Presenter Stephen F. Austin, M.M., Ph.D.
Presentation Title Historical support for teaching the ‘comfortably low’ laryngeal posture and the ‘closed timbre’
Link to multimedia presentation Click here [this will open in a new browser window, close that to return to this page.]
Link to abstract provided before conference Click here [this will open in a new browser window, close that to return to this page.]
Link to speaker notes, if provided N/A
Link to question/answer session The below has the question in text form, with a link to the audio form. The answer is typically in audio form only. The audio should open in a new window, close that to return to this page.

1 John Nix
Looking at the Rossini score, if you look at the dynamics in the orchestra and the fact that the chorus is singing, that leads me to believe that Rossini had somebody in mind, I don’t know if it was Nourrit or what, who could be heard. Someone singing in a mixed voiceor falsetto isn’t going to be heard over those large forces. I don’t know whether Duprez was exactly the first, I know he was the one who got press. My question to you is looking at that score, do you not see that same [idea].
Audio link
1 Audio link
2 Discussion with Ingo Titze about what had happened with the voice with Duprez is also happening now with women in the belting technique. Audio link
3 Steve Austin: I never manipulate a larynx of one of my students; now, I don’t mind them touching their own larynx. Mainly, it is to just monitor where it’s going or what it’s doing. Sometimes they can’t tell, they don’t have any sensation of up or down and until they get re- acclimatized to the timbre changes that go on, then that’s a great means of providing bio-feedback.
Kate Emerich: I guess because of my background in voice pathology and as a singing teacher, I can’t separate that, and in the world of voice pathology, we’ve had so much success in the digital repositioning of the larynx.
Audio link
3 Audio link