DAY ONE - Thursday, October 4

from 3:30pm

5:30-7:30pm

Registration 

Welcome Reception (included in conference price)

DAY TWO - Friday, October 5

9am-5pm

Workshop:

 

Inner Voice: Meditation, chant and creative visualization. 

(Veronica Stewart-Monro)

 

Keynote presentations:

 

What does it mean to sing? (Brian Gill)

What does it mean to teach? (David Sisco)

What is voice science and why is it relevant? (Brian Gill)

 

 

Panels:

 

Singing and teaching across styles

Building Resilience: Vocal Health and Care

Moving Forward: Creative Industries and Expectations

DAY THREE - Saturday, October 6

9am-5pm

Workshops:

 

Sydney Alexander Technique: Introductory session

 

Recital Busy-ness: Strategies and tools for successful student recitals and showcases.

(Veronica Stewart-Monro)

The Power of Cabaret.

(Kim Spargo)

So you want to write your own Teaching Program?

(Wendy Brentnall-Wood)

Learning together: Encouraging independent learning through student teacher collaboration.

(Shelli Hulcombe)

Performance Anxiety: How can we help?
(Sarah Marshall)

VCM: Vocalist As Complete Musician. Utilising Tetrachords.

(Chris McNulty)

 

Masterclasses:

 

Contemporary Voice (x2)

Art Song

Characterisation in Song

Music Theatre

Classical Voice

 

 

Panel:

 

Addressing the Elephant in the Room: Belting

 

Presentations:

 

Vocal identity: Narratives to Neurons.

(Belinda Lemon-McMahon)

“What do you do at the start of a lesson?”: The Voice Teacher’s Approach in Australia.  

(Heather Fletcher, Prof Jane Davidson, Dr Amanda Krause)

International Perspectives on Musical Theatre Training .

(Scott Harrison and Jessica O’Bryan)

Singing teachers and the development of young voices.

(Kelly Pecina)

The adolescent female singer: What pedagogy is best for her voice?

(Wendy Rolls)

Female Adolescent Voice and Repertoire.

(Christina Gronborg)

Towards an effective method for improved tonal variety in Contemporary Commercial Music vocal performance.

(Susan Carson)

Hear me out: Motivating factors in the creative processes of the contemporary singer-songwriter.

(Veronica Stewart-Monro)

The Missing Link.

(Anita Marie Martin)

Lost in translation: The impact of registration terminology on vocal crossover training.

(Evelyn Stephan)

Registration Terminology in Contemporary Commercial Music: Pedagogical Practices in Australian Voice Education.

(Jo Fabro)

‘Magpie Memories’, A Looper Opera in Development.

(Heather Keens)

What Truly Resonates: Using Songwriting to Help Young Singers. (Helen Perris)

Exploring Interactivity In Lessons With Voice And Video.

(Catrina Seiffert)

The Songs Sung by my Third Great Grandmother, an Australian Immigrant in the Late 1870s.

(Karen Lonsdale)

The Influence of the increased output of New Zealand poetry on New Zealand vocal music.

(Judy Bellingham)

Learning and teaching songs by Peter Sculthorpe (1929-2014). (Cathy Aggett)

Auditioning for Musical Theatre in Australia - A Guide for Teachers and Students.

(Jennifer Peers)

The impact of tertiary musical theatre study on the psychological wellbeing of its students.

(Joel Curtis)

Beyond The Studio: The influence of group singing in young lives. (Amelia Nell)

The Role of Gesture and Body-Movement in the Teaching and Learning of Singing. An Overview.

(Julia Nafisi)

Science meets Bel Canto: The Influence of Manuel Garcia II on the Teachings of Pauline Garcia Viardot.

(Linda Barcan)

Unpacking the Vocalise for the 21st Century Singing Studio.

(Ireni Utley)

German Lieder in Modern Australia. Practice and perception.

(Julia Nafisi)

Profiling the 21st Century Pre Adolescent Voice Teacher.

(Marisa Lee Naismith)

Square pegs, round holes: the placement of adolescent boys’ voices into SATB repertoire.

(Nathan Scott and Marie van Gend)

Young Male Voices in Transition.

(Theresa Rayner)

Contemporary singing and the singing-self.

(Diane Hughes)

Contemporary Commercial Music (CCM) Vocal Pedagogy: A Matter of Style!

(Marisa Lee Naismith)

Singing - The Brain/Voice Connection.

(Irene Bartlett)

Voice science, neuroplasticity and ways of learning.

(Di Hughes and Belinda Lemon-McMahon)

Kinaesthetic Awareness.

(Di Hughes and Dan Robinson)

Stop the world; I’ve lost my Voice: A study of vocal remedies used by singers.

(Samantha U’Ren)

Teaching Vocal Technique to Choral Singers.

(Lynne Murray)

The Aging Singer- Singing for Life.

(Suzanne Stewart)

Introducing Music Dramatic Improvisation: A Multifaceted Discipline.

(Christina Gronborg)

Investigating performance career making and career transition through the lens of Australia’s elite classical singers”.

(Kathleen Connell)

 

 

Special presentation:

 

30 years of ANATS

Conference Dinner - Masquerade Ball (additional cost)

DAY FOUR - Sunday, October 7

9am-4:30pm

Workshops:

 

Vocal warm-up (Marisa Lee Naismith)

Amplification for singers (Ben Nash)

Life as a YouTube Singing Teacher: The good, the bad and the busy. (Daniel Robinson)

 

 

Keynote presentation:

 

Music Theatre Then and Now (David Sisco)

 

Panels:

 

New Horizons - Research and Publishing

A Voice Forever - Ageing Voice

Significance, Inspiration and Currency: The Classical Voice

Independent Studio Practice in Australia

 

 

Special event:

 

ANATS Anniversary Song recording session

Please note: conference program is correct at time of publication but is subject to change

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Red Hill  QLD 4059

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ABN 26 164 514 943

Phone
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