David Anthony Vinden
After studying at the Royal Academy of Music and Royal Holloway College, David taught for six years before embarking on two years of study at The Kodály Institute, in Hungary. On returning he worked at the Purcell School, becoming its director. He co-founded the Kodály Centre of London in 1992. He now lectures at the Guildhall School of Music & Drama and Trinity College of Music in London and teaches for the Colourstrings UK. He is in demand the word over as a leading Kodály exponent.
Sue Anderson has been playing the piano since the age of three, thanks to her piano-teaching mother, and is very familiar with all aspects of the instrument, as a solo pianist, accompanist, singer, piano teacher and singing teacher. She gave her Wigmore Hall debut as a solo pianist, sponsored by the ISM, but then worked for many years as a singer giving performances of contemporary music throughout Europe and singing at Glyndebourne and Covent Garden. The academic strand in her career began with an honours degree in music at Oxford, and continued with an MA in Music Psychology (Sheffield), in which her research about the way in which professional singers learn and memorise new repertoire inspired her book Keyboard Skills for Reluctant Pianists.
After further academic research leading to an MSc in Music, Mind and Brain (Goldsmiths, London), she has returned to practical music making, singing the roles at Dartington International Summer School of Larina (Onegin) in August 2015 and Mrs Sedley (Peter Grimes) this summer, as well as giving several recitals in London.
Lecturer in Singing and Song Interpretation at Pembroke College, lecturer in Teacher’s Voice at Westminster College of Education, vocal coach to the prestigious Exeter College Choir and to Balliol College, and visiting lecturer at Oxford Brookes University, Nicola has in the past been the voice coach at Sheffield University, to the choral scholars of Brasenose College Oxford, and to the young stars of Billy Elliot the Musical. Many of her students have gone on to win awards.
She also works with singers in need of vocal rehabilitation and runs intensive workshops for Oxford’s academic lecturers. Her combination of literary, musical, pedagogical and medical backgrounds has led to much cross-fertilisation of ideas. She has written for national radio, newspapers and magazines, including among many others, Classical Music, British Music, BBC History and The Singer magazines. She is the author of The Wordsmith’s Guide to English Song in two volumes.
Alongside her work in text and music in performance, Nicola specialises in interpreting the Spanish repertoire both as a classical soloist and with her touring company, Casa Margarita. In her research and teaching she has focused on clarifying the language we use to teach singing, and works with neuroscientists to develop this language to accelerate the process of vocal training and rehabilitation.
Alan Watson is a reader in anatomy and neuroscience at the School of Biosciences, Cardiff University, and has a lifelong interest in music. He runs a course at the Royal Welsh College of Music and Drama on the physiology of musical performance and works with staff and students there on projects concerned mainly with breathing in wind players and singers.
He has lectured widely on the musicians’ health and performance physiology for organisations such as the Royal College of Music, British Association for Performing Arts Medicine, DANA centre, British Voice Association and at many public events such as the Hay Festival, Cheltenham Music Festival and the Menuhin Violin Competition.
His book The Biology of Musical Performance and Performance-related Injury was published by Scarecrow press in 2009. He recently contributed a chapter on ‘Breathing in Singers’ to the Oxford Handbook on Singing (G. Welch, D.M. Howard. [eds.] Oxford Handbooks Online).