Dr. James's Voice Studio Site

Education Majors - want to earn $125K?

		Saturday, 08 March 08 - 03:35 PM (GMT) By Dr. Kimberly James in General

According to this New York Times article, a charter school in New York plans to offer $125,000 salaries to its teachers.  (Keep in mind that my sister-in-law is making 6 figures as an administrative assistant and that NYC has a crazy high cost of living.)

Some of the issues an article like this raises in my mind include:

• the concept of charter schools - what do you know about them?  do you know about them?  do you know which political party usually supports charter school legislation?  does the concept resonate with your teaching philosophy?
• No Child Left Behind
• "To make ends meet, the school, which will use only public money and charter school grants for all but its building, will scrimp elsewhere."  Hmm . . . scrimp where?
• The teachers will work longer hours and more of the year as well as assume administrative roles
• They plan to only maintain two social workers on staff, yet their target demographic includes "underperformers"

Check out their website.

There are other locations where you can make decent money in secondary education.  My sister-in-law (with only a bachelor's degree and 2-3 more years teaching experience than me) made MORE money than I do as a University professor teaching elementary school in The Woodlands, TX.

But of course, the hope is that our Montana BMEs will want to stay in Montana! 

Make It Work!

		Wednesday, 05 March 08 - 07:50 PM (GMT) By Dr. Kimberly James in General

At the beginning of the semester we were visited by Dr. Chris Schoen who discussed aspects of performance psychology.  ROUTINE is a big part of psychologically-successful performances, and how do you establish routines?  By PRACTICING!

I want you to watch this series of videos.  Strange that they're all drummers, eh?  I suppose it is because it is pretty easy to see the commitment each of these drummers has to cultivating his skill on the instrument.  It is also easy to see the huge leaps and skills from age 6 to ???  (I'm not going to guess Neil's age, but he's older than I.)

Here's a video of Neil Peart playing a huge set of drums in "Tom Sawyer."  Phew, it makes me dizzy!

Here's a video of a 6 year old performing "Tom Sawyer."  THIS IS WHERE IT BEGINS!

Here's a video of a teenager working on the same piece.  Notice the level of improvement and how important muscular coordination (naturally lacking in a 6-yr-old) is to skill development.

What do you observe?  How might you apply this to your routine?

Missoula's Performing Arts Center is still on the table!

		Tuesday, 20 November 07 - 05:51 PM (GMT) By Dr. Kimberly James in General

Local officials are still calling the Missoula Performing Arts Center a "long shot", but Missoulians remain hopeful that the MPAC will become a reality. Arts enriches our lives, calms our spirits, and enhances mental accuity. Committing to the arts demonstrates a certain cultural affluence that should be expected in a community like Missoula!

I hope the public voice comes through on this one.  We desperately need a performing arts center in Missoula.  The University Theater is not an optimal venue for many of the types of performances Missoulians enjoy - opera, orchestra, and large state and regional music events (such as All State choir and ensemble performances).

Read this article from NewWest to find out where things currently stand.

Divas discuss "Voce di Petto"

		Friday, 16 November 07 - 05:12 PM (GMT) By Dr. Kimberly James in General

You must watch this video!  Here are a couple of reasons why:

1. Stefan Zuker's voice (now that's a good subject for vocal pedagogy)
2. These divas say they are against the use of "voce di petto" (chest voice)
3. These divas use "voce di petto" (don't you think)

What do YOU think about the "grand Italian diva" understanding of "voce di petto"?

Welcome Back!

		Thursday, 23 August 07 - 05:38 AM (GMT) By Dr. Kimberly James in General

It's hard to believe that the long summer is drawing to a close.  It is at least feeling like Fall now, and there is less smoke in town.  I hope the throats are feeling well. 

Part of what I took away from the NATS Teaching program I did this summer is the importance of legal copies of music!  Not that I didn't know that we should always be carrying around legal copies, but I've been remiss to enforce it.  I hate to add to the cost of a college education, but I'm not really doing anyone any favors by not requiring you to purchase your own music.

Why do I say this? 

First, you need to be building your personal music libraries.  These books will serve you throughout your career as a musician, especially if you become a teacher.  And most of you will teach at some point in your life!  Second, copyright laws.  That's right . . . obey the law.  Buy your music.  And don't illegally download sound files.  Third, consider your music purchases as required texbooks.  And I'm not talking about $150 for an algebra book.  Most anthologies and other collections are quite inexpensive, and you won't be asked to buy very many.  Additionally, the more people that do the right thing and buy music . . . the lower the prices can be!

Where to start

If you are a beginning University student, you may consider buying something from Boytim's extensive "First Book of . . ." series.  Ask me if you're unclear as to whether you are a soprano, mezzo, tenor, baritone, or bass.  The part you sang in high school choir may not represent your solo voice characteristics!

Students at all levels may enjoy a musical theater anthology such as a "Singer's Musical Theatre Anthology" or a jazz album.  I love jazz! 

Advanced undergraduates probably have a good idea of what they like and what they don't like.  (Not that younger folks are any less opinionated.)  Some are ready to begin working on arias and song cycles.  Language-specific anthologies are handy for recital shopping and preparation.  You may browse through my collection and ask me for suggestions.  Otherwise, pay attention at concerts and recitals and pick some composers that "speak" to you.  And a healthy dose of Schubert, Schumann, Faure, Debussy, Caccini, and Dowland will be terrific too.

Although I may strongly suggest (*cough* assign) repertoire to graduate students and other young professional students from time to time, I trust that these students are well-versed in the vocal repertoire that matches their tastes.  A CCM student with a passion for modern "rock" musicals will have a very different music collection than a student who wants to work through all of the Schubert song cycles.

Please buy your own music.  If you can't afford to purchase, then you can borrow from the UM Library.  Items that our library doesn't own can be requested through ILL.

Coping with the Smoke

		Saturday, 18 August 07 - 02:05 AM (GMT) By Dr. Kimberly James in General

The air quality has been really poor over the last few weeks here in Western Montana.  Yesterday and today have been some of the worst days I've experienced since moving to Missoula in 2005. 

Obviously, it is recommended to limit your exposure to wildfire smoke.  Older people and children are at an increased level of risk for health problems related to wildfire smoke inhalation.  Anyone with severe allergies, athsma, or other respiratory issues should also take extreme care during this time. 

Some of the symptoms you might be experiencing include:
* Shortness of breath
* Scratchy and/or sore throat
* Cough
* Congestion (nose, eyes)
* Generally irritated sinuses

Unfortunately, paper masks do not keep the particles out.  Your best bet is to limit exposure.  I've also heard that exercise (indoors or outside) is not recommended during poor air quality days.  Check the local air quality report (currently stage 2!!!) before you exercise, and if it looks smokey outside, don't chance it.

Lost and Found: Character Schedule

		Wednesday, 25 July 07 - 06:26 AM (GMT) By Dr. Kimberly James in General

Lost and Found:  I discovered something old (found) while I was looking for something (lost).

Character Schedule:  I couldn't come up with a better term for what I'm about to show you.  If you have a better idea, please let me know.

What I found:  I was putting my studio notes (from when I studied at Indiana University) away, and my homemade pocket finally let loose spilling a few pieces of paper I had deemed necessary to keep.  Among the papers I discovered something I'm calling a "character schedule" from one of the Little Women productions I did.  The leading character of Jo is a tour de force.  She is hardly off the stage, and even sips of water needed to be scheduled, especially in Mexico City at high altitude on a raked stage!

When it is useful:  If you have trouble remembering the when and where of your stage business, then this is a necessary tool for you.  I find that I need one in limited situations:
+ Lots of props
+ Lots of entrances/exits
+ Lots of character development that occurs between scenes
+ Large large role
+ Limited rehearsal time

Your schedule can be as detailed as necessary.  It may include props lists, costume information (like "don't forget your hat before you enter in scene 2"), and especially important entrances and exits.

Here below is a portion of mine from a previous Little Women production:

Prologue
Enter (NT) from stage left (SL)
Slow cross (X) to desk to write
End of "Unbake . . ." see chests and sisters; go up [to attic]

Act I, Scene i (I,i)
Put on wig and badge
Light change - XT down SL stairs

I,ii
NT with Laurie from SL on "story" music
X [in] at end of applause following John's aria, then "Oh, this cannot be born!"
XT upstairs to Meg's trunk after "Sister Jo . . . "
X down when hear Brooke's voice
X up again to Meg's trunk after "I'm going upstairs."
Stand on "It's supposed to be you."
XT down SL stairs on final chords

I,iii
NT from SL on 3rd repetition of motive
Go to Beth
X out of doorway after "Go"
X upstairs after "I know what I'll do."
Get book; pose

And so on and so forth . . .

If you have never done one of these before, I recommend trying this out for an upcoming scenes program or show.  This would be extremely helpful for scenes programs in which you have responsibilities in a few scenes or with set changes.

 

In progress...

		Friday, 25 May 07 - 02:29 PM (GMT) By Dr. Kimberly James in General

What do I do with myself now that I'm done teaching this academic year?  Oddly enough, I have more than plenty to keep me busy!

Spend more time at home with my family.  It's wonderful to have more time at home.  I have few appointments that require my presence at the University during the summer months.  My daughter spends more time at home and less time at daycare.  This of course is a mixed blessing.  On the one hand, I get more time with her.  On the other hand, she's having a bit of trouble adjusting to the new schedule, and I don't get much done with her around.  Ah well, her babyhood is flying by, and I am enjoying the ride.

Clean my house!  Well, my house is still in chaos, but that's because we're in the middle of several projects.  My husband is retrimming the downstairs, and I am trying to file paperwork (and find my passport).

Yard work.  I've been planting flowers and mulching beds.  Yesterday I mowed the lawn for my husband.  I'm also laying down loose rock (pebbles) in places that got missed last time around.  The side of our house looks like crap because either or builder or the city hasn't finished landscaping the bike path.  Grrrr!

Hiking.  Well, I haven't done nearly enough of that this summer.  A friend and I are supposed to be hiking regularly in preparation of a BIG dayhike up to Stuart Peak (41" of snow still up there as of today)

Professional Development.  I'm reading articles on vocal pedagogy and doing research in preparation for the NATS Teaching Intern Program in mid June.  I will be working directly with Jeannette LoVetri.  I am also a finalist in the Seattle Ladies Music Club Competition on June 2.  My colleague, Christopher Hahn, will play the audition, and should I be selected as a winner, he and I will do a tour sometime next year.  I am also planning to drive down to Santa Fe to work with a teacher I've worked with before.

Support - all the way to the pelvic floor!

		Thursday, 26 April 07 - 02:50 AM (GMT) By Dr. Kimberly James in General

This post was inspired by a recent "dispute" - if you will - with someone on the internet who I don't know.  Someone asked a question about low support on a public forum, and since support happens to be one of my favorite topics, I responded.  It is so difficult to be absolutely clear with your terminology and intent when you're quickly reponding to someone's question, and even though I do attempt clarity and brevity, wires are sometimes crossed.

The student with the question had been directed by his/her teacher to do plies during a vocal exercise.  The student was expressing some frustration with not being able to obtain the same vocal results without the plie though was quite pleased with the sound produced in the plie "position".

Here's a somewhat simplified explanation for what I personally experience with regard to support when singing.  First of all I should mention that even professional singers do not always and everwhere demonstrate perfect examples of their preferred method of support, but assuming that I'm "doing it right", this is my process and experience.

1. The type of breath I aspire to inspire (aren't I clever) produces sensation in my sinuses as well as the thorax, abdomen, back, and pelvis
   1. Sinuses - I sometimes direct my students to "smell the flower" or imagine smelling something "minty-fresh"; this may help produce more vibratory sensation upon phonation in the "mask" region as well as activate the zygomatic musculature
   2. Thorax - the upper part of the thorax is stabilized for singing by advantageous posture often referred to as "noble posture" (as opposed to casual or military), therefore I focus my mental and physical energy on expansion in the lower part of the thorax, especially in the area of the 10th rib
   3. Abdomen - I use the abdominal muscles to displace the diaphragm downward for greater lung capacity; the abdominal muscles are essential for controlled release of primary inhalation muscles, namely the diaphragm and the external innercostal muscles of the ribs
   4. Back - although sensation may extend into the mid-upper portion of the back, I focus on lateral expansion in the lower back; the musculature that is activated is called the quadratus lumborum
   5. Pelvis - regardless of gender, everyone has a pelvic floor, but it seems reasonable to assume that men and women experience sensation in the pelvis quite differently. Scott McCoy in his book, Your Voice: An Inside View, reminded me that "[m]en have neither a uterus to displace during low abdominal expansion nor the muscular control and strength that assist women in childbirth."  Well my friends, singing's got nuthin' on childbirth, I can assure you, so not having muscular control and strength for that experience is no excuse for giving the muscles in the lower abdomen and pelvis a job to do in singing!  I will elaborate more on pelvic involvement in singing shortly.
2. In short, this is how I achieve the above:
   1. Breathe inaudibly through my mouth and nose
   2. "Smell the flower" or "minty-fresh"
   3. Think "IN-DOWN-OUT" - the breath is drawn into the lungs because of the displaced diaphragm, the sensation of breath is directed to the lowest part of the trunk possible, and stabilized with lateral expansion in the thorax and abdomen
   4. The throat remains relaxed and open . . . do NOT "brace" the breath (as some weight-lifters unfortunately do when they attempt to lift large amounts of weight)
3. However, there is much more work to be done in the trunk following inspiration.  We must also regulate the process of expiration in order to balance subglottal pressure (below the vocal folds) and air flow as we sing.  Once you've done the work to stabilize the apparatus (your body), don't just let it all go!  So here are a few thoughts:
   1. Maintain the "down and out" position achieved through inspiration for as long as you can during exhalation (singing).  One way I maintain this position, frankly, is to feel some expansion all the way down in the pelvic floor.  This should not be shocking . . . abdominal muscle inserts into the pubic bone, for heaven's sake!
   2. If you are unable to maintain the "down and out" feeling, then performing a plie (not a casual "flounce" as more self-conscious students may try) will help you.
   3. What I have observed is that singers who are most successful with this breathing method are able to maintain lateral and anterior expansion of the abdomen most of the time, even during taxing musical phrases.  Sure, as the diaphragm returns to its resting position under the ribs the abdomen will return to a less "distended" posture, but the abdominal muscles must antagonize the diaphragm's ascent.  However, the muscles should not be overly tight - they must remain supple.

What I have briefly described to you is my interpretation of the Italian appoggio (support) technique.  I say my interpretation because my singing and teaching technique is constantly being tweak.  I don't teach breathing the exact same way as I was taught by my amazing teacher, Costanza Cuccaro.  I don't teach breathing the same exact way I did five years ago, and there's no certainty that I won't have a different perspective on support and appoggio two months from now.

Ms. Cuccaro had a different way of explaining this.  It is much more direct, less verbose, and quite charming.  One of her sayings perhaps shouldn't be repeated here (not that she used gross description), but basically she advocates "singing from the pelvic floor".  We must feel a connection between inspiration and controlled expiration that extends from the bottom of the sternum, down and around into the lower back (posterior), and down into the pelvic diaphragm (anterior) - or more broadly the pelvic floor.  We must breathe low in the body and high in the mind and be physically involved from the soles of the feet to the top of the head.  The body IS the instrument!

I am running out of steam here this evening, but I do plan to do more research on pelvic floor activity in appoggio . . .

Until next time,

Do you neti?

		Monday, 09 April 07 - 08:49 PM (GMT) By Dr. Kimberly James in General

Have you ever heard of a neti pot?  I imagine for many of you this is a new term.  In the West, the neti pot is used as a tool for nasal irrigation.  In the East (especially India and Southeast Asia) the neti pot is used in conjunction with yogic practice.

The neti pot looks like a small teapot, but I don't recommend serving tea to your friends with it (unless you've thoroughly sanitized it, and still, a bit gross).  Instead you will make an irrigating solution (lukewarm water and non-iodized salt or kosher salt), and pour it up your nose.

What does this look like and how do I create an irrigating solution?  This article will introduce you to using a neti pot.  It is recommended that you use the neti pot daily up to four times a day.  You can purchase a neti pot on-line, and I believe the Good Food Store sells them as well.

Some of the benefits of regular neti use include:
> Reduced allergens in the sinus cavities
> Less frequent colds and sinus infections/irritations (or shorter duration)
> Improved sense of smell (and therefore also taste)
> Improved breathing

Have a look at the numerous articles on neti pots or nasal irrigation.  Let me know if you have questions though I'm not a seasoned neti pot user.

... More items are available in my News Archive