The world of voice is changing is collegiate voice pedagogy

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1 Scott McCoy, Associate Editor Voice Pedagogy The Future of Collegiate Voice Pedagogy: SWOT Analysis of Current Practice and Implications for the Next Generation David Meyer and Matthew Edwards Introduction David Meyer Matthew Edwards The world of voice is changing is collegiate voice pedagogy serving our singers changing needs? How can we embrace the wealth of our tradition and yet be adaptive enough to serve today s singers? Historically, university education began when institutions were established to focus the known universe of learning in a single place. Artist-teachers of singing embody this concept in efforts to represent the entire human experience through voice. For centuries universities have exposed students to knowledge in an environment that largely separates them from the world. This atmosphere has its advantages and risks. Lenore Rosenberg, Director of the Lindemann Young Artist Development Program at the Metropolitan Opera, said, There seems to be a gap developing between what the schools want the singers to learn while they re there, and what s actually needed in the professional world. 1 If we train singers solely to our tradition and refuse to examine the music world outside our institutions, we may be increasing this gap. This column will examine current factors in collegiate voice training using a technique common in strategic planning. SWOT, an acronym for Strengths, Weaknesses, Opportunities, and Threats, is a form of analysis that helps organizations determine if they should be going in a particular direction or pursuing a new path. Simply stated, SWOT is a way of presenting pros and cons of an idea from internal and external perspectives. Current collegiate voice pedagogy practices are the internal factors (Strengths and Weaknesses), and today s marketplace for singers and teachers of singing are the external factors (Opportunities and Threats). Strengths Internal positive factors Journal of Singing, March/April 2014 Volume 70, No. 4, pp Copyright 2014 National Association of Teachers of Singing A Rich Tradition A voice student in 2013 easily could have a great grand-teacher who was trained in the 19th century. Imagine the following: a singing teacher, born in 1860, could train a college-aged student in the 1920s. Let s say this young March/April

2 David Meyer and Matthew Edwards student went on to an illustrious singing career and then began teaching. A 1960s pupil of this pedagogue may herself become a voice teacher, eventually training today s young singers. In only several generations most singers and teachers of singing today can trace their pedagogic lineage to the greatest teachers of the 19th and even 18th centuries. Collegiate voice pedagogy is rooted in the bel canto tradition that trained the world s finest operatic voices. Voice teachers build on centuries of musical, pedagogic, and experiential wisdom. We stand on the shoulders of the great singers and teachers who came before us. The Expanding Community of Voice Professionals The number of organizations dedicated to the generation and dissemination of new knowledge of the singing voice is growing. A partial list of these organizations would include the National Association of Teachers of Singing (NATS), the Voice Foundation, the American Academy of Teachers of Singing (AATS), the National Center for Voice and Speech (NCVS), and the New York Singing Teachers Association (NYSTA). One could also include ICVT, PAS, PEVOC, AHSA, and VASTA in this list. These organizations have robust web presences, journals, and major conferences where medical professionals, researchers, and singing teachers interact and share their knowledge to improve voice training. The opportunities for continuing education are vast, and one no longer needs to live in a pedagogic vacuum! Voice and Voice Pedagogy Has a Strong Place in the Academy At Shenandoah Conservatory, Dr. Kathryn Green and David Meyer researched voice faculty job listings (n=1627) advertised in the CMS Music Vacancy List ( ). This analysis revealed a consistently strong demand for educators with expertise in voice pedagogy. Numerous institutions have added voice pedagogy graduate programs to their offerings, and opportunities for study and employment in voice pedagogy are strong. 2 Our Students Have Opportunities in the Marketplace The recent closing of New York City Opera was a blow to the industry, but there still are more opera companies in the U.S. than a few decades ago. In 1942 there were eighty-eight American opera companies; 3 today there are one hundred and twenty-two. 4 Half of these were established after 1970, and over forty percent since This indicates a significant growth in opera producing organizations in the last forty years. Given luck, talent, and more luck, our students can find employment. YAPtracker.com posted over 2,500 audition notices for operatic singers in It is clear that opera is not a dead, unemployable career path for today s young singer. In 2013 the Strategic National Arts Alumni Project (SNAP) surveyed thousands of recent arts graduates, and found that the majority (performing and visual) find work in the arts and report high levels of job satisfaction. The survey included 8,558 music performance graduates. The average wage for BM and MM graduates was $45,000 per year, and DMA graduate average earnings were $55,000 per year. Even though most of our singers will never sing on the stage of the Metropolitan Opera, it is clear that studying music at the college level helps students find fulfilling work in their communities. Weaknesses internal negative factors Historical Bias The first music theater work, The Black Crook, was premiered in 1866, 5 but the first collegiate training program for music theater singers did not emerge until 1968 more than a century later. 6 College-conservatories have a historical bias in favor of classical music. That has its roots in a number of racial and classist factors beyond the scope of this article. 7 However, it is important to acknowledge that the dearth of CCM voice instruction over the last century impacts current pedagogic and institutional practice. The Mentor-Student Model of Voice Instruction Most of us teach singing in the manner that we ourselves were taught. 8 This educational method can be effective when the student-teacher match is strong. Indeed, physician training followed this model since Hippocrates. Prior to the 19th century, medical knowledge was largely disseminated in a mentor-student manner, but as a result, the field of medicine made little progress in two millennia. 9 Teaching our students only as we were taught works poorly if the student s learning prefer- 438 Journal of Singing

3 Voice Pedagogy ences are different from the teacher s. For example, a kinesthetic approach that worked for the teacher may not be effective for a student who is visually inclined. This Hippocratic approach may also prevent us from adapting to best serve singers (changing) needs. Classical Singing as the Basis of All Styles of Singing Good singing is good singing is a reasonable, and commonly heard statement. 10 In 2008, the American Academy of Teachers of Singing published a position paper stating that CCM singing uses a different vocal production than classical singing, and that a dedicated, systematic approach for CCM voice instruction is warranted. This statement is not without controversy, but the AATS enjoys overwhelming support in the scientific and pedagogic literature for this view. 11 Operatic voice training is not a necessary stepping stone to being cast in a Broadway show. If we ignore the research and continue to approach our work from a classical-only point of view, our voice instruction may cause more harm than good. The College to Career Transition Professional success is multifactorial, and collegiate music programs may be unaware of new demands being placed on our singers in the marketplace. Broadway casting directors have made the following observation regarding graduates from music theater programs. When you graduate, your preparation for the business is often your professor telling you to wear this little audition dress... and never stop smiling... We go to senior showcases at these colleges... it s actor after actor singing as loud and as high as they can with a fake smile plastered on their face. 12 Lenore Rosenberg made similar comments about what is lacking in the training of young operatic performers. Some people teaching voice in universities have never had performing careers, but even teachers who have careers don t know how the profession has changed or they are living in cultural isolation to the degree that they don t know what is needed to be hired today. 13 We can best serve our students when we are aware of employment trends in voice and when we continue to evaluate our current practices. If we fail to consider the marketplace, our students may leave our studios no better prepared for careers than when they first entered. Jumping from Fad to Fad Some teachers, in the pursuit of the one perfect exercise that will unlock a student s potential, jump from one vocal fad to the next. Of course, new pedagogic approaches should be explored, but teachers should be aware of a psychological phenomenon known as the novelty effect, which occurs when the newness of a technique itself produces a large effect. 14 Many of us have observed this in the master class setting: students are asked by the master teacher to make minor changes in their singing, and these suggestions produce a (disproportionately) large effect on the voice. These changes may be due to the clinician s understanding of the instrument, but a portion might be attributed to the novelty effect. For example, if you were asked by a famous voice instructor to sing with your left leg held high above the ground (and you followed the suggestion!), your singing could well change. The effect would likely be transitory. An antinovelty effect may also be observed, where any new techniques used in a singer s lesson are immediately resisted. Fear of new approaches may prevent progress. Voice teachers need to evaluate new techniques to determine if their success in the studio is due to the novelty effect or to the practical application of voice science. Jumping from fad to fad is as incongruous with genuine vocal development as avoiding all nontraditional pedagogy. Opportunities external positive factors Societal Interest in Singing Is Very Strong Televised talent shows expose millions of viewers to singing. American Idol had 21.9 million viewers for the 2012 season premiere, and 17.9 million for the 2013 premiere. 15 Premieres of another popular singing talent show, The Voice, had over 10 million viewers (each) for the last three seasons. 16 The public is clearly interested in watching participants overcome their nerves and communicate the human experience through song or they enjoy watching the vocal train wrecks! Additionally, the National Endowment of the Arts found that 5.2% of adults sing in a choir or chorale. 17 While the percentage itself may seem small, it represents fifteen million Americans who love to sing enough for each of NATS 7,000 members to fill their studios with 2,261 students. March/April

4 David Meyer and Matthew Edwards The Marketplace for Voice Instruction Is Strong NASM reports collegiate music program enrollment of 114,327 students in 2012, and 8% of these students (9,301) are voice performance majors. Music theater programs housed within music departments enroll 1,040 students, while those in theater departments enroll 1,262, for a total of 2,302 students. 18 Despite the poor economy, these figures are fairly stable. Private voice instruction is likewise in demand. Young children want training for their school musical productions, and adult singers participate in church and community groups to enhance their quality of life. Anecdotal evidence suggests that pedagogues who are willing to teach singing in all styles have little difficulty filling their studios with students. The Entrepreneurial Teacher Can Earn a Living in the Arts With a moderate entrepreneurial effort, private voice teachers can earn a living wage. Consider a real world example. A young voice pedagogue teaches 20 hours each week at $50 per hour. Singing a church gig ($100 per week) and performing in a local restaurant ($100 per week) provide supplemental income. Lastly, the CCM voice teacher who can record/arrange demo recordings in a home studio (4 hours per week at $40 per hour) will earn an additional $160 per week. These piecemeal gigs may seem unimpressive compared to other career paths, however they add up to over $60,000 per year with a thirty hour work week and four weeks of vacation. We Now Have Easy Access to a Global Marketplace It is difficult to underestimate the impact of the Internet on our culture in general, and on our profession specifically. Information has never been as freely accessible as it is now: song texts, IPA transcriptions, sheet music, recordings, pedagogic treatises the world of singing is largely available online. Singers connect to singing teachers, voice care professionals, employers, colleagues the Internet removes geographic barriers. Auditions for many colleges (e.g., Shenandoah Conservatory, Cleveland Con servatory of Music, Juilliard, Carnegie Mellon Uni versity) and casting agents (for classical and CCM gigs alike) are prescreened online. Students routinely self-publish their performances online, and they have access to a vast number of professional recordings from world class artists. Websites such as AuditioningForCollege.com, GetAcceptd.com, IPASource.com, and StageLighter.com provide an amazing wealth of information for young singers. Many pedagogues use Skype to teach voice lessons remotely, and others are posting instructional videos on YouTube to earn advertising revenue from large corporations. Singing voice teachers are no longer geographically limited to their local community; the entire world is their marketplace, thanks to the Internet. Threats external Music Industry Economics The global entertainment market is valued at $745 billion with 23% of sales ($168 billion) coming from the music industry. 19 U.S. record sales alone represent $8 billion, distributed among 20,000 artists. 20 Ticket sales for pop/ rock touring acts totaled over $4.6 billion in 2009, a growth of 300% over the last decade. 21 Music theater attendance is strong with 16.7% of adults reporting that they have attended a music theater performance. 22 Broadway musicals saw ticket sales of $9.8 million during the season, and touring shows grossed $804 million in the same period. 23 With over $14.3 billion in combined sales, contemporary commercial music clearly enjoys robust economic success. In 2008, 2.1% of Americans attended an operatic performance, which represents a 30% decline since Combined ticket sales for the season of all U.S. and Canadian opera companies were $246.3 million. 25 The remainder of the opera companies collective $983.6 million budget came from donations and grants. 26 Representing only 3.8% of all live performances ticket sales, opera cannot be compared economically to CCM. One could logically conclude that collegiate singers who are cross-trained to perform in opera and other genres will be entering a much larger marketplace for their skills upon graduation. Legit Singing Is Fairly Rare on Broadway at This Time Research conducted at Shenandoah Conservatory examined casting calls for music theater performers, ages Journal of Singing

5 Voice Pedagogy to 24 posted on Backstage.com (10/12 04/13; n=1238). This study revealed valuable data on what types of singers are currently in demand on Broadway. Classical and legit casting calls represented 5% of the total jobs available. Of the eighteen (current) Broadway shows, only Phantom of the Opera requires classical singing. Thirteen shows require contemporary and pop-rock performing styles. 27 Collegiate training that focuses primarily on legit music theater singing may be inadequately preparing the student for professional success. Classical Singing Jobs Are Becoming Fewer and Are Paying Less The attacks of 9/11 dealt a blow to nonprofit organizations throughout the United States. Evidence suggests that opera was especially impacted. A list of recently closed companies would include the New York City Opera, Connecticut, Orlando, Baltimore, Berkshire, Opera Pacific, Sorg, Whitewater, and Lyric Opera Cleveland. 28 These closures have had a significant impact on the careers of young singers. Fewer opera companies means that fewer roles will be available. Established opera companies are hiring fewer singers and are paying them less. The Metropolitan Opera has seen a decline in their comprimario roster from 40 to 10, 29 and many opera companies are paying their leading singers nearly 50% less per performance since 9/ Singers face greater competition for employment now than they did in the recent past. Academia is not immune to these tough economic times. The number of voice faculty positions advertised in the College Music Society has declined precipitously in the last ten years, 31 though teachers with experience in voice pedagogy and CCM singing are in demand. With luck, more faculty positions will become available when the economy improves. Collegiate Voice Programs Are Fracturing Many classical-only voice teachers are unwilling to teach music theater students, and many theater faculty fear their students will develop an overly-operatic vocal technique. The result is a fracturing of voice faculties, where voice lessons are transferred from the music department to the theater department. Anecdotal evidence suggests that the new theater positions are frequently filled with adjuncts and perhaps one tenure-track faculty to oversee music theater voice studies. This fracturing reduces the number of tenure-track voice positions and presents a serious problem for our DMA graduates. High school students auditioning for music theater voice programs will also be affected by this shift, as entrance requirements move away from legit and classical singing. It is reasonable to conclude that the demand for classical-only voice instruction may decline if the music theater market continues to shift towards contemporary styles. SWOT summary good news and bad news The Good News Teachers no longer need to feel isolated. Pedagogic books, journals, meetings, etc. provide today s voice pedagogue with a plethora of information. We are discovering more about the singing voice than ever before, and we are disseminating this knowledge in ways that our great-grand teachers could have only dreamed of. Voice teachers today can work within a community of experts. Collaboration with professionals in neighboring fields such as speech and hearing sciences, music education, music therapy, physical therapy, respiratory therapy, and exercise physiology can significantly enhance our understanding of the voice, opening up new pedagogic possibilities for our students. The world has become smaller, thanks to the Internet and social networking. You can easily find information, colleagues, opportunities for teaching, learning, and performing, all from the comfort of your own home. Societal interest in singing has never been higher than it is today. Millions of people watch singing performances, sing for pleasure in their communities, and voice studios are full. 32 And most importantly, teaching singing changes lives. The Bad News The post-9/11 economy is especially difficult for classical singers. Operatic performance opportunities have declined and music theater has moved away from its classical roots, favoring pop/rock styles over traditional music theater singing. Collegiate voice pedagogy may be ill-equipping our singers and teachers of singing if we fail to recognize these changes in today s marketplace. March/April

6 David Meyer and Matthew Edwards There are 511 DMA voice students in the United States at approximately fifty universities. 33 Fewer than ten graduate programs offer doctoral degrees in voice pedagogy, and only two offer masters degrees in CCM voice pedagogy (MM at Shenandoah Conservatory, MFA at Penn State). Undergraduate education statistics suggest that we graduate four classical singers for every one music theater performer, but the available jobs do not reflect this ratio. This disparity may become problematic for classical-only graduates if the demand for classical performances continues to decline, and the number of classical graduates remains steady or increases. Conclusions The Times, They Are a-changin (And They Will Keep Changing) Our generation of singers and teachers of singing is not the first to confront a changing marketplace and its challenges. In 1892, Louis Lombard (Director of the Utica Conservatory) wrote that American music institutions were lacking due to their failure to import European instructors. 34 Voice teacher Marcia Davenport wrote a piece for the Saturday Evening Post in 1937 criticizing teachers for training more opera singers than there were jobs for. 35 Voice teachers in the 1930s criticized singers such as Frank Sinatra for crooning with sounds of the gutter. 36 By1958 Sinatra was testifying in front of congress against the vilest form of music he had ever heard rock n roll. 37 We have survived significant changes in the world of singing, and our profession will surely survive current transitions, provided we are willing to adapt. Voice teachers of the past had a limited understanding of the scientific basis of vocal production. We now have countless volumes of scientific journals available online. These publications cover a wide range of topics that include classical singing, music theater, pop/rock, vocal distortion, acoustics, physiology, menopause, and the geriatric and pediatric voice. Organizations such as NYSTA offer a wide array of online courses that are available to teachers throughout the world. Going outside of one s comfort zone to explore new knowledge can be intimidating, but it has never been easier. A Word on Science Of what possible use is science in the cultivation of vocal artistry? We have trained the best singers who have ever lived, all without the benefit of science. Of what use is it compared to our rich tradition? One hundred years ago, track and field athletes at the Olympic games competed, and world records were set. 38 These scores are now commonly surpassed by high school athletes in average sports programs. 39 What is the reason for this increased level of performance? A single century is far too brief a period of time for our species to evolve. Science has enhanced the training of these athletes, allowing them to reach higher levels of performance. Voice science may similarly enhance the training and performance of future generations of singers. A Final Word Considering the evidence presented in this SWOT analysis, it can be strongly argued that the functional crosstraining our singers and our teachers of singing will better prepare them for professional success, service to, and artistry in our society. Our challenge as pedagogues is to build on the richness of our tradition our communal inheritance, while looking to science and neighboring professions for new tools to enhance our training. Notes 1. Robert C. White, Jr. and Lenore Rosenberg, Reality Check! Training for an Operatic Career, Journal of Singing 64, no. 2 (November/December 2007): Kathryn Green, David Meyer, and Christina Trinidad, Singing in the Mask or Formant Tuning? A Comparative Analysis of Collegiate Voice Faculty Vacancies: (paper presented at the annual symposium of the Voice Foundation Care of the Professional Voice, Philadelphia, Pennsylvania, June 3, 2012). 3. H. W. Heinsheimer, Opera in America, Tempo 11 (1945): Quick Opera Facts , Opera America; (accessed October, ). 5. Mark N. Grant, The Rise and Fall of the Broadway Musical (Boston: Northeastern University Press, 2004), Lauren Kay, Triple-Threat Training, Dance Magazine; TripleThreat-Training (accessed October 1, 2013). 442 Journal of Singing

7 Voice Pedagogy 7. Matthew Edwards, Ethno-Historical Barriers to a Contemporary Commercial Music Voice Pedagogy (paper presented at the annual symposium of the Voice Foundation Care of the Professional Voice, Philadelphia, Pennsylvania, June 2, 2013). 8. Scott Barnes, The Education of a Voice Teacher, Opera News 74, no. 1 (July 2009): John F. Fulton, History of Medical Education, British Medical Journal 2, no (1953): W. Stephen Smith and Michael Chipman, The Naked Voice: A Wholistic Approach to Singing (New York: Oxford University Press, 2007), 125; Carrie Kaufman, We Need Belters, Performink Stories College Issue 2008; (accessed March 15, 2012). 11. Johan Sundberg, Margareta Thalén, and Lisa Popeil, Substyles of Belting: Phonatory and Resonatory Charac teristics, Journal of Voice 26, no. 1 (January 2012): 44 50; Ingo R. Titze, Belting and a High Larynx Position, Journal of Singing 63, no. 5 (May/June 2007): ; Scott McCoy, A Classical Pedagogue Explores Belting, Journal of Singing 63, no. 5 (May/June 2007): ; Johan Sundberg, Thomas F. Cleveland, R. E. Stone, and Jenny Iwarsson, Voice Source Characteristics in Six Premier Country Singers, Journal of Voice 13, no. 2 (June 1999): Sheri Sanders, Rock the Audition: How to Prepare for and Get Cast in Rock Musicals (Milwaukee: Hal Leonard Books, 2011), White and Rosenberg. 14. Reza Kormi-Nouri, Lars-Göran Nilsson, and Nobuo Ohta, The Novelty Effect: Support for the Novelty-Encoding Hypothesis, Scandinavian Journal of Psychology 46, no. 2 (April 2005): ; Richard E. Clark, Reconsidering Research on Learning from Media, Review of Educational Research 53, no. 4 (Winter 1983): Michael O Connell, TV Ratings: American Idol Premiere Brings 17.9 Million, Falls 19 Percent from Last Season, The Hollywood Reporter (January 17, 2013); hollywoodreporter.com/live-feed/tv-ratings-american-idolpremiere (accessed April 14, 2012). 16. Rick Porter, TV Ratings: The Voice Opens Lower but Still Rules Monday, New Normal Does Ok, Zap2It (September 11, 2012); /09/tv-ratings-the-voice-opens-lower-but-still-rulesmonday-new-normal-does-ok.html (accessed April, ). 17. Jennifer L. Novak-Leonard and Alan S. Brown, Beyond Attendance : A Multi-Modal Understanding of Arts Participation, National Endowment for the Arts (February 2011); Attendance.pdf (accessed April 9, 2012). 18. Higher Education Arts Data Services, HEADS Data Summary (Reston: Higher Education Arts Data Services, 2011). 19. International Federation of the Phonographic Industry, Digital Music Report (Zurich: International Federation of the Phonographic Industry, 2012). 20. Recording Industry Association of America, Let s Play The American Music Business (Washington: Recording Industry Association of America, 2010). 21. Michael Masnick and Michael Ho, The Sky is Rising: A Detailed Look at the State of the Entertainment Industry, TechDirt (January 2012); (accessed December, 12, 2011). 22. See note 17 above. 23. David Meyer, Matthew Edwards, and Kathryn Green, CCM Voice Pedagogy and the Singing Voice Specialist (paper presented at the National Center for Voice and Speech symposium Proposed Specialty Training In Vocal Health Why, Who, What & How, Salt Lake City, Utah, April 24, 2013). 24. See note 17 above. 25. See note 4 above; From 990, The Metropolitan Opera; (accessed March, 12, 2012). 26. Ibid. 27. Kathryn Green et al., Trends in Musical Theatre Voice: An Analysis of Audition Requirements for Singers, Journal of Voice (in-press). 28. Brian Kellow, Accent on Youth, Opera News 74, no. 1 (July 2009): Robin Tabachnik, The Importance of the Comprimario Singer, Opera News 60, no. 15 (April 1996): See note 28 above. 31. Green, Meyer, and Trinidad. 32. Bobby Sisk, Many Seek Lessons from Local Vocal Coaches after Watching The Voice, Charlotte NewsChannel 36 (June 21, 2011); Impacts-Local-Vocal-Coaches html (accessed June 19, 2013). 33. See note 18 above. 34. Irving Lowens, Louis Lombard s Our Conservatories (1892), American Music 3, no. 3 (Autumn 1985): Marcia Davenport, What Makes a Singer? The Saturday Evening Post (December 11, 1937): 20 21, Allison Mccracken, God s Gift to Us Girls: Crooning, Gender, and the Re-Creation of American Popular Song, American Music 17, no. 4 (Winter 1999): David P. Szatmary, A Time to Rock: A Social History of Rock and Roll (New York: Schirmer Books, 1996), 26. March/April

8 David Meyer and Matthew Edwards 38. Athens 1896 Summer Olympics, Olympics.org; (accessed October 1, 2013). 39. High School Track and Field Results, Athletic.net; (accessed October 1, 2013). David Meyer is an active performer, teacher, clinician, and voice scientist. An associate professor of voice and voice pedagogy at Shenandoah University, Dr. Meyer s students have won numerous awards and have sung in major venues worldwide. He maintains an active and varied singing career, appearing frequently in opera, oratorio, and song recitals throughout the United States and abroad. He has sung internationally with many of the finest venues of Germany, England, Switzerland, and Poland. Dr. Meyer s operatic repertoire includes the role of Scarpia (2009) in Puccini s Tosca, Wozzeck in Berg s Wozzeck, Horace Tabor in Douglas Moore s The Ballad of Baby Doe, Balstrode in Britten s Peter Grimes, and approximately 30 other roles. A student of the late Giorgio Tozzi, he completed his graduate studies in music at Indiana University. He also holds a BM from the University of Iowa where he studied with master teacher Albert Gammon. Matthew Edwards is Assistant Professor of Voice, Musical Theatre Styles Specialist (Pop, Rock, Country, R&B), at Shenandoah Conservatory. His current and former students have performed on Broadway, off-broadway, in National and International Tours, at theme parks, on national TV (including American Idol ), major motion picture soundtracks, and have appeared on the Billboard music charts. Edwards has authored articles for American Music Teacher, NYSTAVoicePrints, Southern Theatre, Journal of Voice, and book chapters for The Hybrid Singer: Bridging the Gap between Art and Science for the 21st Century Vocal Athlete, by Dr. Wendy LeBorgne and Marci Rosenberg, and The Modern Singer s Dictionary, by Dr. Matthew Hoch. He is currently working on his own publication, So You Want to Sing Rock?, which will be copublished by Scarecrow Press and the National Association of Teachers of Singing in Edwards regularly presents at conferences and universities throughout the United States and is faculty each summer at the CCM Voice Pedagogy Institute teaching Somatic Voicework, the Jeanette LoVetri method. More online at EdwardsVoice.com, CCMInstitute.com, and AuditioningForCollege.com. PUBLICATION DEADLINES Vol. 70 No. 5 Vol. 71 No. 1 Vol. 71 No. 2 Vol. 71 No. 3 Vol. 71 No. 4 May/June 2014 Sept/Oct 2014 Nov/Dec 2014 Jan/Feb 2015 Mar/Apr 2015 Article manuscripts should be submitted directly to the Editor-in-Chief. All manuscripts are evaluated by the Editorial Board. Decision to publish rests with the Editor-in-Chief. The deadlines published here refer to articles that have already been accepted for publication. Features and Reviews by Continuing Contributors 01 jan May July Sept Nov 2015 Submission of Advertisements 01 Mar July Sept Nov Jan 2015 Issue to be placed in mail approximately 24 April Aug Oct Dec Feb 2015 Issue to be received by subscribers approximately 8 May Sept Nov Jan Mar 2015 (Dates of delivery may vary depending upon local office policies.) 444 Journal of Singing