My Updated Portfolio

| Posted in | Posted on



Sherlyn Chia, commonly known as 雪玲老师, has been a Vocal trainer for the last 12 years. She received training as a Vocal Trainer in various countries such as USA and Japan. 

Some of her training includes Shenandoah Conservatory - Vocal Pedagogy Institute for Contemporary Commercial Music (Shenandoah University USA), Dr Peak Woo (New York otolaryngologist specializing in laryngology (voice and throat disorders), Dr Wendy DeLeo LeBorgne (Ph.D., CCC-SLP. Clinical Director. Singing Voice Specialist & Voice Pathologist),  Lawrence Goldberg (Musical Director for Cats, The Producers, Les Miserables, Thoroughly Modern Millie, Sunset Boulevard, The Phantom of the Opera, Carousel and Chess), Brett Manning (USA), Jeannie LoVetri (USA),  Michiko Yoshida (Japan), and various voice trainers for more than 14 years.  

The certifications that Sherlyn has attained includes Level III instructor for Somatic Voicework™ The LoVetri Method, London College of Music (Pop vocals), Trinity Guildhall (Classical and Musical Theatre Vocals) and is registered with the Ministry of Education as a certified Arts and Music Instructor. She is currently pursuing her Fellowship Diploma with LCM. 

Sherlyn was formally the regional vocal coach for Ocean Butterflies and has hand-crafted the successful training syllabus for Music Forest Singapore 海蝶森林 , Malaysia 海螺森林 and Beijing 北京森林, as well as training up the main vocal coaches for the schools in Singapore, Malaysia and China. Her syllabus has helped to train up many great singers from the various countries. 

In her 12 years of coaching, Sherlyn has also personally trained many artistes and singers from the different countries such as Taiwan's 王传一, 陈嘉唯Renee, China's 李冰冰 (lead actress starred with jackie Chan in Forbidden Kingdom), Malaysia's 黄麒铭,  Singapore's successful girl group By2, Indie singer Brandon Lee, Lucas Chia, who sang for the opening of the Youth Olympics, Vocal coaches from music schools (Shirley Chia (Li Fei Hui 音乐教室), Ashton Koh, Ruth Kueo, Jerome Lam (Millet Music) ) and fnalists from Mediacorp Project Superstar/ Superband/Spop such as Chen Diya, Chanel Pang and Miss Singapore finalist Louisa Tay.

She do conduct training for other sectors such as government leaders: MPs (Mr Baey Yam Keng), mayors, Corporate regional directors, Youth-at-risk, Musicals and projects for primary and secondary schools (ACS High, CHIJ, Yew Tee Primary etc), Voice care protection workshops for schools as well as taking on the role of Vocal Director for projects with Nanyang Polytechnic and Singapore Management University.

Under her teaching, students have attained graded certificates from London College of Music, 90% Distinctions and Merits, with 100% passing rate and many of them have gone on to attain their Bachelors in Music and often performed for events and competitions.

As a performer, Sherlyn has performed for numerous events, countries and venues such as Macau Music, Malaysia, Hong Kong, Shanghai, Hangzhou, Singapore's Esplanade, Singapore indoor stadium, Singapore Trade fair, Borders cafe etc. She also sang for Beijing Olympic theme song and the National Day Parade as the finale and preview lead singer for Veteran Kit Chan and performed before a number of ministers, including the ambassador of Sweden and the president of South Africa. She has also judged for numerous events, including NTU Impresario and NUS Stardust. 

Sherlyn is also a backup vocalist and has sang in albums/concerts for JJ Lin JunJie 林俊杰, A-Do 阿杜, Freya Lin Fan 林凡, You Kewei 郁可唯, Xiaozhong 小钟, Kangkang 康康, Wu Zong Xian 吴宗宪, Sun Ho etc. 

For all enquires, please contact:

i didn't know that! Issue #40- Female Falsetto

| Posted in , , | Posted on



Female falsetto

The issue of the female falsetto voice has been met with some controversy, especially among vocal pedagogists. Many books on the art of singing completely ignore this issue, simply gloss over it, or insist that women do not have falsetto. This controversy, however, does not exist within the speech pathology community and arguments against the existence of female falsetto do not align with current physiological evidence. 

Motion picture and video studies of laryngeal action reveal that women can and do produce falsetto, andelectromyographic studies by several leading speech pathologists and vocal pedagogists provide further confirmation.

One possible explanation for this failure to recognize the female falsetto is the fact that the difference in timbre and dynamic level between the modal and falsetto registers often is not as pronounced in female voices as it is in male voices. This is due in part to the difference in the length and mass of the vocal folds and to the difference in frequency ranges. It is an established fact that women have a falsetto register and that many young female singers substitute falsetto for the upper portion of the modal voice. 

Some vocal pedagogists believe that this failure to recognize the female falsetto voice has led to the misidentification of young contraltos and mezzo-sopranos as sopranos, as it is easier for these lower voice types to sing in the soprano tessitura using their falsetto register.

Courtesy of Wikipedia

Student - Brandon

| Posted in , | Posted on



I am happy for my student: Brandon Lee. He got 2nd Runner up for "Youth alive" singing com at Takashimaya Civic Plaza :) Enjoy this song by him:

Children and Music

| Posted in | Posted on



ScienceDaily (Mar. 16, 2009) — Children exposed to a multi-year programme of music tuition involving training in increasingly complex rhythmic, tonal, and practical skills display superior cognitive performance in reading skills compared with their non-musically trained peers, according to a study published in the journal Psychology of Music.

According to authors Joseph M Piro and Camilo Ortiz from Long Island University, USA data from this study will help to clarify the role of music study on cognition and shed light on the question of the potential of music to enhance school performance in language and literacy.

Studying children the two US elementary schools, one of which routinely trained children in music and one that did not, Piro and Ortiz aimed to investigate the hypothesis that children who have received keyboard instruction as part of a music curriculum increasing in difficulty over successive years would demonstrate significantly better performance on measures of vocabulary and verbal sequencing than students who did not receive keyboard instruction.

Several studies have reported positive associations between music education and increased abilities in non-musical (eg, linguistic, mathematical, and spatial) domains in children. The authors say there are similarities in the way that individuals interpret music and language and “because neural response to music is a widely distributed system within the brain…. it would not be unreasonable to expect that some processing networks for music and language behaviors, namely reading, located in both hemispheres of the brain would overlap.”

The aim of this study was to look at two specific reading subskills – vocabulary and verbal sequencing – which, according to the authors, are “are cornerstone components in the continuum of literacy development and a window into the subsequent successful acquisition of proficient reading and language skills such as decoding and reading comprehension.”

Using a quasi-experimental design, the investigators selected second-grade children from two school sites located in the same geographic vicinity and with similar demographic characteristics, to ensure the two groups of children were as similar as possible apart from their music experience.

Children in the intervention school (n=46) studied piano formally for a period of three consecutive years as part of a comprehensive instructional intervention program. Children attending the control school (n=57) received no formal musical training on any musical instrument and had never taken music lessons as part of their general school curriculum or in private study. Both schools followed comprehensive balanced literacy programmes that integrate skills of reading, writing, speaking and listening.

All participants were individually tested to assess their reading skills at the start and close of a standard 10-month school year using the Structure of Intellect (SOI) measure.

Results analyzed at the end of the year showed that the music-learning group had significantly better vocabulary and verbal sequencing scores than did the non-music-learning control group. This finding, conclude the authors, provides evidence to support the increasingly common practice of “educators incorporating a variety of approaches, including music, in their teaching practice in continuing efforts to improve reading achievement in children”.

However, further interpretation of the results revealed some complexity within the overall outcomes. An interesting observation was that when the study began, the music-learning group had already experienced two years of piano lessons yet their reading scores were nearly identical to the control group at the start of the experiment.

So, ask the authors, “If the children receiving piano instruction already had two years of music involvement, why did they not significantly outscore the musically naïve students on both measures at the outset?” Addressing previous findings showing that music instruction has been demonstrated to exert cortical changes in certain cognitive areas such as spatial-temporal performance fairly quickly, Piro and Ortiz propose three factors to explain the lack of evidence of early benefit for music in the present study.

First, children were tested for their baseline reading skills at the beginning of the school year, after an extended holiday period. Perhaps the absence of any music instruction during a lengthy summer recess may have reversed any earlier temporary cortical reorganization experienced by students in the music group, a finding reported in other related research. Another explanation could be that the duration of music study required to improve reading and associated skills is fairly long, so the initial two years were not sufficient.

A third explanation involves the specific developmental time period during which children were receiving the tuition. During the course of their third year of music lessons, the music-learning group was in second grade and approaching the age of seven. There is evidence that there are significant spurts of brain growth and gray matter distribution around this developmental period and, coupled with the increased complexity of the study matter in this year, brain changes that promote reading skills may have been more likely to accrue at this time than in the earlier two years.

“All of this adds a compelling layer of meaning to the experimental outcomes, perhaps signaling that decisions on ‘when’ to teach are at least as important as ‘what’ to teach when probing differential neural pathways and investigating their associative cognitive substrates,” note the authors.

“Study of how music may also assist cognitive development will help education practitioners go beyond the sometimes hazy and ill-defined ‘music makes you smarter’ claims and provide careful and credible instructional approaches that use the rich and complex conceptual structure of music and its transfer to other cognitive areas,” they conclude

Courtesy of Science Daily

The passing away of a great vocal coach - Shirlee Emmons

| Posted in | Posted on



There was a memorial tribute to Shirlee Emmons, "A Musical Remembrance," on Aug. 14, 2010, at 1:00PM, at Trinity Church, Broadway at Wall Street, New York City.

Shirlee Emmons passed away on April 16, 2010. She will be deeply missed by all whose lives she touched.

I still remember when I first picked up her book- Power Performance for singers. It challenged me to broaden my understanding of voice training; to look beyond the extraordinary and usual methods of teaching. My teaching methods have since then evolved till what it is today; and is still being improved upon - all based upon the teachings of Shirlee Emmons.

Her books are still constantly being referred to when I write and revise syllabus or when I have difficult teaching situations. Shirlee Emmons has blessed so many with her teachings, she is an inspiration to me and to many others.

About Shirlee Emmons:

Lauritz Melchior and Shirlee Emmons

Shirlee Emmons maintained a private studio in New York after teaching for 35 years on the faculties of Columbia University/Barnard College, Princeton University, Boston University, and Rutgers University.

She was the author of five books:The Art of the Song Recital; Tristanissimo: the Authorized Biography of Heroic Tenor Lauritz Melchior; Power Performance for Singers; Researching the Song, and Prescriptions for Choral Excellence.

Her workshops and master classes were presented in thirty-four of the US states, in Korea, and Canada. Emmons’ singing career commenced with winning the Marian Anderson Award, followed by a lengthy national tour with Lauritz Melchior, US and Canadian concert and opera appearances, regular engagements with the major New York City choral organizations, and the award of an Off-Broadway Oscar, the “Obie,” for the leading role in Virgil Thomson’s The Mother of Us All.

She was a past chair of the prestigious American Academy of Teachers of Singing. Her students included Hei-Kyung Hong and Harolyn Blackwell.