- Doctor of Philosophy, University of Newcastle, 18/12/2011
- Associate in Music Australia, Australian Music Examinations Board
- Bachelor of Education (Music), University of Newcastle, 08/04/1989
- Master of Music, University of Newcastle, 05/01/2000
- Breath management of classical voice
- Considerations of postural alignment for optimal vocal production
- Developmental strategies for young singers
- Holistic teaching methods
Much of my research has been performance based. I specialize in Baroque and Classical period performance and have been involved in many performances using period instruments at various baroque pitches and using a number of differing temperaments. As well as early music I have been involved in the presentation of new music including works by Australian composers. Some of the performances have been with The Song Company, some with Cantillation and also at the UoN.
My recently submitted PhD Thesis was an investigation of some aspects of vocal pedagogy centered around the developing singer (aged between 18 -21) and based on the work of voice scientists over the last 30 years. I have presented two papers on aspects of such pedagogy in the UK at the National Early Music Conference (July 2009) and at the Arts Health Symposium at the University of Newcastle in October, 2010.
My further interests are in the symmetrical nature of the body as applied to singing technique and the effect that asymmetry can have on the vocal apparatus and the resultant sound that the singer is able to produce.
Fields of Research
|190499||Performing Arts And Creative Writing Not Elsewhere Classified||20|
|199999||Studies In The Creative Arts And Writing Not Elsewhere Classified||20|
Since 2001 I have been course coordinator for MUSI subjects. From 2005 - 2008 I was Deputy Head of School for the School of Drama, Fine Art and Music (incorporating the Conservatorium). From 2004 - 2008 I served as the School Academic Conduct Officer (SACO) and from 2006 - 2008 as the School Complaints Officer.
I have had experience in the development of new courses for the School of Music and have served on the Faculty Board from 2005 - 2009.
- Tuition in classical voice
- Vocal pedagogies and breathing techniques
My area of expertise is in the teaching of the classical singing voice. The core business of the University of Newcastle Bachelor of Music course means that the majority of students are between the ages of 18 and 21. At this age the voice is under development and students are required to both develop their musical instrument and their musicality at the same time. I have developed a teaching philosophy which promotes a holistic approach to vocal technique that incorporates a number of technical pedagogies based on the need to offer students a variety of approaches due to the individual nature of the voice and the personality and physicality of each singer.
A further area of expertise is in the delivery of lectures on music history of the Western classical tradition.
For publications that are currently unpublished or in-press, details are shown in italics.
Click on a category title below to expand the list of citations for that specific category.
Journal article (1 outputs)
|2013||Matthias (Nee Lannen) B, Worrall L, Alston M, Sweetapple A, Marley J, Allan C, 'From soundwaves to brainwaves: investigating the effects of choral singing on recovery from stroke and aphasia', INTERNATIONAL JOURNAL OF STROKE, 8 49-49 (2013) [E3]|
Conference (6 outputs)
|2013||Matthias B, Worrall L, Alston M, Marley J, Allan C, 'From Soundwaves to BrainWaves: Investigating the effects of choral singing on recovery from stroke and aphasia', INTERNATIONAL JOURNAL OF STROKE (2013) [E3]|
|2012||Allan C, 'Helping the young soprano bring emotional truth to seventeenth- and eighteenth-century recitative through the use of speech mode', Singing music from 1500 to 1900: Style, technique, knowledge, assertion, experiment. Proceedings of the National Early Music Association International Conference, in association with the University of, York, North Yorkshire (2012) [E1]|
|2012||Lannen B, Worrall L, Alston M, Marley JE, Allan C, 'From Soundwaves to Brainwaves: Investigating the effects of choral singing on stroke and aphasia rehabilitation', International Journal of Stroke, Darling Harbour, Sydney (2012) [E3]|
|2012||Allan C, Carson SL, 'Finding the synergies: Adapting a curriculum to encompass classical and contemporary singing in a university vocal techniques class', Performer's Voice 2nd Symposium "Horizons Crossing Boundaries", Singapore (2012) [E3]|
|2012||White C, Cook IR, Allan C, 'My self, then my self: The ephemeral performer in 'the breathing space projects'', Performer's Voice' 2nd Symposium, Singapore (2012) [E3]|
|2010||Allan C, 'The Singer's Dilemma: Perceptual problems facing the developing classical singer', ArtsHealth Symposium - Space and Wellbeing, Newcastle, NSW (2010) [E3]|
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Creative Work (13 outputs)
|2015||Allan C, Walker S, Modern Masterpieces, University of Newcastle Great Hall (2015)|
|2015||Walker SKA, Allan C, Performance of Sally Walker's amalgamation of the orchestral flute and violin/piano version violin part of Bartok's "Rumanian Dances" for flute/piccolo (Sally Walker) and piano (Christopher Allan)., Great Hall, University of Newcastle, Newcastle (2015)|
|2013||Allan C, Encore: Selected works for mixed voice choir, ChristChurch Cathedral, Newcastle, Sydney (2013) [J1]|
|2013||Halton R, Allan C, Hoadley B, Walker S, Concert for a New Era: Monody by Claudio Saracini (1624); Vivaldi, Sonata for flute, bassoon, and basso continuo Christopher Allan (baritone); Sally Walker (flute); Ben Hoadley (bassoon); Rosalind Halton (harpsichord, editor of Saracini pieces), Harold Lobb Concert Hall, Newcastle, Newcastle (2013) [J2]|
|2013||Walker SKA, Allan C, Coco Nelgatti "El Cronopio" performed by Sally Walker, flute and Christopher Allan, piano, Harold Lobb Concert Hall, Newcastle Conservatorium of Music, Newcastle, NSW, Australia (2013) [J2]|
|2013||Allan C, XII Festival Internationale Di Music E Arte Sacra, Basilica of St Ignatious Loyola, Rome, Italy, Rome, Italy (2013) [J2]|
|2002||Spiers CJ, Smith GM, Allan C, Concert September 16th Colin Spiers (Piano) Greg Smith (Piano) Christopher Allan (Baritone), Ellicott - Variations on a Bach Chorale (Spiers/Smith), Woods - Satin Sounds (Spiers/Allan), Newcastle Conservatorium, Newcastle Conservatorium (2002) [J2]|
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Grants and Funding
|Number of grants||1|
Click on a grant title below to expand the full details for that specific grant.
2013 (1 grants)
Brainwaves: The impact of choral singing on community dwelling stroke survivors$12,551
Funding Body: National Stroke Foundation
|Conjoint Professor John Marley, Mrs Bernadette Matthias, Doctor Christopher Allan, Professor Linda Worrall|
|Total Amount||Funding Start||Funding Finish|
|Number of current supervisions||6|
|Total current UoN Masters EFTSL||1.85|
|Total current UoN PhD EFTSL||0.9|
For supervisions undertaken at an institution other that the University of Newcastle, the institution name is listed below the program name.
|Program||Supervisor Type||Research Title|
|2015||2017||M Philosophy (Music)||Principal Supervisor||Extreme Vocal Techniques in Contemporary Heavy Music|
|2015||2017||M Philosophy (Music)||Principal Supervisor||What Sweeter Music Can We Bring? The Formation, Importance and Preservation of Community Choral Groups and the Strive for Musical Excellence.|
|2015||2017||M Philosophy (Music)||Co-Supervisor||Sing You Up My Country: Developing and Defining Synergies Between Australian Compositions and the Voices and Skills of High School Choirs|
|2014||2018||M Philosophy (Music)||Co-Supervisor||Teaching Multiple Genres of Voice: An Investigation of Current Practice in Australian Tertiary Music Education|
|2013||2017||PhD (Music)||Principal Supervisor||Classical Voice and the Microphone|
|2010||2014||PhD (Medicine)||Co-Supervisor||The effect of choral singing on the health and quality of life of community-dwelling stroke survivors and their carers|
|Year||Program||Supervisor Type||Research Title|
|2013||M Philosophy (Music)||Co-Supervisor||Performance Fitness: Physiological Benefits of Aerobic Exercise for Performing Singers|
Dr Christopher Allan
|Work Phone||(02) 4921 8920|
|Fax||(02) 4921 8958|
School of Creative Arts
Faculty of Education and Arts
The University of Newcastle, Australia
The Conservatorium of Music,
Cnr Laman and Auckland Street
Newcastle NSW 2300