Thursday Aug. 3, afternoon

Main hall (Kungasalen)

14.15-15. 45 Keynote André de Quadros : The Role and the Power of Music in the World Today

16.30-18.00 Masterclass Aija Puurtinen

Presentations, other venues

14.15-15.15

Élisabeth-Claude Jacquet de La Guerre – The Miracle Performer, use of gestures in baroque

Our lecture/performance explores French composer, organist and harpsichordist Élisabeth C. de La Guerre. We wish to experience and learn about how re-introduction of performance of physical gestures in her vocal music impact interaction between performers and audiences.

Bettina Smith, mezzosoprano. Associate Professor of Classical Singing, Univ. of Stavanger. International career as performer of lied, chamber music, opera, oratorio. Has released 4 solo CDs on Norwegian label LAWO.

Lise Karin Meling, harpsichordist and musicologist. Associate Professor of Music at Univ. of Stavanger. Instructor of music theory, harpsichord and early music.

Interpretation | Lilla Salen


Habilitating Injured Singers: A Systematic Approach

This session’s objective is to guide voice teachers in designing a protocol for habilitation of injured singers. Teachers will gain knowledge in triaging technical issues contributing to the pathology or injury, and designing a systemic approach through the five systems of the voice: respiration, phonation, registration, articulation and resonation

Kari Ragan, DMA, SVS. Artist in Residence at the University of Washington where she teaches Vocal Pedagogy and works in affiliation with the UW Otolaryngology Department to habilitate injured singers.

Health | Nathan Milsteinsalen


A Developmental Look at Singing

This session will examine the developing voice and connect the theory of singing (what we know) with practice (what we do). Beginning with the unchanged voice, we will continue with the changing voice and conclude with the undergraduate voice student. While theory will be addressed, the focus will be on practical applications to our research.

Dr. Jeanne Goffi-Fynn is a Senior Lecturer and Director of the Doctoral Cohort Program in Music at Teachers College, Columbia University. She is a Singing Voice Specialist and is on the board of NYC-NATS, AATS, OA, and EVC.

Dr. Lori McCann is a soprano and pedagogue at the Cali School of Music at Montclair State University. She has performed in opera and new music premiers here and abroad and is Regional Governor of NATS.

Felicity Graham, MA, is a current doctoral student in the music program at Teachers College, Columbia University. She is VP at NYSTA in Professional Development and is the founder of OTHERVOICES NYC

Pedagogy | Seminarie 2


Breath, Balance and Flow; Integrating Yoga into Choral and Studio Settings

This interactive session will lead participants through physical sequences that steer singers toward energized, balanced and dynamic phonation. Exercises drawn from Hatha yoga practice will be combined with vocal warm-ups and song to provide a synergistic approach to enhanced vocal performance.

Elizabeth Croy, Professor of Voice at Montana State University Yoga Training, Kripalu School of Yoga YogaFit Foundations Level 1 http://www.montana.edu/music/people/people_single.html?person_id=11

Health | Movement room


Armenian music in songs by Komitas

A presentation of songs by the Armenian priest and musicologist Soghomonian, better known as Komitas.

Karin Hellman-Geworkian, int. pianist and composer. Price winner at the Armenian Komitas contest, awarded Prix du Conservatoire National. Accompanist at the Royal Swedish Opera. Performing at Komitas Festival, Yerevan. 

Marine Deinyan, soprano at the Yerevan Armenian National Academic Opera. Winner of the int. Bellini Competition, has performed in Carnegie Hall. Honored Artist of the Republic of Armenia.

Tigran Ohanyan/tenor/ is a member of Young Artist Opera Program at the Armenian A.Spendiaryan Opera. He participated in Montserrat Caballé Master Class in Yerevan (2014) and has now an international career.

Christer Wikmark, tenor, performs regularly in churches in Stockholm and has given many solo concerts. For several years a member of Jacqueline Delman’s Opera Workshop, Performed at the Komitas Festival, Yerevan.

Repertoire | Svarta lådan


15.30-16.00

Exploring interactivity in lessons with voice and video

The internet is flooded with one dimensional singing lessons ie watch & learn. What is missing is the ability to give feedback & monitor progress. It lacks the traditions of interaction & collaboration between teacher & learner. Apart from skype, what other options do we have? How can video enhance/extend what is offered in the singing studio?

Catrina Seiffert -Australian singer, pianist, lecturer, teacher in classical, jazz & acappella. Special interests include new works, improvisation, songwriting, recording & touring internationally

Pedagogy | Lilla Salen


How to read vocal music from the late 18th century according to Hiller. About the differences between notation and performance

During the history of vocal art the differences between notation and how it actually was expected to be performed has changed over the times. Johann Adam Hiller’s treatise from 1780 can be of help and inspiration for us today when we work with music from this period.

Iwa Sörenson von Gertten, Swedish soprano, opera singer, voice teacher, MA.
Studies in Gothenburg and Cologne. Soloist at the Malmo Opera 1977–79 and at the Royal Opera in Stockholm 1979–2001.

Interpretation | Nathan Milsteinsalen


More than Meets the Eye (and Ear); Resilience Theory and Training the Third Age Singer

This session explores challenges of vocal aging filtered through the lens of Resilience Theory. Multiple models of Resilience Theory and its application to training singers, especially those in the third age, will be explored in order to counter the challenges of the aging process with positivity.

Sangeetha Rayapati, teaches at Augustana College. She has presented at NATS, ACDA, NAfME, CMS, and ICVT 2009 & 2013. Her book, “Sing Into Your Sixties and Beyond” is published with InsideView Press.

Pedagogy | Seminarie 1


If Music and sweet Poetry agree,  As they must needs – the Sister and the Brother!

In classic opera, composers imitate speech by giving vocal shape to every movement of the speaking voice, finding rhythmic patterns, inflections and melodic lines, which enlarge, condense, exaggerate and transform figures of speech into vocal gestures.

Gunnel Bergström‘s dissertation “In Search of Meaning in Opera” deals with the question above. As director she has staged operas and dramas, and in teaching she has made singers discover vocal acting, how to speak the words musically.

Interpretation | Seminarie 2

Various Uses of the Straw for Increased Efficiency in Voice Production

The straw is all the rage in singing circles these days and rightly so. It is an amazingly simple tool for increasing vocal efficiency and balancing resonance throughout vocal range. It provides a tool to help students in a variety of other ways from warm up to cool down. Straws will be provided for all as we explore the many uses of the straw.

Allen Henderson is executive director of the National Association of Teachers of Singing, professor of voice at Georgia Southern University, and exec. editor of the So You Want to Sing…book series.

Pedagogy | Movement room




16.00-16.30 Afternoon break

16.30-17.10

”Your place, or mine?”

While singing relies on both Art and Science, we may ask what their respective roles are in shaping the performance. The art is about what gets communicated, at a high level of abstraction, while the science is about what is happening to implement that communication, at a concrete level of physical reality. For teaching the craft and skills of singing, it would seem necessary to have some grasp of both; but the distance between them can sometimes feel immense. In this talk, I will try to explore, with examples, to what extent Practice and Research may touch or overlap each other; what science might contribute to the art, and vice versa. Can we go on meeting like this?

Sten Ternström‘s interests center on technical aspects of voice acoustics, especially singing. He also likse to stay current with acoustics and sound processing for music and audio, and teaches several courses on those topics. Ternström received his MScEE in 1982, PhD in 1989 and became professor in 2003, all at the Royal Institute of Technology in Stockholm.

Research | Lilla Salen


Working with primal sound and related devices in CCM choral music.

This practical workshop will investigate the benefits and accompanying teaching practices associated with using Primal Sound with CCM choral music. Central areas for discussion will include: stylistic awareness, rehearsal flow and the technical application of Primal Sound in this context.

Craig Lees is a contemporary vocal coach, choir director and arranger. He is a senior lecturer at Leeds College of Music and is also a director of The British Voice Association (BVA).

Pedagogy | Nathan Milsteinsalen


LaxVox Voice Therapy Technique: Applications on Singing Voice

LaxVox Voice Therapy Technique combines resonance tube and semi occluded vocal tract exercises in a well-defined multidimensional algorithm. It can be applied to habilitation (warm-up, cool-down, registration, vocal fitness, etc.) and rehabilitation of singing voice. Hands-on practice will be performed with the pocketVOX device in this course.

Ilter Denizoglu MD (Laryngology), MSc (Audiology and Speech Pathology), from Turkey, is Director of a clinical vocology unit and practices mainly on phonosurgery, voice therapy and singing voice therapy. He is also a university lecturer of pedagogical vocology and inventor of several devices in voice field.

Health | Seminarie 1


The Evolving Voice; Exploring a Chronological Perspective, Facts, Techniques, and Expectations for Healthy Singing at Every Age

Understanding the chronological development of the body as it affects respiration, vibration, and resonance, can better inform voice professionals’ goals for optimal singing throughout a lifetime. This interactive session explores the evolving body and voice alongside age-optimal techniques and expectations to nurture singing from birth to old-age.

Karen Brunssen, Associate Professor, Northwestern University, President-Elect NATS, member of AATS. Frequent clinician, master teacher, adjudicator. Teaching residencies at Cambridge and in Zurich. 2013 recipient of Weston Noble Award.

Dr. Julia Davids, Associate. Professor Choral Activities, North Park University, Director of North Shore Choral Society and Canadian Chamber Choir. Co-author Vocal Technique – A Guide for Conductors, Teachers, and Singers.

Pedagogy | Seminarie 2


Alexander Technique (until 18.00)

In 1895 F. M. Alexander started teaching the Technique he evolved to solve his own voice and breathing problem. Nowadays his Technique is taught in many Drama and Music schools all over the world. Our aim is to prevent habitual interferences that have been acquired in people in order to restore the innate mechanisms of speech breathing and posture. In doing so people get the education they need to help themselves.

 Steven Hallmark (www.stevenhallmark.com) qualified as an Alexander teacher in 1983, and as a professional actor in 1973. He was head of Training at the Stockholm Alexander Teacher Training School 2000-2013.

Barbro Hallmark (www.barbrohallmark.se) qualified Alexander teacher and physiotherapist. Private teacher and teacher at The Stockholm Alexander Teacher Training School 2000-2013 and The Royal College of Opera 84-87.

Health | Movement room


17.20-18.00

Singing Without Words—How To Use Vocalizes Effectively in the Teaching Studio

Vocalizes have been used to build technique and teach musicality for centuries. From my experiences teaching vocalizes as part of repertoire study, students enjoy singing them and gain skills faster than when singing art songs and arias. This session will discuss how to use them, how to include a back story, and give resources on finding vocalizes.

Deborah Popham, DMA, Assistant Professor of Music/Coordinator of Vocal Studies at Sam Houston State University. She has performed internationally including a recital at Carnegie Hall in December 2015.

Pedagogy | Nathan Milsteinsalen


How Do We Know that Our Students are Learning What We Think We are Teaching

Practical application of learning and motor learning science in the voice studio. Suggestions for how to increase teaching effectiveness, how to improve student learning and promote strategic practice, and how to reduce gap between student reported ‘practice room skill’ and performance outcomes.

Dr. Cindy Dewey is Music Dept. Head at Utah State University. Summer 2017 will include workshops at the Professional Voice Conference, at ICVT, and in China on improving singing in the choral rehearsal.

Pedagogy | Seminarie 1


How do we want voicetraining in primary education to affect individuals and culture?

How do we teach a voice technique and a culture of voice training culture that is open to all styles and to creation of new styles, so voiceteaching and voicetraining does not only become historical and ethnocentric – and not only approaches individuals that long to perform? Different approaches to the definition of voice training.

Malene Bichel. Danish singer and voice teacher. Assistant Professor at Metropolitan University College, Copenhagen.Educated as a classical singer. Specialized in contemporary art music, voice improvisation – and in education of music teachers and voice teachers. Chair of the Danish Voice Association. Partner in international dialogue projects between Denmark and Iran and between Denmark and Egypt about music education.

Pedagogy | Seminarie 2


This is a preliminary programme and is subject to change.