South Australia
Chapter
Norma
Knight awarded Certificate of Recognition
28 Sep 2003
Norma Knight was nominated by the South Australian Chapter for
the ANATS Certificate of Recognition, and the National Council
has been delighted to award the Certificate to her.
Norma started the South Australian Chapter of ANATS. Its inaugural
meeting was held on 5 July, 1989. She was president from 1989 to
1996, during the hosting of the 1992 National Conference in Adelaide,
and also did most of the work hosting the 1997 Adelaide National
Conference. Since 1996, Norma has been the SA representative on
the National Council, and also the book contact for ANATS members,
ordering and selling text books. She has been Deputy National President
of ANATS since 1996.
Norma has attended every National Conference that has been held
since she joined, as well as the In-service Teacher Training Seminar
in 1993, several seminars run by Janice Light on Cabaret, Tomatis
Hearing, Jo Estill Voicecraft, and Richard Miller, as well as 3ICVT
in Auckland in 1994.
In 1995/96, Norma was one of the first group of teachers to undertake
the Graduate Certificate in Singing Pedagogy at the University
of Western Sydney, a course sadly no longer available.
Norma’s singing career spans 50 years, from the Brisbane
Children’s Theatre in the 50’s, through amateur musical
companies in Brisbane and Adelaide, to professional appearances
with New Opera South Australia, which became State Opera of South
Australia in 1975. Her favourite role was Anna in “The Merry
Widow,” which she played twice, in Brisbane and Adelaide.
She has played over 50 roles in opera, operetta, musical comedy,
Gilbert and Sullivan, and oratorio.
Norma won The Advertiser Aria in 1975, and was successful in the
State finals of the ABC Concerto and Vocal Competitions in both
Brisbane and Adelaide. She recorded for the ABC Young Australian
and Australian Concert Hall Series, and made an LP of Gilbert and
Sullivan highlights for EMI.
She has been teaching privately since 1978. Adjudicating eisteddfods
in Geelong, Bendigo, Goulburn, Diamond Valley and Balaklava, as
well as many competitions and talent quests, has enabled her to
develop her passion for helping people to find their natural voice,
and also for encouraging young teachers to learn as much as they
can. This will be her third year of teaching the Vocal Pedagogy
unit at Flinders Street School of Music, now amalgamated with the
Elder School of Music.
Congratulations, Norma!
Spring
Workshop in Adelaide with Dr Jean Callaghan
27 - 28 Sep 2003
Overview
The South Australian Chapter was fortunate
to have Dr Jean Callaghan as special guest presenter at a Spring
Workshop held at Seymour College on 27/28 September. There were
42 participants from all corners of the globe - well Singapore,
Brisbane, Yorke Peninsular, Barossa Valley and Phillip Island,
as well as all over Adelaide. Our advertising brought in several
people who had not known of ANATS previously and we have three
new members as a result.
The weekend started with an overview of Vocal Technique, and
then moved on to the specifics of teaching the male voice. On Sunday
a lively discussion on teaching and learning styles was followed
by a demonstration of the Sing&See software. The Workshop finished
with a Masterclass where students sang an operatic aria and then
a selection from Music Theatre.
A report from the SA Chapter
The 2003 September Spring Workshop Weekend was conducted in Adelaide
by Dr. Jean Callaghan as an ANATS Master Teacher Tour. The weekend
consisted of 4 separate sessions, which could be attended separately
or in combination. Saturday began with Session 1 on Vocal Technique
in the morning, with Session 2 on Teaching the Male Voice in the afternoon.
On Sunday we had Session 3, Teaching and
Learning for Singers and their Teachers, and the workshop concluded
on Sunday afternoon with Session 4 in the form of a Masterclass
on Opera/Music Theatre Crossover.
Each session itself consisted of two
parts, separated by morning or afternoon tea.
The event was very well attended and participants
were both keen and willing to discuss their own experiences in
the light of discussions led by Jean.
Jean's work has a historical, scientific,
and practical basis. She has collated and evaluated the scientific
literature, and she combines this information with a thorough understanding
of the history of singing and singing teaching. In combination
with Jean's practical understanding of singing from both the subjective
and objective points of view, the two Masterclasses provided numerous
examples of the twenty-minute miracle in which she demonstrated
practical application of the information presented in lecture form.
The teachers present became very excited
- one may even say rowdy - as Jean brought out and freed up the
voices. Each singer presented with a varied set of problems and
we heard an array of different states of development, but Jean
was able to bring about marked improvement in a short space of
time.
Teachers were encouraged to consider a variety of approaches and
to discuss various methods of application in the studio.
Session 1...Vocal Technique
Jean presented the anatomical and physiological
basis of singing, and discussed the significance of body alignment
and breath management in singing with reference to the specific
muscles involved. This information was completely new to some participants,
while others had some sort of prior knowledge of these areas. It
was a rare treat to be able to ask questions and hear discussion
led by someone with such a specific understanding of the physical
mechanics who also knows what it feels like from a singer's point
of view.
After a break for morning tea, Jean addressed the questions of
vocal registration, resonance, and articulation, with reference
to acoustic measurement. This was quite a new area for most participants
who were treated to a whistle-stop tour, introducing an area which
many would like to hear more about in the future. (The Sing&See
system, with which we had a lot of fun, was demonstrated during
Session 3 on Sunday, and was an excellent practical and singer-friendly
demonstration of the acoustic principles introduced in the second
half of Session 1).
Session 2...Teaching the Male Voice
This Saturday afternoon session was the
most well-attended session of the weekend, indicating that further
workshops in this area would be well received in the SA Chapter.
Jean discussed the ramifications of female teachers teaching male
singers with reference to the changes that the male voice goes
through, and what can reasonably be expected when.
Physiological and emotional stages were
outlined, resulting in lively questions and discussion. In the
second part of Session 2, it was noticeable that the audience was
actually sitting on the edge of their seats as we heard live singing
and began to relate the previously expounded theories to the reality
of teaching. Four male singers performed and Jean related to their
various stages of development, using different language and presenting
more specific physiological information to the more advanced singers.
It was very exciting to hear the vocal change as Jean worked with
them. This form of workshop - lectures followed by practical demonstration
- was an effective format, and worked on a variety of levels for
singers and for singing teachers.
Susannah Foulds-Elliott
Session 3...Teaching
and Learning for Singers and their Teachers.
I found this first workshop
for the day very interesting when I first heard it in Sydney at
the July 2003 Internship and Winter Workshop. There was so much
to take in first time around that hearing it for a second time
consolidated a lot and gave me the opportunity to pick up on information
I missed.
The research Jean has put into the singing voice and how to teach it
was exemplified with the content of this session. I was impressed with,
and amazed by, her depth of knowledge on the subject of the teaching
of singing. There is a common sense component to what Jean said, as
well as some points which a few may have found revolutionary.
Jean looked at various teaching styles and ways to teach. She made the
comment that "people learn in many different ways. The teacher's favourite
way of learning may not be the student's, and therefore not the best
approach to teaching that student".
Also covered were the various forms
of feedback, such as the verbal, aural, visual and kinesthetic
approaches.
She outlined effective
practice methods and dispelled some ineffective teaching methods
and approaches that teachers may use.
Some interesting points from this session
were:
- tell students how to structure singing practice -what order
to do things in and for how long.
- shorter, more frequent practices are more beneficial than long
practice sessions e.g. 20 minutes each day is more effective
than 2 hours on the weekend.
- discuss aims and goals with the student and work towards these.
- make students aware of their best method of learning.
- it can feel unsatisfactory if the student does not sing a song
in lesson, therefore start and finish with a song.
- teachers tend to talk too much in lessons.
The second workshop in this session was a Demonstration of Sing&See
Software.
Jean has been working with Dr William Thorpe at the University
of Sydney on the recently developed Sing&See computer
program.
It gives real time visual feedback to
singers on their pitch, volume and tone as they produce each note.
It is a useful tool for researchers, therapists, singers and teachers
of singing.
As a beta-tester (someone who tries out the software and gives the developers
feedback from the end users point of view, before it is released on
the market), I was keen to learn more about the software and its application
to the teaching of singing. Jean began the session by explaining the
features it offered. We then broke into two groups and everyone had
an opportunity to try it for themselves by singing into a microphone
which was connected to the computer. Everyone enjoyed making various
noises into the microphone and observing the various results visually.
It was useful to see what was happening when singing with different
degrees of vibrato, pitch allocation and seeing what happens when producing
different tonal qualities. With guidance from a singing teacher, I
can see how singers will be able to 'visualise' their voice and adjust
these things using this visual tool.
Apparently, similar software currently
on the market is optimised for the speaking voice, which has different
characteristics to the singing voice. Sing&See is aimed specifically
at singers and the makers "recommend that Sing & See always
be used in association with a professional singing teacher".
Sing&See is offered
in several different versions depending on your needs:
Student version - $79, Professional - $179, Teacher's - which comes with
a manual - $299, Studio Pack, including the Professional version, Pedagogy
manual and 5 x transferable student version licences - $599. See the
website (www.singandsee.com) for more details.
Leanne Hoad
Editor: The following information regarding Sing&See was
obtained from Dr William Thorpe.
At present we have a "pre-release special" which gives ANATS members
the current version at a discount plus update to the final release when
it is ready. There is still a 30 day trial version of the Professional
Version on the website - the Student Version will basically contain only
the pitch feedback page at this stage.
Session 4...The Masterclass
We had a very full day - a theoretical session in the morning, a demonstration
of "Sing &See", followed by a hands-on opportunity, then lunch and
the ANATS AGM, via telephone link-up with all other states. We were ready
for some practical music experience, and Jean certainly provided that
with the willing singers who participated.
The singers were willing
to try anything and they did! Each sang a classical piece, generally
from opera and then sang a piece from the musical theatre repertoire.
So, for example, "He shall Feed his Flock" (Handel) was followed
by a sexy rendition of "All That Jazz". Some singers chose pieces
where the lyrical content and flowing line of the music were similar
in both pieces
.
Jean pointed to the foundation requirements common to both pieces:
- posture, with special comment for tongue, jaw and neck tension
- brighter tone, using a high palate with flared nostrils
- the support from the abdomen, using exercises such as pushing
on the piano, or against a wall, knee bending, and even crawling
on all fours
Jean used the language of belt, and twang where appropriate for the musical
theatre pieces. This was particularly useful for classically trained
singers who now must know how to teach students in the contemporary
style. Common language is essential in these sessions and Jean has
that nailed through her academic research, and her own teaching experience.
This was a delightful session and brought the weekend to a wonderful
finale.
Di
Spence
 |
| Norma Knight (L) with
2003 SA Chapter President Susannah Foulds-Elliott |
Norma
Knight recognised
At the Spring Workshop we also celebrated another milestone in the awarding
of an ANATS Certificate of Recognition to Norma Knight.
Norma
started the SA Chapter of ANATS in 1989, has attended every national
conference since, and has been the SA representative on the national
council since 1996. She has also been Deputy National President
since 1996. Norma is basically the face of ANATS for SA and we
congratulate her on this well-deserved honour.
ANATS National
Conference
This
year our National Conference will be held in July at the
Sydney Conservatorium of Music. I encourage all members
to attend if at all possible. It is really worth making
the effort, and expanding our horizons. If you have never
been to an ANATS conference, plan to do so - it will rejuvenate
your work!
Farewell...
So now, sadly, I must officially say goodbye to the SA branch of ANATS
for the time being. I have very much enjoyed my year of presidency,
mainly because of the support and encouragement I have seen amongst
our members.
In
our events of 2003 we achieved a balance of the musical and the
physical aspects of singing, while addressing the stylistically
eclectic nature of the singing teacher's task. We have also achieved
a healthy balance at the bank! A good balance all round!
Thanks
My thanks go particularly to Norma who made everything possible, and
to Malcolm, and all the members who have worked hard to bring things
together. I wish you all the best for 2004.
Susannah
Foulds-Elliott
 |
Susannah
Foulds-Elliott |
President's
Report from Susannah Foulds-Elliott
Jan 2003
I
was very happy with the way the year went for the SA Chapter
of ANATS in 2003, (apart from me having to move interstate to
Victoria in September! At least I came back for the Spring Workshop!)
Nasendoscopy
Workshop
We had a Nasendoscopy Workshop on Saturday June 14 th at the surgery
of ENT surgeon Dr. Neville Minnis, with Speech Therapist Jan Hooper in
attendance to talk about vocal health and to explain what we saw on The
Big Screen.
We
had plenty of willing victims lining up to be scoped, and it
was a great opportunity for both singers and teachers to have
a look at the singing instrument with access to a very obliging
ENT specialist in the process.
Jan
kept us informed from the voice-user's point of view, each step
of the way. The finale was particularly exciting, as Jan and
Neville sat down at the end of the scoping sessions to have open
question time. Here was a chance to ask those burning questions.
ANATS
SA, as a supportive and encouraging group, really came alive
at this point, especially as we then discussed how we would like
to structure our next event, which was the Spring Workshop with
Dr. Jean Callaghan.
ANATS
Spring Workshop
The
Spring Workshop was held on the weekend of September 27th and
28th at Seymour College . This was a wonderfully successful event
set up with 4 sessions, morning and afternoon of each of the
2 days. Sessions could be attended singly or in a block. All
were led by Jean.
Saturday
morning was a lecture on vocal technique, followed by questions
and discussion.
Saturday
afternoon was a lecture on teaching the male voice, followed
by masterclass and discussion.
Sunday
was teaching and learning for singers and their teachers, followed
by demonstration of the Sing&See software.
Finally
on Sunday afternoon we had a masterclass on opera/music theatre
crossover.
Since
Jean led all the sessions, she was able to demonstrate lecture
topics in a practical way during the masterclasses. It is a rare
treat to find a scholar of Jean's calibre who also understands
the practicalities of the singer's life from the inside and who
can provide the "twenty-minute miracle" in a Masterclass.
ANATS
Inaugural Internships
2003
also saw the ANATS Inaugural Singing Teacher Internships at the
Sydney Conservatorium of Music in July. Two of the six interns
were chosen from the SA Chapter. Congratulations to Nadine Johnston
and Leanne Hoad! Leanne has written about the experience in The
Voice of ANATS Nov, 2003. This was a milestone for the
national body and a great learning and networking experience
for our young teachers.
|
Pat
Wilson & Adrian Barnes,
