The Nature Of Empathy And Its Relevance For Voice Work
Thursday 10th June 2021, 5:00 PM - 7:00 PM (London Time)
How do we sense, understand, and respond to other people’s feelings? What neurobiological, situational, and sociopolitical influences modify these reactions? In the pandemic era, how have online interactions and social distance modified our capacities for empathy? Can empathy be trained; can it go too far; and does it always lead to helpful action? This presentation will combine research from animal studies, neurology, and social psychology, plus real-life examples, leading to suggestions for effective teaching and impactful artistry.
DEFINITIONS: WHAT IS EMPATHY?
Terminological problems
Three recognized components: Somatic; Cognitive; Action-oriented
SOMATIC OR EMBODIED EMPATHY
Neurobiological mirroring of others’ feeling-state
- Influence of sensitivity to own feeling-state
- Influence of kinship and close social bonds
- Relevance of boundaries: whose feelings are whose?
COGNITIVE EMPATHY
Thinking about, imagining, or mentally assuming how someone else feels
- Influence of group affiliation, moral judgment, and cognitive bias
- Importance of active listening and verbal confirmation
COMPASSIONATE ACTION
The choice to relieve others’ distress, or to withdraw
- The difference between caring and making a difference
- How the arts may inspire action—or not
THE TRAINABILITY OF EMPATHY
- Subjective, experiential training
- Objective, formal training
- How compassionate action can feed-back into feelings
- How screens (virtual world) help or hurt
IMPLICATIONS FOR THE ARTS AND ARTS TEACHERS
- Empathy enhances learning
- Empathy touches audiences
- The importance of self-care
- The importance of community
- Life after lockdown: empathy at home, in classrooms, and in the wider world
Joanna Cazden
Joanna Cazden, MFA, MS-CCC is a speech pathologist specializing in vocal arts rehabilitation, now in private practice after 18 years as senior voice clinician...
Sorry, this is an archived short course...
We have plenty of upcoming short courses coming soon. See details of some of them below or look at the full list of short courses.
Thursday 11th December 2025
8:00 AM - 10:00 AM
(London Time)
Picking Up Good Vibrations: Pedagogical and Clinical Voice Analysis!
Dr Calvin Baker
Voice teachers and clinicians strongly rely on auditory perceptual modes of voice evaluation. These are considered the gold standard for assessing voice quality and training effects (e.g., a singer’s progress from lesson to lesson or across voice therapy). Join Dr Calvin Baker as he explores techniques for instrumentally analysing the singing voice. Specific considerations for the challenges of obtaining reliable, robust, and comparable data will be presented, and practical recommendations for recording and analysing the singing voice in pedagogical and clinical contexts will be made.
Thursday 11th December 2025
5:00 PM - 7:00 PM
(London Time)
The Pedagogy of Vibrato: Integrating Science and Studio Practice
Dr Justin John Moniz
Vibrato is more than just a shimmer in the sound—it’s one of the voice’s most powerful tools for artistry and expression. In this dynamic course, Justin John Moniz—Associate Director of Vocal Performance and Coordinator of Vocal Pedagogy at NYU Steinhardt, and Associate Editor of the Journal of Singing—pulls back the curtain on vibrato, blending history, science, and studio know-how into an engaging exploration for singers and teachers alike.
Tuesday 16th December 2025
2:00 PM - 4:00 PM
(London Time)
Inspired Sound: Unlocking the Science of Choral Acoustics
Professor Helena Daffern
In this session, Professor Helena Daffern will explore the fascinating science behind choral sound, offering choir singers and directors valuable insights into achieving a cohesive and expressive ensemble, no matter what their standard. The concept of choral blend will be examined —what it is, how it can be cultivated, and the roles of intonation and vibrato will be analysed. The decisions that have to be made around intonation when tuning thirds or dealing with modulations over the course of an a cappella piece will be explained in the context of existing research and different singing styles such as barbershop singing and solo voice ensembles.