Some initial thoughts on considering studio applications of voice science studies

Some initial thoughts on considering studio applications of voice science studies

Every few months, I feel conversations with my colleagues return to the same big issues in pedagogy. The question of being a "science-based" versus "not science-based" teacher came up recently regarding understanding how the diaphragm may or may not function in singing. More on that later. I understand that this is a big, loose community, and that we all come from different points of view. Still though, I wonder at what point discussing the pedagogy of the voice through the lens of recent research studies becomes the same dogma with a different name? Not studying the voice scientifically, mind you. I mean teachers discussing it in terms of the immediate practical application of current scientific research...

What is the line between improvisation and spontaneity in music?

What is the line between improvisation and spontaneity in music?

I was talking with a few colleagues the other day, and I’m struck by the idea that some genres of singing utilize improvisation (real time composition) and artistic personalization and others do not. Almost exclusively, classical singing is lumped into the latter by practitioners of the former. Assuming we’re talking about degrees of freedom rather than absolutes, I guess I’d like to throw two ideas out from the classical world...