Sigma Alpha Iota

sai-national.org • WINTER 2016 • PAN PIPES 9 different approaches and apply them to my teaching. I continue to deepen my interest and knowledge in this topic, as we are still discovering new information about the interplay between physiological and acoustic "events" (passaggi), the source-filter model, and nasalance. ese ongoing discoveries will have drastic and exciting implications for vocal pedagogy. Phonetic Aspects of Singing (Ulla Sundberg, Department of Linguistics, Stockholm University, and Johan Sundberg's wife): Professor Sundberg discussed the differences between using language production for speech versus singing. Although we use the same basic phonetic building blocks, singers primarily use vowels to produce a melody. Because there is not a one-to- one relationship between sound production and sound perception, singers encounter challenges in being fully intelligible by their audiences. Voice Science and Voice Pedagogy: A Step Towards Evidence-Based Voice Training (Brian Gill, School of Music, Indiana University): Professor Gill reviewed the physiological elements common to all singing styles. In terms of breathing, he emphasized that the elastic recoil of the lung tissue following a deep breath is sufficient to begin the sound, and that the intercostal and abdominal muscles need to engage only when there are no more recoil forces. I incorporate this into my studio teaching, emphasizing the feeling of a "buoyant" onset rather than a "muscular" onset. Professor Gill discussed several specific techniques to train and develop this appoggio technique in the voice studio. Voice in Choir (Sten Ternström, Department of Speech, Music and Hearing, Kungliga Tekniska Högskolan): Professor Ternström discussed his research on solo singers versus choir singers, including their different functions and respective acoustic approaches. His description of choral singing as "a statistical art form" in which the audience perceives the "average" sound of a group of singers was fascinating. He also discussed factors that influence how well individual singers hear their own voices in the choral setting, including physical spacing between singers, room reverberation, reflectors close to each singer, and the varying vocal power of singers in relation to that of their neighbors. ese factors can be measured and adjusted to optimize "self-to-other ratio." Vocal Health (Stellan Hertegård, Karolinska Institute Ear Nose and roat Clinic): Dr. Hertegård outlined strategies for maintaining vocal health, as well as treatments for polyps, nodules, and other wounds to the vocal folds. I volunteered to have a flexible laryngoscopy, in which the vocal folds are viewed by a tiny camera inserted through the nose. A strobe light allows the movement of the folds to be seen in "slow motion." Masterclass (Håkan Hagegård, Norwegian Academy of Music): Professor Hagegård worked with several singers on classical repertoire. I sang a Swedish piece by Wilhelm Stenhammar, "Flickan kom ifrån sin älsklings möte" (e girl came from meeting her lover), one of the most oen performed songs in the Scandinavian repertoire. I was grateful for Professor Hagegård's insights on my performance; it brought my understanding and interpretation of the piece to a new level. I am grateful to Sigma Alpha Iota Philanthropies for a Professional Development Grant, as well as additional funding provided by an Eastern New Mexico University Internal Research Grant and the National Association of Teachers of Singing Vocal Pedagogy Award. Without these funds, I would not have had the opportunity to attend this uniquely valuable course. I have been able to incorporate many of the concepts learned into my studio teaching, and my attendance has given me a deeper overall understanding of the function of the singing voice. Professor Sundberg has been, as he puts it, "a bit retired" from KTH for some years, although he remains active in many areas of research and continues to publish. He frequently presents at voice science and pedagogy conferences and meetings, and has continued to teach the summer course. Professor Sundberg informed us that this year was the last summer the course would be held, news that was greeted with great sadness. All the attendees were grateful to have had this once-in-a-lifetime educational experience, and we will continue to draw on the experience throughout our careers and, for those of us who are educators, to pass this knowledge on to our own students. Soprano Dr. Anna Hersey is a Sigma Lambda initiate at Iowa State University and current member of the International Chapter. She is a recipient of the SAI Scholastic Award, Assistant Professor of Voice at Eastern New Mexico University, and Editor-Elect of VOICEPrints, the official journal of e New York Singing Teachers' Association. [Sten Ternström's] description of choral singing as "a statistical art form" in which the audience perceives the "average" sound of a group of singers was fascinating. SAI PHILANTHROPIES, INC. At top, attendees of an inverse source filtering lab. Above, Johan Sundberg and six attendees, all named Anna. A classroom laryngoscopy.

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