World Voice Day 2016, "Explore Your Voice": Choosing a Crossover Coach and Teacher-Should You Consider Working with One?
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
WHAT DOES IT MEAN TO EXPLORE?EXPLORE YOUR VOICE, THE THEME for World Voice Day 2016, is celebrated this year on April 16. Webster's dictionary defines the verb three ways: 1. a. to investigate, study, or analyze: look into, b. to become familiar with by testing or experimenting, 2. to travel over (new territory for adventure or discovery), or 3. to examine especially for diagnostic purposes. In short, means to look at something in a careful way to learn more about it, to study or analyze something, to talk or think about something in a thoughtful and detailed way, and to learn about something by trying it.1The Webster definition of translated into voice-speak language might be expressed something like this: your voice and teaching means to learn more about it in a careful way, to study and analyze the new techniques and approaches (there are many ways to go about this important task), to talk to others about their thoughts and experiences in a thoughtful and detailed way, and then try it out in your own singing and/or teaching.More than likely, independent voice teachers more than any other group of voice teachers, are asked to teach and sing repertoire outside their teaching and vocal comfort zone; perhaps you enjoyed the experience, perhaps not. These types of requests are part of what it means to explore your voice. To use words from the Merriam Webster definition, one needs to investigate, study, analyze, look into, test, experiment, and examine. Exploring your own voice is a great place to start, since by doing one is apt to teach that thing better.Ron BrowningWhile working as Series Editor from 2013-2015 for the So You Want to Sing voice pedagogy book series, I was fortunate to meet and learn about extraordinary crossover coach and teacher Browning. lives in Nashville, Tennessee, and has had a career that spans over fifty years. I decided to profile Ron's crossover work as an independent coach and teacher by examining how he works with the wide variety of singers who make their way to his studio, by speaking with some of the singers in his studio, and by asking him about his teaching techniques and experiences.Ron holds a Bachelor of Music degree from the University of Kentucky in piano and voice, and certification from California State University at Northridge in K-12 education, as well as a Professional Designation in the Recording Arts and Sciences from the University of California at Los Angeles. is on staff as a voice and performance coach for the Castleton Opera Festival under the leadership of the late Maestro Lorin Maazel. Maestro Maazel described him as follows, Ron is simply a master! The singers love working with him! He developed voice and performance curriculum for the Nashville Jazz Workshop where he is currently on staff. is also an accomplished producer, jazz pianist, and successful songwriter, which earned him Artist in Residence for the city of Winnipeg, Canada, early in his music career. He maintains a private studio in Nashville, and travels widely to workshops and festivals throughout the United States.In addition to working with classical singers and conductor Maazel at the Castleton Opera Fest held each summer in Castleton, Virginia, his other students include some of the leading country, pop, rock, and blues singers of today-Alison Krauss, Wynonna Judd, Pattie Labelle, Carrie Underwood, and many more. Recently, one of his students, Meghan Linsey, was selected as one of four finalists in the hit television program, The Voice, season 2015, and was chosen first runner-up in the final competition.Ron has been working with voices since third grade where he was known for his stride piano style. Today, he is an accomplished jazz pianist. Growing up, he played piano for his home church in Kentucky and other churches in town. His experiences in church singing continue to influence his coaching and teaching today, especially his use of the cry technique, discussed later in this article. …
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Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.000 |
| Scholarly communication | 0.001 | 0.001 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it