeare text along with the hybrid musical style makes this a rich and complex musical experience.
Pedagogical Approaches to Belting in Contemporary Commercial Singing
Presenter: Elizabeth Ann Benson, Auburn University
This poster addresses one of the most controversial elements of voice pedagogy: How to teach belting. In this study, twenty-seven exemplary teachers of contemporary commercial singing were interviewed, including the founders of eight major pedagogical methods. Each teacher was asked to describe their approach to teaching belting. Their open-ended responses yield varied and sometimes contradictory approaches. A brief history of belting pedagogy will contextualize trends revealed by the data, and informed suggestions for where the field may be headed will be offered.
Uses of Technology to Create, Track and Communicate SMART Goals
Presenter: Alta Boover, Oakland University
One of the more effective ways to accomplish any goal is to ensure that the goal is SMART; Specific, Measurable, Achievable, Realistic, and Timely. Students often find it difficult to measure their success, and it is in this area that technology can assist greatly. There are many technologies used by athletes and business professionals in order to track physical activity, or to monitor progress on goals. This poster presentation will recommend successful technologies for tracking SMART goals in order to provide better feedback, to help students measure progress, and to motivate students to use their practice time more efficiently.
Effects of Obstructive Sleep Apnea for the Singer
Presenter: Diane Burt, Private Studio
Obstructive Sleep Apnea (OSA) is caused by a physical obstruction of the airway that makes breathing difficult or impossible during sleep. A singer suffering from OSA will have many problems such as a reduction of stamina, memory, and life expectancy. Weight gain, muscle spasms, and endocrine imbalance may also occur. Treatment suggestions have been researched and are listed on the poster.
Opera Stars on Film: Chaliapin, Ibert, and G.W. Pabst’s Adventures of Don Quixote
Presenter: Keith Clifton, Central Michigan University
This presentation will examine the role of Russian bass Feodor Chaliapin and composer Jacques Ibert—and, briefly, Maurice Ravel—in the creation and dissemination of G. W. Pabst’s film Adventures of Don Quixote (1933). Widely considered the first film adaptation of the popular novel, it was released in three languages (French, English, and German) to take full advantage of Chaliapin’s fame on the opera stage and to improve the film's chance of commercial success. At the same time, the film provided a prototype for future opera stars appearing in movies and video, extending from Mario Lanza (The Great Caruso) to Lily Pons through more recent examples by Pavarotti (Yes, Giorgio) and Anna Netrebko.
Vocal Health and Wellness from the Undergraduate Perspective
Presenters: Deanna Goudelias and Kim Councill, Bucknell University
Undergraduate students participating in a wide variety of singing activities on a liberal arts campus responded to a survey regarding their routine health practices, their knowledge of their institution's offerings in vocal wellness, and their personal vocal health experiences and concerns.
Czech Arias for Soprano: An Anthology
Presenter: Kylie T. Gougler, Waldorf University
My poster presentation is collection of 20 soprano arias from a plethora of Czech operas, with beautiful music by composers rarely heard outside the Czech Republic. The arias were carefully chosen based on pedagogical considerations, and then given a sub-classification within the soprano Fach based on the writings of Richard Boldrey, Richard Miller, and Rudolf Kloiber, (i.e. light lyric, soubrette, full lyric, etc.) respectively, so that sopranos of every age may find a Czech aria which suit her best. A brief introduction to Czech diction will also be presented, as well as common catchphrases sure to become the next fad to hit Las Vegas.
Exploring Repertoire for the Undergraduate Lyric Tenor: A Guide to the Performance of Ten Francesco Paolo Tosti Songs
Presenter: Mark Kano, Bellarmine University
Synopsis: Selecting diverse repertoire for the undergraduate lyric tenor can be a challenging process for instructors of this voice type. Francesco Paolo Tosti, a lyric tenor and composer, wrote songs that exemplify technical concepts that should be cultivated in the undergraduate lyric tenor voice. This guide will present ten Tosti songs that address technical issues which the lyric tenor must overcome to progress into more advanced repertoire.
Self-Assessment Protocol for Singers
Presenter: D. Brian Lee, Independent Studio
The protocol consists of instructions for recording oneself via audio and video media, followed by documenting quantitative and qualitative measures while listening to/watching the recordings. There are three main parts: Vocal Tasks including exercises and repertoire, Quantitative and Qualitative Assessment, and Journaling.
Examining Voice Efficiency: A Comparison of Voice Parameters Following a Voice Lesson and a Choral Rehearsal
Presenters: Timothy Lupia, Kelsey Lewis, Kirsten Brown, Dorothy Shrader, and Kathy K. Price; Westminster Choir College
The purpose of this study is to observe the differences in voice production (airflow, acoustical output parameters, and survey results) of undergraduate students after 1.) an hour-long choral rehearsal and 2.) an hour-long voice lesson. Participants in this study are enrolled with voice as their primary instrument, which requires both choral singing and one-on-one voice lessons with an individual faculty member. Pedagogical considerations include comparisons of voice use efficiency in both circumstances in response to both the collected data (acoustical and mechanical) and perceptual responses of the singers themselves.
The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias
Presenter: Joshua May, University of Michigan-Flint
This study examines select opera and concert arias that Mozart wrote for three unique singers: Valentin Adamberger, Vincenzo Calvesi, and Anton Raaff. Each concert and opera aria were written for the strengths of the changing tenor voice in this era, and the research shows an analysis of the range, flexibility, dynamics, orchestra texture, comic vs. heroic roles, role and aria tessitura, and lineage of pedagogical tools for these three unique tenor voices during this era. This review will serve as a pedagogical training tool in the modern age for collegiate tenors with regard to preparing the technical demands of these concert arias into larger operatic roles on the stage.
The Legacy of Korean Art Song Since 1920
Presenters: Moon-Sook Park, University of Arkansas; and You-Seong Kim, North Park University
Since its birth in the early 20th century, the legacy of Korean art song has continued with the development of modern lyric poetry. It has played an important role in reflecting the social, political, and cultural aspects of human life through many periods of conflict, including the Japanese Occupation (1910–45) and the Korean War (1950–53). Along with a summary of Korean art song history, representative Korean art song composers as well as their art songs will be presented with a focus on their musical styles as related to their subject matter. As a practical guide for singers, information about Korean lyric diction will be also introduced in a summary drawn from the authors’ recently-published book, Korean Art Songs: An Anthology and Guide for Performance and Study.
Weight Lifting and the Effects on the Voice
Presenter: Shauna Puccio, Westminster Choir College
This study examined the possible effects of weight lifting on the vocal folds of a female graduate student whose primary instrument is voice. The participant of this case study lifted weights in the three main muscle groups: arms, abdominals, and legs. VoceVista was used to record vocalized pitches in the participants chest, middle, and head voice and the differences in vibrato consistency, brilliance, and noise in the sound were recorded.
César Franck: Pater Seraphicus of the French Mélodie
Presenter: Joseph Regan, Bowie State University
César Franck overcame public humiliation and failure as a young man to forge a lasting legacy as a teacher and composer. As a result of his early setbacks, Franck developed a unique set of skills that enabled him to write beautiful mélodies and inspire and mold the next generation of mélodie composers including Ernest Chausson, Henri Duparc, and many others.
Your Body as the Instrument: Vocal Techniques and the Instrumental Music Education Major
Presenter: Amy Rosine, Kansas State University
Learning about the voice, an instrument of the body, rather than an external instrument, can be an exciting and challenging process of discovery. This poster identifies specific instrumental playing techniques that once identified, can aid in developing the singing voice.
Bringing Awareness to Vocal Exploration (BRAVE) work for students with Parkinson’s Disease
Presenter: Wendy Rowe, University of Wisconsin-Milwaukee and Private Studio, Madison, Wis.
BRAVE work is a new approach in coping with the debilitating effects of Parkinson’s – a degenerative neuromuscular disease. Using voice building techniques, the student can experience a more expressive voice and increased abilities to be heard and understood leading to an improved quality of life.
The Second Vocal Tract Resonance: fR2 Strategies in Performance and in the Studio
Presenter: Chadley Ballantyne, University of Northern Colorado
This poster paper will examine examples of singers using fR2 coupled with a source harmonic. It will also demonstrate "Chadley's Weird Exercise," which uses American /ɹ/ to help singers discover the resonance strategy. This includes both the acoustic implications of the use of /ɹ/, examples of students performing the exercise, and the desired outcomes of this type of resonance work in the studio.
Vocal Health in Undergraduate Performing Arts Program
Presenter: Amanda Flynn, Pace University
Vocal health is taught in multiple formats and to varying degrees in different universities and training programs. This survey study of over 300 recent performing arts graduates looks at what type of information is being taught, how prepared graduates are to handle their vocal health and injuries, the prevalence of injuries while in school, students’ suggestions to improve their vocal health education, and a comparison of various disciplines
Verklärtes Jahr: A Song Cycle by Joseph Marx
Presenters: Tracelyn Gesteland, University of South Dakota; and Amanda Johnston, University of Mississippi
Marx composed his only song cycle, Verklärtes Jahr (Transfigured Year), in the years 1930 to 1932. This significant, yet rarely performed work has been referred to as a song symphony, due to the variety of colors in the expansive lyric orchestration. Marx's gift for melody and tonal language is highly apparent in these unusual songs set by five different poets. The poster will provide a brief analysis of each song from the singer and pianist perspective and will discuss several challenges inherent in performing the complete work in piano reduction.
Beyond the 24 Italian Songs: Implications for Private and Undergraduate Voice Studios
Presenter: Melissa Heath, Utah Valley University
The 24/26/28 Italian Songs and Arias are the standard fare for Italian repertoire among vocalists at the high school and undergraduate university levels. As students progress, they often move on from these songs to Handel and Mozart arias, and then on to Romantic era opera, essentially jumping from Caccini to Puccini, with little in between. This paper presents resources for underutilized Italian Songs and arias in the Baroque, Classical, Romantic and Modern eras to expand the repertoire of both teachers and students alike.
Jocelyne Binet’s Cycle de Mélodies: Unearthing a Forgotten Song Cycle
Presenter: Matthew Hoch, Auburn University
Montréal composer Jocelyne Binet’s Cycle de Mélodies was programmed in 1955 by the French baritone Gérard Souzay in a performance that was most likely the world premiere. Unfortunately, Binet’s song cycle was never published and the work was soon forgotten. In the fall of 2016, the author of this poster presentation discovered Binet’s original handwritten manuscript pages in the Bibliothèque et Archives Nationales du Québec and began the process of reconstructing the score. This poster presentation discusses the editorial journey undertaken when resurrecting Binet’s forgotten song cycle.
Primary Muscle Tension Dysphonia in Classical Singers
Presenter: Elizabeth Lepock, The University of Western Ontario
With the athletic effort required for classical singing, it is unsurprising that dysfunctions such as Primary Muscle Tension Dysphonia (PMTD) arise, but it is surprising is how little is known about this disorder in singers, and how little it is understood in the singing community. This poster will present a review of the clinical and vocal pedagogy literatures, demonstrating the still-sparse knowledge of PMTD, and will outline the rationale, methodology, and preliminary results of a narrative inquiry into the experiences of classical singers diagnosed with the disorder.
Exploring the Songs of Florence Smith Price
Presenter: Elizabeth Momand, University of Arkansas – Fort Smith
Born in Little Rock, Arkansas, in 1888, African-American composer Florence Beatrice Smith Price is most well-known for her symphonic and piano works while her vocal works remain largely unexplored. Price was trained in the European musical tradition, yet her works contain many Southern sounds and influences - the sounds of the African-American church being the most prevalent among them, along with hints of the blues. This poster presentation examines historical events in the life of Florence Price, and her offerings to solo voice repertoire.
Visca Catalunya! Documenting Underrepresented Art Songs by Catalán Composers of the Twentieth and Twenty-First Centuries
Presenter: Isai Jess Muñoz, University of Delaware
Catalunya is an autonomous community in Spain where the repressive and still resonating effects of Francisco Franco’s dictatorial ban on its native language, Catalán, contributed to lack of published editions and scarce diffusion of its endangered classical song literature abroad. Although several local publishers have begun to recover the countless musical works by neglected Catalán composers of the past century, the broader dissemination of their products can only truly flourish when performing artists outside Catalunya acquire this music and choose to interpret them. This presentation aims to shed light on this nationalistic musical practice of the Twentieth and Twenty-First Centuries—its history and its style—and provides a context for an understanding of the practice so that the genre of Catalán Art Song may continue to gain recognition.
Cross-Training for the Voice
Presenters: Jennifer Bryant Pedersen, Mars Hill University; and Jeanette Fontaine, Mississippi State University
Thoughtfully practicing a variety of isometric exercises in one practice session alleviates boredom and removes excess tension that can result from prolonged attention to one technical exercise. As long as the singer understands the process and goals (both aural and physical), there is improvement on each repetition as the body “figures out” how to achieve the desired result
Use of “Chest Voice” in Mozart’s "Come Scoglio": Resonance, Reception, and Reflection
Presenter: Katherine Petersen, Northeastern Illinois University
This study evaluates the resonance strategies of professional sopranos singing "Come Scoglio" from Mozart’s Così fan tutte. Spectral analysis is used to determine what kind of vocal quality women chose to engage below the staff and then published reviews are referenced to discern how their registration choices were received by audiences and critics.
The Songs of Philip Wharton
Presenters: Mitra Sadeghpour, University of Northern Iowa; and Jonathan Struve, Luther College
The art songs of Iowa-born American composer Philip Wharton (b. 1969) offer a unique and exciting body of music that deserves to be explored by talented singers and performed on the recital stage. His compositional style features lush harmonies, grand drama, and poignant melodies, with piano accompaniments evoking the orchestral sound of Wolf, Mahler, and Strauss. For many of his vocal works, Wharton collaborated directly with the poet on the song texts, adding another intriguing element to the songs. The poster presentation will explore Wharton’s existing body of compositions for voice, with scores and recordings available for perusal. The presenters have experience singing this repertoire, and Philip Wharton will also be present for the presentation, giving attendees an opportunity to converse directly with the composer.
Making Studio Voice Relevant in a Research I University
Presenter: Brenda Smith, University of Florida
The vocal art has a unique power to educate, bridge gaps and unite human beings. Collaborative, interdisciplinary vocal performance activities can infuse the STEM curriculum of a Research I university with beauty and enrich course content. Live performances, lecture recitals, and Arts in Medicine initiatives deepen knowledge and may serve to attract perspective students and provide grant funding. Learn how you can invigorate your learning community and advocate for the arts.
The Songs We Love to Hate: A Pedagogical Analysis of Twenty-Four Italian Songs and Arias
Presenter: Sarah Love Taylor, Greensboro College
While not originally created as a pedagogical tool, Twenty-Four Italian Songs and Arias has become the most owned songbook in voice studios, the first book new students add to their library, and fodder for auditions, juries, and competitions across the country. To gain a more complete understanding of the anthology's value as a teaching tool, this poster presents and analyzes data from a November 2017 survey of 282 voice teachers regarding their use of the collection in teaching.
The Songs of Heinrich Marschner (1795-1861)
Presenter: Jeffrey Williams, Austin Peay State University
Heinrich Marschner (1795-1861) is seen as the most important composer of German opera between Carl Maria von Weber and Richard Wagner, but he also wrote over 400 songs in his lifetime. Marschner wrote songs for all voice types and levels of experience that deserve to augment those standards we hear consistently on concert stages. The author has cataloged and organized the songs of Marschner detailing the title, the poet, the opus number, the range, the tempo, the voice type for which it was written, the publisher, and the level of difficulty. Marschner deserves his place among respected nineteenth century German composers of vocal music and his songs should be in greater circulation.