1. The Vocal Pedagogy Workshop
Stephen F Austin
Associate Professor of Voice
College of Music
University of North Texas
9/17/2018
The Vocal Pedagogy Workshop

2. The Vocal Pedagogy Workshop
Introduction
To offer voice professionals and students a concise review of the vocal mechanism
To present practical applications of this information
To discuss the identification and development of the professional voice.
9/17/2018
The Vocal Pedagogy Workshop

3. The Vocal Pedagogy Workshop
Topics of Discussion
I. Breathing and support
II. Phonation & Vocal tract acoustics
III. Vocal registers
IV. Vocal Tract Acoustics
V. Special session: History and Pedagogy of the ‘open throat’
VI. Voice Care
9/17/2018
The Vocal Pedagogy Workshop

4. I. Breathing and support
All living things respire
Air in the lungs powers the vibration of the vocal folds
Breathing is a ‘natural’ process that singers must develop into a ‘supernatural’ skill
9/17/2018
The Vocal Pedagogy Workshop

5. The Vocal Pedagogy Workshop
We respire through the vocal tract:
Inspiration – taking air into the lungs via the nose and/or mouth
Expiration – moving air out of the lungs
Respiratory tract includes:
1) oral cavity, 2) nasal cavity, 3) pharynx, 4) larynx, 5) trachea, 6) bronchi, and 7) lungs
larynx
trachea
9/17/2018
The Vocal Pedagogy Workshop

6. Mechanics of Respiration
Boyle’s Law – in a sealed space:
PV = constant
Pressure  - Volume 
Breathing is a ‘torturous’ experience!
Chest wall and diaphragm are the ‘moveable walls’
9/17/2018
The Vocal Pedagogy Workshop

7. The Vocal Pedagogy Workshop
Structural Framework
Vertebral Column
34 vertebrae
Rib Cage
7 ‘true’
3 ‘false’
2 ‘floating’
Pectoral Girdle
Pelvic Girdle
9/17/2018
The Vocal Pedagogy Workshop

8. The Vocal Pedagogy Workshop
Respiratory Forces
Respiration depends upon both ‘active’ and ‘passive’ forces
Active – requires a muscle to do work
Passive – comes from physical properties of tissue and gravity
9/17/2018
The Vocal Pedagogy Workshop

9. The Vocal Pedagogy Workshop
9/17/2018
The Vocal Pedagogy Workshop

10. The Vocal Pedagogy Workshop
9/17/2018
The Vocal Pedagogy Workshop

11. The Vocal Pedagogy Workshop
9/17/2018
The Vocal Pedagogy Workshop

12. The Vocal Pedagogy Workshop
Inspiration - Active
Diaphragm
Primary muscle of inspiration:
Dome shaped
Divides thorax from the abdomen
Descends and increases volume of the thorax
9/17/2018
The Vocal Pedagogy Workshop

13. The Vocal Pedagogy Workshop
Inspiration - Active
Diaphragm
Pressure decreases in lungs
Air rushes in to fill the void
Pressure in abdomen increases
Abdominal wall expands
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The Vocal Pedagogy Workshop

14. The Vocal Pedagogy Workshop
Inspiration - Active
External Intercostals:
Between ribs
‘lifts’ the ribs
Expands volume of the rib cage
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The Vocal Pedagogy Workshop

15. The Vocal Pedagogy Workshop
Inspiration: Active
Volume of the thorax is increased by the descent of the diaphragm and the lift of the external intercostals
Pressure in the lungs decreases
Air rushes in through the vocal tract to equalize the pressure
9/17/2018
The Vocal Pedagogy Workshop

16. The Vocal Pedagogy Workshop
Expiration: Passive
Gravity pulls down on the thorax. Volume decreases, pressure increases and results in air flow out.
Elasticity
Torque
No muscular action necessary
Not typical for singing
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The Vocal Pedagogy Workshop

17. The Vocal Pedagogy Workshop
Expiration: Active
Requires a muscular action
Primary muscles are of the abdominal wall
Reposition the diaphragm
‘Squeeze’ the thorax
Both decrease volume and increase pressure in thorax
Produces airflow through the larynx
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The Vocal Pedagogy Workshop

18. The Vocal Pedagogy Workshop
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The Vocal Pedagogy Workshop

19. The Vocal Pedagogy Workshop
Methods of ‘support’
‘Down and out’
‘In and up’
‘Appoggio’
‘Back breathing’
Lower focus – ‘squeeze the dime’, ‘psoaz’
‘Reptilian’ – through the skin!
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The Vocal Pedagogy Workshop

20. The Vocal Pedagogy Workshop
Summary
“I have seen some professional singers with heaving chests, some with protruding bellies, some with raised shoulders, and some with bouncing epigastrums, all of whom sang beautifully… I have also seen awkward postures that have not adversely affected good singing.”
9/17/2018
The Vocal Pedagogy Workshop

21. The Vocal Pedagogy Workshop
Summary
“While good posture and good breathing methods are certainly important, especially in a singer’s early training, it is ultimately the way in which the breath is turned into a singing tone that is crucial.”
James Stark, Bel Canto: A History of Vocal Pedagogy.
9/17/2018
The Vocal Pedagogy Workshop