Upcoming ONLINE EVENTS
NEXT EVENT - SUNDAY SERIES - 2-3pm, 4 September
In Conversation with David Squire and Morag Atchison
Supporting Students THrough CHoir Auditions and PArticipation
expand drop-down below for all info and registration
September SUNDAY SERIES 2022 - Choral Panel - In Conversation with David Squire and Morag Atchison
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Supporting Students Through Choir Auditions and Participation
In the wake of a busy couple of weeks with the Big Sing Cadenzas and Finale, now is a great time to be thinking ahead to the next year. Many of our students will sing in choirs as an important stream of their vocal and musical development. We'll be discussing how we, as singing teachers, can be setting our students up for success and rewarding involvement in Aotearoa New Zealand's thriving choral community. There aren't many people more qualified to lead this discussion than Morag and David. They have worked with our national choirs, NZSSC, NZYC, Voices NZ and myriad others across high school, tertiary and community levels, as singers, choral directors and vocal coaches. Members Register Free here (GoogleForm) Non-Members Register here $15 (POLiPay) BIOGRAPHIES David Squire MMus (Hons), PGDipMus, BMus, DipTchg David Squire has been Music Director of New Zealand Youth Choir since 2011 and is the first alumnus director of the choir. He also directs international award-winning ensembles Voicemale (Westlake Boys High School), Euphony (Kristin School) and the Westlake Symphony Orchestra. Current chair of the New Zealand Association of Choral Directors, he is also a national conducting advisor and tutor, and a governance board member for the New Zealand Choral Federation. He is in demand around the world as a clinician, educator, guest conductor and adjudicator, and is the choral director for the International Schools Choral Music Society. He studied conducting with Karen Grylls and Juan Matteucci, and singing with Beatrice Webster, Isabel Cunningham and Glenese Blake. Morag Atchison ARAM, DipRAM, PGDip(Opera), LRAM (Royal Academy of Music), BMus(Hons), DMA Morag Atchison has firmly established herself as one of New Zealand’s leading sopranos. She studied at the University of Auckland and Royal Academy of Music (London), and was a finalist in the Kathleen Ferrier and Royal Over-Seas League Competitions. Morag is a Senior Lecturer at the University of Auckland, is a vocal tutor for the NZ Youth Choir, the University of Auckland Chamber Choir and for over a decade worked with the award-winning Choralation from Westlake Girls’ and Boys’ High Schools. In 2013 Morag was awarded a doctorate in Musical Arts from the University of Auckland, the first DMA in vocal studies from a New Zealand University and in 2019 was elected as an Associate of the Royal Academy of Music (ARAM). Read more here |
October SUNDAY SERIES 2022 - MICHELLE KEATING - TAKE CARE: Vocal Health For The Singing Teacher
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Take Care: Vocal Health for the Singing Teacher
Members Register Free here (GoogleForm) Non-Members Register here $15 (POLiPay) As singing teachers, we focus on developing and caring for our students’ voices. However, teaching back-to-back lessons, covering various genres, and helping students through different vocal challenges can impact our own vocal health. Michelle will discuss ways in which we can implement vocal health protocols to protect ourselves as singing teachers. Habitual, environmental, and dietary modifications and the introduction of vocal exercises can improve our stamina, encourage vocal recovery, and prevent vocal injuries. BIOGRAPHY Michelle Keating trained in contemporary and musical theatre voice at the University of Otago during her Bachelor of Performing Arts. She then completed her Master of Speech-Language Pathology (Distinction) at the University of Canterbury. Specialising in vocology, Michelle is invested in training singers to use their voices efficiently and safely and helping them recover from vocal injuries/pathologies. In addition, as a voice therapist, Michelle enjoys general voice rehabilitation work and gender-affirming voice therapy. ore here: |
November SUNDAY SERIES 2022 - Laura Crocco - Motor learning: Why It's 'Trending and What It Cn Do For Voice Training
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Motor learning: Why it’s ‘trending’ and what it can do for voice training
Members register here $20 (POLiPay) Non-Members register here $35 (POLiPay) How teachers teach (e.g., modelling and giving feedback), much like what teachers teach (e.g., posture, breathing), has a significant impact on student learning, performance, health, and wellbeing. Evidence from the motor learning literature on how humans learn complex motor skills, such as singing, may improve the how. Motor learning research offers a fact-based framework for improving teaching and learning, by offering information on how to best apply teaching behaviours such as instruction, modelling, and feedback, to build student self-efficacy and support optimal learning. So, if motor learning is useful for voice teachers, why has it only just started ‘trending’? Until now, there has been little accurately translated information available for voice teachers and few rigorous studies on motor learning and singing training. Laura has therefore dedicated her research to (1) translating motor learning evidence for voice teachers, (2) identifying how motor learning principles are currently used by teachers, and (3) studying effective ways that teachers may coach themselves on how to improve their teaching using motor learning evidence. The webinar will cover:
Webinar participants will be invited to engage in a Q&A and conversation on the topics above, and complete activities that aim to help teachers reflect on their teaching and better understand and apply motor learning recommendations. BIOGRAPHY BMus(Voice Performance), MAppSc(Health Science), PhD(Medicine and Health, Current) Laura Crocco is a musician and PhD candidate in the Faculty of Medicine and Health at The University of Sydney. During her undergraduate studies, Laura experienced the demanding nature of voice training and in turn developed a deep appreciation for the challenging role voice teachers have in training musicians. This prompted her research interest in how the science of motor learning may help develop evidence-based methods for improving 1-1 instrumental and voice training across music genre and educational levels. Laura is passionate about using best practices to design effective and discipline-specific continuing professional development methods for teachers, and in turn support future generations of autonomous and healthy musicians. |
Registration for live online events
- Local Presenters - Members FREE | Non-members $15
- Featured presenters - Members $20 | Non-members $35
- Register for sessions below, and you will be sent the ZOOM Invitation on the Friday morning. (Late registrations will be taken till 12.30pm on the day).
- Free sessions use a GoogleForm, and sessions with a fee use Pay Now with POLi (read more here).
- If for any reason POLi doesn't work for you, please contact admin@newzats.org.nz to register and make a payment using regular internet banking.
- Past "Local presenter" session recordings are loaded to the Webinar Archive in the Members' Area of the website.
- Past "Featured Presenter" session recordings can be purchased via the POLiPay links to gain access.
- Non-members can attend live, but currently we are not allowing "pay-per-view" after the fact for non-members.
- Personalised log-ins have been launched and you can ask for a login-in set-up link by emailing admin@newzats.org.nz
PAST Online EVENTS
Requires activated member password - email admin@newzats.org.nz
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REPLAY AVAILABLE
June SUNDAY SERIES 2022 - Hinekoia Tomlinson - Engaging with Te Ao Māori through a Vocal Teaching Lens
REPLAY AVAILABLE
July SUNDAY SERIES 2022 - Lexus - Past, Present, Future - 2022 Finalists Interviewed by Madeleine Pierard
PAY TO VIEW RECORDING
August SUNDAY SERIES 2022 - Tim Richards - Classical Singing In A Modern Context
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Replay Available
MARCH Sunday Series 2022 - Jo Fitzgerald - Curiosity & Continuing Education: THE PICK-A-PATH OF PROFESSIONAL DEVELOPMENT 
BiographyVoice teacher Jo Fitzgerald is on a mission to provide stellar quality voice education and functional training to singers of contemporary styles. A graduate of Victorian College of the Arts, Melbourne (BMus Performance), Jo has used her background in jazz and improvisation as a stepping stone to teach all styles of contemporary music to students at every level. An avid student of all things voice and teaching, Jo is currently studying towards an MA Professional Practice (Voice Pedagogy). She is certified in all three levels of Somatic Voicework(™) The LoVetri Method and has been privileged to study privately with its founder, Jeannette LoVetri. Jo is connected to a worldwide network of voice teachers and is currently co-Vice President of the New Zealand Association of Teachers of Singing. April Sunday Series 2022 - Brenda Earle Stokes - Piano Skills for Singers: A SIMPLE AND MODERN APPROACH FOR VOICE TEACHERS
BiographyPianist and vocalist Brenda Earle Stokes’ career has garnered international acclaim for her work as a performer, composer and educator. A natural multitasker, Stokes has fused a passion for the piano and a love of singing into a vibrant career that crosses genres. Her performance career has taken her across the US, Canada, New Zealand and Australia, playing at venues like the Kennedy Center, Carnegie Hall, the Toronto Jazz Festival, performing as a band leader and side musician with artists such as Wycliffe Gordon, Maurice Hines and the DIVA Jazz Orchestra. Brenda is a passionate educator and has worked with every imaginable group of students, from young children to top professionals. In addition to teaching at Fordham University and running a busy private studio teaching voice, piano and songwriting, Brenda owns The Versatile Musician - a suite of online courses on piano, jazz, improvisation and musicianship and she has a bustling YouTube channel. Replay Available
2-3pm, 15 May 2022 - Sacha Vee - Mic Technique for the classical world 
New Zealand born neo-soul singer, Sacha Vee, scorches her stage, exuding slow burn power with every note. She has established quite the following across the globe with more than 50 million YouTube views, a finalist on The Voice of Holland, contributed to multi-platinum records and support slots for the likes of Jhene Aiko, Boney M & Hollie Smith. Sacha Vee’s last album, Luminous (Released Nov, 2016) received multiple review accolades. One New Zealand blog Muzic.net.nz wrote, “This album is worthy of NZ music awards and global stardom. An outstanding and compelling album which is highly addictive”. The album charted at No.3 on the NZ Heatseeker Charts and has had three songs feature on NZonAir platform NewTracks (formerly KiwiHitDisc). In 2017 her song ‘Trigger’ was nominated in the RnB; Hiphop category in the prestigious International Songwriting Competition 2018. Nowadays, Sacha Vee resides in Christchurch, New Zealand and is the founder and director of SOLE Music Academy. Sacha created SOLE to help emerging contemporary artists ‘bridge the gap’ into the music industry. |
2021 Sunday Series
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21 March 2021 - Practical Breathing for SinGers - Anne Marie-Speed
She has been Professor of Spoken Word on the Musical Theatre course at the Royal Academy of Music since the course started in 1994 and was President of the British Voice Association 2001-2002. Her numerous credits include: vocal coach on Britain's Got Talent and X Factor in 2011; Britain's Got Talent 2012; voice, singing and dialect coach on dozens of West End shows and plays including From Here to Eternity which opened at the Shaftesbury Theatre, the Menier Chocolate Factory revival production of Candide, Funny Girl at the Savoy Theatre, provided voice and dialect work for An American in Paris at the Dominion Theatre in London, the new production of Obsession directed by Ivo van Hove at the Barbican, the new London production of Heathers at The Other Palace in London, vocal coach on Everybody's Talking About Jamie in the West End (as well as very much enjoying working with the cast of the new film), vocal and accent coach on the touring production of Hair, directed by Jonathan O'Boyle, vocal coach on The Man of La Mancha at the Coliseum directed by Lonnie Price. She was vocal coach on Joseph and his Amazing Technicolour Dreamcoat at the London Palladium and Ivan and the Dogs at the Young Vic. She had been working on Pretty Woman and was just about to start on City of Angels before lockdown. Her television work includes the critically acclaimed ITV drama Cilla. She was vocal coach to major leads in the live action movie Beauty and the Beast for Disney and has been very busy working with the cast for the new film of Cinderella, written and directed by Kay Cannon who wrote and directed the Pitch Perfect movies.and the just released reworking of Blithe Spirit. Most recently she has started work as the vocal coach on the newly announced Sex Pistols TV drama Lonely Boy directed by Danny Boyle. Since 2010, Anne-Marie has been training teachers in Estill Voice Training (Estill Master Trainers), embedding it within a broader pedagogical training. She now has more than 70 teacher trainees who have either completed or who are currently in training. They are much in demand and head or teach at some of the UK’s most prestigious training programmes, including musical theatre, drama schools and classical courses. During lockdown, Anne-Marie has shifted courses online, often working alongside respected friends and colleagues to offer quality, affordable information to anyone interested in technical voice work, performance and coaching in different styles and genres. There have been courses in other essential support skills such accents and self-taping auditions with more to come. The popularity of these online offerings means that they will continue after lockdown alongside in- person seminars, workshops and courses. 18 APRIL 2021 - ITALIAN FOR SINGERS - DR. LUCA MANGHI
He was Principal Flute of the Orchestra Filarmonica di Parma (1991 to 1996) and the Orchestra Filarmonica Italiana (1992 to 1998). He is a member of the Donizetti Trio, which toured New Zealand in 2014 and 2019 for Chamber Music New Zealand. He has performed at the Australian Flute Festival on three occasions as a guest recitalist, and has given performances in Italy for the New Zealand Government, and at the Anghiari Festival. He is a language coach for New Zealand Opera, and teaches at the New Zealand Opera School. Luca performs on the albums Quays (Atoll ACD882), playpen (Atoll ACD22I) and Tones (Rattle Records RAT-D089). 23 May 2021 - All Choked Up: Psychology, Anxiety and my voice - Simon Ward
20 June 2021 - The Creative Singer - Barbara Paterson
26 September 2021 - Studio Start - Dr Jeremy Mayall
17 October 2021 - Miranda Harcourt - Acting: Naturally - Five Tools For Fast Success
21 NOVEMBER 2021 - SONG-WRITING - INTRODUCING CONCEPTS TO VOICE LESSONS - LEEA LAMATOA & BRAYDEN JEFFREY
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2020 Online Offerings
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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." 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." 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." 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." 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." 22 November 2020, 3pm - Stephanie Acraman - Past
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