ELIZABETH HOWARD’S VOCAL METHOD “The Teacher’s Vocal Power Method Toolkit” IN THE CONTEXT OF POP SINGING: ANALYSIS AND SYSTEMATIZATION OF KEY APPROACHES TO VIBRATO TRAINING

Abstract

In search of new ways of teaching, Ukrainian pop vocal teachers are incorporating the methods of well-known contemporary foreign masters (Seth Riggs, Joe Estill, Katherine Sadolin, Cheryl Porter, etc.) into their practice, as well as creating their own methods (ImproviNation by Iryna Tsukanova). Special attention should be paid to the work on vibrato, which is an important element in the vocalist's technique in any style. The scientific novelty of the study is determined by the purpose of the article - to identify and systematize the main approaches of E. Howard in working on vibrato and to reveal the possibilities of using her methodology in the pop vocal classroom. The research methodology is based on historical, cultural and biographical methods and the method of performance analysis.

Howard created the methodology “The Teacher's Vocal Power Method Toolkit” based on her own performance and pedagogical experience. One of the sections of her work describes the principles of working on vibrato. E. Howard points out that there are three ways to perform vibrato: with the help of the ligaments, throat, and diaphragm. Each of these methods has been studied by the singer based on the analysis of the experience of performers of many styles in different musical cultures. A number of exercises for diaphragmatic vibrato by E. Howard can be used in the pop vocal classroom.

Howard used a historical and cultural approach to create a methodology for working on vibrato and applied the method of comparative analysis. Knowledge of the history and theoretical foundations of vibrato will help vocal teachers and singers understand the essence of the technique and the specifics of achieving vibrato without harming the vocalist's apparatus. Further careful analysis of E. Howard's methods in various fields of vocal training, its comparison with the methods of other famous vocal teachers, and adaptation of their provisions to the domestic conditions of training a professional singer are promising for the development of Ukrainian vocal pedagogy.