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By Michael Strickland

The College of Idaho is set to welcome alumnus Lynn Maxfield back to campus for a special guest lecture and demonstration on the human voice.  Maxfield, associate director for the National Center for Voice and Speech at the University of Utah, will speak about the acoustics of singing classical and musical theatre styles during a lecture at 7:30 p.m. on Thursday, Feb. 13, inside Langroise Center for the Performing and Fine Arts on the C of I campus in Caldwell. The event is free and open to the public.

Maxfield’s presentation will explore the incredibly versatile instrumental qualities of the human voice. He will explore how two small folds of tissue, coupled with a resonant airway, can produce sounds capable of both lulling an infant to sleep and being heard over a 60-piece orchestra. Maxfield, with the help of C of I voice students, also will demonstrate the properties that give various performance genres their distinctive sounds.
Maxfield, a 2005 C of I graduate, holds a master’s in voice performance and a Ph.D. in voice pedagogy from the University of Iowa. In his current position at NCVS, he contributes to a multi-site research consortium committed to research and education about voice and speech. Prior to joining the NCVS, Maxfield taught at Eastern Connecticut State University, Knox College, Monmouth College and Carl Sandburg College in western Illinois. Maxfield is the primary instructor for the vocal studio at NCVS and also maintains an active performance presence. His opera credits include Monastotos in Mozart’s Die Zauberflöte, Sam Polk in Floyd’s Susannah, Orpheus in Offenbach’s Orpheus in the Underworld, and Guglielmo in Donizetti’s Viva La Mamma. He also sings with the Utah Opera chorus.

Here is the link t the original press release:


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Originally posted to The Book Bear on Mon Feb 10, 2014 at 12:27 PM PST.

Also republished by An Ear for Music.

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Comment Preferences

  •  It's why Renee Fleming doesn't need microphones (3+ / 0-)
    Recommended by:
    The Book Bear, lcrp, Nespolo

    and musical theater folks have what they call "belt"

    "Nothing in all the world is more dangerous than sincere ignorance and conscientious stupidity." --M. L. King "You can't fix stupid" --Ron White -6.00, -5.18

    by zenbassoon on Mon Feb 10, 2014 at 12:37:47 PM PST

    •  Hee! I despise the belting that passes for singing (2+ / 0-)
      Recommended by:
      lcrp, corvo

      on "The Voice" and every other show like it. I've been a choral singer for over a decade and what passes for singing in most people's minds is anathema to me.

      OTOH, I listened to a broadcast of "Rusalka" the other day, just to hear the Song to the Moon, and have to say that La Fleming did not impress me.

    •  except that I haven't been to a musical (1+ / 0-)
      Recommended by:
      Catte Nappe

      in at least two decades that didn't mike everyone.   Increasingly, opera companies are beginning to do the same.  

      Used to be you could tell a bad composer for the stage from a good one by the former's tendency to drown out the singers.  And one of the sine qua nons of a good singer was an ability to project.

      Ridiculous practice, and silly to have to watch performers on stage with mikes wrapped around their heads.

      Dogs from the street can have all the desirable qualities that one could want from pet dogs. Most adopted stray dogs are usually humble and exceptionally faithful to their owners as if they are grateful for this kindness. -- H.M. Bhumibol Adulyadej

      by corvo on Mon Feb 10, 2014 at 02:31:37 PM PST

      [ Parent ]

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