The first edition of The Vocal Athlete, published in 2014, was one of the first vocal pedagogy textbooks to focus primarily on singing in contemporary vocal styles. Authors Wendy D. LeBorgne and Marci Rosenberg also published a companion workbook of vocal exercises titled The Vocal Athlete: Application and Technique for the Hybrid Singer.
A second edition of both books was published in 2019 and Plural Publishing recently released a new third edition. In the interview below, the authors discuss some of the more significant updates and highlight the work of some of the guest contributors.
What was the driving inspiration behind writing a third edition of The Vocal Athlete?
Wendy LeBorgne: The art of singing is constantly evolving, and with it, our understanding of vocal training continues to grow through emerging research, shifting pedagogical approaches, and changes in industry demands. Since the release of the second edition, the global pandemic significantly impacted how vocal athletes train and perform, making it essential to address these challenges in our latest edition. Additionally, we recognized the growing importance of cultural awareness within the vocal athlete community. To ensure this topic was explored with depth and expertise, we invited Dr. Trineice Robinson-Martin and Alison Crockett to contribute their research and insights, enriching the third edition with a fresh and necessary perspective on diversity in vocal pedagogy.
Wendy LeBorgne
Did reader feedback play a role in shaping this edition, or was it primarily the volume of new research in contemporary commercial music singing that prompted the update?
WL: Marci and I are always seeking input and feedback from readers, colleagues, and students to ensure the book remains relevant and valuable. We stay engaged with emerging research, industry trends, and pedagogical developments through our own teaching, workshops, and continued study. This ongoing dialogue with the vocal community, combined with the wealth of new research in contemporary commercial music singing, made it clear that an expanded and updated edition was necessary.
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A unique feature of this edition is the inclusion of a reference grid outlining how the book aligns with the science-informed vocal pedagogy curriculum promoted by the National Association of Teachers of Singing. It also spells out how the book may be used to prepare for the written examination for the Pan American Vocology Association’s Recognized Vocologist distinction. Would you say that the target audience you had in mind has changed since you wrote the first edition?
Marci Rosenberg: Evidence-based medical models are well established in the healthcare communities. Advances in voice science have continued to propel our fields toward more science-informed pedagogical approaches for many decades. The term Evidence-Based Vocal Pedagogy (EBVP) was initially described as a voice training paradigm by Kari Ragan (2018), further highlighting the importance of using evidence-based models in our teaching paradigms. In alignment with this thinking, Wendy and I wanted to emphasize that The Vocal Athlete text is (and has always striven to be) a comprehensive, evidence-based, and science-informed text that covers a wide array of heavily referenced voice science and vocal health topics often not contained within one resource. These books are an investment for any teacher or pedagogy student. The reference grid at the front of the book provides a quick visual reference for TVA’s content relative to the proposed NATS Science-Informed Voice Pedagogy curriculum and the content on the written portion of the PAVA-RV.
Marci Rosenburg
There is an overwhelming demand for knowledgeable teachers capable of teaching contemporary vocal styles. Given this, basic vocal pedagogy education at the graduate and undergraduate levels, whether in a classical academic setting or otherwise, should be “genre-agnostic” and “method-neutral.” It should address the complex, dynamic nature of the human voice and how the vocal subsystems can be coordinated and modified to target various vocal styles. Further, understanding the evolution of vocal pedagogy from a historical perspective should include not only the European roots of traditional Western classical pedagogy but also the historical roots of Black American Music and its vast influence on all contemporary vocal styles. There are many excellent “non-degreed” continuing education entities allowing learners to further hone skill sets for specialty singer populations. Still, the basic underpinnings of vocal biomechanics and how they differ across styles in addition to the roots of these vocal styles must be present to effectively understand and implement a tailored evidence-based vocal pedagogy approach in the studio.
TVA text was among the first to address contemporary vocal styles as a primary focus, emphasizing the current research and providing an overview of some of the more commonly used contemporary methods. However, it is not a how-to or methodology book about “belting.” This text is a comprehensive resource for any graduate or higher-level undergraduate singing science and/or vocal pedagogy course. It aims to encompass the foundational underpinnings of singing science, the historical roots of contemporary vocal pedagogy, and the most current information on vocal health and fitness. In addition to more formal academic settings, TVA is also for teachers, singers, and students of vocal pedagogy or speech pathology looking to expand their knowledge base of singing science and vocal health.
The first edition of The Vocal Athlete is 309 pages, the second is 393, and the new third edition is 528 pages. Similarly, the first edition of The Vocal Athlete: Application and Technique for the Hybrid Singer is 123 pages, the second is 157, and the new third edition is 207 pages. Knowing that the field is so vast, how do you ultimately decide what information to include and what can be omitted?
MR: As further editions are published, Wendy and I will always strive to incorporate the most current research and thinking across all chapters. Reflecting on the first and even second editions, I think, “Wow, we have really evolved as a field.” The third edition is almost twice the size of the first edition. We have to be mindful to keep the book length contained to material that can be reasonably covered within an academic year for teachers using this as a text. The fabulous new guest chapter on Black American music and its influences on CCM vocal pedagogy (Dr. Trineice Robinson-Martin and Alison Crockett) was imperative, and we hope that it is included in all vocal pedagogy courses regardless of the genre focus. Revising for the third edition was a large undertaking, and several chapters were significantly expanded or updated. In particular, I focused on updating chapters that have evolving research and/or thinking including The Singer’s Body, Motor Learning, Exercise Physiology, Laryngeal Physiology, Acoustics, Phonotrauma, and Belting Research.
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WL: I have also updated several key sections of the text, covering important topics such as the neurobiology of fear, performance anxiety, and mindfulness. This edition also explores the short- and long-term effects of COVID-19 on respiration, phonation, and overall physical health in vocal athletes. Additionally, it includes the latest evidence-based insights on vocal pedagogy for transgender and gender-diverse singers, ensuring a more inclusive and comprehensive approach to voice training.
What are some of the noteworthy new additions in The Vocal Athlete: Application and Technique for the Hybrid Singer?
MR: The third edition of the companion workbook includes about 20 new authors. Section I, “Preparing the Singer’s Mind and Body,” contains a nice addition from Lynn Helding called the “No-Practice Practice Routine,” emphasizing the benefits of leveraging motor imagery without active phonation. I have included my Vocal Fold Responsiveness Log, which provides a detailed visual tracking grid and an extensive discussion on how to use my targeted modification of the Bastian vocal fold swelling test emphasizing proprioceptive targets to track and monitor patterns of vocal capability and deviations away from vocal baseline relative to associated activities, general health and voice use. I have developed and refined this tracking grid with my patients and students for several years. It is a valuable addition for teachers and students learning how to balance voice demands, vocal hygiene behaviors, and potential impact on vocal fold health and responsiveness.
Some valuable multidisciplinary contributions to this section include a pelvic floor exercise provided by Aliza Rudavsky, DPT, and a performance movement restoration exercise by Christine Schneider, LMT, and Chris Kelly, DPT. Quinn Ankrum, a Licensed Body Mapping Educator, explores a dynamic balance mapping exercise to promote freedom in body movement and artistic expression. Section II, “Training the Hybrid Singer,” has several playful warm-ups, cooldowns, and laryngeal conditioning additions from Jenevora Williams, PhD, Chadley Ballantyne, DMA, and Nandhu Radhakrishnan, PhD. Rounding out the Vocal Styles and Specialty Populations chapter, Alison Crocket, Trineice Robinson-Martin, EdD, and Jaron M. LeGrair, MA, have included style exercises addressing improvisational riffs, Jazz, and Gospel styles.
