What would you consider to be the main focus of your career, or your “specialty”?

My work centres around the accessible application of the latest vocal pedagogy understandings, with a particular focus on Popular Culture Musics (PCM). I use “PCM” rather than “Contemporary Commercial Music (CCM)” because my teaching involves such a wide range of contemporary vocal styles—plus, it avoids confusion with other terms like Contemporary Christian Music (also CCM), which I have personally worked in for some time.

At the core of my approach is bridging the gap between evidence-based vocal science and practical application for today’s singers. It’s exciting to see how much contemporary music has evolved, and I’m passionate about reforming traditional pedagogy to meet those modern demands. I’ve always been especially interested in sustainable vocal technique, vocal health, and how we can blend timeless classical foundations with the unique needs of contemporary singing.

As a non-clinical singing voice specialist, educator, researcher, and content creator, my mission is to make high-quality vocal education accessible on a global scale. Through my Voice Essentials platform, private coaching, and YouTube channel, I offer resources that help singers develop solid techniques while maintaining their own artistic flair.

How did you discover your calling for your specialty? How did it start?

Like many vocal pedagogues, I started as a singer myself. Early on, I ran into vocal fatigue (caused mainly by muscular constriction) and a frustrating lack of consistency—issues that my childhood training hadn’t quite prepared me for. That struggle pushed me to dig deeper into the science of singing, to figure out exactly what was happening when my voice felt tired or unpredictable.

Around that same time, I was heavily involved in contemporary worship music. I’d watch other singers—equally passionate—face the same challenges: vocal fatigue, inconsistency, and even longer-term issues from poor technique. Often, these performers poured their hearts into the music but didn’t have the know-how to protect or optimise their voices.

Realising this gap drove me to form my teaching approach that balanced artistry with sustainable technique. I especially wanted to serve the needs of contemporary vocalists, whose styles can be drastically different from classical or operatic traditions. In many cases, like me, the teaching they’d received simply wasn’t designed for modern genres, so I set out to develop an approach that met them right where they were.

What do you love the most about your work?

For me, the biggest thrill is watching singers discover new things about their voices that they never imagined possible. There’s something profoundly uplifting about seeing that moment of breakthrough—whether it’s technical or emotional—and the immediate joy it brings.

I also love the constant interplay between science and art. Our voices are deeply personal instruments, yet they’re governed by tangible physiological and acoustic principles. Helping a singer unite those two worlds in a way that fits their unique style is immensely rewarding.

Beyond the teaching studio, I get a lot of satisfaction from building a sense of community. Whether it’s via my YouTube channel, online courses, or professional groups like the Australian Voice Association (AVA) and the Australian National Association of Teachers of Singing (ANATS), I enjoy sharing ideas, hearing new perspectives, and contributing to the broader conversation around vocal education.

In your opinion, what qualities make an “excellent” vocal pedagogue?

An excellent vocal pedagogue brings together scientific knowledge, artistic sensitivity, and the flexibility to adapt teaching methods to every individual. No two singers are alike, so you can’t rely on a one-size-fits-all approach.

Some key qualities include:

• Lifelong Learning: Vocal science is always moving forward, so great teachers keep growing and updating their knowledge.

• Empathy and Communication: Voice teaching isn’t just about physiology—it’s about psychology, too. Building trust and communicating clearly sets the stage for real progress.

• Stylistic Versatility: Particularly in PCM, students want to explore a variety of sounds. An effective teacher needs to navigate different aesthetics and techniques.

• Evidence-Based Methods: Experience is important, but it should stand on a solid foundation of current vocal science to avoid passing along myths or outdated techniques.

Can you speak to the importance of having mentors? How have mentors influenced your life/career?

My mentors have been instrumental in shaping the teacher and researcher I am today. When I was starting out, they offered insights I simply couldn’t get from textbooks or academic papers.

Early mentors helped me master the basics of singing and, crucially, the “how” of teaching—how to listen actively, how to adapt in real-time, and how to create a supportive environment for students. Through professional involvement with AVA and ANATS, I then connected with leaders in the field who broadened my understanding of voice science. Their influence encouraged me to remain evidence-based and to pass those values along to the next generation of vocal educators.

Building Blocks - Questions About Nine Key Areas of Voice

The below topics cover nine key areas of voice. In regard to each topic, what are the most influential tips, insights, or research findings that you would like to share with our audience?

Breathing

Breath management is about efficiency, not micromanagement. The idea is to coordinate airflow and vocal fold resistance in a way that supports sustainable phonation. It’s easy to assume you need endless breath control exercises, but I find it more effective to help singers develop a natural sense of pacing that fits their style and vocal needs.

A big part of this is the balance between Phonatory Threshold Pressure (PTP) and Phonatory Threshold Flow (PTF). PTP is the minimum subglottal pressure required to get the vocal folds vibrating; if it’s too high because of extra tension, you risk vocal fatigue. PTF, on the other hand, refers to the minimal airflow needed to keep those folds vibrating without leaking excess air.

In Popular Culture Musics (PCM), singers must be prepared to adjust breath pacing quickly—one style might call for a light, breathy onset, while another needs a more compressed, high-energy delivery. Understanding how breath flow and resonance work together helps singers move between these different demands without straining.

I often recommend semi-occluded vocal tract exercises (SOVTs), like straw phonation or lip trills, to give singers a tangible sense of balanced airflow. Beyond that, I encourage them to trust their own bodies’ signals. If something feels forced, there’s usually a more efficient path.

The Larynx

The larynx should be free to move and adjust, rather than locked into one rigid position. Sometimes, people are taught to keep a perpetually low larynx, but in contemporary styles, a more neutral and flexible approach is often more practical. A neutral larynx is neither raised nor depressed. It simply moves as needed for pitch, intensity, and artistic expression. In PCM, you might want a higher larynx for a bright, edgy tone or a lower one for added warmth. It’s about learning to sense these shifts and adapt without tension.

I encourage singers to develop laryngeal proprioception—an awareness of how the larynx moves and feels. When you can track those movements, you’re better equipped to achieve both efficiency and stylistic freedom, no matter what genre you’re tackling.

The Vocal Folds

Contemporary singing can put unique demands on the vocal folds. In belting, for instance, the collision forces (the pressure when the folds come together) can be quite high, which, if not managed properly, can lead to phonotrauma, such as nodules or oedema.

There’s also the matter of shearing force—how much the vocal folds move from side to side during vibration—which can become an issue in fast-paced passages or extreme dynamic shifts. If left unaddressed, it can contribute to fatigue and tissue strain over time.

To keep everything in balance, I focus on maintaining efficient vocal fold adduction—enough closure for clarity and power in styles like pop or rock, but not so tight that it causes strain. Techniques like SOVTs, straw phonation, and resonance tuning help regulate these forces. Ultimately, it’s about developing proprioceptive awareness so you know how your vocal folds are behaving during high-intensity singing.

Acoustics/Resonance

Resonance strategies are crucial for efficient singing: they give you better projection and tonal richness without making you push harder. One technique I often highlight, especially in PCM, is Twang—narrowing the aryepiglottic sphincter (I call it the ‘Twanger!’) to boost those upper harmonics. It’s great for cutting through a loud band mix without spending all your breath energy.

I also talk a lot about formant tuning and vowel modification. By adjusting your vowels to match optimal formant frequencies, you let the vocal tract boost your sound naturally. It’s a bit like a built-in amplifier, letting you maintain tonal consistency and ease throughout your range.

I still love SOVTs here, too, because they help singers experience the back pressure that balances subglottal and supraglottal forces. When everything’s working in harmony (excuse the pun), you get a more powerful, resonant tone—minus the extra effort.

Vocal Registration

Registration sits at the crossroads of breath management, resonance, and vocal fold coordination. Getting from chest voice (Mode 1/TA-dominant) to head voice or falsetto (Mode 2/CT-dominant) can be tricky, especially if you rely too much on brute force instead of a seamless acoustic and muscular transition.

We often talk about bridging register breaks. In practice, that means easing into a smoother shift—using breath pacing, vowel modification, and resonance tuning—rather than slamming between two drastically different vocal set-ups. In my experience, if you coordinate each element well, the transition feels (and sounds) far more natural.

In many PCM styles, a “mixed” approach that blends TA and CT engagement is popular, especially when learning to belt. It creates a powerful, flexible sound without overtaxing the vocal folds. Again, exercises like semi-occluded vocal tract exercises (SOVTs), sirens, and glides can help singers explore register transitions safely and effectively.

Vocal Health

Vocal health is the foundation for consistency and longevity. Without a solid care routine, you risk vocal strain, fatigue, or even lasting issues. I often highlight three key components: a disciplined warm-up/cool-down routine, structured vocal rest, and preventative maintenance.

A good warm-up starts gently—light phonation, SOVTs, resonance-building exercises—to boost blood flow, flexibility, and coordination. After a demanding session, a cool-down is just as important, using gentle descending glides, humming, or lip trills to bring the voice back to a relaxed state. It’s just like a professional athlete winding down after an intense workout.

Vocal rest is also vital. Singing (or talking) continuously without a break can lead to fatigue and raise the risk of injury. Schedule voice naps, stay hydrated, and watch for early signs of overuse, like hoarseness. If your schedule is full of performances, plan voice rest days to allow proper recovery.

Vocal Style

Style is about balancing authenticity with adaptability. Everyone’s voice is shaped by both nature and nurture, so there’s no single “right” way to sound. But a good understanding of stylistic conventions goes a long way.

In PCM, singers often need to move quickly between different onsets, levels of vibrato, dynamic control, and articulation patterns. The challenge is developing these diverse stylistic tools without losing your own vocal identity. Sometimes, singers try to mimic a favourite artist—only to end up straining because their physiology just isn’t built the same way.

The key is having a versatile technique. For instance, vibrato in jazz can be quite different from vibrato in pop, or how you compress the voice in rock might contrast with musical theatre. I encourage singers to experiment with these nuances and blend them with their natural timbre for an authentic sound that respects their individuality and the genre they’re performing in.

Posture & Body Alignment

Posture, or my preferred term, ‘body alignment,’ plays a huge role in vocal efficiency, yet it’s easy to misunderstand it as rigid alignment—particularly for newcomers. In reality, we benefit most from a “dynamic, buoyant” body state that supports natural movement, free breath flow, and healthy vocal function.

That means gently lifting through the spine, keeping shoulders and neck free of tension, and allowing the ribs to expand and relax as needed. This balance ensures you’re engaged but never locked in place so that you can respond fluidly to different singing and movement demands.

Teaching Methods/Communicating complex ideas about singing

My philosophy is systematic yet flexible. While you do need a reliable framework, each singer’s body, goals, and personal style should shape how that framework is applied. A “one-size-fits-all” method can’t possibly cater to the vast variety of singers out there.

I try to rely on current voice science but incorporate traditional pedagogy, kinesthetic learning, and acoustic strategies to ensure singers develop a functional understanding of their voices. Chasing every new trend is tempting, but I believe in mixing proven methods with updated insights. As a young teacher, every new technique felt like a shiny new hammer, and accordingly, every vocal issue seemed like a nail. With experience, I'm learning to choose the right tool for each specific challenge.

I also encourage students to become problem-solvers. Rather than drilling the same exercise until it’s rote, I want them to think critically about how their voice feels and responds. By developing that awareness, singers learn to adapt on their own—both technically and artistically—long after the lesson ends.

Final Thoughts (Words of Wisdom, Recommended Books, or Resources)

Singing is a lifelong journey. Progress takes patience, curiosity, and a willingness to keep learning. No single path works for everyone, so staying open to new ideas while nurturing your own sense of artistry is worthwhile. In my experience, that balance of individuality and structured technique leads to the greatest long-term success. If you’re hungry to delve deeper, I highly recommend these books:

1. The Vocal Athlete – Leborgne & Rosenberg
2. Voice Works – Christina Shewell
3. Professional Voice – Robert Thayer Sataloff
4. Manual of Singing Voice Rehabilitation – Leda Scearce
5. So You Want to Sing (NATS Series) – Various authors

They cover everything from vocal technique and pedagogy to the latest in voice science. Keeping up with the field will help you refine your own skills, whether you’re a singer or a teacher.

Above all, remember to enjoy the process. Our voices are an extension of who we are, and singing should feel free, authentic, and inspired. Technical mastery is crucial, but it should never overshadow the pure joy of expression. Embrace the journey, and your voice will continue to grow in a way that’s both artistic and sustainable.

Please note that Dr Daniel K. Robinson is not affiliated with VocalPedagogy.com and we do not give out contact information. We hope you enjoyed the interview!