(p. xix) List of Contributors
(p. xix) List of Contributors
Margaret S. Barrett is Professor and founding Director of the Creative Collaboratorium at The University of Queensland, Australia where she served as Head of School (2008–2018). Following undergraduate and graduate coursework study at The University of Tasmania in Music and Music Education, she completed a PhD at Monash University. Her research interests include: the investigation of young children’s musical thought and activity as composers and notators; children’s communities of musical practice; cultural psychological perspectives of musical engagement; and narrative inquiry in music education. Her research has been supported by major grants from the Australian Research Council and has been published in key journals of the discipline. Recent publications include Narrative Soundings: An Anthology of Narrative Inquiry in Music Education (with Sandra Stauffer, Springer, 2012) and Collaborative Creative Thought and Practice in Music (Ashgate, 2014). She has served as President of the International Society for Music Education (2012–2014), Chair of the Asia-Pacific Symposium for Music Education (2009–2011), and Chair of the World Alliance for Arts Education (2013–2015). She has received awards for excellence in research supervision (2016), research engagement (2016), and teaching (2006) and is a Fulbright Senior Research Fellow (2018).
Simone Dalla Bella studied cognitive psychology at the University of Padua (Italy), completed a PhD in cognitive neuropsychology at the University of Montreal (Canada), and received a Habilitation degree from the University of Warsaw (Poland). He also obtained a master’s degree in piano performance from the Conservatory of Music in Mantua (Italy). He is currently full Professor in the Department of Psychology at the University of Montreal (Canada), and Co-director of the International Laboratory for Brain, Music and Sound Research (BRAMS, Montreal). His research interests concern the neurosciences of music and rhythm, with a particular focus on music disorders in the general population (tone deafness and beat deafness) and rhythm perception and production mechanisms in the general population, professional musicians, and patients with brain damage (e.g. Parkinson’s disease).
The Rev Dr. June Boyce-Tillman MBE read music at Oxford University and is Professor of Applied Music at the University of Winchester. She has published widely in the area of education and music, most recently on spirituality. Her doctoral research into children’s musical development has been translated into five languages. She has written about and organized events in the area of interfaith dialogue using music. She is an international performer, especially in the work of Hildegard of Bingen. Her large-scale works for cathedrals such as Winchester and Southwark involve professional musicians, community choirs, people with disabilities, and school children. She is the artistic convener of the Centre for the Arts as Well-being at the University of Winchester and Director of the Tavener Centre for Music and Spirituality. She is editor of a series for the publisher Peter Lang on music and spirituality. (p. xx) Her most recent publications are Experiencing Music, Restoring the Spiritual: Music as Wellbeing (2016), (with Karin Hendricks) Queering Freedom: Music, Identity, and Spirituality (2018), and Freedom Song: Faith, Abuse, Music and Spirituality: A Celebration (2018). She is an Extra-ordinary Professor at North West University, South Africa and has included education traditions from Africa in a recent book she has edited, Spirituality and Music Education: Perspectives from Three Continents.
Jean Callaghan PhD holds an English Trinity College Fellowship and an Australian Licentiate in singing performance and has worked internationally as a singer. She completed undergraduate and research master’s degrees at the University of Western Australia, and a DPhil at Western Sydney University. After many years as an academic, she now works freelance as a teacher, researcher, and consultant in vocal performance and pedagogy. Her research interests are interdisciplinary and concern vocal pedagogy and the relationship between music and language. Her book, Singing & Science, explores the relationship between voice science, neuroscience, and vocal pedagogy. She was part of the research team that developed Sing&See software and author, with Pat Wilson, of the extensive teachers’ manual How to Sing and See. She has served as President of the Australian National Association of Teachers of Singing, the Australian Voice Association, and the Australian Association for Research in Music Education.
Aaron Carter-Ényì is an Assistant Professor of Music at Morehouse College in Atlanta, GA. He holds a PhD in Music Theory from Ohio State University, a Masters of Music degree in Choral Conducting from the University of Texas at San Antonio, and a Colleague Certificate from the American Guild of Organists. Aaron was a Fulbright Scholar to Nigeria in 2013 and a fellow of the American Council of Learned Societies (ACLS) in 2017. With his wife Quintina Carter-Ényì, Aaron was awarded first place in the 2015 Smartphone Application Design Competition held by the Signal Processing Committee of the Acoustical Society of America. His dissertation Contour Levels: An Abstraction of Pitch Based on African Tone Systems draws on two years of field research in Nigeria. Recent scholarship appears or is forthcoming in Africa (Journal of the International African Institute), Ethnomusicology, Music Theory Online, and Tonal Aspects of Languages.
Stephen Clift is Professor of Health Education in the Faculty of Health and Wellbeing, Canterbury Christ Church University, UK, Director of the Sidney De Haan Research Centre for Arts and Health, and a Professorial Fellow of the Royal Society for Public Health (RSPH). He has worked in the field of health promotion and public health for over 25 years, and has made contributions to research, practice, and training on HIV/AIDS prevention, sex education, international travel and health, and the health promoting school in Europe. His current interests relate to arts and heath, particularly the potential value of group singing for health and well-being. The De Haan Research Centre was established in 2005 and since then has made original contributions to research on the value of singing for people with enduring mental health challenges and older people with chronic respiratory illness. The Centre conducted the first ever community-based randomized controlled trial on the value of singing for older people, with funding from the National Institute for Health Research. Stephen is one of the founding editors of the journal Arts & Health: An International Journal for Research, Policy and Practice. He was the founding Chair of the RSPH Special Interest Group for Arts, Health and Wellbeing. He is also co-editor with Professor Paul Camic of (p. xxi) the Oxford Public Health Textbook on Creative Arts, Health and Wellbeing published in November 2015.
Annabel J. Cohen (BA McGill; PhD Queen’s University; ARCT Royal Conservatory of Music, Toronto) is a Professor of Psychology at the University of Prince Edward Island, editor of Psychomusicology: Music, Mind and Brain, co-editor of the book Psychology of Music and Multimedia (Tan, Cohen, Lipscomb, & Kendall 2013, Oxford University Press) and serves on consulting boards of several other journals. She is Fellow of the Canadian Psychological Association, the American Psychological Association, and the Psychonomic Society. She has directed an international research collaboration on singing entitled Advancing Interdisciplinary Research in Singing (AIRS) supported by the Social Sciences and Humanities Research Council (SSHRC).
Eduardo Coutinho is a Lecturer in Music Psychology at the University of Liverpool (UK). His expertise is in the study of emotional expression, perception and induction through music, and the automatic recognition of emotion in music and speech. His research focuses on the emotional impact of music on listeners, namely on the link between music structure and emotion, the types of emotions induced by music, and individual and contextual factors that mediate the relationships between music and listeners. Coutinho pioneered research on the analysis of emotional dynamics in music, and made significant contributions to the field of music emotion recognition. Currently his work focuses on the application of music in Healthcare and Eldercare.
Jane W. Davidson is Professor of Creative and Performing Arts (Music) at The University of Melbourne and Deputy Director of the Australian Research Council’s Centre of Excellence for the History of Emotions. Her research is broadly in the area of performance studies, with interests in emotion and expression, voice, musical development, and music and well-being. She has worked as an opera singer and music theater director and was also coordinator of vocal studies at the University of Western Australia over an eight-year period, and now leads the Master of Music Opera Performance at The University of Melbourne. She has published and performed extensively and secured a range of research grants in both Australia and overseas.
Timothy Day was educated at Oxford University where he was an organ scholar at St John’s College. For many years he was a music curator in the Sound Archive of the British Library, where he inaugurated the Edison Fellowship scheme for scholars using recordings as source material and organized series of public seminars on the history of music in performance. Between 2006 and 2011 he was a Visiting Senior Research Fellow at King’s College, London. He is a cultural historian who has written widely about the history of music in performance and about cathedral choirs. His fullest treatment of the topic of this essay is a monograph published by Allen Lane in November 2018, I saw Eternity the other Night: King’s College, Cambridge and an English Singing Style.
Nicola Dibben is Professor in Music, and Faculty Director of Research at the University of Sheffield, UK. She has over sixty publication in the psychology of music and popular music studies and is former editor of the academic journals Empirical Musicology Review and Popular Music. Publications include the co-authored Music and Mind in Everyday Life (2010) and the monograph Björk (2009), the latter of which led to a collaboration on the artist’s multi-media app album Biophilia (2011).
(p. xxii) Colin Durrant PhD is conductor of the University of London Chamber Choir and Imperial College London Choir. He has held various positions in universities in London and the US and has published many articles on choral conducting and music education. His book Choral Conducting: Philosophy and Practice first appeared in 2003 and is used widely in universities around the world and is currently in its second revised edition. Colin has led conducting and choral singing workshops in the US, Australia, Singapore, Taiwan, China, Hong Kong, Malaysia, and Kenya, as well as in Europe and the UK. He is a member of the Voice Care Network of America. Colin holds a Fellowship of the Royal College of Organists and was one-time winner of the Charles Herbert Smith Organ Prize.
Gerhard Eckel is a composer and sound artist working as Professor of Computer Music and Multimedia at the Institute of Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts Graz (KUG) in Austria. He also serves as Affiliate Professor at the KTH Royal Institute of Technology and as a Visiting Professor at the Royal College of Music in Stockholm. He pursues both an artistic and scientific interest in matters of sound and music and has engaged in interdisciplinary research projects for more than two decades. In the past he has worked at IRCAM, the computer music research center of the Pompidou Centre in Paris, and at the Fraunhofer Institut for Media Communication in Bonn. He is experienced in designing and coordinating publicly funded research projects in artistic, scholarly, and scientific domains. He has led research projects funded by the European Framework Programs and the Culture Programs, the Austrian Science Fund, the Zukunftsfonds Steiermark, and the Wenner Grenn Foundations Stockholm. Gerhard’s artistic work focuses on sonic art, mainly in the form of sound installations and sound sculptures developed in a post-conceptual tradition. For two years he has been a member of the Executive Board of the Society for Artistic Research and its President for two years. In the context of his research projects, he organized several symposia and public project events. He is the founder of the signalegraz concert series at the KUG, which presents international electroacoustic music and sound art to a general public along with a varied supporting program of master classes, lectures, workshops, and soirées. In close connection to his artistic production, research projects, teaching, and management activities, he supervises artistic, scholarly, and scientific doctoral research.
Michael Edward Edgerton is at the forefront of vocal exploration by extending the technical and expressive capabilities of voice. As composer, researcher, and performer, he has presented new developments in the search for the limits of sound production. Notably, he systematically investigates vocal production using the tools of voice science and psychoacoustics, which has earned him considerable renown for those interested in the present and future of voice. As a composer, Michael’s music coalesces diverse influences such as European avant-garde, American experimentalism, and world music into contexts that are informed by scientific models and metaphors. Initially stemming from his work with voice science and dynamical systems, Michael has pioneered work with multidimensionality and non-linear phenomena in music. Michael’s artistic mission is to liberate those sounds that otherwise remain in danger of being overlooked or going unheard. Michael has received prizes for his compositions, which are heard around the world.
Ruth Epstein PhD MRCSLT, is Head of speech-language therapy services and Consultant speech-language therapist (ENT) at the Royal National Throat Nose & Ear (p. xxiii) Hospital, London. She holds various honorary fellowships and Senior Lecturer positions at UCL and other academic institutions in the UK, as well as creating and running a successful MSc course in Voice Pathology since 2003 at University College London. Dr Epstein is a past-President of the British Voice Association and an elected member of CoMeT (Collegium Medicorum Theatri), the international association of laryngologists, voice scientists, and speech pathologists. She is on the Board of the World Voice Consortium. Dr Epstein has published extensively on various aspects of voice and voice therapy and her special interests are professional voice users, occupational dysphonia, and neurolaryngology.
Robert Faulkner PhD is presently Director of Music at Methodist Ladies’ College, Perth and Honorary Research Fellow at the University of Western Australia. A graduate of the Royal Academy of Music, London, Robert also studied at the Guildhall School of Music and Drama, the University of Reading, and the University of Sheffield, where he completed his PhD. With extensive experience at every level of music education from kindergarten through tertiary and adult education in the UK, Iceland, and Australia, Robert has a special interest in singing. He has published a solo monograph on Icelandic Men and Singing, along with various other chapters and articles on the voice as a technology of Self. As a performer, Robert has conducted a wide range of choirs, including performances at prestigious international venues and in competition. Other research interests focus more broadly on a range of music education, musical development, and music psychology topics.
Jeremy Fisher is a prize-winning musician, author, and CPD-accredited performance coach. He studied oboe, piano, and accompaniment at the RNCM UK and has worked as a collaborative musician for thirty years in opera, musical theater, and on the concert platform. Books include the Singing Express series, Successful Singing Auditions, and the Amazon #1 bestseller How To Sing Legato. In 2016 The Wellcome Trust commissioned This Is A Voice—a book of exercises on speaking, singing, ventriloquism, and beatboxing. Jeremy has created a groundbreaking Voicebox Video for London’s Science Museum, and more than thirty singing technique training resources for Vocal Process, including Belting Explained and Understanding Head Voice. He has presented on singing and performance techniques in the UK, Spain, Sweden, Latvia, the Netherlands, the US, and Australasia. Jeremy’s vocal folds have featured on British Voice Association leaflets and have appeared on Channel 4 as an example of a healthy voice.
Lynne Gackle is the Director of Choral Activities and the Mary Jane Gibbs Chair of Choral Music at Baylor University in Waco, Texas. She conducts Baylor Bella Voce, the Baylor Concert Choir, teaches choral conducting, choral literature, and serves as the Director of the Ensemble Division. Prior to her Baylor appointment, Lynne taught at the University of South Florida, the University of Mississippi, and the University of Miami. She received her education from Louisiana State University (BME) and the University of Miami (MM and PhD). Lynne is a nationally and internationally active choral clinician and conductor. She has held various positions within the American Choral Directors Association, including President of the Southern Division and ACDA-Florida, VP of Collegiate/Community Choirs for the Texas Choral Directors Association, and is currently the National President-Elect of the American Choral Directors Association. Lynne is the editor of Choral Artistry for the Singer (Walton Music/GIA) and the Lynne Gackle Choral Series (Colla Voce). Internationally recognized for her research on the female adolescent voice, Lynne is the author of Finding (p. xxiv) Ophelia’s Voice, Opening Ophelia’s Heart in addition to being contributing author for other books published by GIA, Oxford, and Hal Leonard/McGraw Hill. Professor Gackle was awarded Baylor’s Outstanding Faculty Award in Research (2012). She holds memberships in ACDA, TMEA, TCDA, and NATS.
Sandra Garrido PhD is a pianist, violinist, and researcher. With a background in both music and psychology, she completed her PhD at the University of New South Wales. Her post-doctoral research at the Melbourne Conservatorium of Music and the ARC Centre of Excellence for the History of Emotions concerned the use of music in depression in both the modern day and historically. She is currently an NHMRC-ARC Dementia Research Fellow at the MARCS Institute for Brain, Behaviour and Development at Western Sydney University. Sandra has published over thirty academic publications, including a monograph entitled Why Are We Attracted to Sad Music? (2016).
Ursula Geisler PhD is Associate Professor in Musicology at the Department of Music and Art at Linnaeus University in Sweden since 2015. She has been affiliated to Lund University 2002–2013. In 2009, together with Karin Johansson from Malmö Academy of Music, she initiated Choir in Focus, the international research network on choral singing, funded by Riksbankens Jubileumsfond, the Swedish Foundation for Humanities and Social Sciences. Her inventory of choral research publications, Choral Research: A Global Bibliography (2010/2012) is the first attempt to make choral research visible in its disciplinary and thematic diversification. Together with Karin Johansson, she has edited and published several anthologies on choral topics, including Choral Singing: Histories and Practices (Cambridge Scholars Publishing, 2014). Geisler is board member of the Swedish Society of Musicology, Editor in the Swedish Royal Academy of Music’s publication board, and Expert for the Norwegian National Research Council.
Rebekah Gilbert PhD graduated from the Royal Academy of Music in 1993 and worked as a professional concert and oratorio mezzo soloist in London. She has recorded at Abbey Road for EMI and the BBC. She gained her MA in Arts Management in 1994 from City University, and her Doctorate in 2012. She later studied at the London School of Sports Massage and works as a clinical sports massage therapist in Sussex. She has a strong interest in posture and performance and has recently been accepted by the British Association of Performing Arts Medicine. Rebekah has worked with Stephen Clift on a number of collaborations investigating music and well-being.
Brian P. Gill (tenor), DMA, Certificate in Vocology, 2011 Van L. Lawrence Fellowship Winner, is Associate Professor of Voice and Voice Pedagogy in the Jacobs School of Music (JSM) at Indiana University (IU). Prior to his appointment at JSM, he held the position of Music Associate Professor/Director of Vocal Pedagogy at NYU’s Steinhardt School and the Voice Center (Langone Medical Center). Professor Gill has performed numerous operatic and musical theater roles, concerts, and recitals in the US and abroad. In addition to IU and NYU, Professor Gill has taught at Eastern Kentucky University, Pace University, the University of Kentucky at Lexington, and the University of Colorado at Boulder in the Continuing Education program. A sought-after master clinician/guest lecturer, Professor Gill has taught/presented throughout the US and abroad in France, Germany, Italy, Portugal, Sweden, Czech Republic, South Korea, Poland, and Taiwan. His students perform in many of the most prestigious venues throughout the world.
(p. xxv) Sophie Grimmer has performed widely as a soloist in opera, oratorio, theater, and on the concert platform, both in the UK and abroad (English National Opera (ENO); Royal National Theatre (RNT); Banff, Canada; Aldeburgh Festival; Shakespeare’s Globe; Walt Disney Concert Hall, LA), under directors such as Simon McBurney, Sir Peter Hall, and Stephen Pimlott. Informed by her performing career, she works extensively in music education as a vocal professor at Trinity Laban Conservatoire of Music and Dance in London; devised voicework director at the Royal Academy of Dramatic Art (RADA); vocal consultant for National Youth Choirs of Great Britain (NYCGB); and soloist/creative director of music projects for Glyndebourne, ENO, Oxford Lieder Festival, and elsewhere. She has been funded by the Arts and Humanities Research Council (AHRC) at the UCL Institute of Education to research voice pedagogy in the Karnatic classical tradition of South India.
Helga Rut Gudmundsdottir PhD is an Associate Professor of Music Education at the University of Iceland, School of Education. She teaches courses in early childhood music methods as well as music pedagogy for elementary and middle school. Her research focuses on young children’s musical perception and development. She has been a Visiting Professor at McGill University and the University of Montreal and a visiting scholar at the BRAMS laboratories in Montreal. She was granted a Fulbright Scholar grant for the academic year 2016–2017. She is on the board of the MERYC (European Network for Music Educators and Researchers of Young Children). Dr Gudmundsdottir has developed a method in early childhood music in her home country of Iceland and runs a research-based practice that gives courses, trains teachers, and develops materials for teaching music in early childhood. She published a book and CD with Icelandic children’s songs in 2015.
Valentine Harding is an early-years music practitioner and an independent researcher in ethnomusicology, with a multi-disciplinary background in mental health, counseling and psychotherapy, and music. She holds an MSc in Intercultural Psychotherapy from University College London (2002) and an MMus in Ethnomusicology from Goldsmiths College (2009). Her special interest is the music of Bengal (West Bengal and Bangladesh). She has had a long-term association with this geographical area since 1971 in other contexts as well, e.g. health and social care. She is currently working on an oral history project recording the lives of Bengali musicians living in the UK.
Scott Harrison PhD is Director of the Queensland Conservatorium at Griffith University in Brisbane, Australia. He has taught singing and music in Primary, Secondary, and Tertiary environments. He has over twenty years of experience in performance of opera and music theater as both singer and musical director. Professor Harrison’s recent publications include Perspectives on Teaching Singing (2010), International Perspectives on Males and Singing (2012), Research and Research Education in Music Performance and Pedagogy (2013), and Teaching Singing in the 21st Century (2014). He has grants from the Office for Learning and Teaching and the Australia Research Council.
Christian T. Herbst PhD is an Austrian voice scientist. He has studied voice pedagogy at Mozarteum University, Salzburg, Austria, and has worked as a voice pedagogue for several years. Driven by his interest in the physics and the physiology of voice, he enrolled in a PhD program in Biophysics at the Palacky University in Olomouc, Czech Republic, from which he graduated in 2012. He currently works on Comparative Biomechanics of Mammalian Sound Production, a project funded by an APART grant from the Austrian Academy of (p. xxvi) Sciences. The focus of Christian’s scientific work is both on singing voice physiology and on the physics of voice production in mammals. He has received a number of international scientific awards and has published, among others, in the prestigious Science journal.
Joy Hill is a choral conductor at the Royal College of Music Junior Department in London, UK and is actively involved in artistic research in relation to choral performance practice. She has worked as a conductor and teacher at The Purcell School, as Senior Lecturer in Music and Music Education at the University of Roehampton and the UCL Institute of Education, and as a member of the Centre for Performance Science at the Royal College of Music. Awarded a Winston Churchill Fellowship for choral conducting in Sweden and an Arts Council England Bursary to work with choirs in Kaunas, Lithuania, Joy has long been committed to performing the work of student composers along with established contemporary composers. She has guest conducted leading youth choirs, has been a presenter and adjudicator in Japan, Estonia, Latvia, South Africa, Uganda, Slovenia, Greece, the US, and China, and is a member of the artistic committee for the World Youth Choir
Robert E. Hillman PhD, CCC-SLP is currently the Co-Director and Research Director of the Center for Laryngeal Surgery and Voice Rehabilitation at the Massachusetts General Hospital, Professor at Harvard Medical School (Surgery), and Director of Research Programs at the MGH Institute of Health Professions. His research has been funded by governmental and private sources since the mid-1980s. He has produced over 150 publications focusing on mechanisms for normal and disordered voice production, evaluation and development of methods for alaryngeal (laryngectomy) speech rehabilitation, development of objective physiologic and acoustic measures of voice and speech production, and evaluation of methods used to treat voice disorders. Dr Hillman has received over ten major awards for his work, including the Honors of the American Speech-Language-Hearing Association (2011) which is the highest award that the Association can bestow to “recognize individuals whose contributions have been of such excellence that they have enhanced or altered the course of the Professions.”
Evangelos Himonides PhD held the University of London's first ever lectureship in music technology education. He is now Reader in Technology, Education and Music at University College London (UCL), where he teaches extensively on the Master’s program in Music Education and supervises doctoral and post-doctoral researchers. Evangelos edits the Society for Education and Music Psychology Research (SEMPRE) conference series, is associate editor of The Journal of Music, Technology and Education (JMTE), associate editor of Logopedics Phoniatrics Vocology, and associate editor of Frontiers in Psychology. Dr Himonides has developed the free online technologies for Sounds of Intent (soundsofintent.org & eysoi.org) and is a Chartered Fellow (FBCS CITP) of the British Computer Society.
David M. Howard is the Founding Head and Professor of the new Department of Electronic Engineering at Royal Holloway, University of London, which has been set up to attract more young women into engineering. Previously, David was Head of the Audio Research Group and Head of Department of Electronics at the University of York. David’s research interests relate to human voice production and human hearing. Current work includes tuning in a cappella choral music, voice analysis and electronic synthesis, the vocal tract organ as a new musical instrument, and vocal change in boys and girls through puberty. In 2016, David was (p. xxvii) elected Fellow of the Royal Academy of Engineering. Musically, David conducts Feltham Choral and is the organist at St. Mary’s Thorpe.
Eric J. Hunter PhD is an Professor at Michigan State University in Communicative Sciences and Disorders. Eric’s research interests include biomechanics of speech articulators, biomechanical models of the vocal system, muscle mechanics and muscle models, voice recording, and signal processing. For the last 15 years, Dr Hunter has researched occupational voice use, specifically examining voice disorders in elementary and secondary school teachers. The goal of this research is to quantify the risk for and recovery from tissue damage, as well as to ascertain why female teachers appear to be at greater risk. Dr Hunter earned his bachelor’s and master’s degrees in Physics and Mathematics from Brigham Young University, with an emphasis in acoustics and vibration. He completed his training in the area of speech and hearing science and received his doctorate from the University of Iowa.
Dag Jansson is Associate Professor of Arts Management at the Oslo Business School. He earned his PhD from the Norwegian Academy of Music and his master's degree in musicology from the University of Oslo. Prior to his music and academic career, he was a business consultant and leader, educated as an engineer from the Norwegian University of Science and Technology, and earned a Master of Business Administration from INSEAD in France. He is the conductor of the chamber choir Vox Humana. In addition to having conducted other chamber choirs, he has also worked extensively with non-auditioned community choirs and workplace choirs. Based on the combined music and business experience, he has experimented with singing and conducting as part of team and leadership development programs. Esthetic leadership is also one of his ongoing research orientations. His book Leading Musically examines the nature of musical leadership in a choral setting and has just been published by Routledge in 2018 as part of the SEMPRE series.
Harald Jers holds master’s degrees in conducting, music education/solo-singing, and physics from the University of Music Cologne, the University of Music Düsseldorf, and RWTH Aachen University (Germany). He is currently Professor of Choral Conducting at the University of Music and Performing Arts, Mannheim which includes a Conducting Centre Department, a unique institution in Europe. He teaches choral conducting, voice training, and leads all choral ensembles of the University with a special interdisciplinary research interest in choir and room acoustics. As a conductor of several orchestras and choirs, he has toured extensively through Europe, Asia, and the US and has been much in demand as leader of international master classes in conducting. He founded the chamber choir CONSONO, which has had TV and radio broadcasts, CDs, and diverse first prizes at several most respected international choir competitions. He was awarded a first prize by the Acoustical Society of America for his research in choir acoustics.
Karin Johansson is Professor of Music at Malmö Academy of Music, Lund University, Sweden. She is also a performing organist. After her PhD thesis Organ Improvisation – Activity, Action and Rhetorical Practice (2008), she has worked with the projects (Re)thinking Improvisation, funded by the Swedish Research Council, Students’ Ownership of Learning based at the Royal Academy of Music, Stockholm, and research on higher music education, improvisation, and choral singing. Together with Ursula Geisler, she initiated the international research network Choir in Focus, funded by Riksbankens Jubileumsfond. At present, (p. xxviii) she is part of the project DAPHME (Discourses of Academization and the Music Profession in Higher Music Education), also funded by Riksbankens Jubileumsfond.
Gillyanne Kayes Gillyanne Kayes PhD is a singing voice specialist, pedagogue, and researcher, internationally recognized for her insight into function of singing voice. She has presented papers, given masterclasses, and led workshops at numerous conferences, including the Pan-European Voice Conference, the Wellcome Trust, the Physiology and Acoustics of Singing conference, the British Voice Association, and the ANATS and NEWZATS associations. Her published works include Singing and the Actor: Successful Singing Auditions (Bloomsbury Press), the Singing Express series (Harper Collins), and This is a Voice book commissioned by the Wellcome Trust (with Jeremy Fisher). Research publications include the Journal of Voice and the report from the VoiceEU project into the vocal health of amateur choral singers. Gillyanne currently holds a Visiting Professorship at the London College of Music and co-owns and runs Vocal Process Ltd., a nationally accredited voice education company providing continuing professional development for vocal trainers, choral leaders, and vocal performers.
Mary King studied English at the University of Birmingham, earned a PGCE at St Anne’s Oxford, and completed the postgraduate opera course at the Guildhall School of Music and Drama. Her performing career encompasses a wide range of vocal genres, from opera, oratorio, chamber music and recital to musical theater and straight plays. She has been an Artistic Associate for English National Opera and on the faculties of the Royal Academy of Music, Royal Northern School of Music and Drama, and Guildhall School of Music and Drama. Currently, she is director of Voicelab at London Southbank Centre, has a busy teaching studio, and is a voice coach for shows in the West End of London. Publications include co-authorship of The Singer's Handbook (Faber, 2007) and a series of vocal repertoire collections with coaching notes, The Boosey Voice Coach (Boosey & Hawkes). She is a Member of Council for the Royal Philharmonic Society.
Boris A. Kleber PhD completed an MSc (2002) in Psychology at the University of Konstanz (Germany), received his doctorate in Neuroscience (2009) from the University of Tübingen (Germany), and was awarded a higher doctorate degree (Habilitation) in Psychology from the University of Tübingen (2016). His scientific interest and passion for the singing voice is strongly influenced by his early musical experiences. During his PhD, he worked with EEG Neurofeedback and pioneered fMRI research with trained singers as a model for experience-dependent plasticity of the vocal motor system. This work was crucially developed during his post-doctoral research with Professor Robert Zatorre at the Montreal Neurological Institute (QC, Canada). Since 2016, Dr Kleber has been affiliated with the Center for Music in the Brain, Aarhus University (Denmark), where he integrates his previous work on vocal motor control in trained singers with the concept of predictive coding.
Susan Knight PhD is a choral conductor, educator, researcher, and producer. She advocates singing for its intrinsic esthetic value, but also as a powerful engine for human health/enrichment and for the creation of empathic community. Published in professional journals, conference proceedings, and musical editions, Susan presents at national/international conferences and is active in governance. She is Chancellor of Memorial University (Newfoundland/Labrador, Canada) and Visiting Researcher, International Music Education Research Centre, UCL Institute of Education. Susan is Founder/Chair of (p. xxix) Growing the Voices, a comprehensive agency developing access to, diverse opportunities for, and increased awareness of singing’s value across the lifespan. She founded Shallaway Choir and Festival 500, and has an extensive discography and filmography. Susan holds bachelor degrees (music/music education, Memorial University), an MA (University of St. Thomas. Minnesota), and a PhD (UCL Institute of Education). She has an honorary doctorate (LLB, Memorial University), and is invested in both the Orders of Canada and Newfoundland/Labrador.
Malte Kob PhD received his Diploma in Electrical Engineering from Technical University Braunschweig where he also founded an amateur choir and started playing Jazz. His dissertation was defended in 2001 at RWTH Aachen University on singing voice synthesis. Since 2009, Malte Kob has been Professor at the Erich Thienhaus Institute of Detmold University of Music where he teaches fundamentals of electrical and acoustical engineering at Bachelor, MSc, and PhD level. His research interests range from measurement technique via voice physiology to music-room-listener interaction.
Filipa M.B. Lã PhD is an internationally recognized scientist in voice science and pedagogy, singer, and singing teacher with a background in Biology and a Masters and PhD in vocal performance studies. She is currently undertaking research at the Centre for Social Sciences and at the Institute of Interdisciplinary Research, both at the University of Coimbra in Portugal, where she investigates issues related to professional voice users’ health and well-being, developing strategies to optimize voice education, and professional voice users’ working conditions. Additional projects involve descriptions of cross-cultural studies in different singing styles. Her work has been recognized with several international awards, including the Van Lawrence Award, by the National Association of Teachers of Singing, and by The Voice Foundation in 2015.
Karen M. Ludke PhD is a Senior Lecturer in English Language at Edge Hill University, UK. After graduating from the University of Michigan, where she studied English and French, Dr Ludke completed her PhD, Songs and Singing in Foreign Language Learning, within the Institute for Music in Human and Social Development at the University of Edinburgh. From 2009 to 2012, she contributed to the European Commission-funded European Music Portfolio—A Creative Way into Languages project. In 2013–2014, Dr Ludke was a Postdoctoral Fellow for the Advancing Interdisciplinary Research in Singing project, working with Dr Annabel Cohen and the AIRS Digital Library team, University of Prince Edward Island, Canada. Dr Ludke’s research focuses on the potential of music and singing to support language learning, and the role of individual learner differences in this process. She is a reviewer for journals including Psychology of Music and Studies in Second Language Learning and Teaching.
Lynne Murray has performed extensively as a soloist in opera, oratorio, and concert throughout Australia and in New Zealand, Germany, and the UK. Her roles include Lucia in Lucia di Lammermoor, the Queen of the Night in The Magic Flute, Sophie in Der Rosenkavalier, and Olympia in The Tales of Hoffmann. She has extensive experience as a singing teacher and has a particular interest in teaching older singers. She runs courses on vocal technique for choirs, among them Sydney Philharmonia Choirs, for whom she acts as a vocal coach. Her article on teaching older singers can be found in the 2016 edition of Australian Voice.
(p. xxx) Garyth Nair PhD (deceased) was an internationally recognized voice researcher/teacher, best known for his two books, an in-depth guide to the use of spectrography in the voice studio (Voice: Tradition and Technology, Singular Publishing, 1998) and his compendium of voice science’s practical application in the voice studio (The Craft of Singing, Plural Publishing, 2007). This writing led to Professor Nair presenting papers and workshops worldwide. Commenced in cooperation with, and now continued by, Dr Angelika Nair, this work branched out to include ultrasound as both voice research and biofeedback tools. He was a graduate of Westminster Choir College and New York University, and was a Professor of Music at Drew University (Madison, NJ). In addition to his work in voice science and pedagogy, Garyth enjoyed long careers as both a professional conductor and singer. Professor Nair was also a member of the Journal of Voice editorial board.
John Nix has a Bachelor of Music (voice performance, University of Georgia), a Masters of Music Education (arts administration, Florida State University), a Masters of Music (voice performance, University of Colorado), and a Certificate in Vocology (University of Iowa). He is Professor of Voice and Voice Pedagogy at the University of Texas-San Antonio. His mentors include Barbara Doscher (singing, pedagogy) and Ingo Titze (voice science). His students have sung with the Santa Fe, Arizona, Chautauqua, St. Louis, Nevada, Omaha, and San Antonio opera companies. In addition to his active voice teaching studio, he researches voice pedagogy, literature, and acoustics, and has produced 38 published articles and eight book chapters. Professor Nix is editor and annotator of From Studio to Stage: Repertoire for the Voice (Scarecrow, 2002), vocal music editor for the Oxford Handbook of Music Education, and one of three general editors for the Oxford Handbook of Singing.
Peter Pabon studied biochemistry, signal processing, and sonology at Utrecht University. His professional career started in 1983 as a part-time researcher with Professor Plomp at VU University in Amsterdam on a project called Objective Recording of Voice Quality, and he worked at Utrecht University as a teacher/researcher on (singing) voice analysis and speech and music acoustics from 1983 until 2011. He initiated a project for singing voice synthesis and analysis at the Royal Conservatoire that later resulted in a cooperative project with the singing department to monitor voice change as an effect of voice training. In 2002, he founded Voice Quality Systems, a company in which he develops the voice quality recording system Voice Profiler, which is used in many clinical centers, conservatories, and schools for professional voice training. Peter Pabon lectures at the Royal Conservatory, The Hague and is currently finishing his PhD thesis at KTH Stockholm, which has generated several papers and presentations on Voice Range Profile (VRP) recording methodology, the effects of voice training, and the spectral variation over the VRP.
Diana Parkinson is a PhD student at UCL Institute of Education undertaking research into community singing in the UK. She sings in a number of choirs and is co-chair of the Royal Free Music Society. For the last few years, she has also been working with Streetwise Opera, a charity that uses community singing to help people who have experienced homelessness to make positive changes in their lives and, as such, has seen its particular value in helping individuals overcome adversity. These experiences informed her choice of research area for an MSc in Professional Practice in Research Methods (for which she was awarded a distinction) from Middlesex University and have led to her current PhD study.
(p. xxxi) Lisa Popeil has studied piano, voice, and composition, earned an MFA in Voice from California Institute of the Arts, and has taught professionally for over forty years. Lisa is the creator of the Voiceworks® Method for singers, the Total Singer DVD, the Daily Vocal Workout for Pop Singers CD, and is co-author of the book Sing Anything: Mastering Vocal Styles. As a professional singer, Lisa has performed and recorded with the Pasadena Symphony, Frank Zappa, “Weird Al” Yankovic, and, in addition, her self-titled pop album was a Billboard “Top Album Pick.” Her voice research projects have focused on belting voice production, vibrato, vocal registers, and the comparison of classical and commercial vocal genres. She is a member of many organizations, including the Voice Foundation (on the Advisory Board), the National Association of Teachers of Singing, SAG/AFTRA (Screen Actors Guild/American Federation of TV and Radio Artists), ASCAP (American Society of Composers and Publishers), and is a voting member of NARAS (National Academy of Recording Arts and Sciences, the Grammy® organization).
Costanza Preti PhD is an Honorary Research Associate in the Department of Culture, Communication and Media at UCL Institute of Education. She holds a Masters in Music Education, a Masters in Research Methods, and a Doctorate of Philosophy from the Institute of Education, University of London, as well as a first-class BA in Literature and the Arts from the University of Florence. Her research focuses on music and health and was funded by the UK Economic and Social Research Council (ESRC) and the Wingate Foundation. She has worked on six major research evaluation projects, including those sponsored by the Italian and English Ministries for Education. From 2014 to 2015 she was Postdoctoral Research Fellow at the Centre for Arts as Wellbeing, University of Winchester, UK.
Nandhu Radhakrishnan PhD is an Associate Professor and the Director of the Voice and Vocology Clinic at the Department of Speech and Hearing Sciences at Lamar University in Beaumont, Texas. He received his doctorate from Bowling Green State University, Ohio and completed his clinical fellowship at the University of Pittsburgh Voice Center, Pennsylvania. His areas of specialty include clinical, professional, and performance voice issues. He has published chapters and articles related to voice science and has conducted national and international workshops related to assessment and intervention of voice. He is a member of various organizations, including the Voice Foundation, Pan-American Vocology Association, and the Voice and Speech Trainers Association. Apart from his voice-related professional life, he is a stage artist, choreographer, and hobby-chef.
John S. Rubin MD FACS FRCS is a Consultant ENT Surgeon at The Royal National Throat Nose and Ear Hospital, a part of The University College London Hospital NHS Trust. He is previous Clinical Director (2003–2009), and previous Chair of the Consultant Forum (2009–2016), as well as Lead Clinician of the Voice Disorders Unit. He is Honorary Consultant ENT Surgeon at the National Hospital for Neurology & Neurosurgery, which is also a part of the University College London Hospital NHS Trust, and where he co-chairs the Voice and Swallowing Unit with Dr Ruth Epstein. John is Visiting Honorary Professor at City, University of London as well as Honorary Senior Lecturer at University College London. His particular interests lie in voice disorders and laryngeal surgery. He has written extensively, including several books, numerous articles, and chapters, and regularly lectures on voice-related topics. Mr. Rubin has served in multiple capacities on many international editorial and scientific boards and committees. He is immediate past Chairman of the Board (p. xxxii) of Trustees and Honorary Treasurer of ENT UK. He is also a past-President of the Collegium Medicorum Theatri (2009–2012 term); founding member of the European Academy of Voice and of the British Laryngological Association (where he is currently on its Board). He is President-elect and current Treasurer of the British Voice Association.
Klaus R. Scherer PhD (Harvard) has held Professorships at the University of Pennsylvania and the Universities of Kiel, Giessen, and Geneva. He is currently an Honorary Professor at the University of Geneva and the University of Munich. His extensive work on different aspects of emotion, in particular vocal and facial expression and emotion induction by music, has been widely published in international peer-reviewed journals. Klaus Scherer is a Fellow of several international scientific societies and a member of several learned academies. He founded and directed the Swiss Center for Affective Sciences, held an Advanced Grant of the European Research Council, and has been awarded honorary doctorates by the University of Bologna and the University of Bonn.
Harm K. Schutte MD-ENT PhD is retired since 2007 from the position of Professor of ENT-Phoniatrics at the University of Groningen. He was trained as a researcher on voice in the Institute of Medical Physics under Professor Dr Janwillem van den Berg, who developed the Myoelastic-Aerodynamic Theory of Voice production. Schutte did thesis work on the aerodynamic characteristics (pressure, flow, and efficiency) of voice production, including professional singing. The professional voice was subject in numerous direct in-vivo measurements of pressure below and above the glottis, along with EGG and Audio, executed together with Donald Miller in the development of VoceVista. The visual evaluation of the vocal folds vibration pattern improved significantly under the development of videokymography in Groningen.
Desmond Sergeant PhD studied voice, piano, and conducting at the Royal College of Music, London, and at the Guildhall School of Music and Drama. He gained a doctorate from the University of Reading in 1969, and has worked in higher education since 1961, teaching in Universities in England and the US. He is currently Visiting Fellow at UCL Institute of Education. He has published widely in the fields of voice research and music cognition and has special interests in childhood development of musical abilities and prepubertal voice development. His publications have appeared in many languages. He was the founding editor of the international research journal Psychology of Music and in 1987 was nominated Distinguished Foreign Scholar by the Mid-America University Association. In 2005, he was the recipient of a Lifetime Achievement Award by the Society for Education, Music and Psychology Research (SEMPRE). His works include several music-dramas for young players.
Tara K. Stadelman-Cohen BM, MS, CCC-SLP is a voice pathologist/singing health specialist at the Massachusetts General Hospital Center for Laryngeal Surgery and Voice Rehabilitation. Tara received a Bachelor’s degree in music and completed her Master’s degree in Communicative Disorders. She currently performs acoustic and aerodynamic analysis of voice production in addition to laryngeal endoscopy for voice assessment; she also provides voice therapy with clinical specialization in rehabilitation of the injured professional voice. She is an instructor at the Massachusetts General Hospital Institute of Health Professions in Communicative Disorders and a part-time faculty member in the vocal pedagogy programs at the Boston Conservatory of Music at Berklee, New England Conservatory, and Boston (p. xxxiii) University. Co-authored publications have appeared in the American Speech-Language- Hearing Association (ASHA) Leader, Journal of Voice, and Laryngoscope. She is a member of the American Speech-Language-Hearing Association (ASHA) and the National Association of Teachers of Singing (NATS).
Brad Story PhD is Professor of Speech, Language, and Hearing Sciences at the University of Arizona. After receiving his Bachelor’s degree in Applied Physics from the University of Northern Iowa, Brad worked in industry as an engineer where he developed computer models and instrumentation systems for designing and measuring the performance of mufflers. Motivated by an interest in the production and perception of sound, he obtained the PhD degree in Speech and Hearing Science at the University of Iowa, and then held post-doctoral research positions at the University of Iowa and at the Denver Center for the Performing Arts. His current research is focused on the use of computer models to aid in understanding how the shapes, sizes, and movements of both the voice source components and the vocal tract contribute to the sounds of speech and singing. He also teaches courses in acoustics, speech science, and speech perception.
Johan Sundberg PhD was awarded a personal Chair in Professor of Music Acoustics in 1979 at KTH Stockholm (retired 2001). His main research areas are the function, acoustics, and expressivity of the singing voice and the theory of music performance. He has published more than 300 scientific articles and supervised or co-supervised more than twenty doctoral students. He is a member of the Royal Swedish Academy of Music and Doctor Honoris Causa at the University of York, UK, the National University of Athens, Greece, and l’Université de Liège, Belgium. His book Röstlära (The Science of the Singing Voice), translated into English, German, Japanese, and Portuguese, summarizes the status of voice research. He also has written a book on music acoustics (The Science of Musical Sounds, 1991) and has been editor or co-editor of numerous conference and seminar proceedings. He has had extensive experience also of performing music, both as a chorister and as a solo singer.
Jan G. Švec PhD is a leading Czech physicist performing basic research on human voice production. He worked as a Research Scientist at the Groningen Voice Research Lab, University of Groningen in the Netherlands and at the National Center for Voice and Speech in Denver, CO, USA. Since 2007, he has been in the Czech Republic at the Palacky University Olomouc and is also affiliated with the Voice Centre Prague. His research interests include voice measurement methodology, visualization of vocal fold vibration, non-linear dynamics of voice, singing, voice dosimetry and voice modeling. He designed videokymography, a method for high-speed visualization of vocal-fold vibrations, which is being used for advanced diagnosis of voice disorders. Jan has published over 100 scientific articles on human voice in journals and books, supervises doctoral students, collaborates with numerous research teams around the world and lectures world-wide.
Sten Ternström PhD received his MSc EE from KTH in Stockholm, joined the Music Acoustics group there in 1982, and became its Professor in 2003. His PhD thesis Acoustical Aspects of Choir Singing (1989) was the first major text on this subject, and its topic has remained central among his interests. Choir acoustics provides a convenient theme for pursuing diverse topics in voice analysis, voice and music synthesis, room acoustics, audio signal processing, and music perception. In parallel, he created software for voice (p. xxxiv) analysis and signal processing. During the 2010s, his work has been concerned with research paradigms that recognize and account for the large variability between voices. Sten also teaches acoustics and audio technology in the School of Electrical Engineering and Computer Science at KTH. He is an Associate Editor of Acta Acustica united with Acustica and serves on several editorial boards.
Töres Theorell MD PhD is a physician with a specialty in internal medicine, cardiology, and social medicine. He has been researching stress (physiology, epidemiology, and intervention studies) since the 1960s. He was Director of the National Institute for Psychosocial Factors and Health between 1995 and 2006 and, at the same time, he was Professor of Psychosocial Medicine (mainly occupational) at the Karolinska Institute. His research interest in culture and health started in the early 1980s and since then he has supervised several doctoral theses in that field. With collaborators, he has performed several studies of music and health, and published the book Psychological Health Effects of Musical Experiences (Springer, 2014). Recently, he has been collaborating with the Swedish Twin Registry in publishing studies on music experiences in relation to alexithymia (inability to handle emotions).
Alma Thomas holds a BA, MSc, and MPhil, and is an acclaimed sports psychologist and performance enhancement consultant currently working with the Institute of Psychology in London. She has served as the team psychologist to British Rugby Union and Rugby League teams and as a performance psychologist to the British track team at three Olympic Games and World and European Championships. Her work has covered assignments with elite performers in all fields: actors, dancers, instrumental musicians, and singers. She is the author or co-author of several books on performance enhancement, including Play the Exam Game (1994) and Power Performance for Singers (1998, with Shirlee Emmons).
Sandra E. Trehub PhD studied economics and philosophy before obtaining her doctoral degree in experimental psychology at McGill University in 1973. Since that time, she has taught and conducted research in the Department of Psychology at the University of Toronto, where she is Professor Emerita. Most of her research is conducted in laboratory contexts, but she has traveled across continents to observe cross-cultural differences in musical interactions with infants. Among her scholarly honors are the Kurt Koffka Medal from Giessen University (Germany, 2012) and a Lifetime Achievement Award from the Society for Music Perception and Cognition (2013). Her research focuses largely on maternal singing and its consequences for infant development and on infants’ and young children’s perception of pitch and rhythmic patterns.
Maria Varvarigou PhD is a Senior Lecturer in Music at Canterbury Christ Church University, a Senior Researcher at the university’s Sidney de Haan Centre for Arts and Health, and a Visiting Research Associate at UCL Institute of Education. Maria has been performing as solo singer, oboist, and chorister for many years. She has participated in several recordings of Greek traditional songs and has developed a great interest in performance practices of traditional music. She completed her PhD in 2009 as a scholar of the AS Onassis Foundation. Her special areas of interest include ear-playing and performance practices of vernacular music, effective teaching and learning in higher and professional education, music and well-being, choral conducting education, and intergenerational music-making. Maria is one of the authors of the book Active Ageing with Music published by the IoE University Press.
(p. xxxv) Robert Walker PhD has been Director of Music in three specialist music schools in England, as well as full Professor in two universities in Canada (SFU and UBC) and Head of the School of Music and Music Education at UNSW in Australia. He is now Adjunct Professor in the School of Education at the University of New England, Australia and is recognized as a leading international scholar on musical development and culture. The author of over 100 research papers, ten single-authored books, and 25 chapters in books, Bob is now retired in rural New South Wales with his wife Myung, their parrots, DVDs, wine collection, and lovely garden.
Alan Watson PhD is a Reader in Anatomy and Neuroscience at the School of Biosciences, Cardiff University. He also runs a module at the Royal Welsh College of Music and Drama on the biological principles underlying musical performance and works with staff and students there on projects concerned mainly with breathing physiology in wind players and singers, posture, and embouchure muscle activity. He gives regular lectures for clinicians and performers at the British Association for Performing Arts Medicine and has been involved in the setting up of a Performing Arts Medicine MSc at University College London. His many public engagement activities include participation in events at the DANA Centre and Wellcome Collection and talks for the Wrexham Science Festival, the Cheltenham Music Festival, the Hay Festival, and the Menuhin Violin Competition; his book The Biology of Musical Performance and Performance-related Injury was published by Scarecrow Press in 2009.
Graham F. Welch PhD has held the UCL Institute of Education (formerly University of London) established Chair of Music Education since 2001. He is a Past President of the International Society for Music Education (ISME) (2008–2014) and elected Chair of the internationally based Society for Education, Music and Psychology Research (SEMPRE). He holds Visiting Professorships at universities in the UK and overseas and is a former member of the UK Arts and Humanities Research Council (AHRC) Review College for Music (2007–2015). Publications number approximately 350 and embrace musical development and music education, teacher education, the psychology of music, singing and voice science, and music in special education and disability. Publications are primarily in English, but also appear in Spanish, Portuguese, Italian, Swedish, Greek, Japanese, and Chinese. New publications in 2018 include an updated Oxford Handbook of Music Education (five volumes) and the Oxford Handbook of Singing. He is also working with Margaret Barrett (University of Queensland) on the forthcoming Oxford Handbook of Early Childhood Early Music Learning and Development. He was Chair of the Paul Hamlyn Foundation National Working Group on music education in England (http://www.inspire-music.org) from 2015–2017.
Jenevora Williams PhD is a leading exponent in the field of vocal health and singing teaching. After a successful career in Opera, Jenevora turned her attention to investigating healthy and efficient vocal function. Her deep understanding of the human voice is based on a combination of extensive academic study and practical experience. She was the first singing teacher to be awarded a PhD in voice science in the UK and won the 2010 BVA Van Lawrence Prize for her outstanding contribution to voice research. She is well known for her imaginative and rigorous training courses for singing teachers in the UK and Europe. As a teacher of singing, she works with professional singers of all ages, as well as working in Vocal Rehabilitation for BAPAM and the NHS in the UK.
(p. xxxvi) Karen Wise PhD is Research Fellow and Lecturer in psychology and research methods at the Guildhall School of Music & Drama, London, UK. She has published on the psychology of singing and self-defined “tone deafness,” and on creativity in performance. Her current externally funded research focuses on collaborative work with singing teachers and adult non-singers to investigate the journey of learning to sing in adulthood. It aims to understand the needs and development of adults who believe themselves unable to sing, and how they might best be facilitated in vocal learning and participation. Karen was previously Research Associate in the Centre for Musical Performance as Creative Practice (CMPCP) at the University of Cambridge and has held psychology teaching posts at the Royal Northern College of Music in Manchester and the University of Keele, UK. As a singer, she has performed in opera, oratorio, and recitals in the UK and Europe.
Sheila C. Woodward PhD is Professor of Music and Director of Music Education at Eastern Washington University, US. She is a native South African and earned her doctorate from the University of Cape Town. Sheila is a Past President of the International Society for Music Education and Vice President of the International Music Council. She previously served on the Editorial Board of the International Journal of Music Education (2010–2016) and the ISME Board of Directors (2004–2008). Her research focus is music and well-being. She explores this from before birth to adulthood, with studies on the fetus, neonate, premature infant, young child, at-risk youth, juvenile offender, and adult musician. She has published numerous articles, in addition to chapters in Benedict, Schmidt, Spruce, and Woodford’s The Oxford Handbook on Social Justice in Music Education (Oxford, 2015) and in Malloch and Trevarthen’s Communicative Musicality: Narratives of Expressive Gesture and Being Human (Oxford, 2009).
Yang Yang PhD is a solo singer in both Western classical and Chinese music. He received his PhD in music education from UCL Institute of Education. His doctoral research explored pedagogical challenges in the teaching and learning of traditional folk song performance (intangible cultural heritage) in higher education. This included an initial in-depth cultural inquiry into China’s higher music education policies since the 1900s, as well as extensive fieldwork with associated acoustic and qualitative data analyses. He is currently a Assistant Professor at the Education University of Hong Kong, and an Honorary Research Fellow at the School of Music, University of Queensland. Recent research publications cover singing pedagogy, psycho-acoustics, music psychology, and STEAM.
Jean Mary Zarate PhD received her doctorate in neuroscience from McGill University, where she studied the neural correlates of auditory-motor integration during singing under the supervision of Robert Zatorre. She then moved to a Postdoctoral Fellowship at New York University, where she investigated the functional roles of the dorsal auditory stream with David Poeppel. She currently works as a full-time scientific editor at Nature Neuroscience.