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NEWZATS Open Day 2021 - Kick off the year5pm, Friday 19 February.
Following our very successful series of Professional Development "Online Offerings" in 2020, NEWZATS are kicking off 2021 with an end-of-week social "Open-Day", using ZOOM to connect us all from around the country. Free, and open to current and prospective members. Start 2021 with new colleagues and new ideas. Pour a glass of your favourite drop and join the chat online. Better yet, find your nearest hub and get together in person. Because we can. Share your go-to teachable songs and get our your diaries to save-the-dates for our 2021 key events. New and prospective members, stay online for more information about NEWZATS, ways to connect and learn, or for information on how to join us. Register via the form linked below and further details will be emailed closer to the time. |
Online EVENTS
(For the password, email admin@newzats.org.nz)
10 May 2020, 3pm - Tessa Romano - Past
Tessa Romano - Lecturer in Western Classical Voice at the University of Otago
The Vocal Effects of Testosterone Therapy - Working with the Transgender Singer
"In the social shift from the perception of a gender binary to a greater understanding of a gender continuum within European-derived cultures, the discipline of singing finds itself in a period of rapid evolution. This shift has brought about the emergence of new voices: those of trans gender and gender queer people. As vocal professionals, it is the job of voice teachers to understand how to work with every voice. The topic of this poster paper is rooted in this necessity and focused specifically on the vocal challenges presented by the use of testosterone therapy for some trans masculine and non-binary singers."
The Vocal Effects of Testosterone Therapy - Working with the Transgender Singer
"In the social shift from the perception of a gender binary to a greater understanding of a gender continuum within European-derived cultures, the discipline of singing finds itself in a period of rapid evolution. This shift has brought about the emergence of new voices: those of trans gender and gender queer people. As vocal professionals, it is the job of voice teachers to understand how to work with every voice. The topic of this poster paper is rooted in this necessity and focused specifically on the vocal challenges presented by the use of testosterone therapy for some trans masculine and non-binary singers."
7 June 2020, 3pm - Hannah Thompson-Holloway - Past
2020 Barbara Nicholls Memorial Scholarship Recipient
CCM Vocal Pedagogy - Research and Practice
"Teaching CCM singing can be daunting! There are so many styles and techniques lumped together under that umbrella. Don’t get me wrong, it’s a great umbrella, but how often have we stood under it and freaked out a little? I know I have, so I decided to focus my Masters research on breaking down some of the ‘stylistic’ vocal techniques and elements of the three most commonly taught CCM styles in New Zealand; jazz, pop and musical theatre. I started out exploring what was currently ‘cool’ in these styles, focusing on Grammy winners, listening and comparing. I did a lot of reading too! There is more and more fascinating research on CCM vocal pedagogy being published all the time. It can be difficult to navigate sometimes with many of our great pioneers approaching CCM from different angles and using different language, but I promise the journey is rewarding. After attempting to categorise and summarise techniques in these styles, I wanted to apply my research and explore my findings with my own voice. How would a singer approach these styles authentically, while taking into consideration their voices natural tendencies? And what happens when you try to do it concurrently and in the space of a year? That’s the adventure I went on in 2018. I learnt so many things about vocal techniques and the uniqueness of every individual voice. It has greatly influenced how I approach singing and teaching CCM styles, and I would love to share some of my findings with you."
CCM Vocal Pedagogy - Research and Practice
"Teaching CCM singing can be daunting! There are so many styles and techniques lumped together under that umbrella. Don’t get me wrong, it’s a great umbrella, but how often have we stood under it and freaked out a little? I know I have, so I decided to focus my Masters research on breaking down some of the ‘stylistic’ vocal techniques and elements of the three most commonly taught CCM styles in New Zealand; jazz, pop and musical theatre. I started out exploring what was currently ‘cool’ in these styles, focusing on Grammy winners, listening and comparing. I did a lot of reading too! There is more and more fascinating research on CCM vocal pedagogy being published all the time. It can be difficult to navigate sometimes with many of our great pioneers approaching CCM from different angles and using different language, but I promise the journey is rewarding. After attempting to categorise and summarise techniques in these styles, I wanted to apply my research and explore my findings with my own voice. How would a singer approach these styles authentically, while taking into consideration their voices natural tendencies? And what happens when you try to do it concurrently and in the space of a year? That’s the adventure I went on in 2018. I learnt so many things about vocal techniques and the uniqueness of every individual voice. It has greatly influenced how I approach singing and teaching CCM styles, and I would love to share some of my findings with you."
5 July 2020, 3pm - Julia Booth - Past
Julia Booth - NEWZATS Council Member
Teaching CCM: Toolbox for Teenagers
"It can be quite a leap from navigating the often convoluted world of voice science and pedagogy to a typical itinerant singing lesson for teenagers. The reality of preparing high school students for NCEA exams is that there is often too much to do with too little time. So how do we as teachers optimise our limited contact time with meaningful, bespoke guidance to help prepare singers successfully for a ‘convincing’ performance. Synthesising science and style is a art in itself in any genre, but when the style itself is more unfamiliar to the teacher, it can be daunting. Contemporary Commercial Music can sometimes leave a teacher, who has trained with more traditional techniques, wondering: How do I know what is “right”? or How do I teach something I’m not comfortable demonstrating? Sprinkled with physiology of the body and voice, this workshop will focus on practical tools for eliciting creative thinking from students for deeper artistic engagement as well as common traps and key tips for teaching CCM to teenagers."
Teaching CCM: Toolbox for Teenagers
"It can be quite a leap from navigating the often convoluted world of voice science and pedagogy to a typical itinerant singing lesson for teenagers. The reality of preparing high school students for NCEA exams is that there is often too much to do with too little time. So how do we as teachers optimise our limited contact time with meaningful, bespoke guidance to help prepare singers successfully for a ‘convincing’ performance. Synthesising science and style is a art in itself in any genre, but when the style itself is more unfamiliar to the teacher, it can be daunting. Contemporary Commercial Music can sometimes leave a teacher, who has trained with more traditional techniques, wondering: How do I know what is “right”? or How do I teach something I’m not comfortable demonstrating? Sprinkled with physiology of the body and voice, this workshop will focus on practical tools for eliciting creative thinking from students for deeper artistic engagement as well as common traps and key tips for teaching CCM to teenagers."
2 August 2020, 3pm - Calvin Peter Baker - PAST
Calvin Peter Baker - NEWZATS co-Vice President
Female voice characteristics in late adolescence: A preliminary report
"Over the last 60 years, male adolescent voice change (MAVC) has been well documented. Studies examining the extent and magnitude of the secondary descent and pubertal growth of the male laryngeal structure and its acoustical correlates have become plentiful and available for voice teachers in choral and studio-voice contexts to make use of. Conversely, information regarding the physiological and acoustical changes that occur in the female voice has as yet been sparsely researched. While there have been several seminal studies on this subject, there is much work to be done if we are to understand how the female voice is affected by pubertal growth during adolescence. As a part of his current PhD research (School of Music, University of Auckland), Calvin will describe the current state of knowledge surrounding female adolescent voice change (FAVC). An overview of the MAVC will also be briefly described. The research will then be viewed in a practical, pedagogical light. Ample time will be given at the end of this lecture for questions from attendees surrounding adolescent voice change (AVC) in general, and teaching studio voice in the secondary school context."
Female voice characteristics in late adolescence: A preliminary report
"Over the last 60 years, male adolescent voice change (MAVC) has been well documented. Studies examining the extent and magnitude of the secondary descent and pubertal growth of the male laryngeal structure and its acoustical correlates have become plentiful and available for voice teachers in choral and studio-voice contexts to make use of. Conversely, information regarding the physiological and acoustical changes that occur in the female voice has as yet been sparsely researched. While there have been several seminal studies on this subject, there is much work to be done if we are to understand how the female voice is affected by pubertal growth during adolescence. As a part of his current PhD research (School of Music, University of Auckland), Calvin will describe the current state of knowledge surrounding female adolescent voice change (FAVC). An overview of the MAVC will also be briefly described. The research will then be viewed in a practical, pedagogical light. Ample time will be given at the end of this lecture for questions from attendees surrounding adolescent voice change (AVC) in general, and teaching studio voice in the secondary school context."
6 September 2020, 3PM - FLORA EDWARDS - Past
Flora Edwards - NEWZATS Founder
La Voce Chiusa - What Kind of a Voice is That?
"That was a question that was left unanswered for a very long time despite my asking it of several leading teachers of singing at international conferences. The term literally means a closed voice which to most of us seems counter-intuitive to the way we are accustomed to think of the human voice. Surely it should be free, open to the air and our tone ringing out forward? But when the leading teachers used the term voce chiusa, it was obvious that they were describing a vibrant timbre complete in every aspect of vibrato rate and balanced formants. Voce Completa, yes, but Voce Chiusa, surely not? I finally found a definition which described Voce Chiusa as a half forgotten bel canto technique to adjust the vocal tract so that the larynx was positioned lower and all vowels could be produced from there without destructive muscular tension to vocal timbre. The breathing coordinations of the appoggio system were also an integral part of the technique. I formulated the idea that the larynx was “en-closed” in a lengthened tract that gave the vibrations from the folds access to increased resonating spaces."
La Voce Chiusa - What Kind of a Voice is That?
"That was a question that was left unanswered for a very long time despite my asking it of several leading teachers of singing at international conferences. The term literally means a closed voice which to most of us seems counter-intuitive to the way we are accustomed to think of the human voice. Surely it should be free, open to the air and our tone ringing out forward? But when the leading teachers used the term voce chiusa, it was obvious that they were describing a vibrant timbre complete in every aspect of vibrato rate and balanced formants. Voce Completa, yes, but Voce Chiusa, surely not? I finally found a definition which described Voce Chiusa as a half forgotten bel canto technique to adjust the vocal tract so that the larynx was positioned lower and all vowels could be produced from there without destructive muscular tension to vocal timbre. The breathing coordinations of the appoggio system were also an integral part of the technique. I formulated the idea that the larynx was “en-closed” in a lengthened tract that gave the vibrations from the folds access to increased resonating spaces."
22 November 2020, 3pm - Stephanie Acraman - Past
Stephanie Acraman - Lecturer in Voice at University of Waikato
Enabling Success for our Young Singers
"My study across recent years has been in regards to how we teach our singers of today, what our culture of singing teaching is, and how we can enable young artists to be the very best young people they can be, and as a result, the very best performers, communicators and often teachers of singing. Too often we see the culture of the performing arts as strongly competitive, in a highly negative way, which hinders our talented young artists from finding a deeper confidence in themselves, and their abilities.
When singers find a deeper assurance in who they are, how to support their colleagues, travel the long journey of learning and discovery growing a hunger for knowledge and development, they learn how to ‘fail’ and gain from these experiences. They learn about healthy competition, and constructive criticism, rather than negative and defensive approaches to their colleagues. They learn, and we as their teachers learn that perfection cannot be the goal."
Enabling Success for our Young Singers
"My study across recent years has been in regards to how we teach our singers of today, what our culture of singing teaching is, and how we can enable young artists to be the very best young people they can be, and as a result, the very best performers, communicators and often teachers of singing. Too often we see the culture of the performing arts as strongly competitive, in a highly negative way, which hinders our talented young artists from finding a deeper confidence in themselves, and their abilities.
When singers find a deeper assurance in who they are, how to support their colleagues, travel the long journey of learning and discovery growing a hunger for knowledge and development, they learn how to ‘fail’ and gain from these experiences. They learn about healthy competition, and constructive criticism, rather than negative and defensive approaches to their colleagues. They learn, and we as their teachers learn that perfection cannot be the goal."
Regional events
With New Zealand's success at eliminating Covid-19 from our shores, our movements are no longer restricted and concerts, events and competitions are back on the menu. Members; if you are planning a concert or event, please let us know via email and we can list it on the regional pages listed below.
Last year we launched our Regional Workshops fund. It's a great time to begin planning some regional (or at least locale) meetings and/or workshops. With our eyes opened to the capabilities of video-conferencing, these could be coordinated to be linked via online conferencing to other regions. If you have ideas for a voice workshop you would like to run, please contact us. Likewise, if you have studio or home suitable for hosting others, let us know.
Last year we launched our Regional Workshops fund. It's a great time to begin planning some regional (or at least locale) meetings and/or workshops. With our eyes opened to the capabilities of video-conferencing, these could be coordinated to be linked via online conferencing to other regions. If you have ideas for a voice workshop you would like to run, please contact us. Likewise, if you have studio or home suitable for hosting others, let us know.
National events
NEWZATS Conference 2020 - Covid-19
We were so disappointed to have to cancel of our conference, a decision we made with heavy hearts, ahead of the announcements from the government. By choosing to put the health and welbeing of our members first, it was in some ways better, though not easier, than the decision being made for us. We intend to reschedule it as programmed some time in 2021 and have yet to decide holiday block will suit best.
NEWZATS presents biennial conferences around NZ. While the conferences focus on professional development for singing teachers, we welcome anyone with an interest in the singing voice, choral and musical directors, accompanists, and singers. You do not have to be a NEWZATS member to attend, however members do get a substantial discount on the registration fees.
NEWZATS presents biennial conferences around NZ. While the conferences focus on professional development for singing teachers, we welcome anyone with an interest in the singing voice, choral and musical directors, accompanists, and singers. You do not have to be a NEWZATS member to attend, however members do get a substantial discount on the registration fees.
