Update on Women, Menopause, Singing

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We are still wooing the right title.

Writing with coauthors Nancy Bos and Joanne Hayes Bozeman has been one of the most rewarding collaborative experiences of a long life spent in collaboration. Combining the voices of three powerhouse artist/educators who are researchers has taken a huge investment of T-I-M-E. But building a solid infrastructure for the book and becoming vulnerable to each other (check out Brene Brown’s The Call to Courage) are birthing our idea into reality.

We are writing a book for Great Aunt Betsy who sings in her church choir, for the college voice professor who has always sung well and then, well, doesn’t. For the community musical theater singer, to the elite classical and popular music singer. For the voice teacher or singer who’s own voice has gotten better and better and may not understand what is happening with others who have a different experience. For the medical community that knows nothing about menopause and voice changes because it is outside of their health model. For the used-to-sing woman who is just fine with how her voice is as she gets older and doesn’t think much about it.

So the challenge has been how to combine our three author-voices, our interviewees’ individual stories AND a curated list of reliable information into one voice–

–to reach all these singers.

It’s happening and we can’t wait to share it with you!

Regina Spektor and a Classical Vocal Exercise

I owe this idea to a recent conversation on The New Forum for Professional Voice Teachers. Many on this forum sing, train and teach both classical and popular genres of music. We have a wide assortment of training methods, resources and approaches stored in our mental libraries and our own music-making.

Recently someone posted Regina Spektor’s “Us,” to illustrate her technical approach to one part of the song. One of the comments was that some passages were “straight out of Lutgen.”

So I went a-looking…..

Lutgen was a German composer who wrote many books of vocal training exercises in the mid 1800’s. The exercises were for those studying European classical singing of the time.

Intrigued WHY my colleague would relate Regina Spektor to Lutgen’s 18th century vocalises, I looked them up. And there it was. Lutgen exercise #1–

Listen to Spektor and then see how the above exercises could be used to help someone sing parts of this song. Or ask your young students to listen for these exercise patterns in the song. This might be a great project for them or you when you need to work less strenuously. You can also search for Lutgen exercises on Youtube. Some enterprising music educator has put up keyboard renditions of all the Lutgen exercises!

Help your students find patterns between 1) CCM singer/song-writers and 2) classical vocal patterns found in old exercises! A little sleuthing is lots of fun.

Evidence-Based Vocal Pedagogy and Other Mystifications, Part II

If you haven’t read Part I, head over for a quick read.

My husband is an Instructional Designer. We have long, sexy talks about Andragogy, which is the art and science of teaching Adult Learners. In his field, (and many others) Pedagogy means the art and science of teaching children.

These conversations have got my WHEELS TURNING and I am thinking that “Evidence-Based Vocal Pedagogy,” when working with adult singers, would be enhanced by using a few principles from Evidence-based Adult Learning.

So If you work with adult singers or voice teachers, here’s a short quiz to find out if your teaching might be more effective with a few of these basic principles of Adult Learning. (and maybe you already do this–BRAVA if that is the case.)

I. Adults learn better when the instruction they receive is tailored to their learning styles (e.g, Visual, Aural, and Kinesthetic)

DRAMATIC PAUSE

The answer, according to Evidence-Based Adult Learning is, no. Most of us were taught otherwise. But here are some interesting articles that explain more:

Debunking Learning Myths

The Atlantic “Are Learning Styles” Real?

II. The more you give your students, the more they will learn.

TAKES A SIP OF TEA

Once again, the answer is no. A colleague asked what is meant by “the more you give.” In this case, they are referring to the amount of information or ideas presented in one training session, whether that is one class or 10 classes, or in a private lesson or coaching.

To get how this might apply to both private lessons for adults and courses, here are three sources to jump start your thinking:

Compulsory Teaching, by Dr. Shannon Coates

Shut Up and Let the Student Sing, by Cate Frazier-Neely

Giving Students ‘Think Time

III. Making mistakes is useful for learning

STARES OUT WINDOW AT DAFFODILS

Here, the answer is yes. The enemy of learning, creativity and authentic vocal expression is Perfectionism.

There’s a fine line between expecting a student’s best and demanding perfection.

However, my colleague, Jennifer Cooper, says that in teaching adult singers, making repeated mistakes at the fundamental level (pitches, rhythmic accuracy etc.) can create a reinforcement of inaccuracy (i.e. once that pitch is learned “wrong”, it takes dozens of accurate repetitions to correct it).

And I would add that the educating the ear and physical coordination, to make music, is harder as an adult that it is for a child–just like languages and sports. Making mistakes is only useful for people who do the work of learning from them.

The Secret of Creativity: Make Mistakes

IV. Students who express satisfaction with a training course are more likely to have learned more than students who say they were dissatisfied with the training course.

WATCHES CAT LICKING HIS PRIVATES

This one may surprise you. The answer here is no, too!

Expressing satisfaction with a teacher or training course may not be the same as learning what is being taught by the teacher or in that training program. The five-star, ‘rate your professor’ nonsense that has taken root does not measure anything accurately or well. I have seen amazing teachers given one star because the student thought the homework was too hard, and charismatic teachers given 5 stars because they acted like buddies with their students. Expressing satisfaction, or no satisfaction, has little to do with what has been learned in many cases. To read more:

Alliger, G.M. Tannenbaum, Bennett, Traver, & Shotland (1997) A meta-analysis of the relations among training criteria. Personnel Psychology, 50(2), 341-358

Sitzmann, T, Brown, Casper, Ely and Zimmerman (2008) a review and meta-analysis of the nomological network of trainee reactions, Journal of Applied Psychology, 93, 280-295

Please share your thoughts on this series! I am preparing the infrastructure for a new voice teacher mentoring course and could use your reactions to these posts.

Evidence-Based Vocal Pedagogy and Other Mystifications Part I

I’m developing a 5-month digestible program for singing teachers who haven’t had the opportunity to develop a hands-on understanding of what “evidence-based” teaching of singing means in the 21st century.

Dr. Kari Ragan has written her thoughts on this topic in a Journal of Singing article. You do have to be a NATS member to access it on line. However, you can always contact Kari, tell her you are interested in her work, and ask if she will forward you her article.

I’ve been able to work privately with many masters-in-pedagogy and performance graduates, in classical, jazz and contemporary genres, after they graduate with their degrees. I’m seeing a strange trend that has developed over the past 10-15 years, of voice teachers not understanding what to do with the information they have learned. They aren’t sure how to make it useful or fit it in with their world of experience. So the next summer, they go to another pedagogy intensive, hoping to learn what they still do not understand.

There are many fine voice pedagogues who teach in useful ways, and are able to distinguish between voice science, vocal pedagogy, what is true and what is useful. But if you want to be the best teacher you can be, and are not in their programs, how to you begin to make the same distinctions?

That’s what my program is for. I am collaborating with Dr. Patrick L’Espoir Decosta (Australian National University School of Business) to lay the infrastructure for the course.

In Part II I give you a little quiz on what you might think “evidence-based” means in the field of Adult Learning. Especially interesting if you teach adults!

Practice while Standing on One Leg

Ian Anderson, lead singer of Jethro Tull

Did you know you can improve your rhythm AND your singing….while balancing on one leg?

Wha?????

To find out some of WHYS and HOWS, watch my guest appearance on Adam Neely’s fantastic Youtube Channel.

Please pardon the bad haircut. My beloved hairdresser is out on maternity leave and, well, you know…

Menopause and Singing: Shifting the Conversation

As some of you know, I am co-authoring a book with Nancy Bos and Joanne Hayes Bozeman on the topic of women singing through midlife biological changes and menopause.

Research has been pretty fascinating and we are digging into areas not usually associated with The Change. (ooooo, suspense!) Our interviews include 52 female singers during 1) various stages of peri-menopause and menopause, 2) a large variety of genres and musical styles 3) many skill levels and cultural experiences.

We are speaking with colleagues and experts in a wide variety of disciplines and will reference many top-notch resources. We are grateful for those who’ve researched and written about hormonal effects on the female singing voice.

But the REAL experts are the women themselves. Their stories, their solutions, their journeys: sometimes easy and breezing on through, some devastatingly difficult.

Statistics are important but their purpose is not to reveal how individual the mid-life journey is for EACH woman. Data can be used to influence public health policy and obtaining grants for important research. Stories save individuals and pass on wisdom not found in data.

Both are needed!

Western medical science & academic learning must become equal partners with honed intuition, and listening to the Wisdom of the Body to create health, wellness and experience singing in new ways.

This is an “angle” of our book. We are writing for singers and teachers who may not have access to the information that has been gathered over the past 30 years. We are also writing for women who are willing to do the work of rebirthing themselves during these years and need extra support.

I’ll report on our progress so join me here for peeks and perks!

Index of my previous articles

Contemporary Musical Theater Repertoire: Women in Mid to Later Life

There are a large number of ‘mid-to-late life’ female musical theater singers who are singing better than ever as they age. I am sure they work very hard at it. And at the same time, they’ve learned to let go of their younger selves to make room for the warmth, depth and passion the mid to later life years can bring.  Please add your additions to this list in the comments.

If you are a women “of a certain age,” you can sing just about anything if you invest in good arrangements. If an ingenue sings the song in the original musical theater version, you can work with a good arranger or pianist to have something arranged for you that helps to express you today. This does cost money, but then you have an arrangement that is yours to sing in cabaret, auditions and other programs. But we do have a new body of song starting to build up that expresses the many facets and experiences of growing older.

My Most Beautiful Day (Tuck Everlasting)

I haven’t Got a Prayer (Sister Act) Sung by Mother Abbess (starts at about 30′)

Dividing Day and Fable  (Light in the Piazza) sung by Margaret

Close the Door (Anastasia) sung by Dowager Empress

Better Yourself (War Paint) sung by Elizabeth Arden

Now You Know (War Paint) sung by Helena Rubenstein

So Big/So Small (Dear Evan Hanson) sung by Heidi

(Also, listen to Renee Fleming’s latest CD release with an arrangement for her of this song.)

Land of Yesterday (Anastasia)
sung by Countess Lilly

Just One Step (Songs for a New World) sung by Woman 2

Love and Love Alone (The Visit) sung by Claire

Almost and Always Better  (Bridges of Madison County) sung by Francesca

Big, Blonde and Beautiful (Hairspray) sung by Mother Maybelle

Days of Plenty and Here Alone, (Little Women) sung by Marmee (the video quality of these recordings is poor, but it’s the the great Maureen McGovern  singing!


Days and Days (Fun Home) sung by Allison

Another Winter in Summer Town and Will You (Grey Gardens) sung by Edie

And last, but not least, check out the second act songs from the musical John and Jen by Andrew Lippa. Jen has a grown son in the second act.

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