Topic LIFE


Jenna Brown is a British mezzo-soprano with an established base in concert, oratorio and opera. Specialising in music of the Renaissance and Baroque she is a soloist and choral singer working with a variety of groups on projects for concert, stage, radio, film and TV. As a vocal coach, singing teacher and vocal health first aider she works with professional and amateur singers of all ages and abilities, and provides workshops for choirs and choral societies. As a qualified teacher, previously working in both Secondary and Primary education, she is particularly sought after to work with young singers who have additional learning needs. Jenna also works in association with the Bristol Beacon, where she is a Lead Tutor responsible for delivering continued professional development, coaching and mentoring for Music Hub staff, as well as being an Assistant Conductor at Bristol Youth Choir, UK. Jenna is also a festival adjudicator, and Director of the award-winning Lilliput Concerts, an organisation providing live, professional classical music for young families. Jenna has a BA (hons) in Theology from Cambridge University, a vocal performance diploma from the Guildhall School of Music and Drama and holds an MSc in Teaching and Learning from Oxford University, where she researched the use language for learning and co-construction of learning. Jenna is currently engaged in research for an MA in Vocal Pedagogy (Voice Study centre and The University of Wales Trinity St David), where she is researching the synthesis of science and traditional pedagogy through imagery and language use, with a view to further doctoral research.

Choral Conducting: The Use of Imagery to Synthesise Science and Artistry in Youth Choir Training

This presentation seeks to broaden the ongoing debate about the perceived dichotomy between voice science and vocal artistry, by inviting participants to consider the pedagogical needs of choral conductors. Based on a small-scale exploratory, mixed methods research study, this session outlines the case for a revised, scientifically accurate, multi-modal imagery strategy for the training of young voices in the choral context. Much youth choral training continues to operate under traditional master-apprentice models, with conductors often working without the assistance of singing teachers or vocal coaches. Despite this, voice science, singing pedagogy and vocal health training is not often undertaken in sufficient depth by conductors. The young, often as yet untrained choral singers can be confused and misled by ineffectual and inaccurate imagery, which in the worst cases can compromise their vocal health. Set within the wider context of the voice science versus vocal artistry debate, this author asserts that the use of Philosophical Lens Theory of Imagination to evaluate current imagery employed by choral conductors can form the basis of an improved imagery taxonomy that synthesises science and art. Subsequently, utilising well established multi-modal imagery strategies from the discipline of Sports' Psychology, we can begin to address the practical application of this revised imagery schema in choirs of individuals at various stages of vocal, physical and mental development. Presentation of findings from this study will begin to indicate the efficacy of various imagery strategies in synthesising the two competing strands of science and artistry in the choral context, and will explicitly address how improvements to choral conductor training are vital for the vocal health of young singers.


She debut was marked with a Rosyna part in G. Rossini`s opera „Barber of Seville” on the stage of the State Opera in Bydgoszcz. In 2013 she was awarded the degree of Associate Professor.

Pedagogical activity was began at the University of Lodz, then she worked at Warsaw Fryderyk Chopin University -Branch in Bialystok. Currently she is an Associated Professor of I. Paderewski Academy of Music in Poznan. She teaches solo singing.

She is a member of the Lodz Scientific Society and the Polish Association of Teacher of Singing. She shares her time into scientific, pedagogical, but first of all she performs. She also conducts meetings with culture creators within „Thursday Forum of Culture” at Lodz University of Technology.

She cooperated with Warsaw Chamber Opera and Warsaw Operetta. She was employed in The Great Theatre in Lodz and took part in many premier  performances. Sang many times in theatres in Germany, Holland, Spain. She cooperated with the Polish Chamber Opera singing main parts in numerous performances around the whole country.She participated in major music festivals with a repertoire of cantatas and songs and actively performs in the country and abroad.

She took part in premiers of „The Haunted  Manor”, „Halka”, „The Gypsy Baron” in Chicago, USA. For 5 years she was taking part in TV musical programs performing pieces of Polish composers and the most popular arias from the opera and operetta repertoire for the Regional TV and TV Polonia. She acted a part of Hanna in S. Moniuszko`s „The Haunted Manor”  broadcast by TV Polonia in the whole world. She has created Summer Music Festival in Kutno (since 2010).  She has been leading the International Vocal Workshops since 2009 also in Kutno.

The author of book “The Techniques of running the voice in coloratura soprano performing practice”. Published 6 clasical CDs.

Methodology of working with young vocal talent

The Vocal Departments of the Academies of Music in Poland admit young people 18 -19 years old to study vocal art. It is assumed that a certain physiological maturity of the vocal apparatus is related to the maturity of the whole organism. I believe that this moment is the most beneficial and, simultaneously, the safest in the context of professional voice learning. In their work, however, vocal educators meet  people who start learning to sing much earlier, e.g.  15 - 16 years old (secondary music schools) and with even younger students, clearly interested in singing - e.g. 7 - 13 years old (primary school level). Each of these groups requires a different approach to the student and the use of specific didactic and pedagogical methods, adapted to his/her age and maturity .

The educator needs also to remember about  still very delicate vocal apparatus, as well as about problem with understanding the artistic message of the piece or the issue of his/her own interpretation. This is the result of the early stage of persona maturity in which young people in the age group discussed by us are found, concerning the psychological, social and cultural spheres. The repertoire should be introduced very carefully, beginning with simple songs or easy Old Italian arias, which is not very attractive to the students. Unfortunately, at this stage, very many talented people withdraw, as they do not see an appropriate objective in the pursuit in, for example, obtaining the full colour of the sound or expanding the vocal range, since the repertoire is simply "not very attractive".  t should also be noted that many very talented people, failing the university exam, give up studying singing, irretrievably wasting their talent. I feel sorry the most for them. ..
. It is extremely interesting to trace the transformations and modifications in the educational process that an experienced educator needs to apply in order to reach the student at every age stage properly and at every stage of development in learning artistic singing.

Jaros Kamil

Speech therapist, teacher, vocalist, musician. PhD Candidate of The Maria Grzegorzewska Univeristy of Warsaw. Voice and speech researcher. NOVA-Vox training method author. Logopedics office owner and therapist. Vocal coach in Cultural Center, Musical School and Rampa Theater. Coordinating team member in Polish Educational Research Association (Emerging Researchers’ Network). Professional practice mainly includes speech therapy, stuttering, singing lessons and voice rehabilitation.

Project Manager and co-author of International Cultural and Educational Project "Naughty Numbers": Poland (Warsaw), Canada (Windsor), 2017-2018. Project co-financed by the Warsaw Cultural Education Program (Culture Department, City of Warsaw).



  • Jan, 2021, presentation "The Culturally This & That - Cultural and Educational Project" during the international conference "Education and the challenges of the multicultural world – an interdisciplinary perspective", The Maria Grzegorzewska University.

  • Apr, 2021, Poster entitled "Improving disturbed prosody in people with ASD" during Scientific and Training Conference "Autism spectrum disorders - in theory and in practice", The Maria Grzegorzewska University.

  • June, 2021, Poster entitled "Psychogenic dysphonia in the crisis of creativity" during IX National Conference "Human in the Environment" entitled "Crisis - Creativity - Recovery", The Maria Grzegorzewska University.

Supporting children's voice  development: Perceptual and acoustic voice analysis after the NOVA-Vox training method

Research project concerned the evaluation of the effectiveness of vocal training for children conducted with the original NOVA-Vox method. The scientific aims of the project was to investigate how the voice production and diction (speech) of children aged 8-11 changes after vocal training using the NOVA-Vox method (Not Only Voice Activity, Vox: lat. voice, word, calling). It is an original method of working on voice production and leading, articulation clarity and the ability to master stage fright before speeches. “Not Only Voice Activity” means that when working with this method, the most important thing is not the voice activity itself, but how it will be inducted, taking into account psycho-pedagogical factors, the teacher-student relationship and an individualized approach. In addition to didactic and pedagogical strategies, during the classes the children's articulation apparatus is improved, respiratory management, and the voice is trained. Main hypothesis assumes the NOVA-Vox method affects voice production and diction in children aged 8-11.
Research included pedagogical experiment, with one experimental (20 children) and one control group (20 children). Research techniques: voice perceptual assessment, acoustic assessment of the voice (harmonics, vocal range, vocal field), self-assessment of voice quality, aerodynamic evaluation (MPTa parameter - max. phonation time), palpation assessment of the voice organ, logopedics tests.


KOROLEVA Elizaveta



  • University of Music and Performing Arts, Vienna / Voice - Music Education (IGP) / Bachelor & Master’s degrees with Prof. Mag. Judith Kopecky and Prof. Mag. Dr. Julia Bauer-Huppmann

  • Private University for Music and Art, Vienna / Opera / Master’s degree  

  • Choral Academy, Moscow / choir conducting, solo singing / Diploma

  • Further training at the Vocal Pedagogical Symposium of the Antonio Salieri Institut; courses at the Further Education Centre of the University of Music and Performing Arts in Vienna; master classes at the Moscow State P.I.Tschaikovsky Conservatory

  • Singing master classes with KS Neil Shicoff, KS Ulrike Steinsky, Mirella Freni, Herbert Prikopa and the Otto Edelmann Society

Teaching experience


  • University of Music and Performing Arts Vienna, Antonio Salieri Institut (voice in musical pedagogy) / contracted teacher / teaching practice instrument voice 01

  • AMP - International Academy of Music and Performing Arts, Vienna /  classical voice / singing teacher

  • Children’s choir NANO / voice training, choir, overall management

Other projects include “Sparking Science / Music without borders” and Kinderkunstuni (University of Music and Performing Arts, Vienna); co-conductor of the Viennese Choir School’s children’s choir; musical theatre weeks (Stimmwerkstatt Vienna, children’s musical theatre, Vienna).

Singing lecturer, children’s voice training, choir conductor at further education seminars (JAM Music Lab, Dept. of Education in Lower Austria, Teacher Training College in Lower Austria).

Music teaching with a focus on singing (individual and small-group teaching) for children and young people with special needs (infantile cerebral palsy, autism, Down syndrome)

International opera and concert experience

Musikverein Vienna, Stadttheater Baden, Arena Taormina, Frankfurter Kammeroper, Mozarthaus Vienna, the Arnold-Schönberg-Center, Ronacher Theatre, the Burg Gars Opera etc.

Collaboration with, among others, the Symphony Orchestra of the Volksoper Wien, the Kosice State Philharmonic Orchestra and the Teatro Massimo Bellini Orchestra (Catania). Concerts and tours throughout Austria, Germany, Italy, Spain, Japan and Russia.

Publications: VOX HUMANA 14.3 / 10.2018, Inye Berega (russian) N4 (12) /2008 and N4 (8) /2007; Art Manager (russian) 2(11) /2005;

Integrated Singing Lessons. Voice training for children with special needs (infantile cerebral palsy)    

Musical self-expression is a basic human need and singing is the easiest and most natural way of doing this.

The importance of singing for the multifaceted development of a child has been described in a study from Adamek and Blank (2010):

„Singing is irreplaceable and essential for the psychological and physical development of children. Scientific investigations have shown this. Singing has positive effects eg. on the joy of living, on language development, general learning ability and on social behaviour.” (Adamek Online 2018)

Of particular interest and significance is the expression of these developments in children with special needs, for whom music and singing is often the means of personal expression and communication in a social context.

My experience as a singing teacher and leader of a choir has shown that singing lessons for children with special needs play a role as general therapy for language development, memory, expressiveness, emotional development and intelligence, depending on age and social situation.

The presentation will address the requirements of singing teachers in integrated lessons, using practical examples to illustrate the points. The route from individual teaching to integrated classes will be briefly described, and both teaching methodologies and barriers to learning will be explained and discussed, drawing on personal experience.

The aim of integrated teaching is to support the realization of the potential of children with special needs, by giving them a chance to participate in the collective process of singing, to experience the joy of music and group singing, and to be accepted as full members of society.

Practical exercises and pieces: excerpts from an integrated choir rehearsal and singing lesson with the singing student (infantile cerebral palsy) and children from the children’s choir school NANO.


The Swedish mezzo, Barbro Marklund, works since many years as a Professor of Singing at the Norwegian Academy of Music in Oslo, and teaches opera singers at Klaipeda Opera Theatre in Lithuania. She has also taught singing at the Latvian National Opera in Riga and at the Lithuanian National Opera in Vilnius as well as at the Opera Academies in Oslo and Stockholm. Singers travel from all over the world to work with her. More than 150 of her students have been awarded in 60 prestigious competitions in different countries.

In December 2006 Marklund was appointed Honorary Professor by the Jazeps Vitols Latvian Academy of Music in Riga. From 2007 she was employed three years as a teacher of singing at the Latvian National Opera for some of their most famous soloists, such as Kristine Opolais, Liene Kinca, and Sonora Vaice.

After music studies between 1970-1978 and three academic exams, Marklund has studied singing with Erik Saedén, Geoffrey Parsons, Vera Rosza, Gérhard Souzay, Dalton Baldwin and Oren Brown. She has been a sought-after concert singer for 45 years, and has internationally performed in TV and radio, won prizes and awards and recorded CDs. She is frequently a jury-member, lecturer, chairman of competitions, guest-teacher, author, and she leads about ten master classes per year in different countries.

Marklund's repertoire consists of Lieder, chamber music and oratories, opera-arias, religious songs and world premières of contemporary music. A speciality is her exceptionally wide repertoire in many different languages, and she is consulted an expert advisor on various occations. She has been engaged as a soloist with a vast number of orchestras with famous conductors and has performed with numerous pianists. She has been the Managing Director for Piteå Music Festivals and Piteå International Summer Academies. She has been a board member of Oslo International Church Music Festival and Vice President and International Co-ordinator of European Voice Teacher's Association Norwegian Congress, EVTA.

Her future plans are, during autumn 2022, to return permanently to Stockholm region in Sweden to start a private school for singers.

Arias for young voices - four volumes with audition arias

ARIAS FOR YOUNG VOICES is a unique collection of qualitative audition arias and the perfect gateway to classical singing. The volumes consists of 10 sacred arias and 20 opera arias for Soprano, Mezzo/Alto, Tenor and Baritone/Bass, with comments in English. The arias are selected from earlier baroque to 21st century, published in their original language with full IPA translations and text translations in English. Each aria is accompanied by a short biography about the composer and librettist, information about the world première, voice fach, synopsis, range and act. In addition, useful tips on other roles and arias to continue singing more music by the same composer. The arias also have a useful basic chord analysis for the less experienced piano player, an index of persons and a glossary.

The repertoire is pedagogically selected to develop young voices in ages 16-26, but all the arias holds such a high musical standard that they can be performed with pleasure and great satisfaction for the rest of our lives. Alla arias suites for auditions, concert programmes, church concerts, recitals, singing competitions and scholarship tests. The volumes are an extraordinary help for teachers of singing and their students, church musicians, choir conductors, concert introducers, and everyone that want to develop their voice.

I think the presentation suites best as a master class presentation with one singer from each voice fach, soprano, mezzo, alto, tenor, baritone and bass, performing. That will also give the audience most interest and variation when they listen.

If the selection jury finds this master class fitting better into another cluster, I am of course open for your suggestion.


Rebecca is a former opera singer turned voice science researcher, musicologist and voice teacher. She is currently researching the longevity of the mature female a voice at University College London. This research has spanned 8 years now and findings from this study are statistically significant and support the hypotheses that the vocal competency of the mature female singer can be sustained through effective pedagogy.

In her early career, Rebecca won scholarships to the Royal College of Music and Opera School. She won many awards and prizes including winning the coveted ‘Maggie Teyte award’ for French Song which was the start of her love of France and French song. She was also a runner-up in the Kathleen Ferrier song prize. She sang professionally at Glyndebourne, WNO and Opera 80, amongst others. Her favourite roles were dying heroines. She has died many ways in the course of her career on stage including consumption, stabbing, poisoning, strangling and suicide. She also loved playing Susanna (Figaro) which she performed in three different productions, and also, the very naughty Norina (Don Pasquale). She has performed both of these two roles upwards of 100 times each. As a soloist, she has performed throughout the UK, Europe, the Far East and USA, but she has a particular fond memory of performing in the Royal Albert Hall, where she first performed with Sir David Willcocks in the Mozart Requiem from scratch.

Currently, Rebecca is Chair of Education for the British Voice Association, and is involved in research work with colleagues at the BVA on vibrational therapy for vocal fatigue and also pursuing a new research topic based on old and new approaches to breath management. In addition to her busy voice studio in Oxford, she gives workshops throughout the UK on the functionality of the voice, voice science, tips and techniques for choral singers, maintaining the mature voice and breathing. She is an adjudicator for the International and British Federation of Music Festivals.

Rebecca has an MA in musicology and was runner-up for the Van Lawrence research prize for her work with the aging voice.

The Longevity of the Mature Female Voice

The researcher proposes a workshop based on her doctoral research of a study of vocal function and efficiency in the mature female singer and whether effective pedagogy can promote sustained healthy vocal production and competence. Despite Caprilli noting in 2013 (p2), that ‘literature on pedagogical strategies for the ageing voice is lacking’, a search on Journal of Voice reveals 506 articles on the ageing voice, however, none are specifically focussed on pedagogy.

Like all instruments, the voice is subject to wear and tear; it can become dysfunctional, the vocal folds may swell due to infection, they may bleed due to misuse and they may change structurally and asymmetrically due to variations in the hormonal system. In addition, the respiratory system functionality can decline and the pharynx can become constricted.

This research investigated the potential benefits of pedagogical intervention on any negative features of female vocal aging in older singers. Accordingly, part of the research and review of the literature has led the researcher to devise a series of targeted exercises to assess the function of key components of the voice: respiratory function, agility, onset, stamina and resonance.

The findings have produced statistically significant results which support the hypotheses that the vocal competency of the mature female singer can be sustained through effective pedagogy.

The vocal tests devised for the study, and the knowledge accrued from the scientific literature referring to the problems that the mature singer is likely to face, now form the basis of a pedagogical model for the mature singer.

The core components include the rationale of why the following are essential:


  • Vocal history of the singer

  • Posture and breathing of the singer

  • Vocal warm-up

Stategies for dealing with the most common issues facing the mature singer:


  • Tongue root tension

  • Constriction

  • Onset

  • Agility

  • Stamina


Dr Jenevora Williams is a leading exponent in the field of vocal health and singing teaching. After a successful career in Opera, Jenevora turned her attention to investigating healthy and efficient vocal function. The combination of academic study and practical experience has resulted in a unique perception for understanding the human voice. She was the first singing teacher to be awarded a PhD in voice science in the UK, and won the 2010 BVA Van Lawrence Prize for her outstanding contribution to voice research. Her book, Teaching Singing to Children and Young Adults, has been enormously popular with singing teachers throughout the world. She is well-known for her imaginative and rigorous training courses for singing teachers in the UK, the US and Europe. As a teacher of singing, she works with professional singers of all ages, as well as training teachers in rehabilitation for Vocal Health Education and BAPAM.

The adolescent brain - performance anxiety, peer pressure and personal identity;

Why can teenagers behave in such a challenging manner? What drives them to take risks and question authority? What is going on in their brain? Drawing upon cutting-edge research, we can explore the answers to these crucial questions in order to inform our teaching relationship with young singers. We can find out how to use this time of amazing creativity and self-discovery to facilitate a developing autonomy and identity.