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Pedagogic Framework



Voice Pedagogy


  • anyone can learn to sing acceptably; most people can learn to sing well

  • a few people have the combination of talent, desire and character to achieve greatness

  • based on experience and research in vocal science, pedagogy and performance

  • fosters an understanding of self, reality, boundaries, choices, wants and needs within an interdependent student and teacher relationship.

  • focuses on proper posture and alignment maximizes breathing efficiency and flexibility

  • breathing not only fills the lungs, but also sets the larynx in the proper position for singing; the effect of incoming air on the larynx is called “tracheal pull” (The Larynx and its Mechanism

  • the image of “surprise” allows for  good inhalation and a connection to be made within the singer’s experience between a deep breath and a relaxed jaw, which is essential for good phonation (Shore, J. 2014. Maestro Joseph Shore on Breathing During Singing

  • breathing and phonation happen instantaneously as cortically controlled reflexes over respiratory musculature and pre-phonatory tuning of of laryngeal muscles become automatic  (Wyke, 1982, p. 139-140; in Miller, R. (1996). The Structure of Singing: System and Art in Vocal Technique, p. 200). 

  • the whole vocal system is interrelated; attempts to locally control the vocal organ will take it out of balance

  • Italian vowels are easiest for singing; these are similar to those in Latin, Spanish or Japanese

  • nasalized or mixed vowels, such as in French, English, German and Portuguese should be learned later

  • an integrated voice aims for a well-balanced sound in all vocal registers

  • the human voice is capable of making various  sounds, qualities, textures, pitches, volume levels and intensities in a free and healthy manner

  • belting is a skill that must be approached with the proper technique (McCoy, S.  2007. A classical pedagogue explores belting. Journal of Singing, 63, 5, pp. 545-549;   Popeil, L. (2007). The multiplicity of belting. Journal of Singing, 64, 1, pp. 77-80).

  • confidence comes from being able to sing a particular musical style or role well

Piano Pedagogy

  • you can only play music your technique allows

  • ergonomically smart piano playing develops at the very beginning

  • beginners: keyboard discovery → rhythm experiences and pitch recognition → self-expression, duets,

  • reading musical notation

  • intermediate

  • advanced

  • workshops


Theory Pedagogy

  • must accompany practical study for the purposes of high school credits and academic pathways

  • practical because it helps students to analyse music and plan for best practice strategies

  • embedded into lessons up to grade 5 RCM

  • special course books required from levels 6-ARCT

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