Skip to main content

That old mid-life crisis

On August 21st 2011 at the age of 59 I went back to school.  I began a two-year distance degree in psychology for musicians at the University of Sheffield in England. Of course, I had all kinds of anxiety about the program. On the plane on the way to Sheffield, I remember thinking “Is this the dumbest thing I have ever done?”

This whole venture was prompted by an increasing sense of failure in mid-life. You know it’s bad, when you get a twinge of remorse every time you see a certain poster on the subway (“It’s not too late to do what you were born to do!”). When I was at school in my 20’s, a Master’s degree was not that common for performing musicians. I was more focused on trying to get work as a singer than on getting more degrees.


I did register for a Master’s degree from a small American Conservatory back in 1981, funded by the Canada Council.  The experience was not a happy one. I had already spent 10 years as a post-secondary student (BA, Performance Diploma, Opera Diploma), and found myself in serious conflict with my studio teacher. The result: I never got the degree. Instead I went directly to Germany, where I worked in the opera house system for several years.

 

Ten years previously I had thought of going back to school to get that degree. There were always reasons I couldn’t do it. I could never find the right program; I didn’t want to leave Toronto for years at a time; and most important, I had feelings of shame around my marks. I had never put together my GPA and was worried that my marks were too low to merit serious consideration. Imagine my surprise when I finally did calculate my GPA! I had an A average according to the U of T standards at the time. 

 

Well, from the vantage point of life in 2024, that decision to go back to school was one of the smartest things I have ever done. Not only did I love the program at the University of Sheffield, where I graduated with Distinction in 2014, but I went on to a PhD in Music, with a research project in the cognitive psychology of song memory that was published in 2022.

 

So here’s the lesson; Don’t be deterred by shame or inertia from doing what you long to do. It actually is never too late to start.

 

 

 

 

Comments

Popular posts from this blog

Where's My EEEE!

I read somewhere that the "ee" vowel, correctly produced, is the foundation of singing. And therein lies the problem. I spent my whole career as a singer unhappy with my "ee" vowel. It was either too shallow, too "spread" or too dark.  I never could get the balance right. The best singers seemed to produce it without spreading the mouth and with considerable space in the jaw. It was clearly "ee" but had all the beauty of "ah". One teacher advised me to feel my tongue at my upper teeth on both sides. That just made me uncomfortably tight. Dropping the jaw made the vowel more like "ih", too neutral, too heavy and too far from speech. Eventually I realized that for a good "ee", the one that can become the foundation of your singing, the jaw has to be released rather than dropped. It is the quality of the released opening that is important, not so much the quantity. Of utmost importance is the feeling of "hollowne...

Solving problems in mid-range

From time to time, a female singer will come to me with suffering from  a  kind of mid-voice anorexia:  the  lower notes are   strong, but there is no sound in the mid-range. Usually this type of singer has been trained to separate the registers, and to vocalize in a heavy chest voice   as a means of “strengthening” the “vocal muscles”. They proceed from there to an empty middle range and an overly light, breathy high voice.   For the mid-voice to be healthy, the low cannot be forced. If you produce the low notes with a heavy chest adjustment and do not allow the vocal cords to make a smooth series of lighter adjustments as you  ascend the scale, you are in for a bumpy flight!   This heaviness in the low range may feel strong to the singer; but it takes its toll on the middle register. Encouraging the singer to find a lighter chest adjustment in the low can aid the transition on the way up. The insight that a feeling of light chest adjus...

Si canta come si parla: Si o No?

  I am sure that most of us are familiar with the adage of the Italian school, “sing like you speak”.  We also know from experience that while in some respects this is completely true, in other respects it is not. It would be equally correct to say, “to sing well, you must have a flexible vocal position that will allow for modification of the vowels when acoustically necessary.” There is no single correct vocal position that will accommodate every note in the singer’s range. While the first two formants of the singer’s voice determine what vowel is produced (and in this way are intimately related to correct speech), formants 3, 4 (the singer’s formant, which does not appear in speech, and allows the voice to be heard over the orchestra) and 5 determine vocal quality and individual timbre.   Without correct balancing between the fundamental pitch and the shape of the resonance cavities, beautiful singing is impossible.  Both vowel modific...