1VOICEPrintsBULLETIN OF THE NEW YORK SINGING TEACHERS ASSOCIATIONSEPTEMBER-OCTOBER 2004

IN THISIssue:Fall 2004 Featured Event................................................Page 1

Voice Professional Development Program.......................Page 1

Message from Dora Ohrenstein......................................Page 2

Oren Brown Memorial....................................................Page 2

NYSTA Calendar 2004-2005...........................................Page 3

Feature Article: An Interview with Neil Semer by Daniel Shigo............................................. .......Pages 4-5

VOICETalk: Francesco Lamperti (1813-1892)...............Page 5

Feature: Get to Know Your NYSTA Board.............Pages 6-7

NYSTA Board of Directors..............................................Page 8

Fall 2004 Featured Event:

WELCOME RECEPTION:Practicing What We PreachSeptember 22, 20047:00 pm-10:00 PMGrace Dodge Hall, Columbia University

FREE event for members $25.00 for non-members7:00 PM - 9:00 PM Demonstrations of Vocal Pedagogy9:00 PM - 10:00 PM Reception & pre-registration for all PDP courses to follow. Jo

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VOICE PROFESSIONALDevelopment ProgramPresented by the NYSTA, Inc., in cooperation with CEO&IAn outstanding series of courses designed for all those interested in singing. Avariety of voice professionals may benefit from the program, including singers,voice teachers, coaches, choral directors, and speech pathologists. Courses aretaught by leading experts and designed especially for practicing professionals.Each course has an exam, and those successful in completing all five courses willbe awarded NYSTAs Distinguished Voice Professional Certificate of Completion.For more information, contact Janet Pranschke at JanPranschke@aol.com or Dr.Jeanne Goffi-Fynn at jcg21@columbia.edu or call 212.678.3450.Available for $300 per course (CEUs) or @ $200 per course (no CEUs)

SINGERS ANATOMY & PHYSIOLOGYWednesdays at 7:30PMSept. 29, Oct. 13, 20, 27, Nov. 3, 10, 17, Dec. 1, 2004Instructor: Dr. Scott McCoy, Westminster Choir CollegeA detailed exploration of the major physiological systems of the singing voice.Topics covered include respiration, phonation, articulation, laryngeal function,and resonance.

APPLIED PEDAGOGY: TECHNICAL & TEACHINGSKILLS FOR THE EFFECTIVE STUDIOWednesdays at 7:30PMSept. 29, Oct. 13, 20, 27, Nov. 3, 10, 17, Dec. 1, 2004Instructors: Dr. Chris Arneson, Westminster Choir College;Dr. Jeanne Goffi-Fynn, Teachers College, Columbia UniversityNEW THIS YEAR: SECOND YEAR COURSE. This course will incorporate thescience from the first years core curriculum (all five courses are a prerequisIte)to explore practical vocal technique applications. In addition, teaching strategiesto encourage a student-centered approach in the studio will be discussed.Participants will video-tape their applied teaching and providing an analysisthrough peer evaluation .

VOCAL HEALTH ISSUES FOR VOICEPROFESSIONALSWednesdays for six weeks, 7-9PM, beginning January 12, 2005Instructor: Dr. Peak Woo, MD, Director of Grabscheid Voice CenterA close examination of vocal health issues relevant to singers and teachers ofsinging, addressing vocal fold injury and the mechanisms of vocal pathologies,their diagnosis and treatment. Common conditions such as nodules, polyps,edema, reflux, and hemorrhage will be covered. The goal is to enable teachersto advise students on vocal hygiene, recognize the necessity of medical inter-vention, be conversant with commonly used drugs for performers, and be ableto participate as part of the medical treatment team in the rehabilitation of thesinging voice.

SINGERS REPERTOIRE FROM A DEVELOPMENTALPERSPECTIVEMarch 26, 2005 10:00AM-5:00PM andMarch 27, 2005 1:00PM-8:00PMInstructors: Judith Nicosia, Dr. Chris Arneson, Robert Marks,Jeannette LoVetri.Selecting appropriate repertoire for students can be a major challenge forteachers. This course specifies criteria for musical, technical, interpretive andstylistic demands which teachers can use to analyze a particular worksappropriateness for students at various levels of development. Specific songsand arias will be studied.

COMPARATIVE VOICE PEDAGOGYMay 19-20, 2005Instructors: TBAAn exciting opportunity to watch six master teachers demonstrate theirexpertise. These are not typical master classes, but real life hands-on studioteaching. Marvin Keenze leads a Comparative Pedagogy session, where theteachers styles, language, concepts and exercises are examined and compared.

New PDP Course !!!TEACH, DONT SCREECH:Voice, Poise & Presentation in the ClassroomJanuary 29, 2005Saturday 10:00 AM-4:00 PMInstructor: Dora OhrensteinSpecial Price: $100 (CEUs /non-CEUs)

Studies have shown that classroom teaching often takes a toll on the voice which may eventuallycause serious vocal health issues. This course will point classroom teachers in a better direction inthe use of their voices. Exercises are aimed at relaxation of certain muscles and toning of othersnecessary for healthy voice production, improved posture, alignment and breathing, clearerarticulation of words, and projection of confidence and authority in speech.

2NYSYTABulletin 2004-05The September-October 2004 issue of VOICEPrints inaugurates a feature celebrating NYSTAs Board of Directors. Who are thosepeople you see listed in every issue? We thought you might like to know and you will find on pages 6-7 of this issue, six of themfor you to get better acquainted with. Many on the Board have served the organization for quite a while, while others, likemyself, are new kids on the block. Board members typically serve NYSTA in addition to extensive professional commitments withno pay and little thanks. Together we work to ensure that NYSTA remains a vital and dynamic organization. Why? Simply put: wehave a passion for singing. Oh....did I mention, your name and face could be here? Please consider becoming involved. We needyour Voice! Sincerely, Daniel Shigo, Editor

It has been a great experience serving asNYSTAs President for the past two years.And it is with regret that I must announcemy resignation from the position at thistime. Several new professional obligationsrequire my time and energy and havemotivated this decision. I hope I may sharethem with you: firstly, I am beginning a newteaching position at NYUs SteinhardtSchool of Education, about which I am veryexcited. Secondly, I am preparing to recorda CD for New World Records entitled AnAnthology of American Song, whichdemands a great deal of research andrehearsal. And thirdly, for those of you whohave noticed my crochet garments (I like to

In Memory of

Oren L. BrownApril 13, 1909 -March 6, 2004

MEMORIAL SERVICEThe Juilliard School, Morse Hall, Lincoln Center, New York City

Tuesday, September 7, 20045:00PMOren L. Brown Memorial Scholarship FundContributions payable to: The Juilliard School, c/o The Juilliard School, Office of Development

show them off at NYSTA events) I recently mettwo ladies who have bought several of mypatterns for a book they are publishing oncrochet design. I now have to write theinstructions up professionally (about as hardas notating a piece of music!).

I want to thank all of you members foryour participation in NYSTA, for attendingevents, giving your feedback, and being goodcolleagues. Presiding over a bunch like this hasgiven me quite a sense of pride. I must alsoextend my deepest gratitude to our incrediblyhardworking Board of Directors: you can onlyimagine what it takes for an all-volunteergroup of very busy people to manage anorganization of this scope. From bookkeepingto tax filings, from producing programs andfinding venues to parties and food, creatingclasses for the PDP and editing the Bulletin,registering members, maintaining our database, writing PR copy for post cards andmailings, not to mention the web, fundraising,managing investments, and archivesits anawesome amount of work. I have never seena NYSTA board more willing and capable thanthose who are in service now, and whatever

successes have been achieved in these pasttwo years are due to this strong, smart anddedicated group of people. You have beensuch great partners in this cause, and I amsure all our members share my appreciationfor everything you have done.

I am so pleased that one of our long-standing board members has agreed toassume the Presidency, someone many ofyou know and respect: JosephineMongiardo.* Josephine has been a tirelessand highly-valued member of NYSTAs boardfor a decade. In addition to being a greatvoice teacher and singer, she has all thequalities needed to be an excellent leader. Iknow she will do a fabulous job in this role.She will be most ably assisted by NancyAdams, who takes on the title of Vice Presi-dent. Nancy knows all the ins and outs of thepresidency, having gone through three yearswith her late husband David in the position.

Dont think you are rid of me for good,though! I intend to participate actively inNYSTA for many years to come. Thank youfor allowing me to serve as President thesetwo years.

MESSAGEfrom Dora Ohrenstein

Dora

WELCOME RECEPTIONPracticing What We PreachSeptember 22, 20047:00 pm-10:00 pm at Grace Dodge Hall with SAGE CateringFREE event for members ($25.00 for non members)

7:00 PM - 9:00 PM Demonstrations of Vocal Pedagogy9:00 PM - 10:00 PM Reception and pre-registration for all PDP courses will follow.Early Registration discounts for PDP course at this event.

Learn how to take your teaching to the next level with these dynamic demonstrations in vocal pedagogy. Dr. Chris Arneson will open the evening with practicalapplications in historical pedagogy. Later, distinguished graduates of NYSTAs Professional Development Program will demonstrate their teaching strategiesbased on the various courses offered. Dr. Jeanne Goffi-Fynn will round out the evening with a brief discussion of critical thinking in the vocal studio. After thedemos, well welcome new members and greet old friends at a lovely, catered wine and hors doeuvres reception.

TEACHER-STUDENTBreakThrough DayNovember 2004 (Date and Location TBA)$15.00 for Members / $30.00 for Non Members and Guests

Feel like something is holding you back from your true potential? Find out how to BREAKTHROUGH at this unique, all-day event designed for the Teacher andStudentin all of us. This insightful day (a co-presentation with NATS-NYC and NYU Steinhardt School of Education ) is in three parts.PART 1: 1:00 PM - 3:00 PM Breaking Through Mental and Physical Barriers. A physical experience for all ages and levels of activity, including Yoga for thePerforming Artist and Suzuki Viewpoints, led by Yogi Master Paul Cosentino and Suzuki-Viewpoints Master Teacher Kim Wield, followed by a discussion of howthese principles can be used to overcome limitations in everyday life.

PART 2: 3:30 PM - 5:00 PM Powering Up Your Stamina and Overcoming Performance Anxiety. With Dr. Fredrick Mindel and Ms. Frieda Kreiner, CSW.

PART 3: 5:30 PM - 7:00 PM Orchestrating a Breakthrough. Best selling author and speaker Don Greene shares his insights on a systematic way to help boththe Teacher AND Student achieve the goals they are looking for.

HOLIDAY PARTYTurtle Bay Music SchoolDecember 5, 2004Free event for members and guests. Bring a friend to NYSTA Night.RSVP required for this event. Raffle of show tickets.

MUSEUM/OPERA INDEX EventJanuary-February, 2005 (Date and Location TBA)Check future Bulletins for updated information

WHAT FACHR U?February, 2005 (Date and Location TBA)All you ever wanted to know about Fach-ing, but were afraid to askFree event for Members, $25.00 for non members.Discussion of Fach from Historical, Developmental, Pedagogical and Scientific points of view. Check future Bulletins for updated information

CONTEMPORARY COMPOSERS ConcertApril, 2005 (Date and Location TBA)Composers featured: Noa Ain, Libby Larson, Pat Rasile, David Friedman, Daron Hagen, and Tom Cipullo.The setting is a party and the relationships and inner thoughts of its guests. Musical theatre and classical songs will be mixed. Composers attending the concertwill participate in a Q & A after the performance; a reception will follow.

PDP PEDAGOGY WeekendMay, 2005 (Date and Location TBA)Check future Bulletins for updated information

3

NYSTACalendar

NYSTA

4AN INTERVIEWWith Neil SemerBy Daniel Shigo

A year ago, I observed Neil Semer in actionduring the Westminsters Choir CollegeMaster Teachers week. His boundlessenergy and keen observations were inevidence then as well as at NYSTAsPedagogy Weekend last May. Neil is able tofly twelve hours, step off a plane and getdown to work! He loves it that much.Heres what he had to say during a recentinterview with me. D.S.

Daniel: You often make reference toFrancesco Lamperti. How did your interestin him come about?Neil: My first voice teacher. Her name wasDoris Hollenbach. The best thing that shedid was introduce me to his philosophy.There is very little science in it, but thephilosophy is so important. It was a bigthing for me. Slowly, but surely, as Iunderstood more about vocal science, Ithought: these principles are lovely, butwhat does this mean for the actualapplication of them? Hes always talkingabout compressed breath, but he nevertells you how to do it. I have a way ofteaching this that is very clear and specific.

Did you figure this out on your own?Yes. I was one of those people who wouldknock on a stage door and ask them: whatdo you think about this?I just had to know.I got ideas along the way, one of which ispelvic control of the breath. I know thatmany do not agree with this. You breathefrom the pelvis to the diaphragm.

If you could put your philosophy into aphrase, what would that be?Its about the coordination of the body,heart and soul, the physical, emotional andspiritual bodies.

Do you think your teaching is considereddifferent from what is thought of asstandard for our time?Yes, Im from another planet. One thing is,I dont teach sound. I dont tell a person:sound like this! I think many people aretaught an Opera Person sounds like this.I teach people to breath, speak clearly, howto stand, how to open, how to breath low,negotiate the passaggio. I am looking togive them skills whereby their particulargift can reveal itself.

Do you have certain characteristics in mind,like the bel canto ideals, that you believeare evidence of your principals?Yes, a sense of ease, a strong fundamental

and a ringing singers formant. I think thatI teach a round sound with a lot of ping.

Do you have any particular pedagogicallanguage?I teach function. I give tasks to do and skillsto be mastered, like how to stand, how touse the tongue. I dont work much withpictures, that is, images. Art is a mystery,but the technique must be absolutelyclearwhat happens, where and when.

How much of the interaction betweenstudent and teacher is abstract, and howmuch is really said? What happens there?Thats very individual. There are some peo-ple who are very intuitive and some whoare gifted with great ears, you just pointthem in the right direction and they find it.I can err on the side of saying too much.Again, its individual. What is important isthe students sense of touch and hearing.Lamperti says that the sense of touchorganizes you mechanically and the senseof hearing organizes you musically.

Youre a very verbal teacher?Im a very verbal teacher and do noticetimes when I need to shut up! Im not oneof those teachers who just tells the studentits wonderful. Im honest. I do not workwell with people who need to be toldtheyre fabulous. That said, Im happy to tella person when it is great, and Im happy totell them how it can be great. People whotrust what they feel are the people wholearn faster. Those who analyse every moveare much slower. What the singer feels iswhat he hears. Lamperti says: Dont listento yourself sing, feel yourself sing.

It sounds like youre a nuts and bolts guy.Yes. I start with alignment, openness andbreathing, then onset. All with scales. I startin the middle of the voice then go lower forthe purpose of keeping releasingrelaxingthe instrument. Marilyn Horne talks aboutthis. Releasing down there makes the voicego up. The first thing I do is to ask thestudent to be body-aware. Without aware-ness of the body you are in deep trouble.Lamperti says that every singer ultimatelyhas the technique that they can get, notthe one they were taught.

Do you use the concept of an open throat?Absolutely. I work with the internal smile,the feeling of pre-yawn, the tongue releas-ing forward, the lips puckering forward anda fairly closed mouth. The yawn helps lowerthe larynx. I learned a lot by watching reallygood singers: they have high cheeks.Singers who sound like this (he makes abellowing sound) have very dropped jawsand low cheeks. I also believe in closingthrough u in the passaggio. It is moreclosed in the front of the mouth and openin the pharynx.

What got you into teaching? How did youmake the transition from being a studentto teaching?It was a long processa spiritual calling. Ijust had to wake up and smell the coffee Iwas teaching before I knew I was teaching.I found myself playing piano for peopleand teaching them before I had any iden-tification with what I was doing. I lovedworking with singers. When I added upmy gifts it pointed in this direction. It tookabout a decade. I came to music becausewhen I listened to certain singers I wouldhave an experience that was so powerfulmusically, emotionally, spiritually.

What makes a career happen for a singer?The people who make it need to singmore than anything else. If you need itenough, you make it work.

Whats lacking in students coming to you?Good diction in their spoken language.Also, Americans speak little more thantheir own language.

Have you found that the way you verbalizeyour instructions has changed over thecourse of your teaching career?Yes. First of all, I hope that I talk less! If Italk too much, students are focused onmy words, not their own experience.

Do you find yourself being intuitive aboutwhat you need to say?Yes. I also tend to err on the side of beingtoo honest too quickly. But I do have asense of I can only go this far with thisperson. My job is to get people in touchwith the truth about themselves. Somepeople can have a false sense of self.

Youve said you dont demonstrate much.Is that a conscious choice?Yes. Im not a good enough singer. Imlooking for the student to focus on thesensation of the sound and function.When my singing comes into the picture,ego gets involved: how does he sing, orhow good is that? I am more likely todemonstrate with a baritone, but quitefrankly, if I want them to listen to a greatbaritone, it would be Ruffo or Warren.

You speak a lot about the passaggio.Could you talk about this?I deal with a mans upper passaggio thesame way as the womans. The intenseclosing that I teach in the upper passaggiois not the same thing that will help thewoman bridge the lower passaggio. I amlooking for more horizontal feeling in thelower, vertical in the higher one. The areaof the sphincter (above the soft palate) isimportant in the upper. Im looking for ayawn feeling. Some people think thatstaying too open on bottom unfocusesthe voice. I am not in that category. I think

5that is a lack of clarity in speech, not toomuch openness.

A relaxed, open feeling?Absolutely. The Italians claim the conso-nants are the flowers of the lips. Lampertitalks about how you control resonance withthe lips. For years I wondered what is hetalking about? The lips control resonance?And then I started to see how vibratingconsonants can be said on the lips.

Does this have anything to do with singingforward?Releasing consonants from the tongue tothe lips brings the voice forward. I do nottell people to bring the voice forward. I seeforward as a point of origination. Itsgetting the balance of being on the lips andcoming from a deep place. It can be hardfor the student. Its not a sound you cancontrol. It helps to have a very well-trained ear, and if youre not stuck in yourhead, you will feel as if youre singing fromyour toes to your head. As Lamperti says,you will feel your head, neck and upperchest feel flooded with vibration. When youonly feel it in your chest and neck, you arescreaming!

You teach a lot in Germany? Do they havetheir own particular set of problems?German voices are more likely to be coveredand not full-bodied. Their tonal ideal is verydifferent, lacking vibrancy and core.

Its been said the 18th century was the ageof breath, the 19th the age of resonance.What are your ideas about resonance?I teach vowels that are very clear andspoken from the pharynx. Im looking for

the vowel to actually speak. People come tome with no sense of what it means to speakin singing. The presumption is that there issound on which we layer the speech, and Ilook at it the other way around: speechthat blossoms into sound. I work a greatdeal on clarity of speech. Also, when youget correctly occluded vocal folds, you getresonance in every cavity of the body.

How do you deal with the student who hasa wrong idea of their voice-type?Seeing that Im a functional-oriented voiceteacher, I will teach a person how to standup, breath and speak. When you do that,the voice tends to sit a particular way, it willline up. Some peoples voices are so wideranging that it is sometimes a little hard tograsp what they should do. They are aminority, but Ive had such people. A gooddramatic soprano will often have the soundof a mezzo.

Do you think that singers are less encour-aged to have their own individual sound?Yes, I think that is true. Part of it is thephonograph; before then, you didnt knowhow people sounded in another town orcountry. There were more distinct schools.Also, were living in a time where porta-mento, musically speaking, is allowed muchless than it used to be. I think there is adirect correlation between the lack ofportamento and the current dearth of Verdiand Puccini singers.

Do you feel like your teaching is developingin a certain direction?A spirituality has been developingwhat itmeans to be in the present moment. Thereis a book that I recommend to people:The Power of Now.

How to you incorporate this intoyour teaching?The doorway is: you go into your experi-ence. If you have a person who is cut offemotionally, you will not find a free breath.You will not find a person with a freebreath who has certain, absolute nosabout what they are going to think andfeel. On this score, I was once told by avoice teacher to leave my problems at thedoor, and, looking back, I wish I had nevergone through that door. I do not believeyou can separate the person from theirhistory. You have to deal with the wholeperson. And the process of introspection isvaluable for everyone. Im very concernedwith awarenessI promote it in myteaching. Finally, its very important to notlose sight of what we have been giftedand also recognize what the student hasentrusted to ustheir time, talent, futureand dreams.www.neilsemer.com

(Francesco) Lampertis aim was quality, softness,sweetness. He allowed his pupils to sing only inthe softest voice; Sotte Voce,Sotte Voce,was his favorite expression.

In tuning or placing a voice, there are not somany things to learn, but a few things that mustbe completely mastered. Lamperti knew this factwell. He would keep his pupilseven such pupilsas Sembrich, Albani and Nordicaon a fewpages of tone work for months. The more talentand ability a pupil had, the more severe andimpatient he was to bring it out.

His motto was Do it now. One asks: howdid he do it? First, by mastering the control ofthe breath, the jaw, tongue articulation; then bykeeping in mind an idea tonefirst as soft andsweet as possible, with the tongue in the bottomof the mouth and throat, the whole jaw relaxedcompletely as if dislocated at its point of junction,the mind directed to the cerebellum where allsound is supported, just back of the throne ofthe pharynx. Locate it exactly, first. Draw animaginary line through one ear to the other, thenfrom the upper front teeth to the back of thehead, where the lines cross each other; this is thelife center for tone.(Mary Girard, Vocal Art, 1893)

Lamperti tells us that the great secret lies inthe correct support of the voice and that this canbe obtained by standing erect like a soldier andby vocalizing on the correct color of the vowelAH, which will open the very bottom of thethroat. The overtone of the voice, so importantfor singing, resulted in Lampertis procedures forproducing pure vowels, gradually rounding themuntil they became so round that they would fillevery chamber of the head. But they never losttheir openness and nor failed to emerge from themouth.(John A. Patton, Returning to Vocal Fundamen-tals, The tude, March 1942. Patton studied withFrancis Stuart, himself a student of Lamperti andGarcia.)

For more on Lamperti see:

1) Lamperti, Giovanni Battista (1839-1910). TheTechnics of Bel Canto. Trans. by Th. Baker. NewYork: Schirmer, 1905.

Lampertis son, Giovanni, was the teacher ofSembrich, Schumann-Heink, Stagno, HerbertWitherspoon, and William Earl Brown.

2) Brown, William Earl. Vocal Wisdom: Maxims ofGiovanni Battista Lamperti. 1931. Enlarged, ed.by Lillian Strongin. New York: Taplinger, 1957.

3) Shakespeare, William. The Art of Singing. NewYork: Ditson, 1921.

Shakespeare was a student of the elder Lamperti.David Bispham, the first American baritone toachieve international recognition was a studentof Lamperti and Shakespeare.

4) Fillebrown, Thomas. Resonance in Singingand Speaking. Philadelphia: Ditson, 1911.D.S.

VOICETalk

Neil Semer

6Josephine Mongiardo

Ellen Rievman has a performing careerspanning nearly three decades. Fortwenty-four years, as a member of theMetropolitan Opera, she performed inover 100 productions alongside some ofour generations greatest opera stars.

Since leaving the Met in 1995, she hasworked with singers to coach the drama,explore the text, and to incorporate theseskills with gesture, movement, stagecraft,and physical eloquence. Ellen coachesprivately, directs, and also presents on-going classes and workshops in auditionpreparation, dramatic presentation, song/aria interpretation and performance. Sheis a Board Member of NYSTA and anAssociate at The Actors Institute.

Tel/Fax: 212-421-6877;email:erievman@aol.com

In her ten years on the Board of NYSTA,Second Vice President JosephineMongiardo has served in many capacities.She has been the Recording Secretary,Chair of the Program Committee, andalong with fellow board member NancyAdams, created the NYSTA OutreachProgram, which brought good vocal useto the public school children of District 3in Manhattan. She assisted Past PresidentJanet Pranschke in the initial work on theProfessional Development Program andmost recently supervised the revisions tothe NYSTA Constitution and was a MasterTeacher for NYSTAs ComparativePedagogy Course.

In her time away from NYSTA, she has athriving studio and performing career. Thissummer she performed works of Steffaniand Verdi at Music @ Menlo under thedirection of David Finckel and Wu Han,the new music directors of the ChamberMusic Society of Lincoln Center.

Soprano Leslie Giammanco, Broadwayveteran and opera singer, 25 yearsteaching voice nationwidecurrentstudios in NYC, ME and is on the voicefaculty at Adelphi University. Leslies mostrecent NYSTA gig as Database Coordina-tor has helped her gain new friendships,continued vocal wisdom and unendingpatience in front of her computer re-cording all your membership dues andkeeping records current.

Being on the NYSTA board has been awonderful professional experience for meand I strongly urge others interested injoining, to get on Board...you will makenew friends, learn so much about ourindustry and give back to your profes-sional community. Think about this. Wegive so much to our students, how abouttoward each other, where emotional andprofessional support, in what can be avery isolated profession, is really needed. Iam so proud to be an important part ofNYSTA...we keep getting better everyyear. Please get the NYSTA word out toyour colleagues to join us today.

Ellen Rievman Leslie Giammanco

GET TO KNOWYour NYSTA BoardThe current VOICEPrints issue inuaugurates a series of photos and bios of members of the NYSTA Board of Directorsfor you to get to know. Each month we will feature a number of these talented, hard-working members.

NYSTA

7Soprano Jeanne Goffi-Fynn is active bothas a performer and teacher in the NewYork City area. She was recently appointeddirector of the Doctoral Cohort Program inthe Program of Music and Music Educationat Teachers College, Columbia University.Her particular area of interest at Columbiais the applied music studio. Previously, shewas on the faculty of NYU, the NewSchool Actors Studio M.F.A. Program,William Paterson University, and TheAmerican Musical and Dramatic Academy.

She worked in the area of Vocology,specifically in singing voice rehabilitation,after completing an internship at theGrabscheid Voice Center, Mount SinaiHospital in New York City with Dr. LindaCarroll, Ph.D. and Dr. Peak Woo, M.D.She has also trained at St. Lukes-RooseveltHospital with Dr. Anat Keidar, Ph.D. in thediagnosis and treatment of singing voicedisorders.

212-678-33450JCG21@Columbia.edu

Peter Ludwig: I once heard a formerstudent of Arthur Schnabels interviewedon the radio. The master had stated thata musician in the fullest sense should bea performer, a teacher, and a composer.In emulating this precept, I have the goodfortune to continue to teach and perform.The gifts of a Schnabel are given to few;progress in two out of three seemscreditable.

On November 4, at the Austrian CulturalForum; I will sing the world premiere ofMein Lebenslauf, a cantata by GeorgSchnberg, son of Arnold Schnberg.

Janet Pranschke is a former President ofThe New York Singing Teachers Associa-tion and the founding Director ofNYSTAs Professional DevelopmentProgram. She is on the voice faculty ofWagner College and maintains a privatestudio on Staten Island. She completed a6 week vocology internship with Dr. PeakWoo at the Grabscheid Voice Center atMt. Sinai Hospital and team-teacheswith speech therapists to rehabilitateinjured voices.

Her clientele includes young children,high schoolers, college students andadults to the age of 75. Her motto is:If you can talk, you can sing!Janet has sung over 35 leading roles withregional opera companies, was a nationalfinalist with the Metropolitan Opera,winner in the Munich International VoiceCompetition, winner of the LiederkranzFoundation Auditions, and was presentedby Artists International Management in aWeill Recital Hall debut.

Jeanne Gotti-Fynn Peter LudwigJanet Pranschke

This current issue is the first installment of VOICEPrints for NYSTAs 2004-2005 season. It coincides with the beginning of my own second year as editor.Working with the graphic design of John Ostendorf, our aim is to upgradeboth the look and content of this publication, to bring more and morevariedarticles from members and experts in our field. Hopefully, theVOICEPrints this season will continue to accomplish these objectives andplease you members as well. As always, your comments and suggestions are

VOICEPrints

BULLETIN OF THE NEW YORK SINGING TEACHERS ASSOCIATION

SEPTEMBER-OCTOBER 2004

c/o Leslie Giammanco

180 Cabrini Boulevard, #76

New York, NY 10033

www.NYST.org

ATTENTIONNYSTA Members...Old and New:

FROM THEEditor

We invite each of you to submit a profile of yourself and your studio to be published in theVOICEPrints bulletin. Information you submit may include (but is not limited to): your background,training and education, highlights of your career as a performer and/or teacher, information onyour teaching philosophy and the type of singers you train, classical, musical theater, pop, jazz, etc.Please also include a recent photo, if possible.Submissions should be emailed to the editor: Daniel Shigo at dshigo@nyc.rr.com.

DUES REMINDER:Yes, its that time again. You will be receiving your yearly membership renewal notices in the mailin early September. Please note the deadline of November 1st and return them with remittance assoon as possible to help us facilitate the smooth running of our many wonderful events for thisseason. Thank you! Dr. Lori McCann, Membership Chair.

welcome. I encourage members to submit items for Studio News as well as featured articles to me,Dshigo@nyc.rr.com. Very best wishes for a fine and profitable year. Daniel Shigo, Editor

NYSTAPRESIDENTDora OhrensteinFIRST VICE PRESIDENTJanet PranschkeSECOND VICE PRESIDENTJosephine MongiardoTHIRD VICE PRESIDENTDr. Lori McCannTREASURERPeter LudwigSECRETARYCharlotte SurkinACTING REGISTRARMaria Argyros

BOARD OF DIRECTORSNancy AdamsDr. Christopher ArnesonBarbara EubanksLeslie GiammancoDr. Jeanne GoffiKatherine HoffmanPeter LudwigMartha MovasseghiEllen RievmanDavid SabellaDaniel Shigo (Editor, VOICEPrints)