Upcoming ONLINE EVENTS
NEXT ONLINE EVENT - TBC
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 email@example.com 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 firstname.lastname@example.org
PAST Online EVENTS
June SUNDAY SERIES 2022 - Hinekoia Tomlinson - Engaging with Te Ao Māori through a Vocal Teaching Lens
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
September SUNDAY SERIES 2022 - Choral Panel - In Conversation with David Squire and Morag Atchison
October SUNDAY SERIES 2022 - MICHELLE KEATING - TAKE CARE: Vocal Health For The Singing Teacher
Postponed TBC - Laura Crocco - Motor learning: Why It's 'Trending and What It Cn Do For Voice Training
MARCH Sunday Series 2022 - Jo Fitzgerald - Curiosity & Continuing Education: THE PICK-A-PATH OF PROFESSIONAL DEVELOPMENT
Voice 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
Pianist 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.
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
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
2020 Online Offerings
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."
18 October 2020, 3pm - Glenese BLake - Past
22 November 2020, 3pm - Stephanie Acraman - Past