This webpage provides a very basic introduction to the anatomy and physiology of the larynx, and how the voice works. Diagrams are highly schematic.

In this article, Andrew White provides an in-depth description of belting, including the muscles involved, airflow rate, larynx position, and resonance strategies.

This often-quoted article presents the history of CCM styles and their development throughout the 20th century along with acoustic comparison of CCM singing with classical as evidence that contemporary singing is fundamentally different from classical and deserves its own pedagogical approach.

An interactive diagram of the larynx. This resource demonstrates how the larynx is constructed and how different parts of the larynx work separately and together. Includes visuals of how the intrinsic muscles of the larynx work. A wonderful resource for any undergraduate pedagogy class.

A stylized medical animation of the normal breathing cycle.

This article provides an insightful overview of the musical theatre singing voice. Causey introduces experts within the pedagogy field and provides their credentials and professional opinions. Using quotes from each of these professionals, this article presents basic scientific and experiential evidence to explain the importance and necessity of training in the musical theatre style.

Jeannette Lovetri provides a great article that explains the term “belt”. She defines it as a “kind of vocal quality, derived from powerful, intensified speech, that can cut through a space and be heard well even when it isn’t electronically amplified.” Lovetri goes on to describe what she feels healthy belting is and what singers need to know about it.

Laryngoscopy is the art of placing a camera in the throat to view the vocal cords. Important aspects of how to perform the examination, what structures can be seen and how do different areas function are described. A laryngoscopy is the foundation for diagnosing hoarseness or voice problems.

This piece offers practical tips for anxiety management in the specific setting of a music audition: being well-prepared; expecting the unexpected; using mental rehearsal; turning doubts into ambitions; rewarding oneself for the effort; and knowing when to seek deeper counseling. It was written last year at the request of the Majoring in Music website shown, which is aimed at prospective college students.

This 33 minute tutorial was presented at the Voice Foundation's Annual Symposium: Care of the Professional Voice, in June 2016, by Dr. David Meyer, Professor of Voice at Shenandoah University. This lecture explains the basics of vocal pedagogy, and includes discussion of what the field of vocal pedagogy needs from the field of voice science.

This webpage provides basic information about how to maintain good vocal health. While the information is standard, and univeral to almost any credible source about the voice, the reader is warned that there is an advertising aspect for the Lions Voice Clinic that cannot be separated from the rest of the content.

Formerly Google Body, Zygote Body is a web application by Zygote Media Group that renders manipulable 3D anatomical models of the human body. Several layers from muscle tissues down to blood vessels can be removed or made transparent to allow better study of individual body parts. Most of the body parts are labelled and searchable. The models do not incorporate movement.

This article is not about voice, but provides guidelines for posting personal reviews of resources on Vocapedia.

In 2004 Californian singer and harpist Joanna Newsom, released her first album The Milk Eyed Mender with a vocal approach that features many child-like qualities with glottal fries and vocal squeaks, which are at times rather unwieldy. This great start to her career later resulted in her getting nodules, which required surgery. As part of her recovery she worked with a speech therapist and vocal teacher to regain her voice and be able to sing safely again. The result, heard on her latest CD Have One On Me (2010), is a dramatically different vocal sound, with qualities that are richer in her lower register, restrained with less overall constriction or affectation. Ironically, vocalists that aim to construct a new sound based on their perception of what is required in the industry, actually often become/are derivative. There ends up being a process of deconstruction with regard to affectations, embellishment, manipulation of tone in order to discover the essence of their voices’ abilities and tone colour. This paper will examine the idea of uniqueness and its place in contemporary vocal practice, training, education and the industry. It will also explore the impacts on longevity, vocal damage and possible limitations as well as strategies for the contemporary vocal teacher. The idea raises other questions of vocal construction and its meaning, as well as the question of whether the pathways to these vocal sounds also employ good vocal OH&S practices.

This is actually a thesis that examines the development of voice pedagogy in music theater and specfically examines techniques used for female sopranos and high belters. The author specifically attempts to tackle issues of breath management, vocal health, registration, and other aspects, and focuses specifically on those female singing actresses and roles that often demand a crossover style of singing.

This webpage provides basic information about a wide variety of voice disorders, and also helps the reader determine if he or she may have a voice disorder. The last part of the page provides information about the process of evaluation and treatment, but the reader is warned that it is specific to the Lions Voice Clinic. This portion unfortunately cannot be separated from the first sections. It is, however, information that is similar across clinics across the country.

Most contemporary worship services utilize some sort of amplification, and this article helps demystify the types of microphones a worship leader or singer might use in services, along with suggestions of how to best implement amplification in different situations.

Vowels are synthesized using vocal tract solid models, demonstrating functions of the vocal tract and vocal cords waves. The models were shaped based on 3D MRI and stereolithography (Rapid Prototyping), and glottal waves are generated using Rosenberg-Klatt waveform with 1/f fluctuation of its cycle. Male and female models are used to produce vowels. Voice qualities are well enough to identify the persons whom MR images were taken from.

real-time MRI of vocal performance, with examples from an opera soprano, and an emcee/beatboxer. Presented at the ISMRM Sounds and Visions Session, May 2006, Seattle.

The Alexander Technique is a practical, well-established, and proven self-help method for relief from chronic pain. It is a tool for renewing freedom of movement, by helping release strain and muscle tension which has built up over time. It is an especially useful tool for singers and actors, and was, in fact, developed over 100 years ago by an actor who was consistently losing his voice.

In her article; The Technical Core: An Inside View, Joan Melton writes on her research and findings from ultrasound imaging (USI) of abdominal muscle activity while voicing to workshop participants at a conference on Performance Breath, at the Royal Academy of Dramatic Art, London. Although the study only focused on the core muscular system of the singer the results shed light on some of what is actually happening when a performance breath is taken.

Presents evidence suggesting that a constriction and sympathetic vibration of the aryepiglottic folds is responsible for the distortion in some types of noisy phonation (eg. "growl").

This interactive resource provides animated views of the internal structures of the larynx and the mucosa, allowing the user to view animations of muscle contraction in all planes, complete with descriptions and definitions. Additionally, images of a larynx dissection, video clips of normal vocal fold function and of vocal fold pathologies, and some clinical case studies are available. Learning objectives and self-quizzes are also included.

This article discusses the differences in laryngeal position, diction, and registration found in CCM and Classical singing.

A well organized, overview of Belting. It begins with a review of the physiology of the voice, then moves into historical context, definitions and their discrepancies, and a discussion of what is actually occuring during belt singing. This presentation is filled with excellent citations and presents the controversies in a well thought out manner. It also discusses whether or not belting is healthy and then strategies for maintaining vocal health for those who teach and perform in this style. As a final thought they quote Barbara Doscher when she states that "our profession has a responsibility to all singers, not just to those whose aesthetic preference we agree with." A starting place for the teacher who is grappling with how to and whether or not to teach those who wish to belt.

This article written by Matt Edwards discusses the singers' changing marketplace, and the pedagogy, science and audio technology of contemporary commercial music. He explains the misconceptions that Pop/Rock music is damaging to the voice.

While not strictly a pedagogy article, this gives an excellent primer in the dos and don'ts of auditioning for musical theatre from the most prolific casting director in musical theatre today, including advice on song choices and riffing.

Jeannette LoVetri provides numerous examples of how CCM singing differs from classical singing. She expands on these ideas in other blog posts titled "More Details About Why CCM Is Different Than Classical" and "Still More About CCM vs Classical." Many of these ideas are further developed in scholarly journal articles Lovetri has authored/co-authored.