Woohoo!

This is insane in its face.

@milomawile.bsky.social we just opened registration :-) www.embodiedmusiclab.com/acoustic-voc...

We currently offer a summer course that is both asynchronous online and also has a lot of tutorials, and observed lessons. And also a weeklong in person workshop that covers much of this. I am skeptical that it would work without some real time observations.

I’ll also flesh out a stand alone Hearing Singing course in addition to the ongoing competitive workshop course. /fin

Or… an Intro to Praat and VoceVista for voice pedagogy and Vocology classes/labs. Would start with point and click in the GUI but also explore scripting. /3

Maybe the easiest place to start is Optimizing Online Music Teaching Technology. Not a class about accommodating the shortcomings of Zoom/Facetime/etc. A class that teaches you to optimize what what you have, work toward better solutions, and solve problems with your clients. /2

But, this presumes that teacher and student can identify the average performance, that we know it when we see it, and that we can be guided to it when we are not doing it. Those who train in a way that requires them to hold multiple thoughts in their head, /4

It never completely eradicates the errors, and the absolute magic of peak performance is never truly sustainable. But the best performers out there basically have a really strong B game. Their average performance may well be higher than the peak performance of others. /3

..whatever their average performance is.

The nature of what we might call “coordination“ work (“technical” carries so much baggage as a term) seems to me to be work that raises the average level of performance. /2

I guess I think that you can’t argue someone into singing well. So no matter what, language is representative and abstract. I think it matters more that you hear the function that you actually want so that the exploration guides the singer to the actual coordination needed.

I remember a week of teaching at NC where I had total laryngitis and just use gesture playing an instrument to teach voice. It was probably one of my better weeks.

Amen

I feel so lucky to have worked with the teachers I did. So many of their voices are captured here.

It really is. Broad conceptual frameworks for how to proceed absolutely work, and ultimately the transfer is from one person’s body-understanding to another person‘s body-understanding. It is the pathways and conduits that you find to facilitate that transfer that seem so difficult to tack down.

I thought it was going to be all of the fascinating information about perception and psychoacoustics and all of the support and underpinning for those phenomena. But honestly it was writing the chapters explaining how I teach.