Comparative Musical Theater Methods: An Annotated Bibliography (Elizabeth Gerbi)
Baxter, M. (1989). The Rock-N-Roll Singer’s Survival Manual. Milwaukee, Wisconsin: Hal Leonard Publishing.
Surprisingly comprehensive and informative “how-to” book addressing a variety of health and wellness /physical fitness concerns appropriate for singers of all styles, acoustic fundamentals of sound production, practicing strategies, breath management techniques, and coping techniques for maintaining vocal hygiene on a busy performance or touring schedule, while offering the most complete discussion of vocal function I have ever seen offered in a “commercially-marketed” singing text (the margins of the book contain a “flip-book” to demonstrate the active descent of the diaphragm!). Also includes an expansive chapter on engaging with performance repertoire on an emotional level, as well as practical tips on how to address notes in the studio (“If you’re singing flat, it usually indicates that there’s tongue tension restricting the larynx… take a break and do a warm-down routine… focus on thinning down the vocal folds and reducing your air pressure….) (p. 195-6), microphone techniques, and practical tips such as how to speak effectively between song sets.
Cross, M. (2007). The Zen of Screaming. DVD. Warner Brothers Publishing.
Commercial tutorial DVD designed by rock vocal coach Melissa Cross aimed at preserving the intensity and vocal effects required for rock/metal vocals without compromising the vocal mechanism; Cross bases her methodology in anatomical terms and functions (explained briefly prior to segments), but provides a handful of kinesthetic devices (“Veranda,” “Above the pencil,” etc.) designed to help lighten and even registration, encourage consistent breath management, and discuss the use of fry and ventricular “screaming.” Very “down-to-earth” and non-intimidating resource for students apprehensive at the notion of studio instruction who might find the colloquial language and simple (but practical) imagery-based exercises helpful!
Edwin, R. (2007). Belt is legit. Journal of Singing, 64(2), 213-215.
Edwin explores the etymology of the term “belt” as originally serving to distinguish “lower” entertainments (burlesque, vaudeville, dance hall, etc.) from the “legitimate” arts, and the recent efforts of voice science forerunners to inform the teaching community at large regarding the new rather excellent scholarly research identifying the exact physiological causes of belting (TA dominance, tempered by the lesser activity of the CT muscles in preventing over-thickening of the vocal fold, and increased CQ). In addition, he criticizes the efforts of the teaching community to promote a “faux belt” (CT-dominant, “fake” belt), endorsing the practice only when the range of the piece clearly exceeds the “fach” of the belter, and discusses some of the gender-based physiological distinctions between the male and female belt.
McCoy, S. (2007). A classical pedagogue explores belting. Journal of Singing,63(5), 545-549.
McCoy, a “non-belter” (and renowned classical instructor and pedagogue) addresses the questions of whether or not belting necessitates an elevated laryngeal position or other traditional signs of “vocal distress” (clenched jaws, tight neck muscles, etc.) through an objective study and acoustic analysis (Voce Vista); he concludes that such symptoms are usually indicative of “incorrect” belting, just as would be seen in “incorrect” classical singing, and that it is clear healthy “belt” qualities can occur through a variety of different strategies such as CQ ratios.
Melton, J. & Tom, K. (2012). One Voice: Integrating Singing and Theatre Voice Techniques. Long Grove, Illinois: Waveland Press, Inc.
In One Voice, Melton describes some of the historic differences in acting and singing training, asserting that both professions may benefit enormously from each other’s established traditions (i.e., that singers would enjoy the physical training embraced by most schools of acting, and that actors may benefit from understanding “singing” as one of the primal uses of the voice like laughing, crying, etc.). Combining her extensive backgrounds in Fitzmaurice Voicework ® with affiliated studies ranging from Shakespearian elocution to yoga, Melton provides a series of movement modules and vocal exercises designed to permit “free” vocalization and increase overall kinesthetic sensitivity and awareness.
Melton, J. (2007). Singing in Musical Theatre: The Training of Singers and Actors. New York, New York: Allworth Press.
A different approach to the standard practical singing text, Melton’s book is comprised of a collection of extensive interviews with leading vocal pedagogues and theatre voice specialists in the United States, Australia, and the United Kingdom, where Melton investigates each instructor’s unique approach to a similar groups of questions based on breathing, alignment, articulation, and professional development; the United States chapter alone compares the methods of Elizabeth Howard, Wendy LeBorgne, Joan Lader, Jeannette LoVetri, Mary Saunders-Barton, and Neil Semer. Questions range from the philosophically sweeping (“Why do you teach what you teach? What drives you?”) to the specific (“Do you use movement-based training in your work?”). Each interview includes a list of suggested resources and professional publications by the instructor in question.
Latimerlo, G. & Popeil, L. (2012). Sing Anything: Mastering Vocal Styles. Lexington, Kentucky: Latimero/Popeil (Self-Published).
Sing Anything presents a crossover approach, employing common strategies for posture and support while incorporating Popeil’s patented “laryngeal height” (#1-5) system and specific techniques to adjust vocal tract and resonators (lips, tongue, pharyngeal constriction, palate) to achieve the specific desirable timbral characteristics for most Western music styles, for example, describing musical theater singing as requiring “jaw movement similar to that of exaggerated talking…keeping the body of the tongue in a high, forward position….larynx position #3…. Soft palate in a half-lifted position….neutral pharynx…. “ick” face for enhanced ring…” (p.38-39). This book features comparative methods on wide survey of singing genres (opera, operetta, musical theater belting, pop, jazz, rhythm and blues, country, and rock), in the context of the historical development of each style as well as addressing aesthetic/phrasing considerations (“Stylisms,” like vocal fry, growls, and yodels). Information on essential anatomy and function is also included. A number of exercises and audio examples are downloadable from www.singanything.com (login required, provided with book purchase).
LoVetri, J.L. (2002). Contemporary Commercial Music: more than one way to use the vocal tract. Journal of Singing, 58(3), 249-252.
CCM Pedagogue LoVetri (former Sundberg protégé) explains how both “non-mechanistic” (i.e., imagery-based) and functional voice trainers effect change at the level of the vocal folds (the “source”) and in the pharyngeal/oral cavity (filter) whether it is the direct intention of the instructor or not, and presents a brief overview of the acoustic qualities required for musical theater, jazz, rock, and gospel, as well as describing the changes in the vocal tract required for each (“[musical theatre singing] behaves in a speech-like manner…the larynx may ride up and down… none, or a lot of constriction in the pharyngeal space…subglottic pressure and decibel levels consistently high…”) empathizing the “plastic” versatility of the mechanism to produce a broad array of colors and timbres.
LoVetri, J.L. & Means Weekly, E. (2002). Contemporary Commercial Music (CCM) survey: who’s teaching what in nonclassical music.
Journal of Voice, 17(2), 207-215.
A notable survey of singing teachers (both college faculty and freelancers, largely members of NATS and NYSTA) performed in 2002 by CCM instructors LoVetri and Means Weekly demonstrating that a substantial percentage of those currently teaching CCM styles as of that time lacked both practical training and education in CCM production. The questionnaire revealed that although most respondents were teaching musical theater repertoire in their studios (almost 90 percent!), only 56% of the respondents had genre-specific training, and only 20% had both training and professional experience despite the fact that over 90% of those questioned believed the genre to require “somewhat” to “completely” different approaches than classical singing!
Titze, I. (2007). Belting and a high larynx position. Journal of Singing, 63(5), 557-558.
Titze explains why belters tend to prefer bright vowels (that allow the tongue to be thrust forward and the lips to spread, such as /ae/), as well as explaining the phenomenon of the FO crossing the first formant frequency and tracking H2 (and why bases, singing as such low fundamentals, rarely experience the “belt” phenomenon) and why the shortened vocal tract created by a raised larynx aids in the production of other open vowels.
Vocal Jazz Pedagogy Sources (Glennis Houston)
Changing Voices Recommended Sources: Annotated Bibliography (NAFME)
Choralnet.org: Vocal Pedagogy Resources Listing
Research guide for classical, popular, and musical theatre voice pedagogy (University of Montana)
The Voice Workshop: Articles and Videos
"Vocal Process" (Gillian Kayes) Index of
Useful Articles
Source Materials (Indiana University School of Music, Comparative Pedagogy Syllabus):
Alderson, Richard, The Complete Handbook of the Voice, Appelman, D. Ralph (1967),The Science of Vocal Pedagogy, Indiana University Press.
Brown, Oren L. (1996) Discover Your Voice, Singular Publishing Group, Inc.
Brown, William Earl, (1973) Lamperti’s Vocal Wisdom, Boston, Crescendo Publishing Co.
Boytim, Joan Fry (1980) Solo Vocal Repertoire for Young Singers; An Annotated Bibliography, Jacksonville, FL, National Association of Teachers of Singing.
Bunch, Meribeth, (1982) Dynamics of the Singing Voice, Third Edition (1995), Wien, New York, Springer-Verlag.
Coffin, Berton (1987) The Sounds of Singing, Metuchen, NJ, Scarecrow Press.
Carman, et al (1987) Art Song in The United States: An Annotated Bibliography, National Association of Teachers of Singing.
Doscher, Barbara (1994) The Functional Unity of the Singing Voice, Second Edition. Metuchen, NJ, The Scarecrow Press, Inc.
Hixson, Thomas J., (1987) Respiratory Function in Speech and Song, Boston, College-Hill Press.
Kagan, Sergius (1968) Music for the Voice, Bloomington, IN, Indiana University Press.
McKinney, James C., (1994) Diagnosis and Correction of Vocal Faults, Nashville, TN, Genevox.
Miller, Richard, (1997) English, French, German and Italian Schools of Singing, (Revised Edition) New York, Scarecrow Press.
Miller, Richard, On The Art of Singing, (1996) New York, Oxford University Press.
Miller, Richard, (1986) The Structure of Singing, New York, G. Schirmer Books.
Rose, Arnold (1962) The Singer and the Voice, London, Faber and Faber, Ltd.
Rosewall, Richard B. (1961) Handbook of Singing, Reprint 1984, Evanston, IL, Summy-Birchard.
Sundberg, Johann, (1987) The Science of the Singing Voice, DeKalb, Il, Northern Illinois University Press.
Titze, Ingo (1994) Principles of Voice Production, Englewood Cliffs, NJ, Prentice Hall.
Vennard, William (1967) Singing, the Mechanism and the Technique, Boston, Carl Fischer, Inc.
Wormhoudt, Pearl, (1981) Building the Voice as an Instrument, Oskaloosa, IA, William Penn College.
Baxter, M. (1989). The Rock-N-Roll Singer’s Survival Manual. Milwaukee, Wisconsin: Hal Leonard Publishing.
Surprisingly comprehensive and informative “how-to” book addressing a variety of health and wellness /physical fitness concerns appropriate for singers of all styles, acoustic fundamentals of sound production, practicing strategies, breath management techniques, and coping techniques for maintaining vocal hygiene on a busy performance or touring schedule, while offering the most complete discussion of vocal function I have ever seen offered in a “commercially-marketed” singing text (the margins of the book contain a “flip-book” to demonstrate the active descent of the diaphragm!). Also includes an expansive chapter on engaging with performance repertoire on an emotional level, as well as practical tips on how to address notes in the studio (“If you’re singing flat, it usually indicates that there’s tongue tension restricting the larynx… take a break and do a warm-down routine… focus on thinning down the vocal folds and reducing your air pressure….) (p. 195-6), microphone techniques, and practical tips such as how to speak effectively between song sets.
Cross, M. (2007). The Zen of Screaming. DVD. Warner Brothers Publishing.
Commercial tutorial DVD designed by rock vocal coach Melissa Cross aimed at preserving the intensity and vocal effects required for rock/metal vocals without compromising the vocal mechanism; Cross bases her methodology in anatomical terms and functions (explained briefly prior to segments), but provides a handful of kinesthetic devices (“Veranda,” “Above the pencil,” etc.) designed to help lighten and even registration, encourage consistent breath management, and discuss the use of fry and ventricular “screaming.” Very “down-to-earth” and non-intimidating resource for students apprehensive at the notion of studio instruction who might find the colloquial language and simple (but practical) imagery-based exercises helpful!
Edwin, R. (2007). Belt is legit. Journal of Singing, 64(2), 213-215.
Edwin explores the etymology of the term “belt” as originally serving to distinguish “lower” entertainments (burlesque, vaudeville, dance hall, etc.) from the “legitimate” arts, and the recent efforts of voice science forerunners to inform the teaching community at large regarding the new rather excellent scholarly research identifying the exact physiological causes of belting (TA dominance, tempered by the lesser activity of the CT muscles in preventing over-thickening of the vocal fold, and increased CQ). In addition, he criticizes the efforts of the teaching community to promote a “faux belt” (CT-dominant, “fake” belt), endorsing the practice only when the range of the piece clearly exceeds the “fach” of the belter, and discusses some of the gender-based physiological distinctions between the male and female belt.
McCoy, S. (2007). A classical pedagogue explores belting. Journal of Singing,63(5), 545-549.
McCoy, a “non-belter” (and renowned classical instructor and pedagogue) addresses the questions of whether or not belting necessitates an elevated laryngeal position or other traditional signs of “vocal distress” (clenched jaws, tight neck muscles, etc.) through an objective study and acoustic analysis (Voce Vista); he concludes that such symptoms are usually indicative of “incorrect” belting, just as would be seen in “incorrect” classical singing, and that it is clear healthy “belt” qualities can occur through a variety of different strategies such as CQ ratios.
Melton, J. & Tom, K. (2012). One Voice: Integrating Singing and Theatre Voice Techniques. Long Grove, Illinois: Waveland Press, Inc.
In One Voice, Melton describes some of the historic differences in acting and singing training, asserting that both professions may benefit enormously from each other’s established traditions (i.e., that singers would enjoy the physical training embraced by most schools of acting, and that actors may benefit from understanding “singing” as one of the primal uses of the voice like laughing, crying, etc.). Combining her extensive backgrounds in Fitzmaurice Voicework ® with affiliated studies ranging from Shakespearian elocution to yoga, Melton provides a series of movement modules and vocal exercises designed to permit “free” vocalization and increase overall kinesthetic sensitivity and awareness.
Melton, J. (2007). Singing in Musical Theatre: The Training of Singers and Actors. New York, New York: Allworth Press.
A different approach to the standard practical singing text, Melton’s book is comprised of a collection of extensive interviews with leading vocal pedagogues and theatre voice specialists in the United States, Australia, and the United Kingdom, where Melton investigates each instructor’s unique approach to a similar groups of questions based on breathing, alignment, articulation, and professional development; the United States chapter alone compares the methods of Elizabeth Howard, Wendy LeBorgne, Joan Lader, Jeannette LoVetri, Mary Saunders-Barton, and Neil Semer. Questions range from the philosophically sweeping (“Why do you teach what you teach? What drives you?”) to the specific (“Do you use movement-based training in your work?”). Each interview includes a list of suggested resources and professional publications by the instructor in question.
Latimerlo, G. & Popeil, L. (2012). Sing Anything: Mastering Vocal Styles. Lexington, Kentucky: Latimero/Popeil (Self-Published).
Sing Anything presents a crossover approach, employing common strategies for posture and support while incorporating Popeil’s patented “laryngeal height” (#1-5) system and specific techniques to adjust vocal tract and resonators (lips, tongue, pharyngeal constriction, palate) to achieve the specific desirable timbral characteristics for most Western music styles, for example, describing musical theater singing as requiring “jaw movement similar to that of exaggerated talking…keeping the body of the tongue in a high, forward position….larynx position #3…. Soft palate in a half-lifted position….neutral pharynx…. “ick” face for enhanced ring…” (p.38-39). This book features comparative methods on wide survey of singing genres (opera, operetta, musical theater belting, pop, jazz, rhythm and blues, country, and rock), in the context of the historical development of each style as well as addressing aesthetic/phrasing considerations (“Stylisms,” like vocal fry, growls, and yodels). Information on essential anatomy and function is also included. A number of exercises and audio examples are downloadable from www.singanything.com (login required, provided with book purchase).
LoVetri, J.L. (2002). Contemporary Commercial Music: more than one way to use the vocal tract. Journal of Singing, 58(3), 249-252.
CCM Pedagogue LoVetri (former Sundberg protégé) explains how both “non-mechanistic” (i.e., imagery-based) and functional voice trainers effect change at the level of the vocal folds (the “source”) and in the pharyngeal/oral cavity (filter) whether it is the direct intention of the instructor or not, and presents a brief overview of the acoustic qualities required for musical theater, jazz, rock, and gospel, as well as describing the changes in the vocal tract required for each (“[musical theatre singing] behaves in a speech-like manner…the larynx may ride up and down… none, or a lot of constriction in the pharyngeal space…subglottic pressure and decibel levels consistently high…”) empathizing the “plastic” versatility of the mechanism to produce a broad array of colors and timbres.
LoVetri, J.L. & Means Weekly, E. (2002). Contemporary Commercial Music (CCM) survey: who’s teaching what in nonclassical music.
Journal of Voice, 17(2), 207-215.
A notable survey of singing teachers (both college faculty and freelancers, largely members of NATS and NYSTA) performed in 2002 by CCM instructors LoVetri and Means Weekly demonstrating that a substantial percentage of those currently teaching CCM styles as of that time lacked both practical training and education in CCM production. The questionnaire revealed that although most respondents were teaching musical theater repertoire in their studios (almost 90 percent!), only 56% of the respondents had genre-specific training, and only 20% had both training and professional experience despite the fact that over 90% of those questioned believed the genre to require “somewhat” to “completely” different approaches than classical singing!
Titze, I. (2007). Belting and a high larynx position. Journal of Singing, 63(5), 557-558.
Titze explains why belters tend to prefer bright vowels (that allow the tongue to be thrust forward and the lips to spread, such as /ae/), as well as explaining the phenomenon of the FO crossing the first formant frequency and tracking H2 (and why bases, singing as such low fundamentals, rarely experience the “belt” phenomenon) and why the shortened vocal tract created by a raised larynx aids in the production of other open vowels.
Vocal Jazz Pedagogy Sources (Glennis Houston)
Changing Voices Recommended Sources: Annotated Bibliography (NAFME)
Choralnet.org: Vocal Pedagogy Resources Listing
Research guide for classical, popular, and musical theatre voice pedagogy (University of Montana)
The Voice Workshop: Articles and Videos
"Vocal Process" (Gillian Kayes) Index of
Useful Articles
Source Materials (Indiana University School of Music, Comparative Pedagogy Syllabus):
Alderson, Richard, The Complete Handbook of the Voice, Appelman, D. Ralph (1967),The Science of Vocal Pedagogy, Indiana University Press.
Brown, Oren L. (1996) Discover Your Voice, Singular Publishing Group, Inc.
Brown, William Earl, (1973) Lamperti’s Vocal Wisdom, Boston, Crescendo Publishing Co.
Boytim, Joan Fry (1980) Solo Vocal Repertoire for Young Singers; An Annotated Bibliography, Jacksonville, FL, National Association of Teachers of Singing.
Bunch, Meribeth, (1982) Dynamics of the Singing Voice, Third Edition (1995), Wien, New York, Springer-Verlag.
Coffin, Berton (1987) The Sounds of Singing, Metuchen, NJ, Scarecrow Press.
Carman, et al (1987) Art Song in The United States: An Annotated Bibliography, National Association of Teachers of Singing.
Doscher, Barbara (1994) The Functional Unity of the Singing Voice, Second Edition. Metuchen, NJ, The Scarecrow Press, Inc.
Hixson, Thomas J., (1987) Respiratory Function in Speech and Song, Boston, College-Hill Press.
Kagan, Sergius (1968) Music for the Voice, Bloomington, IN, Indiana University Press.
McKinney, James C., (1994) Diagnosis and Correction of Vocal Faults, Nashville, TN, Genevox.
Miller, Richard, (1997) English, French, German and Italian Schools of Singing, (Revised Edition) New York, Scarecrow Press.
Miller, Richard, On The Art of Singing, (1996) New York, Oxford University Press.
Miller, Richard, (1986) The Structure of Singing, New York, G. Schirmer Books.
Rose, Arnold (1962) The Singer and the Voice, London, Faber and Faber, Ltd.
Rosewall, Richard B. (1961) Handbook of Singing, Reprint 1984, Evanston, IL, Summy-Birchard.
Sundberg, Johann, (1987) The Science of the Singing Voice, DeKalb, Il, Northern Illinois University Press.
Titze, Ingo (1994) Principles of Voice Production, Englewood Cliffs, NJ, Prentice Hall.
Vennard, William (1967) Singing, the Mechanism and the Technique, Boston, Carl Fischer, Inc.
Wormhoudt, Pearl, (1981) Building the Voice as an Instrument, Oskaloosa, IA, William Penn College.