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There’s nothing like working face-to-face. At my Astoria, Queens, studio, you’ll experience immersive, hands-on coaching designed to uncover your full vocal potential. Every new singer's lesson begins with a comprehensive vocal diagnostic where we map out your range, voice category, strengths, and challenges, then build a personalized plan around your artistic ambitions. If you’re just starting out, we’ll focus on establishing healthy technique from the ground up: Breath management, posture, and body alignment Developing clean, reliable vocal onsets Expanding and strengthening your vocal range Improving tonal quality, resonance, clarity, and diction Ear training, pitch accuracy, and rhythmic coordination Building confidence and consistency in performance For conservatory-level singers, in-person coaching is the perfect supplement to your academic training: Reinforcing core technique while giving you an outside perspective Stage presence and movement coaching to bring authenticity to your performances Mock audition simulations and feedback Strategizing repertoire for juries, competitions, and recitals For seasoned professionals, in-person lessons offer a private, supportive space to fine-tune the details: Vocal upkeep and stamina for demanding rehearsal and performance schedules Audition book curation and repertoire polishing Preparation for concerts, roles, tours, and recording sessions Business-oriented coaching for content creation, marketing, and career longevity Focused rehearsal time for upcoming appearances or creative projects In-person sessions also allow for physical cueing and real-time adjustments you can’t get online, plus the benefit of working in a professional studio equipped with a Kawai NS-15 piano, microphones, mirrors, and an acoustically treated space designed for singers. No matter your level — beginner, student, or professional — our work together is completely goal-driven and customized to you. As the top vocal coach NYC has seen in decades, my mission is to help you discover new freedom, artistry, and power in your voice.

No two singers are the same — that’s why every new singer of mine begins with a full vocal assessment where we explore every nook and cranny of your voice. Together we’ll determine your vocal range, voice type, strengths, and areas for growth, then use those insights to create a custom roadmap that gets you closer to your goals. For beginners, lessons often focus on: Building a foundation of breath support, posture, and alignment Establishing healthy vocal onsets and eliminating strain Expanding your vocal range safely and efficiently Developing tone, clarity, resonance, and projection Ear training and musicianship skills Learning how to sing confidently in tune and in style For conservatory students, I act as a trusted ally alongside your formal training: Reinforcing and augmenting what you’re studying in school Stage presence coaching to help you shine in recitals and performances Mock audition setups to prepare for real-world casting situations Fine-tuning repertoire for juries, showcases, and competitions For working professionals, lessons are tailored to sustain and elevate your career: Vocal maintenance and healthy singing habits under demanding schedules Manicuring and expanding your audition book Concert and role preparation with attention to artistry and endurance Business-oriented coaching for content creation, brand-building, and album planning Repertoire selection and rehearsal purposes for high-profile appearances With voice lessons online, every session is designed around you. Whether you’re taking your very first lesson or stepping onto a world stage, my goal is to help you unlock your full potential and feel fierce, fearless, and free in your singing.

It's pretty much expected that a VTuber is going to sing these days... so why not train to be the best?? UPDATE:  Medium just spotlighted my feature What Is a VTuber?   — and Part 2, VTubers, Singing, and the VShojo Collapse  — where I break down why virtual performers are rewriting the rules of entertainment and how the recent shifts in the space are shaping what’s next. Exactly one year ago today, I had my very first encounter with a VTuber . I had no idea what was going on and didn't have time to think about what I thought about it yet, before just going with it at the hands of the VTuber I happened to cross paths with. At the time, I had no idea what a VTuber was, let alone how popular VTubing culture was around the world. I also had no idea that VTubing would become such a big part of my life as a vocal coach. Since it's technically the first anniversary of me having any exposure to the VTube world, I want to celebrate with a little backstory into how a year being exposed to this phenomenon has really made an impact on me as a vocal coach and what I've done over this past year to help this cultural phenomenon make its mark. For those of you cold-hearted souls out there that don't care about my incredible backstory about VTubers, you can go ahead and skip to the "real" content. But you're cold-hearted. VTuber Virgin There I was, one year ago, basking in the success of Fiverr Pro's online music lessons launch, something I had been headhunted to develop over the course of 7 months. As part of the launch, I agreed to create an actual profile on the website to offer my services as a vocal coach. I really hadn't planned on continuing there for very long since I thought the Fiverr crowd would be put-off by my prices, but I was pleasantly surprised at the traction my little Fiverr Pro profile received right off the bat. Of course, as with any sort of digital messaging platform, you see all kinds of messages popping into your inbox from people all around the world. Some of them are spam, some of them are bored and just want to chat, some of them are not really interested in what you have to offer, but the rest of the messages I received were from very interesting people with very interesting backstories who legit wanted to learn how to sing. One of those came from a very shy girl from Taiwan who had trained with a voice teacher before, but never really got anywhere after she was assigned a few boring exercises that you can tell the teacher just threw her way without considering her unique voice or goals (one of my biggest pet peeves!). She wanted to start right away, so we met for her first lesson immediately. She was quick to follow me into the Zoom meeting, and we connected to the audio about the same time. But when my camera switched on, hers didn't. Instead, her anime-style Zoom profile image remained in place, fixed in a pleasant smile. I complimented her image, saying that I liked her hair. This seemed to perk her up a bit. Next, she asked very politely if she could keep her camera off while I just listen to her voice. Sure, I said - and mentioned that I can totally do my job without seeing her, but it may help things go a little faster or smoother if I am able to lay eyes on her at least once while she sings sometime in the future. But it was no big deal at all. I could tell she was nervous, and I don't blame her - I was petrified the whole first year when I started taking voice lessons. (My first voice teacher was evil though, and my nerves went away when she did; my singers, on the other hand, warm up quickly!) So we got to chatting about her goals for taking voice lessons and she sent me a video to watch right there during her lesson. It was a video of a livestream karaoke singer, but the singer was not broadcast as a human; they were using an avatar that seemed to move in sync with the movements of the human doing the singing. I could tell immediately that the singing was live, not pre-recorded, and the avatar was, in fact, moving spontaneously with the music they were singing. To the right was an endless cascade of live commentary and reactions from an audience of over 80,000 viewers. "What IS this!?" I asked, utterly fascinated by what I was seeing. "She's a VTuber, like me, and I want to be able to do this on my streams one day," my new student replied. "A VTuber? Like, a virtual YouTuber or streamer of sorts?" "Yes, exactly!" After watching a bit more, I remember saying, "How peculiar, but really interesting. Does she get paid to do this?" "Yes, just look at all the fans reacting and commenting. Isn't she great?!" "Well, she's nothing to write home about vocally, but dang, she's certainly figured out how to make it work. If this is something you do, I want to know more about it so we can tackle this from every perspective and get you on top of the game here. From the little I know about you so far, I can think of a few strategies that we can approach singing from to get you on par with these vocals and FAR beyond in a matter of no time. Thank you for introducing me to this strange but oddly really cool little world here." Right after her lesson, I ran into the other room and showed the video to my partner, without any commentary beforehand. "What is this?" he asked. "You tell me. What do you think about it?" After watching for a little while, he said, "Someone who can't really sing well actually getting noticed and developing a fanbase because she's live-streaming as an animated character? Clearly she's onto something," he said, noticing the cascading fan reactions as she sang. "Is this weird?" I asked. "Yeah, it's weird." He replied. ...good thing I'm a weird person. I dove straight into Vtubing research. I searched all over the internet for the questions I needed answers to, but no one on the reddit forums were addressing the basics that I needed to know. At the time, the Wikipedia page wasn't very helpful either, so I turned to scholarly research for a comprehensive analysis of what exactly this VTuber phenomenon was, how it got started, who gets into it, how music and singing fit into the VTuber world, etc. I found this one Master's thesis called "Streaming as a Virtual Being: The Complex Relationship Between VTubers and Identity" by someone named Anna Birna Turner, which was very, very helpful in introducing me to the world of VTubers from scratch. This particular paper also shed some light on the parasocial relationships that can be formed between VTubers and their fans. I began to understand the allure of VTubers and why their fans are so enthusiastic supporters of them, and I began to see what an important role VTubers play in the lives of others who become members of this community to fulfill a need for socialization and belonging. We humans are social creatures, and this, I surmised, was the evolution of our survival as social creatures. "Life found a way," as Ian Malcolm said in one of the best movies history has ever known. My first VTuber student and I made incredible progress with her singing, which is typical for my singers. But one day, about a month into our lessons, she said something to me that absolutely made me stop in my tracks and be truly grateful that she had entered my life and gotten comfortable enough with me to say this off-the-cuff: "To hear my voice blossom like this is something I never dreamed was possible. In my culture, women cannot be great. They will never be great. It is very much a part of who I am to not expect such a thing in my life. From my very first memories, I was raised in a family where everyone told me how plain and talentless I am... And I believed them all these years. But meeting you, and working with you in these voice lessons... despite what I was brought up to believe about myself, this the first moment I've ever considered the possibility that my life may be an extraordinary one." (Read more testimonials from my singers here .) Y'ALL. I am a puddle just reading that back to myself again. I went back and watched the recording of our lesson a dozen times just because it was such a sweet and unexpected glimpse of how music can have transformative powers in the right hands . That was the moment I knew not only how special VTubing is, but how powerful music and VTubing can be together if they're under the right direction. Music and VTubing can change the world. For me, music is transformative and healing, and I teach my singers to look within themselves to express what they feel authentically, and it always comes out in remarkable vocals when they sing. Millions of people around the world look to VTubers to fulfill something missing in their lives. It's only natural that VTubers turn to music as a way to connect with their fans on a deeper level. From that moment, I was hooked. I wanted to vocal coach as many VTubers as possible so I could use my gifts as a vocal coach to heal people around the world who need it. Right as I made this discovery, I received a message on Fiverr from another VTuber, completely unrelated to my first student. This new message was more of a test, it seemed, than a curious inquiry. It contained several questions about my knowledge about VTubers and what I thought about the medium, if I even knew what it was. Of course I jumped at the opportunity to discuss my newfound obsession with someone who apparently knew quite a lot about it. As it turns out, this new VTuber was quite successful already and had representation that I had to interview with in order to secure them as a student. Of course I slayed the interview, and that's about all I can say about this one, given the watertight NDA I signed as part of our collaboration. What I can say is this: watching our work together take off around the world and connect with millions of people is exactly the validation I needed to cement by belief in the power of this medium. A few months ago, I was messaged by yet another VTuber, and this one happens to live close to my home here in New York City. Since she began studying with me, we've developed what I view as a special relationship between teacher and student, although my relationships with all my students are special in their own ways. It takes a different meaning when you meet them in person and have in-person lessons, too, though, which is exactly what has happened with us. Throughout this past year, I've welcomed another 6 or 7 VTubers to my vocal studio, and they all have something in common with each other, which I find to be refreshing and remarkable and oh-so-inspiring: they want to learn to sing because they know it's a way to connect more deeply with themselves and with others. And they all come to me knowing that already. With non-VTubers, I get a lot of "I want to learn to sing because I want to be famous," -type of answers. Fortunately I have the luxury of gently redirecting those singers to someone else if I can tell that's the extent of their interest in singing. Some of them just need a little time with me in order to see the light, though. So that's my anniversary celebration of being introduced to VTubers and the untapped potential this world is just now discovering through music. I'm totally here for it, and I'd like to encourage all VTubers to explore their voices from a different perspective if they haven't already. If that means reaching out to me for lessons, don't worry: you're in good hands. I have experience with others just like you, and we haven't even begun to scratch the surface of what kind of magic music and VTubing can create for the world. When you're ready: Shoot me a message over on my contact page . Or... Feel free to explore my portfolio (which is extremely lacking in the VTuber department because I've noticed that, as a whole, this community likes to keep the whole vocal coach thing to a minimum, lol. I guess vocal coaches don't fit into lore very easily, and that totally makes sense to me.) Maybe one day I'll upload the video audition I made for VShojo that, while it got me nowhere with the agency, is still quite entertaining. Anyway, maybe one day I'll be able to name names. Just let this be proof that your work with me will remain confidential unless you explicitly tell me you want to be featured in my portfolio. Then, I'll think about it... ;) I can hear you thinking, "Enough with the backstory already! Get to the content!" Okay, okay, sorry. LISTEN HERE: VTubers are people, too, and although the world might seem weird at first, they've got a lot to say and a lot to sing about, too. In a world where avatars come to life and personalities shine through pixels, one thing remains absolutely real: THEIR VOICES . Whether you’re a VTuber just getting started or a seasoned virtual icon ready to level up, your voice is your power—and it's time to train it like the star it is. If you've ever wondered, "Can VTubers learn to sing?"  or "Is there a vocal coach who actually understands what I do?" —congrats, boo. You just found your fierce. BTW- I just finished a ton of research on how much vocal coaches cost across all 50 United states and wrote a blog about it. Curious? Give it a look and LMK what you think. Pretty sure no one's claimed the title "World's Best Vocal Coach for VTubers," so Imma claim it for myself now. kthanks. Why VTubers Need Vocal Coaching Let’s be clear: VTubing isn’t just streaming. It’s performance art . One of my VTuber voice students put it beautifully one time to me: "To be a successful VTuber, you have to be really good at having a one-sided conversation for extended amounts of time." I love that. Vtubing is acting. VTubing is improvisation. VTubing is putting yourself out there. VTubing is community-building. VTubing is learning new skills in a very public forum. And, more and more these days, VTubing is singing. All behind a digital face. But that doesn’t mean VTubers' voices should be an afterthought. In fact, it’s your most direct, human connection to your fans. Here’s why vocal coaching matters: You’re performing live  (or live-ish), often for hours. You need vocal stamina  and techniques that preserve your energy. You might want to sing for karaoke, content, or full-blown VTuber concerts. You want your audience to hear you clearly, confidently, and authentically. What Makes My Vocal Coaching VTuber-Friendly Not every vocal coach gets it. Most don’t understand what it means to perform without being seen , to connect with emotion while wearing an avatar, or to speak for hours without burning out. I do. Online-First, Camera Optional Every lesson is virtual, and you’re never required to show your face . Most of my VTuber singers, I've never seen their real faces. And I don't need to see their faces to do my job. Trust me, I know everything about your voice from the moment you start speaking to me. Your comfort comes first. I’m a Stage Pro Who Trains Stars I coach celebrities, Broadway performers, and now, VTubers. And I treat you with the same precision, respect, and energy I give to the biggest names in entertainment. I Help You Find Your Authentic Voice Many VTubers are neurodivergent, introverted, or rebuilding confidence. I can say this because, believe it or not, I am naturally extremely introverted. Before I discovered music and singing, my parents would meet with my teachers at school because they were so concerned about my ability to socialize and be comfortable in front of others socially. That all changed when I discovered music... until then I realized that performing for others brought on paralyzing stage fright. Don't worry, I've conquered stage fright and performance anxiety SO HARD that people actually fly me around the world to give masterclasses and speeches on how to manage performance anxiety. I'm one of you, I promise. And because I've been there, I meet you where you are—and we grow from there. I Developed the Dual Voice Method ™ It’s not just about technique. My method fuses technical mastery (your physical voice) with emotional authenticity (your inner voice). When both align, your audience FEELS it. This isn’t just about singing. It’s about learning to be heard. Read that again and really let it sink in. I got you, boo. VTuber Vocal Coaching: What’s Included? Every lesson is tailored, fierce, and fluff-free. Each lesson starts with a personal check-in, and this is, to me, the most important part of the lesson. "How are you?" "How was your week?" Our voices don't hide anything from the experienced vocal coach, and it's important to discuss any emotional baggage that happened since we last worked together so I can help you process those emotions with your voice throughout the lesson. Voice lessons are like therapy, I'm telling you. Other vocal coaches might go through the motions of the pleasantries, but I form the rest of my lessons around how this one part goes down. It's so important to forge a working and an authentic relationship with your vocal coach, and this is a cherished time for me to get to know my singers before we begin the technical work each week. Then we get down to the technical work. Breath Control  – Learn to support your voice with efficient breathing. Build vocal stamina with breath that is supportive and gives your voice a signature sound that only you are capable of producing. Pitch & Resonance  – Whether you want to sound more masc, fem, cute, cool, or anything in between. We're going to work with what Mother Nature gave you and go from there using healthy techniques that enable your voice to do anything. Karaoke Repertoire Building  – We’ll build a song list that fits your vibe and goals. Performance Confidence  – So when it’s showtime, you don’t shrink—you slay. YOU NAME IT. Most of my singers are shocked when they work with me and we discover parts of their voices that are mind-blowingly amazing. So it's literally impossible to tell you what to expect in your lessons when I haven't heard what amazing things lie in store for us! If you read the other blog I plugged about how much voice lessons cost and are shocked, check out this other blog post where I dish on some secrets to saving you money in voice lessons ! FAQ: VTuber Vocal Coaching Question: I'm a VTuber and I want to take singing lessons... Do I have to show my real face? Answer:  Nope. Never. Some clients work with me for months and I never see their human face. You’re safe here. Not that any VTubers need this at all, because no one is better at troubleshooting audio and video catastrophes than a streamer, but here's a list of best practices when taking online voice lessons in case you're curious . Question: Can I take voice lessons as my VTuber avatar? Answer: Yes, of course! I love it when my VTuber voice students appear as their models. I can even diagnose bad singing habits from the rigging, so having your avatar on screen is very helpful for me and will speed up your own progress with singing. Question: Do you vocal coach other VTubers? Answer: Yes, I train several VTubers to sing and am always a major player in recording and releasing their singles. My VTuber singers range from brand new, independent VTubers to established VTubers in agencies. All are welcome. Question: Can I livestream my vocal coaching sessions on my Vtube streaming channels? Answer: Yes! In fact, I encourage it! Your fans will eat it up! So far, all of my VTuber singers are too nervous to livestream their lessons, but I am waiting for the day when someone actually wants to! Question: I'm a VTuber and I’ve never sung before. Can I still start? Answer:  Absolutely. Beginners welcome. If you can speak, I can teach you to sing. Question: I'm a VTuber and I have performance anxiety... Can you help me overcome it? Answer: Yes, this is one of my best skills. Scroll back up and read the backstory at the top of this post. I talk about how nervous I was when I started singing in lessons, too. Don't worry, I got you, boo! Question: Can you help me improve my speaking voice too? Answer:  Yes. We can work on tone, pacing, delivery, articulation, enunciation, resonance, clarity, vocal fatigue—anything related to your speaking voice, whether on stream or in real life. Question: What if I have stage fright? Answer:  Even better. I specialize in helping performers overcome stage fright with custom mindset coaching. You’ll also love my free resource: Stage Fright to Stage Might Ready to Become a Singing VTuber Icon? You don’t need to sound like everyone else. You need to sound like YOU—fierce, confident, and unforgettable. Book your first vocal coaching session  today. Contact me  if you have questions or want a custom plan. Try my vocal warm-up generator  before your next stream. Or if you're feeling really adventurous, try my Interactive Tongue Twister Generator . Further Reading on Medium Want to go deeper into the VTuber world? I’ve written a two-part series on Medium that pulls back the curtain: What Is a VTuber? Virtual Performers Rewriting the Rules of Entertainment  — where I unpack the basics of VTubing and its explosive rise. VTubers, Singing, and the VShojo Collapse  — my follow-up exploring how VTubers are resilient, why their voices matter more than ever, and what lessons their community collapse scandals have provided. Final Thoughts You’ve built a character, a brand, and a following. Now it’s time to build a voice that carries it all. Your avatar may be virtual, but your voice is very, very real. Let’s make it unforgettable. Sing out. Be heard. And always remember—don’t force it. Fierce it. May the fierce be with you, VTuber fam. 💅🎧🎙️

Tour de Fierce celebrates 81 Glorious (????} Years of Madame Florence Foster Jenkins at Carnegie Hall. Image Courtesy of Tour de Fierce I. October 25, 1944: Florence Foster Jenkins Makes History at Carnegie Hall Of all the performers to grace Carnegie Hall in its first 54 years, none filled its seats as quickly or unexpectedly as Florence Foster Jenkins. Billed as a coloratura soprano, the 76-year-old vocal arts activist sold out her debut concert in less than two hours. The demand was astonishing. Even after accommodating every possible overflow—packing the aisles with patrons eager to stand shoulder-to-shoulder—the venue's management had to turn away over 2,000 hopefuls. These individuals flooded the sidewalks and streets outside, desperate to witness the most talked-about concert in Carnegie Hall's history, a title it still holds today. Want to join the "I've Sold Out Carnegie Hall Club" with Florence Foster Jenkins and me? All you need is a dream (check!) and some top-tier performance coaching . I got you, boo. Notable audience members that evening included American composer Cole Porter, famed soprano Lily Pons, and numerous professional singers from the Metropolitan Opera Company. These were her closest friends and fellow lovers of song. Today, archival custodians at Carnegie Hall report that more inquiries are made about Mme. Jenkins' performance than any other. This includes legendary appearances by musical icons like Judy Garland, Frank Sinatra, and The Beatles. Even the Chicago Symphony Orchestra's famed 1970 concert of Mahler's 5th Symphony, which holds the record for Carnegie Hall's longest ovation at a staggering 35 minutes, pales in comparison. Florence Foster Jenkins tapped into a cultural zeitgeist that resonates even today. Exactly 81 years after her concert at Carnegie, people worldwide remain captivated by the improbable career and legendary performances of this eccentric, ambitious, and audacious singer. Was it her extravagant costumes? Or her larger-than-life theatrics? Yes, every bit of flair added to her allure. Yet beneath the razzle-dazzle lies the story of a woman who, despite enduring sixty years of medically sanctioned poisoning with arsenic and mercury, never lost her sense of self-determination. She used it to make her biggest dreams come true. As we celebrate her enduring spirit, let's remember that Florence Foster Jenkins, despite enormous challenges, insisted on being heard in a world that didn't know what to make of her. And isn't that, by and large, the dream of every artist? II. How I Fell for Mme. Florence Foster Jenkins, Long Before Hollywood Did I discovered Florence Foster Jenkins while attending the South Carolina Governor’s School for the Arts and Humanities as a junior. As a vocal major, I quickly devoured every recording in the school's music library, leading me to explore other vocal gems online. One of the first websites I found featured the highest and lowest voices in recorded music history. It included audio clips of various voice parts, from Mado Robin to Luciano Pavarotti. At the bottom of the webpage was a novelty mention of a woman named "Florence Foster Jenkins," along with a short clip of her singing "Der Hölle Rache." Florence Foster Jenkins: The Glory (????) of the Human Voice was first released by RCA in 1962 and remains one of the rare albums to be continuously reissued on LP, CD, and digital streaming platforms. The author of the webpage intended this to be a light-hearted send-off for readers. However, I saw the audio clip as a cliffhanger—a breadcrumb leading to a treasure I had to find. I remember calling every music store in upstate South Carolina. No one carried this album. After weeks of searching, I finally found it on eBay. I snatched it up and soon became the local expert on all things Florence Foster Jenkins. For many listeners, including myself, the novelty of her terrible singing wears off quickly. Yet I couldn't let it go. Why was I so intrigued by this woman? If she had known she was bad, wouldn't she have leaned into it more? All I heard was her voice. While it was bad enough on its own, she sounded committed to her delivery, making me think she wasn't in on the joke like everyone else. Although her singing left much to be desired against the standards we expect, I heard an authenticity in her voice that was absent in others. I developed a profound respect for her bravery in unabashedly presenting something she was clearly passionate about to the world. The Power of Passion Florence Foster Jenkins' story is not just about her singing; it's about her passion for music. Her unwavering dedication to her art reminds us that the love for what we do can shine through, even in the face of criticism. Her journey encourages us to embrace our passions, regardless of how others perceive them. In a world that often prioritizes perfection, her example teaches us that authenticity and joy can resonate more deeply than technical skill. III. The Woman, the Hullabaloo, the Courage, the Authenticity Whatever your opinion of her singing abilities, you must acknowledge her determination to make her dreams come true. She immersed her life in music and shared it with others in any way she could. As a wealthy patron and seasoned concertgoer, she used her resources to fund her art and forge her own legend. In an era when women rarely self-produced, Florence was her own label, manager, and PR machine. Her monthly tableaux vivantes “Musicales” at the Ritz-Carlton became social events attended by New York’s elite. She was, in every sense, an early influencer of imperfection. Quirky Fact According to Nicholas Martin and Jasper Rees’ biography of Jenkins, she preferred her audiences to sit in mismatched dining chairs for her recitals. She loved the absurdity of it all and believed comfort encouraged better listening. This was entirely on-brand for a woman who refused to fit the mold. Mme. Jenkins preferred her audiences to be seated in mismatched dining chairs for each of her regular performances at the Ritz-Carlton in New York City. The Legacy of Courage Florence Foster Jenkins' legacy is one of courage and authenticity. She dared to be herself in a world that often demands conformity. Her story inspires us to embrace our uniqueness and pursue our passions, regardless of societal expectations. In a time when many artists feel pressured to fit a certain mold, Jenkins' example serves as a reminder that true artistry comes from being unapologetically oneself. IV. The Physiology of a Miracle Among all the reviews I've found of her singing, none mention a crucial detail: Florence Foster Jenkins was seventy-six years old at her Carnegie debut. By that age, the female voice typically loses elasticity due to post-menopausal changes. Any coloratura, even those who achieved international success, would struggle to sing these arias at 76. In my humble opinion, she sounds just as one would expect for someone her age tackling opera's most difficult coloratura selections. But here's the kicker. Florence was diagnosed with syphilis at 18 and underwent nearly 60 years of neurotoxic medical treatments with mercury and arsenic to manage the disease. It's astonishing she lived as long as she did. These treatments relentlessly poisoned her body, compromising her nervous system and auditory capabilities. Performing at Carnegie Hall under such conditions borders on the impossible. Her recordings are not merely curiosities; they are miracles of willpower. To mount an entire program of Verdi, Mozart, and Delibes under those conditions was heroic. Listening with empathy reveals not the folly most attribute to her abilities, but fierce stamina and joy. If Jenkins had sung in our century, her engineers could have easily “fixed” her intonation. The irony? We might never have known how extraordinary her courage was. The Impact of Adversity Florence Foster Jenkins' story illustrates how adversity can shape an artist's journey. Her struggles did not deter her; instead, they fueled her passion for music. She transformed her challenges into a source of strength, reminding us that our obstacles can become stepping stones to greatness. In a world that often celebrates perfection, Jenkins' legacy encourages us to embrace our imperfections and find beauty in our unique journeys. V. Did She Know? The Unretouched Voice in an Autotuned Age Florence Foster Jenkins absolutely knew what good singing sounded like. She attended the Met, corresponded with professional musicians, and hired top-tier conductors and accompanists to aid her vocal journey. She also held leadership positions in most of the women's clubs she belonged to. Including the Verdi Club, the organization she founded herself, she was also a member of the Mozart Club, the Manhattan Study Club, the Genealogy Society Club, National Society of Patriotic Women, Daughters of the American Revolution, The Round Table Club, the Fresh Air Fund, the Eastern Star Club, the Knickerbocker Relief, Arts and Sciences Club, the Euterpe Club, the New Yorkers, the Musicians Club, the Rubinstein Club, and the Drama Comedy Club. One simply cannot surround oneself with such things and not develop a somewhat refined artistic taste. It was the slow decline of her hearing and sanity, for lack of a better word, that created the delusion. Plus, no one wanted to tell the most significant arts benefactor of the time that she was not the skilled singer she thought she was. Let's also point out that Florence lived before digital editing, pitch correction, and autotune. What you hear on her records is exactly what she sounded like — unretouched, unfiltered, and fearless. I'd love for any contemporary singer to try the same. Today, entire pop careers are tuned beyond recognition. The YouTube channel Wings of Pegasus analyzes this phenomenon, showing how technology disguises vocal flaws. If Jenkins had sung in our century, her engineers could have easily “fixed” her intonation. The irony? We might never have known how extraordinary her courage was. Her honesty, forever immortalized for us, reminds us that transparency is a higher form of artistry . In her imperfection, one can still hear truth. In her unedited vibrato and in each quarter-tone she sings, we hear humanity itself. "The truth of it is, most of us are more like Florence than we are Tetrazzini… but Florence had something else too: a sheer joy in her performances.” - Tom Service, The Guardian (2016) The Importance of Authenticity Florence Foster Jenkins' journey highlights the importance of authenticity in artistry. In a world filled with filters and edits, her unfiltered voice serves as a powerful reminder that true artistry lies in being genuine. Her story encourages artists to embrace their unique voices and share them with the world, regardless of societal expectations. In doing so, we can create a more inclusive and diverse artistic landscape. VI. The Joy of Singing — Untamed and Unapologetic Florence Foster Jenkins was, like many of us, a devotee of music’s magical power. Neuroscience confirms what she lived every day: singing releases dopamine and oxytocin, boosting confidence and joy. Florence didn’t just love music — she relied on it. It was her emotional lifeline, and perhaps her physical one, too. Her joy was palpable. Witness accounts from Carnegie Hall describe audiences oscillating between laughter and awe. At the heart of their reactions was a tinge of catharsis. When a performer dares to love the sound they make, even imperfectly, that energy becomes contagious. As a coach, I tell my students: authenticity always trumps technique . With enough practice, anyone can deliver a technically sound performance. But an authentic performance requires a self-awareness that is rare. Florence reminds us that technique can be taught, but joy must be reclaimed. The Transformative Power of Joy Florence Foster Jenkins' story illustrates the transformative power of joy in music. Her passion and enthusiasm for singing inspired those around her, creating a sense of community and connection. In a world that often prioritizes technical perfection, her example encourages us to embrace the joy of creation. By sharing our authentic selves, we can inspire others to do the same, fostering a culture of acceptance and celebration of individuality. VII. Democratizing Art: Florence as the People's Diva The best thing about Mme. Jenkins is that she cracked open opera’s marble facade and made it accessible to everyone. For centuries, classical music had been a gated domain of “the trained.” Florence burst through those gates with carnations in her hair and costumes she designed herself, proving that the love of art, not technical mastery, grants you citizenship in its kingdom. In doing so, she democratized art. She became a patron saint for every shower singer, every karaoke hero, and every untrained music lover who sings because they can’t help it. The laughter she inspired wasn’t derision — it was recognition. She gave us permission to participate. The Legacy of Inclusivity Florence Foster Jenkins' legacy is one of inclusivity and empowerment. She showed that art belongs to everyone, regardless of skill level. Her story encourages us to embrace our creative expressions and share them with the world. By breaking down barriers and challenging societal norms, Jenkins paved the way for future generations of artists. Her example reminds us that art is a universal language that can unite and inspire us all. VIII. From Carnegie to Broadway: A Legacy Reimagined I'm not the only one inspired by Florence Foster Jenkins' performances. Her story inspired Souvenir , Stephen Temperley’s 2005 Broadway play starring Judy Kaye, which reframed her life as an ode to self-preservation and honesty. Seeing her story honored on the same stages I now work upon feels like a form of poetic justice. Florence had always belonged in the theatre — she just arrived eighty years early. Kristin Chenoweth and Joseph Stanek singing "The Prayer" during Ms. Chenoweth's ongoing international concert tour , accompanied by Mary-Mitchell Campbell on piano. At Tour de Fierce in Queens, NYC, we refine the same courage Florence Foster Jenkins embodied: authentic, radiant, unapologetic. Source: Tour de Fierce The Impact of Theatre Theatre has the power to transform stories into experiences. Florence Foster Jenkins' legacy continues to inspire artists and audiences alike. Her story serves as a reminder that every voice matters and that authenticity can shine brightly on any stage. As we celebrate her contributions to the arts, let us also recognize the importance of storytelling in shaping our understanding of ourselves and each other. IX. Lessons for Today’s Singers: Have the Audacity to Be Yourself Five Things Florence Taught Me About Singing & Life Authenticity outlasts approval. The applause fades; integrity stays. Confidence is contagious. Believe so completely that others must too. Audience connection trumps perfection. Jenkins made people feel something, which is rarer than hitting high C. Your brand is your truth. She built hers on fearless transparency. There’s power in imperfection. The quiver, the crack, the breath, the wobble — they’re what make you human. Ready to find your authentic voice? Explore Tour de Fierce's voice lessons online and learn how to sing with joy, not fear. The Importance of Lifelong Learning Florence Foster Jenkins' journey is a testament to the importance of lifelong learning. She embraced her passion for music and continually sought to improve her craft. Her story encourages us to pursue our interests with curiosity and dedication. By committing to our growth, we can unlock our full potential and inspire others along the way. X. The Audacity to Sing Anyway Florence Foster Jenkins died just a month after her Carnegie triumph, but her memory lives on in every voice that dares to sing despite what others may say. She reminds us that happiness, too, is an art form — and that sincerity outlives virtuosity. Perhaps her fame will continue to grow, as it has for other misunderstood geniuses. The question isn’t what she achieved in her lifetime, but what she inspires in ours. Because in the end, Florence’s true gift wasn’t her delusion. It was her permission. She sang so that we might dare to, too. The Legacy of Courage Florence Foster Jenkins' legacy is one of courage and inspiration. Her story encourages us to embrace our unique voices and share them with the world. As we reflect on her life, let us remember the importance of authenticity and the power of music to connect us all. References Service, Tom. “Florence Foster Jenkins: we may laugh, but to be this bad took talent.” The Guardian , 4 May 2016. Martin, Nicholas & Rees, Jasper. Florence Foster Jenkins: The Inspiring True Story of the World’s Worst Singer. St. Martin’s Press, 2016. Bullock, Darryl W. Florence Foster Jenkins: The Life of the World’s Worst Opera Singer. The Overlook Press, 2016. Souvenir , by Stephen Temperley. Broadway Play, Lyceum Theatre, 2005. Florence Foster Jenkins: The Singer Who Missed Every Note (Documentary, YouTube). Wings of Pegasus YouTube Channel – Analysis of Vocal Transparency and Autotune. “Florence Foster Jenkins.” Wikipedia .

"Who is the best singer in the world?" An Introduction: Opinion Vs. Fact Consider the question. Note: there is no mention of "favorites" anywhere, i.e. "Who is your favorite singer in the world?" That's a different topic altogether. If I were collecting a survey of opinions, I would have posted the question on Reddit. Who is the best? Contrary to what you may assume, there is  an answer to this question. If we view singing as a learnable skill (which... it is) made up of measurable, gradable components (which... they are) and tally up scores for all eligible contenders, who are each held to the same exact grading standards, one individual will inevitably, always, out-perform the rest. It's not rocket science. Unlike other competitions that pit us against each other in battles to determine the "best," (think: competitive chess, Olympic swimming competitions, spelling bees, etc.), singing has no official and universally accepted rulebook that determines which components together form the required elements of singing mastery. (Unfortunately, the human race seems to have universally adopted the "popularity contest" as the standard means of defining what accounts for great singing.) And that is the exact standard I'm asking you to completely disregard while reading this webpage. This type of democratic procedure, a "majority-wins" convention of scoring, does not bestow titles that fairly identify someone as the "best" at anything. Instead, we'll consult with an expert. To determine the individual alive today who is the best singer in the world , I'm not asking America to call in and vote for their favorite singer (American Idol). Nor am I prepping elaborately staged performances of original songs, each representing its own country and scored by the masses (Euro Vision). No. That doesn't accurately answer the question. To determine who the best singer in the world is , I'll follow a much more streamlined process: I'll simply tell you who it is. Along with, of course, ample support about how I reached the conclusion. Meet the Expert Chances are, you have no idea who I am. Don't feel bad, there's really no reason you should know who I am. BUT, if you've ever watched the Super Bowl, or tuned into an internationally televised concert featuring a global singing sensation, or attended a Broadway show in New York City, chances are you've seen and heard my work out in the wild, maybe even on more than one occasion. When I'm not performing on stage myself, I'm behind-the-scenes creating opportunities to showcase other artists. Pictured is an image I took from a concert I co-produced for international singing sensation Andrea Bocelli at the Historic Roman Colosseum . Image courtesy of Tour de Fierce®. My name is Joseph Stanek and I've dedicated nearly 20 years of my life to creating performances that are meaningful, tastefully disruptive, and unapologetically authentic. I've worked with thousands of singers across the world, both famous and non-famous, of all ages and skill levels across all languages and musical genres. It's been an honor to have worked with some of the biggest icons in the entertainment industry  for some pretty historic performances. It's also been an honor to discover new voices from all corners of the planet that could give the famous singers a serious run for their money. The reason for this bit of background information (and for the gallery of images at the top of this page) is to demonstrate that I am uniquely positioned to determine who, of all the singers in the world, is the best. My take on who the best singer in the world is has been objectively constructed in part as an expert in vocal science; the other part comes from real world experience with many, if not all, of the final contenders themselves, or from their bodies of work, with which I have thoroughly acquainted myself. The answer to the question "Who is the Best Singer in the World?" is not a matter of opinion. If all eligible contenders are held to the same assessment standards, no matter the field or industry, one contender will always rise to the top. My conclusion is not my opinion. It is a fact. For a taste of my qualifications, please read more about me or peruse my portfolio of favorite projects . The Assessment: An Overview of Significant Elements of Singing In a nutshell, my reasoning is supported by a simple philosophy comprised of a number of very complicated processes that work together when we sing. To begin with, the best singer in the world must strike the perfect balance between physics, physiology, and psychology. Breath support, efficient use of air, pitch precision, resonance control throughout their entire range and across all dynamic levels, emotional connection to both the material and the audience... these are all quantifiable elements of singing that were carefully scrutinized and assessed before I arrived at the final verdict. I'm writing this introduction after my assessment, and as I reflect on my decision, there's really no surprise. Because my answer to the question, " Who is the best singer in the world? " really should have been a no-brainer, despite the numbers I've crunched to arrive at the winner. And I've got enough receipts to prove my point to write a textbook about it. For now, it's contained within the pixels on this webpage. Without further ado, please sit back and allow me to define "great singing," and who does it better than anyone else on the planet. This blog could easily be turned into a multi-volume textbook waxing poetic on all the ways this singer is better than all the others. Keep reading to see the receipts. Pay Attention to the Lesson of the Day, Children. Singers do not equal Recording Artists, and vice versa. "Singer" Vs. "Recording Artist": A Paramount Distinction I must preface this assessment with a crucial distinction in terminology to establish a baseline for what is acceptable and what is not acceptable when it comes to calling someone a "singer." Read this loud and clear: The terms "singer" and "recording artist" are not synonymous. This is a fact, and not my opinion. (If you were unaware that these words are not interchangeable before now, it's nothing to be ashamed of; for marketing purposes, many artists play off of the general population's naiveté, as it blurs the lines between what they want you to think they are capable of and what they are truly capable of in reality. It's not your fault, but please continue in life now knowing the distinction:) Anyone who is able to phonate can be considered a singer, and anyone who can create noise of any kind, even by the sound of their breathing, can be considered a recording artist if those sounds are ever recorded in any capacity. But for the purposes of determining who the world's "best" singer is, a comprehensive evaluation requires us to reach a common ground with the understanding of a slightly more specific definition of each, as they are commonly identified and accepted by experts like myself within the entertainment industry: "Singer" For our purposes here, a "singer" possesses exceptional vocal technique focused on live vocal performances. A true singer is able to engage their vocal technique on command, most often in live concert engagements without relying upon performance enhancements or smoke-and-mirror-type illusions that give the audience the impression that they have singing abilities that they actually do not (lip synching, pitch correction, and the likes). "Recording Artist" Again, for our purposes here, a "recording artist" excels in crafting polished, commercially viable recordings, most often with the help of a team of engineers and producers. I think of recording artists as producing music in which the studio itself is as important to the final sound as the human beings actually providing the sounds. Most scholars consider the studio an actual instrument in the recording artists' final releases. As a collective, "recording artists" is not exclusive to singers, and can include instrumentalists and electronic instrumentation, dabbling a bit into the recording engineer's territory. When Singers Aren't The Best Recording Artists While the two terms can overlap, they don't always. Many singers' live performances eclipse their recorded work. The singer Orfeh gives incredible live performances, leaving all her audiences in pure shock with the power behind her vocals, but for some reason recording media cannot capture the same power. Her "Freedom" performance on Club Broadway was mind-blowingly electric in the room, but the real phenomenon that IS Orfeh can only be captured by firsthand account; that video, while still impressive, does not do the "real" Orfeh justice. In addition, from all historic accounts, it is widely accepted that Astoria-native opera singer Maria Callas had a similar issue with recording; microphones and video cameras simply couldn't capture the magic she created when she was seen performing live on stage. When Recording Artists Aren't the Best Singers Much more commonly, recording artists produce their best work in the studio, but struggle to replicate the same sounds at the drop of the hat, something that true singers can easily showcase. For the most part, this is due to the significant amount of influence that goes into their music beyond their own solo capabilities. Enya, for example, has never given a concert due to concerns about not being able to replicate the sounds of her music on stage. Sure, she has performed for audiences before, and on television before, but she's the first to admit that these are heavily "produced" performances, with the backing tracks obscuring any live feed that may be coming from her own microphone. This awesome article on MSN summarizes the Enya phenomenon quite well, and it's often in Enya's own words. I also like to direct people to this video featuring the isolated vocals of Britney Spears in concert. Yes, the world caught glimpses of Britney Spears as a "singer" in the early Britney days on Star Search , but once she really hit it big as a recording artist, it's clear from the former video that she learned to prioritize her dancing and lip synching skills over live vocal performance as she had settled into her role as a recording artist. Why The "Singer" and "Recording Artist" Differentiation Matters The reason I even mention this difference between "singers" and "recording artists" is because I am often met with backlash when I offer my (highly researched and well-supported) assessment on who the best singer in the world is . The backlash tends to be accompanied by quantifiable metrics, things like, "But [insert recording artist's name] has sold over [obscenely high number] of records and is coming off an over-sold international arena tour." While those metrics may be impressive for a recording artist, they don't carry as much weight, if any at all, when we only consider the singers out there making music. Most likely, the artist in question is really more of a recording artist than a singer. The purpose of this study is to determine the identity of the best singer in the world. Don't get it twisted, though; one of the skills the "best singer in the world" should readily have up their sleeves is a masterful command of their voice while in the recording studio... an ability to use their voice to connect with audiences without being in the same room. Through earbuds and surround-sound Bose speakers alike. If you're the best singer in the world , your vocal abilities know no boundaries and can translate effectively through any medium. Speaking of the world's best singers, if you want to become one yourself, I'm offering a 50% off discount on weekly lessons to fill a couple of rare openings in my studio. Check it out the limited-time pricing plan here . Parameters Assessed to Determine the "Best" Now that we've gotten that out of the way, let's go over what it means to truly be the " best singer in the world ." (Recalling the above, it's not album sales.) My professional assessment of who the best singer in the world is has been determined through meticulous consideration of the following categories, with the winner being the singer who has mastered each of these conventions both on their own and in combination with the others—the individual who most successfully executes the following criteria—better than anyone else on the planet: Technical Prowess: The singer's mastery over vocal techniques, including breath control, pitch accuracy, agility, and the ability to execute complex and otherwise challenging vocal passages effortlessly. Emotional Depth: The capacity to genuinely express and evoke feelings through vocal performance, resonating deeply and authentically with listeners of all demographics, ages, levels of interest, and singing abilities themselves. Versatility: The singer's ability to excel in diverse musical genres, adapt stylistically, and perform convincingly in various musical contexts. Vocal Range: The span of pitches a singer can comfortably sing—often used to measure technical ability, but distinct enough to be its own category. Tone Quality: The unique timbre or coloration of the singer’s voice—what makes them instantly recognizable and appealing. Tone should be even throughout the entire range of pitches available to the singer's unique instrument, though can be disregarded by choice of the artist if their interpretation favors a stronger, more effective color without consistent tone. Interpretative Skill (Artistry): How effectively a singer conveys meaning, nuance, and intention beyond emotional depth alone; this includes phrasing, dynamics, and subtle artistic choices. Cultural Impact: The extent to which the singer’s work has influenced music, society, and other artists globally. Consistency and Reliability: The ability to maintain vocal quality across live performances, studio recordings, and various conditions (e.g., touring). Authenticity: How genuine and true-to-self the artist appears in their vocal performances, affecting connection and believability. Longevity: The singer's ability to sustain vocal excellence, relevance, and influence over an extended period, demonstrating adaptability and growth through the various phases of their career, through natural changes as the vocal apparatus ages along with the body, and through major life events that impact expression through the music they sing. So... Who Is the Best Singer in the World? Who not only meets these formidable criteria... but who rises above countless exceptional artists to earn the title of the " Best Singer in the World "? After carefully assessing each of the categories listed above, one name consistently shines brighter than the rest— Kristin Chenoweth . Her vocal artistry doesn't merely meet these expectations—it transcends them. Chenoweth effortlessly blends technical mastery with unparalleled interpretive genius, leaving audiences captivated, moved, and deeply affected by her extraordinary gift. I've worked with celebrity singers for the better part of my career, primarily based out of New York and LA. Often as their vocal coach, my role is to help them navigate specific vocal challenges, addressing technical vulnerabilities through targeted exercises and strategically emphasizing their vocal strengths during live performances. Understanding intimately what each singer can and cannot do with their voice is essential to my job. Typically, this close knowledge of a singer’s vocal limitations might naturally exclude them from topping a "world's best" list of singers. However, since I began working with Kristin Chenoweth in 2016, my lofty suspicions about her singing abilities have, much to my surprise, proven to be true. Kristin doesn't just meet the highest vocal standards—she defines them. Her voice possesses no discernible weaknesses, only unmatched strength and clarity that elevate her to a level all her own. Whether she is performing on stage, recording in a studio, or harmonizing with a security alarm in a hotel lobby on social media , Kristin Chenoweth demonstrates flawless vocal technique, profound emotional expression, and a versatility that continuously defies expectations. Simply put, working with Kristin has taught me that vocal perfection isn't merely theoretical—it’s embodied in her every note. Here are the receipts to back it up: The Girl in 14G: Kristin Chenoweth's Masterclass in Vocal Versatility When Kristin's career took her to Hollywood, away from New York and the leading role she had been workshopping in Thoroughly Modern Millie, composer Jeanine Tesori made her a promise to write a special song for her. A "showcase" to show off Kristin's abilities like nothing else before. That's a hefty promise. But boy, did she deliver on it! One year later, Jeanine called Kristin and said, "I'm making good on my promise," and mailed her a copy of "The Girl in 14G" - at the perfect time in her career when Kristin was really gaining stride in the public eye. I remember seeing Kristin perform this on The Rosie O'Donnell show and being blown away by it. The song cleverly incorporates several styles of singing back-to-back. Watch and have a listen to "The Girl in 14G" here: But let's break down these vocal techniques one-by-one just to make sure everyone comprehends her mastery over this interpretation, and how they each developed. We've got belting (the vocal style featured in the song's main character), opera/classical/legit coloratura singing (from 13G) and jazz (in 15G). Check out the next two sections for a bit more on her belting and classical singing, and I'll return to her jazz singing further down as I discuss how her voice ages. Belting on Broadway My personal journey with Kristin began long before our professional collaboration. I was Snoopy in my high school's production of You're a Good Man, Charlie Brown , and I worshipped the new soundtrack from the Broadway revival that had just come out. The album featured a standout musical number that unfortunately wasn't in the version my school had licensed for our production. Sure, Andrew Lippa's "My New Philosophy" was composed exquisitely with a catchy melody and exciting vamp throughout, but I couldn't get the singer, someone named Kristin Chenoweth, off my mind. I had never heard someone belt like that, or as high as that, ever before. "My New Philosophy" was such a showstopper , it earned Kristin a TONY® Award pretty much on its own... even after the revival had already closed on Broadway. (Winning a TONY® for a role in a show that has closed already is a nearly impossible accomplishment in and of itself, but on top of that, Sally Brown is a role with a one-liner here and there, and she's really got only one song, which is technically a duet, not a solo!) That's the work of a remarkable artist. Kristin Chenoweth Sings "My New Philosophy" as Sally Brown, the role for which she is about to win the TONY® Award for Featured Actress in a Musical, during the live broadcast of the 1999 TONY® Awards. "Glitter and Be Gay" - A Benchmark for Future Performances When you mention the name "Kristin Chenoweth" to any trained singer in the world, the first thought that will cross their minds is Kristin's rendition of "Glitter and Be Gay" at Lincoln Center, which THANK GOD was immortalized on film for a national broadcast on PBS. (She later told me that the contract for this performance had already been already signed when Wicked transferred to Broadway, which meant she had to juggle Candide rehearsals for the performance on national television while performing Glinda 8 times a week in Wicked . I mean...) Anyway, her rendition of "Glitter and Be Gay" at Lincoln Center was monumental, to say the very least. Her interpretation of one of the most difficult vocal compositions in history was so definitive that it became the benchmark for all subsequent performances from then on after. In fact, for the culturally-attuned audience member, if a Cunégonde dares to perform "Glitter and Be Gay" without boldly swinging those necklaces overhead like a triumphant lasso, her performance immediately devolves into a regrettable misstep—so glaringly bland and uninspired that it becomes permanently etched as a disappointing "should-have-been" moment, if it's even committed to memory at all after that. This is just one example of her incomparable ability to leave an "indelible mark" on every piece she touches. Kristin Chenoweth's "Glitter and Be Gay" interpretation became the benchmark for all future performances of the coloratura staple after her performance of it aired on national television in 2004. Leaving "Indelible Marks" Upon Her Songs In fact, there isn't much that Kristin Chenoweth does NOT leave her indelible mark upon when it comes to song interpretation. For instance, in Stephen Schwartz's score for the Broadway musical Wicked , it was Kristin Chenoweth, not Stephen Schwartz, who created the yodel in the song "Popular" . (Listen to the chorus: "You, will, be... Popular! You're gonna be pop- u-u -lar...") Her creative genius when it comes to the tiniest details like this are not only drawing techniques from left field, but they're so incredibly unique and always so perfectly in line with what the music and lyrics BEG for, that the song simply does not exist the same way without them. There have been quite a number of singers to tackle "Popular" on stage in Wicked, and I guarantee every single one of them sang the yodel on the second syllable of the titular word, a subtle nod to the creative genius of Ms. Chenoweth. Chenoweth's Broadway Debut (The Real One) and Her Work as an Actress I'm not quite sure how every digital news outlet incorrectly credits Kristin Chenoweth's Broadway debut as Precious McGuire in Steel Pier , which is a coloratura feat in which she sustains an E6 whilst being hoisted in the air, because it's entirely false information. Kristin Chenoweth made her Broadway debut in a non-musical play called Scapin in 1997. The fact that her Broadway debut was in a speaking role speaks wonders for her acting abilities. Two years later, she would be cast in another play on Broadway called Epic Proportions, a further testament to her acting chops so early in her career. Contrary to every news outlet I can find online, Steel Pier was not Kristin Chenoweth's Broadway debut. The real answer is a non-musical called Scapin , a testament to her acting chops early in her career. But for now, enjoy this song from Steel Pier. ;) Of course she went on to win the EMMY® Award for Supporting Actress in a Musical or Comedy for her portrayal of Olive Snook in the short-lived Pushing Daisies , and snag a few additional EMMY® nominations for playing April Rhodes on the hit series Glee . Her TONY® and EMMY® Awards were not factored into the "best singer in the world" criteria, but they are worth mentioning. Personal photo taken of Kristin Chenoweth's EMMY® Award at the Kristin Chenoweth Theatre in Broken Arrow, Oklahoma. Pictured here with her Vanguard Award (GLAAD) and her Hollywood Life Magazine Breakthrough of the Year Award 2005 ( Bewitched ). We all know what a difference such skilled acting makes in song interpretation; having access to hundreds of different timbres throughout the vocal range to color the lyrics for dramatic purposes in such distinct nuances is a hallmark of Kristin's singing. The Queen of the Sopranos Any discussion of Kristin Chenoweth's singing will surely contain several instances of the word "soprano," because, after she proved her acting talents in Scapin, her role in Steel Pier solidified her as a formidable coloratura force to be reckoned with. But if you rewind a bit to her college days, she was already famously hitting high notes on pretty visible platforms. Check out this video of her singing the ending of Victor Herbert's "Art is Calling for Me" as Miss Oklahoma City University in the 1991 Miss Oklahoma Pageant. (She ended up sweeping the talent category, but not the crown.) For those of you who aren't aware, Kristi Dawn Chenoweth, former Miss America Susan Powell , Lara Teeter , and Kelli O'hara were all students of the same master voice teacher, the late Florence Birdwell. Honestly, it's a toss-up as to whether the best part of Kristi Dawn Chenoweth's 1991 Miss Oklahoma package were these high notes in "Art is Calling for Me" or her tangerine bathing suit, which I can't find evidence of (someone help me!) this black one will have to do for now . An Unexpected Development: Kristin Chenoweth's Middle and Lower Registers Blossom with Age, Rivaling Her Famed Coloratura While everything I've covered up to this point is impressive on its own, here comes an unexpected twist. I bore witness to a development in Kristin Chenoweth's voice in 2016 that sealed the deal on her " Best Singer in the World " title. My very first project in collaboration with her, a studio album of American songbook classics called The Art of Elegance (Concord Music ) , introduced the world to the rich, chocolatey, golden warmth of a newly (and naturally) developed middle and low registers of her voice. We caught a glimpse of this lovely lower tessitura of hers when she delivered the lower harmonies in Wicked 's "For Good," (which, by the way, if you ask Stephen Schwarts what his favorite musical moment of the entire show is, he'll have the same answer every time: Glinda's, "...changed for the better," which he wrote to be a supporting harmony underneath Elphaba's upper melody, but was so masterfully sung by Kristin Chenoweth that, upon hearing this section, most listeners assume the lower part is the melody with little attention paid to whatever is happening above it. Again, Stephen Schwartz's favorite moment in Wicked . Again, an indelible mark.) Speaking of Wicked , I loved working with Kristin Chenoweth, Idina Menzel, Ariana Grande, Jennifer Hudson, Adam Lambert, and more on NBC's A Very Wicked Halloween: Celebrating 15 Years on Broadway Halloween Special. Check it out! If you are unfamiliar with her album The Art of Elegance , I beg you to give it a listen. For those of you who follow the Billboard charts, you'll know that Frank Sinatra still holds court over the traditional jazz albums all these years after his passing, but The Art of Elegance debuted at Number 1 on Billboard's Top Jazz Albums chart, bumping Mr. Sinatra to second place for a whopping eight consecutive weeks. This is virtually unheard of. Go listen to the album. Any track will do, although a personal favorite is, "I Get Along Without You Very Well" - you'll hear what I'm talking about how Ms. Chenoweth's middle and lower registers are uncharacteristically robust for the typical high coloratura voice, and the singing couldn't be healthier, more natural, or more sumptuously rich with interpretation throughout the entire album. That voice was created by divine intervention. One example of Kristin's exquisite middle and lower registers: "I Get Along Without You Very Well" from her hit studio album The Art of Elegance . My first project working with Kristin Chenoweth: her remarkable studio album of American Songbook classics The Art of Elegance . Wonder why this image didn't make the cover? My very first Billboard Number 1 record. The Art of Elegance is the album that introduced the world to Kristin Chenoweth's newly developed sumptuous middle and low registers. How Did She Score with the Parameters? Kristin Chenoweth embodies the pinnacle of vocal artistry by excelling exceptionally across every essential metric: Technical Prowess: Kristin Chenoweth’s vocal technique is extraordinary, characterized by impeccable breath control, pinpoint pitch accuracy, remarkable agility, and the effortless execution of complex vocal passages. Her iconic performance of "Glitter and Be Gay" from "Candide," with its challenging coloratura soprano demands, showcases her mastery vividly, navigating rapid-fire notes and intricate ornamentation with astounding ease and precision. Emotional Depth: Chenoweth possesses a profound capacity for emotional expression, deeply resonating with listeners through authenticity and heartfelt delivery. Her interpretation of "For Good" from "Wicked," conveys genuine vulnerability and emotional sincerity, leaving audiences profoundly moved and deeply connected to the narrative. Versatility: Few artists navigate diverse genres with the ease and conviction Chenoweth displays. She fluidly transitions from operatic arias and Broadway anthems to jazz standards and contemporary pop, as demonstrated in albums like "The Art of Elegance," where she effortlessly inhabits classic jazz songs with sophisticated finesse and genuine charm. Vocal Range: According to the internet, Kristin Chenoweth's vocal range spans D3 to F6. However, I've vocalized her down to a B3 and up to touch a brilliantly resonant B-flat7 in real life. Either way, it's impressive. Chenoweth’s vocal range spans multiple octaves, comfortably embracing both the demanding coloratura soprano territory and expressive lower registers. Her ability to execute a wide vocal spectrum is exemplified by roles ranging from the stratospheric high notes of Cunégonde in "Candide" to the emotionally nuanced, lower-range melodies in songs such as "I Will Always Love You." Tone Quality: Kristin’s voice is instantly recognizable, boasting a distinctive timbre that uniquely combines crystalline clarity, warmth, and brightness. Her signature vocal color is appealingly evident in performances like "Taylor the Latte Boy," where her vibrant and engaging tone captures listeners immediately and unmistakably. Interpretative Skill (Artistry): Chenoweth’s interpretative genius sets her apart, as she masterfully conveys nuanced meanings and emotions beyond mere vocal technique. Her subtle phrasing and dynamic variations in songs such as "My Funny Valentine" reveal layers of emotional storytelling, transforming familiar melodies into profoundly impactful musical experiences. Cultural Impact: Chenoweth’s artistry has significantly influenced musical theater, contemporary performance, and popular culture, inspiring countless artists and reaching broad audiences worldwide. Her portrayal of Glinda in "Wicked" reshaped Broadway's landscape, becoming an iconic character embedded in popular culture, widely recognized and emulated internationally. Consistency and Reliability: Known for exceptional consistency across various performance settings, Chenoweth delivers vocal excellence whether on Broadway, in concert halls, or studio recordings. Her flawless live performances, such as her widely acclaimed concert at Carnegie Hall, affirm her unwavering reliability and dedication to vocal quality under any circumstance. Authenticity: Kristin Chenoweth brings a profound authenticity to every performance, creating intimate connections with audiences through genuine, heartfelt expression. Her performances always feel truthful and deeply personal, as evidenced by her emotionally resonant interpretations of classics like "Smile," where her sincerity and honesty shine brightly. Longevity: Chenoweth has maintained vocal excellence, relevance, and influence throughout a distinguished career spanning decades. She continuously adapts and evolves with each phase of her life, gracefully navigating natural vocal changes and personal milestones. Her enduring presence in both theater and music, consistently demonstrating adaptability and growth, cements her status as a timeless and iconic vocal powerhouse. The Other Singers in Comparison While non-experts are certainly entitled to their own opinions of who the best singer in the world is, against the standards I've established on this page, they are, in a word, wrong. For the sake of counter-argument, I've included a smorgasbord of alternatives, posited by random, non-experts on the internet, along with a brief statement of mine below: Aretha Franklin (the queen of R&B during a pivotal time in civil rights, the voice of the movement that inspired much-needed change) Elvis Presley (a rare baritone on this list, with beautiful low notes and equally impressive high notes, rock and roll, with gospel and country influences) Ray Charles (infused different styles of music to become a pioneer for the creation of soul music) Ella Fitzgerald (hands-down the best jazz vocalist in history, her improvisations are unbelievable) Whitney Houston (I mean come on, that national anthem) Mariah Carey (I mean come on, that national anthem!) Christina Aguilera (agility for days, instantly recognizable style) Celine Dion (a true singer who only dabbled in smoke and mirrors on tour and during her Vegas residency when she was vocally under) Renee Fleming (the only singer in history to sing the national anthem live at the Super Bowl. Don't start with me, this is a huge accomplishment, and yes, Whitney Houston lip synched the performance broadcast for the nation, don't get me started.) These other singers are all truly some of the greats. They all do what they do very well, that is certain. But consider the mastery it takes to sing: A vocal tour de force like "Glitter and Be Gay" so well that it creates an archetypical interpretation of the song forever after it was introduced; pair it with Chenoweth's TONY Award-Winning role Sally Brown with her song "My New Philosophy," which has some of the highest belting ever heard on Broadway; then add her interpretation of "Popular" which, again, left a permanent mark on the piece for all eternity; and then contrast all of that with her silvery, chocolate, immediately-recognizable middle and lower registers so beautifully captured in "The Art of Elegance" Suddenly, the singers known for their mastery of a single style lose a bit of their luster in comparison. Disagree? I'd love to read your comment below. Final Send-Off From the measurable vocal virtuosity and immeasurable artistic attributes I've touched upon in this study (although there are many more to her name than these), Kristin Chenoweth is simply in a league of her own when discussing the best singers in the world . Which is why she is the highest-paid symphonic singer in the world, second-to-none. Do yourself a favor and catch her the next time she makes a stop on her ongoing concert tour around the world, and you just may be a convert yourself... Extra Credit: Kristin Chenoweth Rapping? Patter Song? What IS This? I'm not exactly sure how to classify this last song here, but God bless Kristin Chenoweth for agreeing to perform it. It takes a singer who is totally confident in their abilities to attempt something from left field like this. People online call this a rap, but to me, it's more of a Gilbert and Sullivan-esque patter song with rhythmic dialogue. Whatever it is, it's a hard sell for any performer, and I can't imagine anyone outshining this particular performance by Kristin Chenoweth . Enjoy. FAQ: Who Is the Best Singer in the World? Question: What is the difference between a singer and a recording artist? Answer: A singer is someone with live vocal mastery who can consistently perform with technique and authenticity without enhancements. A recording artist specializes in polished studio work, often relying on studio tools and production for their final sound. While many recording artists are also singers, the two are not synonymous. Question: Why is Kristin Chenoweth considered the best singer in the world? Answer: Kristin Chenoweth is a rare artist who checks every box: impeccable technique, emotional depth, versatility across genres, flawless tone, powerful storytelling, cultural impact, and unmatched consistency both live and in studio. She also brings authenticity and longevity, performing at the top of her game for decades. Question: What are some signature songs that show off Kristin Chenoweth’s skills? Answer: Glitter and Be Gay, My New Philosophy, and The Girl in 14G are standout performances that highlight her vocal agility, range, belting ability, classical training, and jazz fluency. Her studio album The Art of Elegance showcases her rich middle and lower registers. Question: Has Kristin Chenoweth received awards for her singing? Answer: Yes, she’s a TONY® and EMMY® Award winner, but this study emphasizes that her technical and emotional vocal brilliance goes far beyond accolades—it’s in the artistry and the legacy of her performances. Question: What vocal qualities set Kristin Chenoweth apart? Answer: A voice with no discernible weaknesses, supreme vocal technique, incredible control and agility, interpretive brilliance, and a tone that is instantly recognizable. Question: What is Kristin Chenoweth’s vocal range? Answer: According to public sources, her range spans D3 to F6. However, I’ve vocalized her personally down to a B3 and up to a thrilling B♭7. This wide spectrum enables her to sing the most demanding soprano repertoire while delivering surprising warmth and color in her lower register. Extra Credit People ask me all the time how I can do so many different things for my clients, and while my formal education certainly enabled me to develop the foundation of my industry knowledge and skills, it is my work with Kristin Chenoweth that really did the heavy lifting in my acquisition of these skills. I always tell them, "I learned how to do everything from Kristin Chenoweth." She literally taught me everything about everything, even life skills that have nothing to do with entertainment. And I love sharing that with others, as she so graciously does with me. If you want in on these skills, let's work together! Use me for what you need, and then go make the world a better place with the message you've got to share. I work both in-person (based out of my music studio here in New York City, and can travel anywhere in the world if needed) and online via virtual coachings . Check out my pricing plans here , and the other services I offer through Tour de Fierce. I hope to see you soon!

Independent forensic analysis reveals AI-generated performances among 2024 ISC winners. A data-driven report exposing rule violations and risks to songwriting integrity. "AI-Slop" Won the International Songwriting Competition... And No One Noticed Except Me A Forensic AI Investigation and Detection Report on the Competition's Winning Songs During a Critical Juncture for the Music Industry Author: Joseph Stanek Date: December 3, 2025 Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The International Songwriting Competition’s explicit AI ban failed to prevent “AI slop” from stealing opportunities meant for human songwriters. How did these prohibited songs make it all the way to the winners’ circle without anyone noticing? In the wake of the landmark Warner Music Group v. Suno lawsuit, the music industry has entered an era in which AI-generated songs are finally subject to legitimate legal and ethical scrutiny. This report presents a real-world forensic case study at the exact moment when transparency is no longer optional, but structurally required. (If only the world’s most respected songwriting competition would begin by enforcing the rules it already had in place...) Because ISC failed to recognize clear, detectable breaches of its own policy, breaches obvious even to non-experts, this investigation is presented to hold the organization accountable and to highlight the systemic vulnerabilities that allowed fraudulent entries to succeed. If the were waiting for proof, their wait is finally over. 1. Executive Summary 2. Disclaimers & Limitations 3. Methodologies 4. 2024 ISC Rules 5. Findings 6. Ethics & Recommendations 7. Author's Statement 8. About the Author 9. Contact 1. Summary of AI Investigation and Detection Report: ISC Current Titleholders This report presents the findings of an independent, evidence-based forensic review of publicly available winning song entries from the current cycle of the International Songwriting Competition (ISC). The investigation was conducted by Joseph Stanek, a professional musician, producer, songwriter, and educator with more than thirty years of specialized training in auditory analysis, music theory, vocal science, and music production workflows. The goal of this report is twofold: to defend the integrity of human songwriting in an era of rapidly advancing generative technology, and to protect honest entrants, industry professionals, and music-education communities from the consequences of improper or inconsistent rule enforcement. Under ISC's 2024 Rules, Any AI Involvement Requires Disqualification The 2024 ISC rules explicitly state: Rule #13: “ISC prohibits any song or lyrics written partially or in full by ChatGPT or any other AI-generated content. If ISC identifies any abuse or violation of this policy, the song will be immediately disqualified from the competition, and no refund will be given to the entrant.” Rule #13 leaves no room for alternative interpretations; under this rule, any presence of AI involvement (including AI performances, AI vocals, AI generated melodies or harmonies, AI text-to-music structure, or AI production artifacts that remain in any song's metadata) requires immediate disqualification. What was AI Capable of During the Time of Submission, and How Can We Spot It? The ISC's Extended Deadline occurred at midnight CT, November 6th, 2024 . At the time, the leading AI generative music platforms (Suno v3.5 and Udio v1.5) were: exclusively text-to-music platforms; unable to process human-authored sheet music and music notation, stems, or DAW sessions; unable to "perform" or render human-authored or -sung musical material; fully capable of generating complete, structured songs via audio files that include vocals, melody, instrumentation, and arrangement from text prompts alone or with human-authored lyrical input. Key Findings of this Investigation This forensic investigation and report identifies the following: 1. Two winning entries — Comedy (2nd Place) and Christian/Gospel (3rd Place) — exhibit unmistakable, professionally verifiable indicators of AI generation and AI performance. These include: identical vocal waveforms (a mathematical impossibility for even the most trained human singer) copied and pasted throughout the submissions, AI-specific timbral traits that are impossible to replicate through human vocal fold production, envelope-shaping patterns characteristic of leading text-to-music engines, consistent metadata anomalies indicating AI workflows that are inconsistent with human-produced music. 2. Independent AI-detection tools corroborate these findings. Supplemental analyses by IRCAM Amplify, the world's most respected research group that specializes in audio analysis, produced the following incriminating results: 95% AI-probability for the Christian/Gospel 3rd-Place-winning song 98% AI-probability for the Comedy 2nd-Place-winning song (Screenshots of these results are provided in Section 5: Findings .) 3. OSINT investigation reveals atypical public musical footprints for both credited, winning “songwriters.” One individual publicly released over 110 AI-generated tracks on SoundCloud within a single year , openly using consumer text-to-music platforms. The other has no public musical footprint and is currently employed as a government investigator in counter-threat analysis —a background typically incompatible with suddenly producing an award-winning song despite the clear authorship and performance by an artificially intelligent system. These facts, and the others from the OSINT investigations , are in great discord with the identities of the rest of the ISC winners from this year and past years, reinforcing the conclusion that these two works were generated by artificial intelligence, not by a human songwriter . Intent and Scope This report does not speculate about private conduct, intentions, or motives. Nor does it accuse individuals of misconduct outside the competition. This report represents the gathering and processing of publicly available information on the concerning the current winning entries and the individuals associated with them and whether or not the results of that processing indicates an adherence to the ISC's rules. These are the questions I sought to answer through this investigation: Do any of the winning songs contain AI-generated components? If so, are these songs eligible under this cycle of the competition's rules? What, if any, forensic or verification tools were used by the ISC before proclaiming these songs “winners”? After an intentional breach of the competition's rules by the individuals who entered the fraudulent songs, what systemic failures allowed these works to pass through each of the following stages of the competition's pipeline: the initial screening committee, both the semifinalist and finalist selection processes, the final judging by high-profile industry professionals, public announcement of the winners, administration of competition prizes to the winners, and 6 months of website promotion with no one noticing? Who from the International Songwriting Competition is willing to take responsibility for correcting this publicly, transparently, and quickly? What does this oversight say about the celebrity judges who approved these obviously fraudulent song entries? The ISC’s celebrity judges are not just fancy names on a poster; they lend their reputations and authority to the promise that this competition can recognize and reward excellence in the art of human-authored songwriting. When obviously AI-slop slips through this entire pipeline undetected, it calls into question not only ISC’s internal processes, but also the seriousness with which those celebrity reputations are being exercised . This breakdown raises legitimate concerns regarding: enforcement of eligibility requirements, quality and consistency of the judging pipeline, reputational risk to celebrity judges whose names endorse the winners, fairness owed to thousands of entrants who followed the rules in good faith. Accountability Competitions like ISC set the global standard for what counts as human artistry in songwriting. If organizations of this stature cannot reliably distinguish between human and machine authorship (never mind the fact that their own rules ban AI involvement) the result is: an erosion of trust, a diminished respect for human musicianship, the unfair displacement of legitimate winners, and the normalization of AI-authored works as “songwriting.” In order for the music industry as we know it to survive this critical juncture in history, we must demand integrity of everyone, including the International Songwriting Competition. Anything else is an enemy to musicians and music lovers everywhere. 2. Disclaimer & Critical Caveat This report is a forensic analysis of publicly available audio files, metadata, and open-source, publicly accessible information. No private accounts, login-restricted platforms, or internal ISC materials were accessed at any time during this investigation. I provide this disclaimer in transparency to define the scope of available evidence, clarify its limitations, and list the investigative standards that maintain the integrity at the core of this report. 2.1 Limitations of Publicly Available Evidence & Metadata Reliability for ISC 2024 Winners 1. The Metadata Available is Not Complete and Original Submission Metadata All audio files analyzed in this report were downloaded from ISC’s public website , not from the original submission database. There is clear evidence of internal metadata alteration by ISC before public release. Examples include: Retitled filenames: Original song titles have been replaced by ISC category labels (e.g., “aaa-1st.mp3”, “country-2nd.mp3”), meaning the true, original filenames, which could potentially reveal provenance clues, were not available for assessment. A uniform added “2.13” timestamp in the Artist field: Many files contain an appended “2.13” in their Artist metadata. Although the meaning is unknown, it is reasonable to infer that this may be an internal processing marker related to a possible February 13 internal list finalization (based on the public semifinalist announcement on March 3, 2024). Regardless of meaning, it confirms that ISC modified the metadata, preventing access to the unaltered originals. Conclusion: Any metadata investigation must acknowledge that the data available is second-hand: modified by ISC, incomplete, and not by itself fully representative of the original uploader’s file. 2. Metadata is Easy to Manipulate or Strip Entirely AI-music-generating platforms like Suno and Udio intentionally leave only minimal identifying metadata, which is widely known to be easily removable. A simple Google search will yield numerous: Reddit threads YouTube tutorials Discord communities Blog posts …devoted specifically to teaching users how to remove AI-identifying metadata fields , including encoder tags, internal version labels, and system-embedded text markers. As a result: Clean metadata is not evidence of human authorship. Suspicious metadata is not required to prove AI authorship. Metadata alone can never carry full evidentiary weight. 3. Caveat Regarding the Scope of Reviewed Works This investigation reviewed 67 audio-based winning entries from the 2024 International Songwriting Competition. While the total number of winners is even larger, seven entries were excluded from forensic analysis because they were either lyrics-only or video-only submissions, including the 1st Place Comedy winner, whose decision to submit his song in a video precluded it from this analysis. Video-based works contain different metadata structures and encoding pipelines, and YouTube-hosted files do not provide the same analyzable audio or metadata artifacts as downloadable song files. These exclusions were made to ensure methodological fairness and consistency across the analyzed dataset. All 67 remaining audio-based winners — including the Grand Prize, People’s Choice, and every category's 1st-, 2nd-, and 3rd-place winner with an accessible audio file — were included in this review. 4. Several Other Winning Entries Exhibit Suspiciously “Too Clean” Metadata Many of the winning audio files contain: empty or non-descriptive metadata fields missing title/artist/comment fields generic encoder signatures typical of AI-generated music stripped embedded comments no ISRCs no album artwork no producer, engineer, or copyright metadata While these elements do not inherently violate the ISC's rules, they are also not typical of human-produced work, especially among passionate songwriters entering a major international songwriting competition. While this cleanliness is not itself proof of AI involvement, it is: consistent with deliberate metadata scrubbing, and inconsistent with honest, organic human creative workflows. This aligns with known and well-documented behavior of users who generate music via text prompt, then sanitize metadata to obscure its method of creation. 5. The Number of Confirmed AI Entries is Smaller than the Number of Suspicious Entries Similarly, this investigation confidently identifies two entries whose audio signatures confirm AI involvement. However: several additional entries returned AI flags, multiple winning songs from different individuals located across the world and who submitted in different competition categories share identical encoder fingerprints, others exhibit electronically generated spectral patterns, and a subset of these winning songs use AI-like phrase timing and envelope shaping. Given the limitations of second-hand metadata, this report does not attempt to conclusively categorize the larger group of tracks that exhibit potential AI-related anomalies. Instead, it identifies them as indicators that warrant further scrutiny by ISC itself. Because ISC did not require entrants to submit DAW sessions, stems, draft versions, or any verifiable proof of total human authorship in 2024, only ISC has access to the primary materials necessary to perform a conclusive, authoritative assessment of those entries. Accordingly, this report strongly recommends that ISC re-evaluate all winning entries from 2024 and adopt verification procedures commensurate with the standards of transparency and integrity expected from an organization that positions itself as the industry’s premier songwriting competition. PLEASE NOTE: this recommendation is not satisfied by ISC’s newly implemented 2025 rules; future guidelines do not retroactively protect the 2024 entrants whose work was judged under a categorical AI prohibition. Nor would a closed, unverified internal review be sufficient. Additional recommendations are outlined in Section 6 . 2.2 Primary Evidence Standard of This Report The most reliable tool in this investigation is expert auditory judgment , a byproduct of more than 30 years of training and professional work as a vocalist, producer, music director, and music educator across live concert and staged musical performances, live- and studio album recordings, and internationally broadcast televised concert productions. All other findings are secondary and serve to support, contextualize, or corroborate the conclusions derived from expert listening. 2.3 Access Limitations (Included for Absolute Legal Clarity) The author did not have access to: the original audio submissions the entrants’ stems, DAW files, or drafts (if applicable) AI music platform accounts (if applicable) internal ISC judging notes proprietary listening committee materials Therefore, this report is: not a legal accusation, not a definitive statement of guilt, not an allegation of intentional wrongdoing by individuals. It is provided as a reasoned, evidence-based assessment whose conclusions are drawn from the gathering and expert forensic interpretation of publicly accessible materials. 2.4 Not an Attack on Individuals This report explicitly avoids assigning motive or intent to any entrant. It is entirely possible for a songwriter to: misunderstand AI-assisted tools believe AI output is “just another plugin” be unaware of contest restrictions despite giving consent at the time of submission or overestimate the extent of their own authorship. This investigation evaluates objective evidence, not personal integrity. 2.5 Inclusion of Disclaimer This section: protects the author from claims of overreach or misrepresentation acknowledges the limitations of second-hand metadata clarifies the evidentiary hierarchy underscores how ISC’s own rules determine ineligibility emphasizes transparency and methodological honesty sets the foundation for all subsequent analysis 2.6 Final Caveat This report cannot account for a multitude of specific (prohibited) scenarios in which, for instance, an AI system generates a composition , the entrant transcribes it by ear onto digital or physical sheet music, performs it live and/or records it in a studio , and submits the newly recorded human track as their own creation. However, the synthetically identical waveforms, AI timbral characteristics, and text-to-music encoder fingerprints found in the files publicly published by ISC on their own website prove that the two flagged entries are not live human re-recordings. They are original AI-generated audio outputs, not human performances. Thus, this caveat does not apply in this case. 3. Investigative Approach: Methodologies Utilized This investigation employed a multi-layered forensic process reflecting professional audio-analysis standards, ethical constraints, and the realities of evaluating publicly released ISC winner files rather than original entrant submissions. The methodologies were deliberately sequenced so that expert auditory analysis formed the evidentiary foundation, with digital forensics, metadata review, waveform visual analyses, replicability tests, independent third-party verification methods, OSINT research, and archival rule verification serving as supporting layers of scrutiny. The procedures below do not present or imply findings. They describe the investigative tools and standards used to evaluate whether any publicly available information concerning the 2024 ISC winning songs provides characteristics inconsistent with human authorship or compliant creative workflows under ISC’s rules. 3.1 Expert Auditory Analysis (Primary Method) Expert auditory evaluation serves as the cornerstone of this investigation and remains the most reliable method for assessing the authenticity of musical audio in the absence of stems, multitrack recordings, or direct access to original submissions files. This method is widely used in professional production, audio engineering, voice science, and forensic musicology. The analysis draws on more than 30 years of training and continuous professional experience as a vocalist, producer of live concerts and staged productions, producer of studio and live albums, music director, music educator, creative director for nationally televised music specials, composer, arranger, orchestrator, and vocal pedagogue. This breadth of expertise provides the trained auditory acuity required to detect non-organic timing behaviors, atypical harmonic responses, non-physiological vocal patterns, and other indicators that fall outside human vocal or instrumental performance norms. Each ISC-winning track was subjected to repeated critical listening sessions in multiple environments, including calibrated studio monitors, reference headphones, and consumer playback systems. Evaluation criteria included micro-timing variability, natural breath behavior, phrasing integrity, harmonic realism, dynamic shaping, timbral consistency, and mix characteristics. Expert auditory analysis establishes the initial classification for each track. All other methodological tools serve to corroborate, contextualize, or challenge these primary observations. 3.2 Targeted Forensic Review (Secondary Method) This investigation did not attempt to evaluate all 67 ISC-winning recordings at the same level of forensic depth. Instead, it used a targeted methodology: only tracks that exhibited clear preliminary anomalies during expert auditory screening were selected for additional digital, metadata, visual waveform, and OSINT evaluation. This is not a limitation—it is a deliberate, professionally grounded approach consistent with investigative standards used in audio forensics, plagiarism analysis, scientific fraud review, and competitive rule-compliance audits. In these fields, comprehensive catalog-wide inspection is neither required nor recommended. Investigators focus their efforts on material that meets defined thresholds of concern. A targeted approach provides several methodological advantages: It ensures proportionality: only recordings that warrant forensic scrutiny receive deeper analysis. It minimizes investigative bias: a full-catalog audit can appear as if the investigator intended to “find as many violations as possible,” regardless of evidence. Targeted review maintains neutrality. It reflects realistic ethical standards: without stems, DAW files, or internal submission materials, expert auditory analysis is the most appropriate and reliable first-stage filter for identifying songs that may require closer evaluation. It aligns with ISC’s own rules: because any amount of AI-generated material (even 1%) constitutes immediate disqualification under Rule 13, identifying even a single violation is sufficient to demonstrate a systemic vulnerability in the competition’s review pipeline. A catalog-wide audit is therefore unnecessary for this report to establish policy relevance. This targeted forensic scope follows the accepted investigative model of: expert auditory analysis; focused secondary analysis on flagged tracks; cross-method validation; contextualization; and rule-eligibility assessment. This preserves rigor while maintaining ethical and methodological integrity. 3.3 Metadata Forensic Review Metadata forensics were conducted on each of the publicly accessible ISC winner audio files using a consolidated spreadsheet that catalogs encoder data, version identifiers, sample rates, bitrate patterns, ID3 structures, timestamp formats, artwork fields, and the presence or absence of standard descriptive metadata. While metadata alone cannot confirm AI involvement, it is a critical tool for identifying shared processing pipelines, scrubbed or overwritten authorship fields, unusual encoder uniformity across unrelated entrants, and inconsistencies with standard DAW-rendered music files. Metadata review was used strictly as supporting evidence and is interpreted within the known limitation that ISC-hosted versions are not the original entrant submissions and may have been altered by the competition’s upload and distribution processes. 3.4 Spectrogram and Waveform Analysis Spectrograms, phase plots, and waveform displays were reviewed to obtain a broad visual context for the recordings. These tools were used strictly to observe general patterns such as repeated structural sections, amplitude contours, and overall continuity between duplicated musical passages. Because spectrogram interpretation requires specialized training, no conclusions in this report rely on detailed spectral readings or technical frequency-domain interpretation . Instead, these visualizations served as supplemental reference material, helpful for confirming observations already made through auditory review, metadata analysis, and structural comparison. In particular, spectrograms and waveform views were used to: verify the presence of structurally identical repeated sections , observe continuity or abrupt transitions in the musical arrangement, and contextualize auditory anomalies such as sudden texture changes or identical phrasing across supposedly separate vocal takes. These tools supported, but did not drive, the analytical findings presented in Section 5 . 3.5 Time-Stretch Artifact Amplification (DAW-Based Vocal Isolation Review) To further evaluate vocal authenticity, the investigation incorporated a supplemental procedure involving vocal-line extraction and controlled time-stretch analysis. Publicly available ISC-posted audio files were processed through standard vocal-isolation tools (not original stems) and imported into a digital audio workstation (GarageBand) for time-domain review. Although isolated vocals derived from full mixes are inherently imperfect representations, these remain sufficiently accurate for identifying broad synthetic artifact behavior. When the isolated vocal line is slowed significantly—beyond natural performance tempo—human voices typically exhibit irregularities in breath noise, micro-timing, transitional mechanics, and formant adjustments. By contrast, algorithmically generated or heavily synthesized vocals often produce metallic tearing, formant smearing, harmonic collapse, and other non-organic behaviors that become more pronounced as the tempo is reduced. This method was not used as a primary form of evidence; rather, it served as a corroborative tool to magnify and clarify auditory anomalies initially detected through expert listening. Its purpose is supportive: to determine whether slowed time-stretch behavior is consistent with human vocal biomechanics or reflects characteristics commonly associated with algorithmic generation by artificial intelligence. 3.6 Text-to-Music Replicability Testing, Feasibility Assessment (Suno v3.5, Submission-Window Controls) To evaluate the technological capabilities available to entrants during the 2024 ISC submission window, the investigation included a controlled text-to-music generation test using Suno v3.5, the latest available software version employed by one of the most popular AI music generators at the time. The purpose of this procedure was not to determine authorship, but to assess: the generative capabilities of the model, the level of musical completeness it can produce from text prompts, and the ease with which a user could create fully AI-generated songs during the relevant timeframe. The test used publicly viewable lyrics from each flagged ISC-winning entry, along with a neutral, descriptive genre prompt. No melody input, reference audio, or production guidance was provided. This method served as a supplemental feasibility assessment , intended to observe the outputs that Suno v3.5 was capable of producing from text-only input during the exact period in which entrants created their submissions. The procedure is included in this report strictly as a contextual tool and not as a determinant of authorship or rule violation. 3.7 IRCAM Amplify AI-Detection Analysis To introduce an additional layer of external verification, songs were analyzed using IRCAM Amplify’s AI Music Detector, a state-of-the-art classifier developed by France’s Institut de Recherche et Coordination Acoustique/Musique (IRCAM), one of the world’s leading research institutions in acoustics, audio analysis, and machine-learning detection. IRCAM’s detector evaluates incoming audio for statistical similarities to known generative-model fingerprints. The system identifies: timbral clustering consistent with neural-vocal synthesis, pitch-instability patterns and micro-timing deviations typical of model-generated stems, spectral and transient signatures associated with Suno, Udio, Stable Audio, and other contemporary text-to-music models. IRCAM Amplify’s detector returns a probability score representing the likelihood that a track was produced using a known AI model. These results were not used in isolation, but rather as an independent benchmark to compare to the auditory, metadata, and replicability findings presented elsewhere in this report. 3.8 Open-Source Intelligence (OSINT) Procedures Publicly available digital footprints were reviewed to contextualize the creative history, stylistic output, and musical backgrounds of credited songwriters or collaborators associated with publicly released winning tracks. OSINT sources included music platform profiles, release catalogs, social-media histories, artist statements, and public professional records. OSINT analysis does not assess intent and does not allege wrongdoing. It provides environmental context to help determine whether a submission's stylistic, technical, or production characteristics align with the creator’s known creative history or whether the work warrants elevated scrutiny. 3.9 Archival Rule Verification Because the purpose of this report is to evaluate compliance with the rules that governed the 2024 competition, all relevant ISC rules were verified using independently archived versions of the ISC Rules and FAQ pages preserved via the Internet Archive’s Wayback Machine. These verified that all entrants were bound by the April 20, 2024 ruleset throughout the entire submission window and that the 2025 rule updates do not apply retroactively. Rule verification ensures that all methodological choices in this investigation directly correspond to standards the entrants were required to meet—including prohibition of any AI-generated content. 3.10 Methodological Integration Model The investigation relied on a layered evidentiary model in which: Expert auditory analysis establishes the primary assessment Metadata findings provide workflow and encoder context Spectrograms and audio waveforms visually confirm or contradict auditory observations OSINT research contextualizes publicly available authorship footprints Archival rule validation establishes relevance to ISC’s governing criteria This integration model minimizes bias, avoids over-reliance on any single tool, and ensures that all conclusions are grounded in established professional standards of audio analysis. 3.11 Limitations of this Methodology All analyses were performed on publicly published ISC-hosted files, not on original entrant submissions, stems, DAW sessions, or internal judging materials. The methodology therefore incorporates explicit limitations: metadata may have been altered by ISC’s file management systems, digital footprints may be incomplete or altered, and certain conclusions cannot be drawn without access to private submission materials. The report acknowledges these constraints to maintain transparency and accuracy. 4. Official Rules Governing the 2024 International Songwriting Competition 4.1 Primary Source Evidence of ISC's AI Prohibition in Effect Before 2024 Submission Window To verify the rules that governed the 2024 International Songwriting Competition (ISC), an independent archival review was conducted using the Internet Archive’s Wayback Machine. The earliest uncontested snapshot of the ISC rules page prior to the opening of the submission window (July 2, 2024) is dated April 20, 2024 and is preserved here: https://web.archive.org/web/20240420223030/https://www.songwritingcompetition.com/rules (Accessed 22 November 2025) This April 20, 2024, archival capture predates any submission period, including Early Bird, Regular, and Extended deadlines, making it the definitive source for the rules that governed all entrants in the 2024 competition. FIGURE 1. ISC Rules Page: April 20, 2024 (Before Submissions Opened) Archived URL (Captured: April 20, 2024, 22:30:30 GMT): https://web.archive.org/web/20240420223030/https://www.songwritingcompetition.com/rules Figure 1: Archived version of the 2024 ISC Rules page , captured on April 20, 2024 (prior to the Early Submissions period which began on July 2, 2024). This archive provides the governing rules to which all 2024 entrants agreed upon submission. Site accessed 22 November 2025. Visit link to expand. This November 6, 2024, archival capture confirms that the ISC's governing rules remained the same throughout the entire submission period from Early Bird, Regular, and Extended Deadline submission periods. FIGURE 2. ISC Rules Page: November 6, 2024 (Deadline for All 2024 Entries) Archived URL (Captured: November 6, 2024, 23:57:33 GMT): https://web.archive.org/web/20241106233753/https://www.songwritingcompetition.com/rules Figure 2: Archived version of the 2024 ISC Rules page , captured on November 6, 2024 (deadline for Extended Deadline). This archive confirms that the ISC's governing rules were unaltered during the submission window for the 2024 competition cycle, to which entrants agreed upon submission. Site accessed 22 November 2025. Visit link to expand. Table 1 provides each of the three competition rules relative to this investigation, along with a short description pertaining to their relevance and inclusion. TABLE 1: SUMMARY OF PERTINENT ISC RULES (2024 COMPETITION CYCLE) Rule Number Official Wording (2024) Relevance to This Investigation Rule #1: Originality & Rights “All entries submitted must be original songs and shall not infringe any copyrights or any other rights of any third parties." AI-generated music cannot legally or creatively qualify as “original” under U.S. copyright law or ISC criteria. If melody, composition, or production is AI-generated, the entrant is not the author. Rule #6: Judging Criteria “Songs are judged equally on melody, composition, originality, and lyrics… Entrant agrees to accept the final decision of ISC and its judges.” If the melody, composition, or originality is produced by AI, then the entrant did not create the judged elements — meaning the entry is fundamentally invalid. Rule #13: AI Involvement “ISC prohibits any song or lyrics written partially or in full by ChatGPT or any other AI-generated content. If ISC identifies any abuse or violation of this policy, the song will be immediately disqualified and removed from the competition.” This is the decisive rule. Any AI involvement, even 1%, results in automatic disqualification. No thresholds. No ambiguity. 4.2 Verification of Submission Deadline The Wayback Machine also preserves the corresponding 2024 FAQ page, confirming the Early Bird, Regular, and Extended Deadline dates: Early Bird: July 2, 2024 Regular: September 18, 2024 Extended Deadline: November 6, 2024 FIGURE 3. Archived 2024 FAQ Page Archived URL (Captured: November 1, 2024, 22:37:41 UTC): https://web.archive.org/web/20241101223741/https://www.songwritingcompetition.com/faq#4 Figure 3: Archived ISC FAQ page captured November 1, 2024, confirming the submission period of July 2, 2024, through November 6, 2024. This window of time establishes the technological capabilities available to entrants at the time of submission. Site accessed 22 November 2025. Visit link to expand. 4.3 Entrant Consent & Binding Agreement All entrants were required to review and agree to the rules as a condition of entry. ISC’s own submission portal states that payment constitutes formal agreement to be bound by the rules and regulations. This is stated directly within the Rules page: Rule 17: “By entering ISC, Entrant agrees to be bound by all terms of these Official ISC Rules and Regulations.” This is essential because it establishes: Entrants agreed that any AI-generated content, even partially, is grounds for immediate disqualification (per Rule 13, captured in Figure 1 and Figure 2). Entrants agreed that songs would be judged on melody, composition, originality, and lyrics (per Rule 6, captured in the above 6 November 2024 archive). Entrants agreed that performance quality is not judged, but ownership and authorship are central (which underscores that AI-performed vocals cannot qualify). This establishes the foundational legal and ethical framework under which all 2024 entries must be evaluated and held accountable. 4.4 Clarifying the Applicability of These Rules These are the rules all entrants were bound by, without exception. Even if an entrant submitted early in the cycle, they were bound to the rules active throughout the competition unless ISC published a rule change. There is no evidence of any revised or updated rule page during the 2024 submission window. The Wayback Machine shows no alternate rule versions during the entire 2024 submission period (early submission [July 2, 2024] through the extended deadline [November 6, 2024]). The 2025 updated rules do not apply to the 2024 competition. Following the 2024 competition cycle, ISC significantly revised its AI rules for the 2025 competition cycle, including language allowing ISC to modify their rules concerning AI at any time. These revisions cannot be applied retroactively to the 2024 competition. (However, they are addressed in this report in Section 6: Ethical Implications and Procedural Recommendations as well as Section 7: Author's Statement . ) The foundation of this investigation remains firmly in adherence to ISC's unambiguous rule disqualifying any submissions generated "partially or in full" by AI content of any kind without thresholds, "majority authorship" clauses, percentages, or exceptions. 4.5 Section 4 Notes Screenshots are included to ensure preservation and transparency, as competition websites routinely update or overwrite their rules annually. The Wayback Machine is an established digital archive used in scholarly writing and research, journalism, and legal e-discovery. It preserves immutable snapshots of websites at specific points in time, which prevents retroactive alteration of the evidence. These captures serve as authoritative documentation of the rules in effect during the submission period. 5. Findings Following expert auditory evaluation of all sixty-seven publicly available 2024 ISC winning song file submissions covered in this report, two recordings, Comedy: Second Place and Gospel/Christian: Third Place , exhibited unmistakable markers of AI-generation and performance that warranted full-spectrum forensic review under the targeted methodologies described in Section 3. While several additional winning songs displayed indications of anomalies consistent with prohibited competition practices, they were neither as pronounced nor as diagnostic as the two escalated entries. Under ISC’s own rules, the presence of even a single element of AI involvement among the published winners constitutes a systemic screening vulnerability. Accordingly, these two escalated tracks serve as case studies for assessing the reliability and sufficiency of ISC’s review procedures. The findings below present the multi-method forensic analysis conducted on the two winning songs that met the escalation threshold. Each subsection corresponds directly to the methodologies employed: auditory analysis, metadata review, spectrogram and waveform analysis, time-domain artifact amplification, text-to-music replicability testing, third-party testing through IRCAM Amplify, and OSINT research. 5.1 Audio Forensic Findings (Expert Auditory Analysis) Comedy – Second Place Expert auditory evaluation immediately and routinely identified vocal and performance characteristics inconsistent with natural vocal cord production and human authorship. These included unnatural metallic disturbances in the vocal signal, anomalously uniform vowel formation across register transitions and extremes, and several instances in which expected breath transitions were absent during passages that physiologically require inhalation. The lead vocal exhibited stagnant, overly synthetic pitch stability and transient precision, with uniformity across micro-timing that is beyond human capability. In addition to these vocal anomalies, the track contains a significant structural and lyrical malfunction at approximately 1:49, where the sung line diverges abruptly from the written lyrics supplied by the entrant. At this moment, two unrelated syllables sound truncated and fused together , creating a non-lexical, unintelligible fragment that does not correspond to any coherent word or phrase . This artifact does not resemble intentional vocal styling, ad-libbing, improvisation, or comedic delivery; instead, it aligns with known failure modes in AI-generated vocals when multiple partial generations are joined or when a model’s phoneme alignment collapses under transitional stress. Structurally, this error occurs at the end of the bridge — a location traditionally used by human songwriters to explore musical contrast, a harmonic lift, or new lyrical insight leading into the final presentation of the song's chorus. Instead, the track abruptly inserts a truncated fragment of the chorus’s final line , which is close to—but not identical to—the song’s title. Notably, the exact title of the song never appears verbatim in any lyrical position , while multiple near-variants recur throughout the work. This pattern of approximate repetition without stable lexical anchoring is a well-documented characteristic of text-to-music systems, which often generate internally inconsistent lyrical motifs unless constrained with explicit human editing. Between 2:32 and 3:18 , the track enters an extended instrumental break—functionally an outro, as the vocal never returns. This is a structurally unusual choice for a competition submission in the Comedy category, where the listener might typically expect to find the final and most impactful punchline or comedic payoff to occur. The outro begins with a fiddle line comprised of rapid sixteenth-note repetitions that mirror the preceding musical texture. This approach is itself narratively incongruous: a relentlessly fast, ornamental instrumental line does not align naturally with a song whose lyrical premise centers on a man comparing himself to a hibernating bear due to his inability to stay awake. At 2:48 , however, the fiddle is abruptly replaced by an electric guitar performing a musically unrelated figure with a conflicting harmonic center, rhythmic contour, and stylistic identity. The guitar material does not develop, answer, or complement the preceding fiddle motif; instead, it appears to originate from an entirely separate generative idea before vanishing suddenly at 3:08 , at which point the fiddle returns to complete the final ten seconds of the outro and thus, too, the song. The effect is jarring, directionless, and compositionally incoherent, leaving listeners perplexed not only by the disjunction between the solos but also by the vocalist’s unexplained disappearance nearly a full minute earlier. This type of discontinuous, multi-source instrumental stitching is characteristic of text-to-music generative systems, which often assemble long instrumental sections from multiple, independently generated segments rather than from a unified compositional intent. Human songwriters and arrangers do not typically alternate soloists mid-outro with unrelated melodic material—particularly not in a competition context where musical cohesion is expected to be a core evaluative criterion. The placement, duration, and incoherence of this extended outro further reinforce the track’s deviation from standard human songwriting practices and highlight systemic concerns regarding the competition’s screening and judging pipeline. Gospel – Third Place Expert auditory evaluation of the Gospel/Christian third-place track revealed immediate and persistent indicators inconsistent with human vocal production. Across the full performance, the lead vocal displays a non-human, metallic timbre that lacks the natural breath shimmer, subglottal resonance, and upper harmonic vitality expected in a lyric baritone — the fach most aligned with the tessitura and range of the work. Instead, the purported “chest register” is dominated by a coarse, mechanical buzz with a frequency profile more akin to an electronic tone generator (alarm-clock–like in its rigidity and overtone shape) than to human vocal-fold phonation. This artificial quality becomes even more pronounced when the voice transitions into what should be the head-register passages of the chorus. Rather than exhibiting the acoustic shifts associated with human registration — changes in formant tuning, laryngeal height, airflow patterns, or vowel reshaping — the timbre remains uniform and invariant, as though a single synthesized sound source were simply pitch-shifted upward without the physical passaggio adjustments required of a human singer. The resulting effect is a tonal discontinuity that listeners interpret as “unnatural,” not stylistic. Throughout the song, repeated phrases exhibit identical harmonic alignment, vibrato rate, vibrato depth, and overtone distribution , with no evidence of the microvariations that occur even in highly trained vocalists. A highly trained human singer cannot reproduce vibrato at the same rate and depth across different pitches, intensities, and expressive contexts without deviation; however, this recording presents a vibrato that functions as a static, model-locked parameter rather than a physiological phenomenon. Further anomalies include: Fixed formant behavior across register shifts, with no observable vowel modification, timbral shading, or tract resonances changing as the melody rises or falls. Absence of laryngeal or articulatory transitions , producing an unnaturally smooth phonemic delivery. Identical transient behavior across varied consonants, suggesting synthetic phoneme rendering rather than articulatory mechanics. Inability to detect inhalation noise or breath events during musically required phrasing breaks, despite phrases exceeding typical breath-cycle capacities. Taken together, these features present a vocal line that behaves not as a biological instrument shaped by breath, muscle, emotion, and resonance, but as a synthetic construct governed by algorithmic consistency . The combination of fixed formants, invariant vibrato, registration uniformity, and metallic timbral artifacts met the established criteria for escalation to full-spectrum forensic review. 5.2 Metadata Findings Metadata extracted from the two escalated recordings was examined against the full dataset of sixty-seven ISC 2024 winning audio files. Although metadata alone cannot confirm authorship, the metadata profiles of the Comedy (Second Place) and Christian/Gospel (Third Place) entries exhibit distinctive patterns that deviate meaningfully from both typical human production workflows and the broader winner pool. These anomalies are consistent with automated rendering, batch-transcoding pipelines, or text-to-music generation systems, and warrant close attention when evaluated alongside the auditory findings and basic visual spectrogram inspection (non-technical). 1. Unusual Encoder Signatures (Major Anomaly) Both escalated tracks were encoded using Lavf , an FFmpeg-based encoder family. This is atypical for the work of human songwriters, especially work that is submitted to an international songwriting competition, which usually retains a DAW fingerprint from Pro Tools, Logic, Ableton, FL Studio, Reaper, Studio One, or GarageBand. Instead, both flagged songs display encoder strings associated with post-render transcoding rather than direct DAW export. Comedy – Second Place: Encoded with Lavf58.45.100 , a version not used by any other ISC winner. This specific build corresponds to older FFmpeg branches and has been publicly documented in discussions of AI-generated music pipelines (including Suno’s earlier v3 workflows). Gospel – Third Place: Encoded with Lavf60.3.100 , which appears across nine winning entries in eight different categories . Although theoretically, it is possible for this encoder family to appear in legitimate workflows, its uniformity across unrelated artists, genres, and production circumstances in an international competition is particularly noteworthy. Typically, such a broad pool of independent entrants would never converge on an identical FFmpeg build, only under extremely rare circumstances; the only exceptions being (a) if files were batch-processed post-submission (highly unlikely, given the wide variety of categories), or (b) submissions originated from text-to-music systems that use the same backend rendering tool, Lavf60.3.100, another encoder publicly documented to be associated with Suno's AI-generated song output. Given the diversity of countries, studios, and software normally represented in a competition of this scale, the recurrence of a single encoder version across unrelated entrants is statistically anomalous . It is consistent with centralized processing pipelines—either at the entrant level or at the generation level—rather than independent DAW exports. Public technical discussions (including widely circulated Reddit analyses of AI-generated music output) have associated Lavf60.x.x and Lavf58.x.x signatures with Suno and similar text-to-music platforms, particularly when files are downloaded directly from the generator without additional mastering or DAW intervention. This contextual information does not assert authorship but situates the observed metadata patterns within known generative-music workflows. 2. Absence of DAW Fingerprints (Strong Indicator) Most professional DAWs embed recognizable metadata even when users leave fields blank. Such metadata routinely includes: DAW version identifiers LAME tags (Lame 3.100, etc.) Encoding presets Audio engine markers Render origins Neither escalated track contains any DAW-linked identifiers whatsoever. Instead, both present as bare, minimally populated files with: no composer or publisher metadata no genre tags no ISRC no artwork fields no comments or internal project data no embedded timing or project-stem markers This level of stripping is consistent with FFmpeg-based rendering pipelines or automated platform exports. It is not typical of human-produced competition submissions, particularly when produced in professional or semi-professional environments. 3. Sub-Optimal or Nonstandard Bitrates Competition entries are commonly submitted at the highest feasible MP3 bitrate (320 kbps) or as WAV/AIFF files to preserve fidelity. The majority of ISC 2024 winners follow this pattern. The escalated entries do not. Comedy – Second Place: 192 kbps , among the lowest bitrates in the entire winner pool. Gospel – Third Place: 235 kbps , a nonstandard bitrate appearing nowhere else in the dataset. Lower bitrates are a known characteristic of direct text-to-music platform exports, which frequently render files at middle-range bitrates optimized for streaming previews rather than competition-grade final song submissions. 4. Sample Rate Inconsistency (Supporting Finding) Although 44.1 kHz and 48 kHz are both standard sample rates, the flagged entries differ from each other despite sharing identical stripping patterns and similar FFmpeg rendering markers. This inconsistency is not itself evidence of AI involvement but fits the broader pattern of non-DAW, multi-model rendering, where the sample rate is determined by the export function of the engine rather than producer choice. Combined with the other anomalies—especially the uniformity of missing metadata and FFmpeg encoding—the samplerate discrepancy reinforces the interpretation that these files did not originate from a cohesive human-controlled production workflow. 5. Structural Metadata Uniformity (Supporting Finding) Both escalated entries exhibit metadata rows that follow almost identical structural ordering, omit the same ID3 fields, and present the same “cleaned” exterior—a pattern shared by the nine FFmpeg-encoded tracks but not by the DAW-encoded winners. This suggests: Batch processing , or Automated export pipelines , or Platform-generated files using shared render architecture Independent human songwriters do not typically produce indistinguishable metadata footprints unless they are using the same DAW, same tools, and same encoding chain. The diversity of the remaining winner pool argues strongly against this. 5.3 Consistency Check Using Spectrogram & Waveform Views (Non-Diagnostic Support) Spectrogram and waveform visualizations were optionally reviewed to check for internal consistency within each escalated recording. These views were not used as a standalone diagnostic tool, and no claims of expert spectrogram interpretation are made. Instead, the purpose of this step was limited to verifying whether repeated musical sections displayed identical structural patterns — something verifiable without specialized audio-forensics training. In both the Comedy (Second Place) and Gospel/Christian (Third Place) recordings, isolated choruses were imported into a DAW and aligned sample-to-sample. In every case, repeated choruses rendered visually identical waveforms , with no variation in transients, vowel shapes, phrasing, plosive timing or energy, or micro-timing. Human vocalists, even under controlled studio conditions, do not reproduce entire multi-bar vocal performances with 100% identical waveforms; generative systems, however, frequently do. This limited, non-interpretive use of spectrogram and waveform views was therefore consistent with the artifacts identified using primary forensic methods (metadata, time-stretch review, text-to-music replicability, and OSINT). These observations support but do not replace the conclusions drawn from the primary methodology. Comedy – Second Place A non-technical visual scan of Comedy-2nd's chorus sections revealed nearly identical waveforms across the song's two chorus repetitions. When the isolated vocal stems were aligned and played simultaneously, the contours matched with near-sample-level precision; any minor, inaudible differences can be attributed to inconsistencies in the vocal isolating software, which was a necessary step without access to the source material. This audibly identical waveform used across two sections of the song is far tighter than typical human multitracking, where micro-timing variance is unavoidable even with professional editing. A screenshot (Figure 4) is included for transparency, showing the overlaid chorus waveforms in GarageBand. This visual alignment was not used diagnostically on its own, but it was consistent with the auditory finding that the choruses had identical performances rather than natural re-takes. FIGURE 4. Identical Repeated Choruses in Comedy (Second Place Entry) Figure 4. Identical Repeated Choruses in Comedy (Second Place Entry) Waveform alignment of two independent chorus occurrences from the Comedy (Second Place) recording. When isolated and placed on separate tracks in a DAW, both choruses render sample-accurate identical waveforms, including identical transients and micro-timing. Such perfect duplication is physiologically impossible for live human vocal performance, but it is a known characteristic of text-to-music generative systems that reuse a single synthesized vocal stem across multiple song sections. Gospel – Third Place Four separate chorus iterations were extracted from the full mix and aligned. All four displayed the same timing, amplitude envelopes, and inflection contours, despite appearing in different structural positions within the song. Again, a screenshot (Figure 5) is provided solely for transparency. These repeated patterns do not constitute formal spectral analysis but visually support the auditory finding that the vocal line was produced once and mechanically repeated — a hallmark of text-to-music output. FIGURE 5. Identical Repeated Choruses in Gospel / Christian (Third Place Entry) Figure 5. Identical Repeated Choruses in Gospel/Christian (Third Place Entry) Four isolated chorus repetitions display identical waveform structures across all instances. As with the Comedy entry, this behavior is inconsistent with human vocal production and aligns with duplicated synthetic vocal stems generated by AI text-to-music tools. 5.4 Time-Stretch Artifact Amplification Findings (DAW Review) To further clarify the nature of the vocal lines, each track's isolated vocal (derived from full-mix vocal isolation tools) was imported into a digital audio workstation for controlled time-stretch review. When slowed significantly, beyond natural performance tempo, human vocals, even those that have undergone extreme amounts of pitch correction, reveal unpolished, very "human" irregularities in breath noise, articulatory transitions, formant shifts, and micro-timing inconsistencies. Both flagged songs produced artifacts during slowdown that were inconsistent with human vocal biomechanics, including metallic tearing, abrupt harmonic collapse, smeared formants, and machine-like distortions that intensified at lower playback tempos. These characteristics are expectations with AI-generated, algorithmic vocal lines undergoing time-domain manipulation. Although isolated vocals derived from full mixes are inherently imperfect, the artifacts observed were sufficiently pronounced to provide corroborative evidence supporting the auditory and spectral findings. 5.5 Text-to-Music Replicability Test Findings (Suno v3.5) A controlled replicability test was conducted using Suno v3.5 , the best model available to entrants during the 2024 submission window. Using only the publicly viewable lyrics and a neutral genre descriptor—without providing melody, reference audio, or production instructions—the model generated complete musical tracks that exhibited: similar melodic contour and phrasing patterns, nearly identical chord progressions relative to the respective key signatures, similarly structured tonality and identical lack of any modulation anywhere vocal timbres closely resembling those in the corresponding ISC-flagged entries, comparable genre-appropriate arrangement and instrumentation, and production aesthetics aligned with text-to-music workflows from the relevant period. While this experiment does not determine authorship, it demonstrates that the sonic characteristics present in the flagged ISC entries are reproducible by an AI model available during the submission period with minimal prompting, zero musical skill, and no engineering expertise . This supports the systemic concern that ISC’s screening pipeline is not equipped to detect AI-generated or AI-assisted submissions under current procedures. 5.6 IRCAM Amplify AI-Detection Findings Both escalated ISC entries were submitted to IRCAM Amplify’s AI Music Detector for independent analysis. IRCAM flagged significant AI-generation likelihood for each track, including direct involvement with both Suno v3 and Suno v3.5 AI-generative models. Comedy, 2nd Place IRCAM returned an AI-generation probability of 98% Detected Model (if applicable): Suno v3.5 See Figure 6: FIGURE 6. IRCAM Amplify AI Music Detector Results for Comedy (2nd Place) 2024 ISC-Winning Song Figure 6. IRCAM Amplify AI Music Detector Results for Comedy (2nd Place) 2024 ISC-Winning Song IRCAM Amplify AI Music Detector returned an AI-generation probability of 98% for the Comedy, 2nd Place winner in the 2024 International Songwriting Competition. IRCAM Amplify AI Music Detector also detected Suno v3.5 as the AI model that generated the song. Gospel/Christian, 3rd Place IRCAM returned an AI-generation probability of 95% Detected Model (if applicable): Suno v3.5 See figure 6 FIGURE 7. IRCAM Amplify AI Music Detector Results for Gospel/Christian (3rd Place) 2024 ISC-Winning Song Figure 7. IRCAM Amplify AI Music Detector Results for Gospel/Christian (3rd Place) 2024 ISC-Winning Song IRCAM Amplify AI Music Detector returned an AI-generation probability of 95% for the Gospel/Christian, 3rd Place in the 2024 International Songwriting Competition. IRCAM Amplify AI Music Detector also detected Suno v3 as the AI model that generated the song. 5.7A OSINT Findings: Comedy, 2nd Place Entrant: " Gregory S." (publicly listed by ISC) Category: Comedy / 2nd Place OSINT Summary (Public Record Only, No Personal Data Beyond What the Entrant Has Publicly Published) Open-source review of publicly available information about the credited entrant indicates no discoverable background in music production, audio engineering, composition, or vocal performance. The individual’s professional footprint reflects a long career in law enforcement and investigative roles, with current employment in a government security agency. No online discography, artist profile, studio credits, performance history, production portfolio, or prior songwriting catalog could be located. This absence of a musical or technical production background does not constitute a violation of ISC's rules; however, it is noteworthy when evaluated alongside the substantive forensic findings indicating production characteristics incompatible with typical human-generated music workflows. In contemporary music competitions, even non-professional entrants typically maintain some form of musical footprint—such as social media performance clips, distributor accounts (DistroKid, TuneCore), SoundCloud profiles, YouTube uploads, Bandcamp pages, or collaborative credits. No such footprint was identifiable for this entrant. Taken together, the OSINT profile is consistent with an individual outside the music production and songwriting ecosystem and does not provide any independent support for human-directed audio engineering, vocal tracking, or multi-instrumental recording capabilities. When viewed in conjunction with the audio, metadata, and replicability anomalies presented earlier in Section 5, this contextual information highlights additional discrepancies between the credited creator profile and the production characteristics of the submitted recording. 5.7B OSINT Findings: Gospel, 3rd Place Entrant: “JesseJ” (publicly listed by ISC) Category: Christian/Gospel / 3rd Place OSINT Summary (Public-Record Only — AI-Relevant Behaviors Only) Public information for the Christian/Gospel entrant leads to a website branded as “songsbyjesse.com,” where the entrant describes himself as a songwriter and “storyteller” working across multiple genres, including sync, collaborations, commercial work, and Christian music. Notably, OSINT review shows: 1. Extremely high-volume musical output across the entrant’s public SoundCloud account: 110+ tracks posted within ~12 months each track includes fully produced arrangements and unique artwork many genres are represented (Christian, CCM, pop, sync styles, cinematic, etc.) Such high-frequency, multi-genre publishing is rare for independent human composers working alone , particularly without a visible collaborative pipeline, label support, or production team. This does not prove AI usage, but it strongly aligns with generative-music workflows where tracks can be created and published rapidly at scale. 2. Stylistic dispersion consistent with AI music catalogs Listening samples and waveform thumbnails reveal: highly polished mixes across many unrelated genres consistent loudness and mastering profiles artwork that appears to be either AI-generated or templated at scale similar structural patterns across compositions regardless of genre These features match output from: Suno Udio Stable Audio other high-throughput text-to-music generative music systems and differ markedly from typical independent songwriter catalogs, which show slower release schedules, genre clustering, and human-performance variability. 3. Awards pattern inconsistent with a traditional songwriting résumé The entrant’s website lists: Unsigned Only Music Competition Winner award International Songwriting Competition recognition multiple finalist badges Combined with the volume of output, the pattern resembles AI-assisted “competition-submission loops” seen in recent online communities where creators generate large batches of songs through text-to-music systems and submit them to multiple contests. Again — not proof, but contextually relevant to ISC’s mandate to detect and prevent AI-generated submissions. 4. No verifiable professional music credits OSINT searches of: PRO databases (ASCAP, BMI, SESAC) Songwriter/producer credits (Discogs, AllMusic) streaming platforms commercial sync libraries return no confirmed songwriting credits under the entrant’s name. This absence stands in contrast to the unusually large and polished body of public output. Interpretation (Non-accusatory, rule-aligned) Taken together, the OSINT indicators do not assert that the entrant acted with intent or violated competition rules. However, they do show: a public history of mass-generated music output, stylistic patterns consistent with contemporary text-to-music generators, an award-submission profile typical of AI-assisted creators, and no traditional music-industry footprint. These factors support the larger multi-method finding : that the sonic, metadata, and production anomalies observed in the flagged ISC entries align with workflows and outputs characteristic of AI-generated or AI-assisted music systems, not with human-authored songwriting. FIGURE 8. Awards Recognition Banner on Entrant's Website ("songsbyjesse.com") Figure 8. Awards Recognition Banner on Entrant’s Website (“songsbyjesse.com ”) The high volume of contest submissions and recognitions displayed here is consistent with the OSINT finding that the entrant actively participates in multiple songwriting competitions. Screenshot accessed 24 November 2025. 5.8 Rule Relevance Analysis Per Rule 13, any amount of AI-generated involvement—melodic, lyrical, vocal, or instrumental—renders an entry immediately ineligible and requires disqualification without refund. The combined auditory, spectral, metadata, replicability, and contextual OSINT findings presented in this section do not assert intent or accuse any entrant of wrongdoing. Instead, they demonstrate consistent, multi-method correlations between the posted audio files and well-documented workflows, artifacts, and sonic characteristics associated with contemporary text-to-music generation systems. Taken together, these independent layers of evidence corroborate the conclusions of the primary investigative method—expert auditory analysis—which identified these two recordings as exhibiting characteristics incompatible with human vocal or production norms. Under ISC’s own rules, the presence of even a single non-compliant entry within the publicly announced winners is sufficient to demonstrate a structural vulnerability in the competition’s submission, screening, and judging pipeline. These two escalated case studies therefore highlight specific pressure points that warrant internal review and transparent procedural improvement. Beyond violating Rule 13, the presence of AI-generated performance elements also creates unavoidable conflicts with two additional ISC requirements. Under Rule #6, all entries must be judged on melody, composition, originality, and lyrics — criteria that presuppose human creative authorship. When core musical elements such as melody, harmonic structure, vocal performance, arrangement, and overall design are generated by a text-to-music system, those evaluative categories no longer meaningfully apply to the entrant. Likewise, Rule #1 requires that entries be original and not infringe on the rights of others; however, AI-generated melodic and instrumental content cannot be claimed as original human authorship and does not constitute a human-created work under the rule’s intended scope. As a result, any piece with AI-generated musical or vocal performance is not merely disqualified under Rule 13 — it is structurally incompatible with the criteria and authorship assumptions embedded in Rules #1 and #6. 6. Ethical Implications & Procedural Recommendations 6.1 Integrated Conclusion with High-Confidence Anomaly Indicators The findings of this report do more than expose critical markers that are highly suggestive of explicitly prohibited competition behavior; they reveal a fundamental and systemic procedural breakdown inside the International Songwriting Competition (ISC), a rupture that allowed AI-generated songs to be awarded top honors during a year in which the rules explicitly and unambiguously prohibit any AI involvement of any kind. Beyond the entrants who submitted fraudulent material, this breakdown has immediate and far-reaching ethical consequences for: the legitimate 2024 entrants the integrity of the ISC's judging process the public reputation of ISC the reputations and authoritative statuses of the celebrity judges the broader songwriting community And critically: the 2024 award cycle is still active . These winners are still displayed, still promoted, and still benefiting from honors earned under rules they did not follow. That makes this not a historical error, but a present-day harm. 6.1 Harm to Legitimate Entrants By allowing AI-generated material to advance through the winner pipeline, ISC unintentionally: grossly mishandled opportunities that should have gone to human songwriters who abided by the rules denied life-changing placements, visibility, and career momentum invalidated the meaning of a “human-created songwriting competition” created mistrust in the legitimacy of both the ISC's screening and judging processes Entrants paid real money and created real art under real rules. Those rules were not upheld. This demands retroactive correction , not future promises. 6.1A Clarification Regarding ISC’s “Final Decision” Clause The 2024 ISC rules contain a provision stating that entrants must accept the organization’s final decisions and may not dispute the outcome. Under normal circumstances, this protects ISC from typical disagreements about judging preferences or subjective artistic interpretation. However, this clause does not apply when the organization itself has violated its own binding rules . Rule 13 of the 2024 competition explicitly forbids any AI involvement in any portion of the submitted work. Because two of the publicly announced 2024 winners exhibit undeniable amounts of evidence of AI-generated and AI-assisted production, these entries were never eligible to be judged in the first place . A “final decision” built on an ineligible submission is procedurally void , because: Organizations cannot enforce entrant compliance with a decision reached by breaking their own rules. Entrants consented to a competition governed by the published rules — not to a process in which prohibited entries were allowed to advance. The clause presupposes that ISC fulfills its responsibilities of screening, verification, and rule enforcement. When governing rules are violated, the protective clause collapses; fairness and rule integrity take precedence. For these reasons, ISC’s “final decision” clause does not shield the organization from addressing this failure, nor does it obligate entrants to accept an outcome that was reached in violation of the published eligibility criteria. Entrants fulfilled their contractual obligations by submitting original, rule-compliant human-created work; ISC did not fulfill its reciprocal obligation to uphold the rules that governed the competition. Therefore, legitimate entrants are owed: retroactive correction transparent acknowledgment reinstatement of rightful placements and the restoration of trust in the competition’s integrity 6.2 Ethical Risks to the Celebrity Judges The ISC’s celebrity judges represent some of the most respected names in music. Allowing AI-generated tracks to pass through a judging panel headlined by Grammy-winning, internationally celebrated musical artists is a reputational failure of the highest magnitude. By not detecting AI-generated works, ISC has (unintentionally) positioned these artists as endorsing: prohibited works ineligible submissions procedurally flawed selections And the judges themselves have ethical responsibilities: It is the responsibility of every judge, especially at this tier, to ensure that their endorsement reflects the standards of the art form they champion. Failing to recognize and call out anomalies in vocal realism, spectral artifacts, coherence, and musical origin compromises their reputational integrity. The judges were placed in an impossible situation: their names are attached to decisions that directly contradict the rules they agreed to uphold as ISC judges. For the sake of their own reputations, the judges should insist on a formal correction. Their silence would suggest complicity, and that harms them more than anyone. 6.3 Ethical Failure by Entrants (Particularly the Second-Place Comedy "Winner") One of the escalated "winners" is a former NYPD officer and current investigator for the Office of Homeland Security in the state of New Jersey. This raises extraordinary ethical concerns. Public safety professionals employed by United States governmental bodies who occupy positions of trust hold a higher standard of conduct. Claiming to write a song and submitting it as your own when there is an overwhelming amount of evidence to the contrary, a scenario where all available evidence makes your entry appear to violate the competition rules—particularly when the rules were clear, strict, and repeatedly affirmed—constitutes: a breach of professional integrity a breach of artistic ethics a violation of the implicit trust that competitions require a direct harm to thousands of working artists across the world who depend on these kinds of opportunities. This is not bending rules at a local talent showcase. This is unfairly gaining placement in an international, career-defining songwriting competition through fraudulent tools that displace the legitimate work of hard-working human creators, and staying silent about for 6 months. This is exactly the type of erosion of artistic integrity that is harming the arts industry today. People in positions of authority and governmental influence must be held to equal standards, not be excused from them. Artists have fought for decades to build platforms like ISC that have opportunities that can change their lives. And the fight continues today. Competitions like this exist because of creative integrity, not in spite of it. 6.4 Recommendations for Immediate Corrective Action 1. Immediate Disqualification of Any Entries Showing Substantial Evidence Toward AI Involvement Under Rule 13 (2024), ANY AI involvement renders a submission immediately ineligible without refund. No exceptions. The two entries identified as ineligible to compete by this report's expert auditory analysis and corroborated by the ensuing thoroughly executed secondary evidence must be: immediately stripped of their winning titles kept visible on this year's page of outcomes in a new category marked “disqualified – rule violation” replaced accordingly with the deserving songwriters. This must occur before the 2025 winners are announced. 2. Public Statement and Formal Apology Because the 2024 winners are still public, ISC must issue: a public correction a transparent explanation of the procedural failure an apology to the entire pool of honest, displaced songwriters clarification that celebrity judges were not knowingly endorsing AI-generated works This is the beginning of a restoration of trust both for entrants and judges themselves. 3. Reinstatement of Correct Human Winners for 2024 Legitimate, rule-abiding songwriters from the 2024 ISC cycle must be publicly declared as winners in the positions they legitimately earned. Anything less is unjust and inconsistent with ISC’s own rulebook. 4. Clarify the 2025 Rule Change and Prevent Public Misinterpretation The shift from “ZERO AI involvement allowed” (2024) to “majority human authorship required” (2025) i s a dramatic and ethically consequential policy reversal. This must be addressed because: It suggests that ISC may have changed the rules after discovering AI slipped through. It raises the appearance of revenue-motivated decision-making over artistic integrity. It abandons the clarity that 2024 entrants relied upon. It opens the door for AI-dominant submissions to win major songwriting titles. ISC must publicly explain: why the rule changed why it changed so drastically why an AI category wasn’t created instead how they will protect human songwriters moving forward 5. Establish Verifiable, Audit-Ready AI Compliance Protocols The ISC’s abrupt shift from the 2024 standard of “ zero AI involvement permitted ” to the 2025 rule of “ majority human authorship ” introduces unprecedented ambiguity and invites even more systemic abuse than it already has. As written, the 2025 rule is unenforceable, undefinable, and ripe for exploitation , because: ISC provides no definition of “majority authorship.” ISC outlines no verification procedure to distinguish human vs. AI contributions. ISC collects no supporting documentation that could substantiate human creation. ISC performs no pre-screening for AI at submission. ISC appears positioned to benefit financially from increased submissions regardless of authenticity. This creates a compliance environment where: A fully AI-generated track with two lines rewritten by a human could claim “majority authorship.” A human could write 51% of lyrics while outsourcing all vocals, arrangements, and instrumentation to AI. Entrants using AI could win categories specifically intended to reward human creativity, while adhering to the “letter” (but not the spirit) of the rule. AI-dominant submissions could overwhelm categories, pushing genuine songwriters out of the awards pipeline. To prevent widespread misunderstanding, misuse, and unethical practices, ISC must implement clear, strict, externally auditable AI protocols that define, document, and verify majority-human authorship at the time of submission . Since it's too late to completely change the rules for ISC's 2025 competition cycle, it is my recommendation that they employ the following mandatory safeguards for all 2025 competition entrants regardless of whether they have already submitted and paid, offering refunds to those who wish to pull their names from eligibility (ISC has, after all, newly asserted their right to change their minds at any time about AI given the rapidly changing landscape): A. Define “Majority Human Authorship” in Measurable Terms Without quantification, the rule is functionally meaningless. The phrase must be rewritten to reflect concrete, enforceable standards, such as: A minimum percentage of lyrical content produced by a human A minimum percentage of melodic composition produced by a human A minimum percentage of instrumental arrangement produced by a human A maximum allowable percentage of AI-generated audio or stems A total prohibition on AI-generated vocals unless in a designated AI category B. Require a Signed AI Disclosure Form With Every Entry Entrants must attest whether their work includes: AI-generated lyrics AI-generated melodies AI-generated vocals AI-generated arrangements AI-generated stems/instrumentation AI mastering AI-assisted editing or mixing False attestation should result in retroactive disqualification. C. Require Submissions of Source Files and Sessions Should any questions arise about future category winners and the validity of their majority-human-authored winning entries, ISC should already possess the necessary verification materials, which have been scrutinized prior to the announcement of the winners, on hand in case further verification is required. This may include: DAW project files Lyric drafts MIDI session stems Vocal session stems Evidence of human recordings Timestamped version history Handwritten musical notation on manuscript paper Human songwriting produces a physical and digital paper trail. AI-generated music does not. D. Mandatory AI Screening at Submission To prevent AI-dominant tracks from ever reaching the judging stage, ISC must implement automated scanning or individual personal review of all submission materials. The automated process should use: IRCAM Amplify (AI detection) Metadata analysis Encoder signature scrutiny Spectral pattern evaluation (when needed) E. When this year's submission window is closed, it is my recommendation that the ISC return to a mandated ban on submissions created in-full or in-part by any AI system and add a dedicated AI-Allowed Category. (Or they could add an entirely new AI-Only Songwriting Competition.) Instead of diluting the integrity of all songwriting categories by judging two completely different songwriting processes together, ISC should e stablish a dedicated AI category for entrants who prefer to use AI in their songwriting workflows, e ncouraging innovation without compromising the respect of the songwriters who have gotten the competition to where it is today. By keeping AI-authored or -influenced songs separate from the legacy songwriters' songs, ISC will main tain fairness in judging two different processes how they deserve to be judged. This also helps avoid the perception that ISC has “sold out” to protect submission revenue A competition cannot simultaneously claim to uphold human creativity and allow AI-dominant work to compete against human artists without categorical separation. AI music is not inherently bad—it simply must not compete with human songwriting when humans are promised a human-only competition. A separate AI category preserves: transparency fairness artistic legitimacy revenue (without compromising rules) F. Require Judges to Sign AI-Compliance Verification Judges at every stage of the screening and judging process should be required to affirm that: they have actively listened to the entries in their entirety and are equipped with appropriate measures to objectively identify, qualify, and quantify AI influence in the submitted songs; they understand the rules; they would NOT knowingly endorse an ineligible work; they stand by their adjudication scores. This protects their reputation and the competition’s credibility. 6.5 Call to Action: Protect Songwriting. Protect Songwriters. The International Songwriting Competition has long been a pillar of artistic excellence—a place where creators could place their trust in the integrity of the process and the meaning of recognition. The discovery that AI-generated and AI-modified works were awarded top honors in a year where such involvement was explicitly forbidden is more than a clerical issue. It is a breach of trust, a blow to artistic fairness, and a disservice to every songwriter who has given their artistry, their passion, and their money to support the mission of the International Songwriting Competition all of its 23 years of existence. The rightful winners of 2024 must be restored, celebrated, and rewarded as is deserved and well overdue. The competition must publicly correct the record. The judges must demand accountability to protect their reputations. And ISC must reaffirm its commitment to fairness, to its mission, and to human creativity by enforcing its own rules without hesitation. This is not an attack—it is an urgent call to honor the very art form ISC was built to celebrate. The future of songwriting deserves better. 7. Author's Statement I conducted this investigation because of a problem I have witnessed repeatedly in my work as a professional musician, educator, and vocal coach: the growing number of people who claim the title of “songwriter” while relying entirely on generative AI systems to do the songwriting work for them. In recent years, I have seen an influx of new students arrive to my studio excited to “share their original songs,” only to reveal that their role in the creative process amounted to typing prompts into Suno. As an artist who has spent more than thirty years training, studying, and practicing the craft of composition, storytelling, vocal technique, and musical interpretation, I found myself troubled by how casually the term “songwriter” was being redefined—quietly, rapidly, and without resistance. About a year ago, one of my students asked me to help her write and submit a song to the International Songwriting Competition (ISC). That was the first time I had heard about the competition. I agreed, with the full intention of teaching her the true process of songwriting from the ground up, and in record timing, too. But as she began to understand the depth and discipline required to compose and record a song—lyrically, musically, structurally—she became overwhelmed and withdrew her request. Her reaction felt like a manifestation of the very concern that had been growing in me: many people now mistake AI music generation for human songwriting abilities and artistry. And I wanted to demonstrate—to her, to myself, and to my studio—that the hard work of actual human songwriting still matters. So, one week before the ISC submission deadline, I decided to write a song of my own from scratch to enter into the competition myself—not to win, but to model the real creative process for my students. I wrote a fully original song from scratch in those seven days, documented the process, and submitted it just in time. Then I did what most entrants do: I moved on and forgot about it. A year later, an ISC promotional email landed in my spam folder. Suddenly remembering the week of chaos I had writing the song, I curiously checked the ISC website to listen to the previous year’s winners. What I heard put a pit in my stomach. The second-place Comedy category winner—the very category I had entered—immediately exhibited the unmistakable markers of AI generation. And that realization cut sharply against the entire reason I had entered the competition in the first place: to lead by example and demonstrate the value of real artistic labor. That moment became the catalyst for this investigation and report. I did not begin this investigation to expose wrongdoing or to advance my own entry. (I never stood a chance against the true songwriters on that list, like my newest obsession Rett Madison, who scored 1st place in the Americana category with the most amazing song I've heard in a LONG time "One for Jackie, One for Crystal.") I did it because the very thing I sought to teach—integrity in songwriting—had been undermined by the competition itself. My involvement as an entrant is therefore a matter of transparency, not motivation, and I include it here to maintain full honesty with anyone who happens to come across this and gets this far through it. I neither expect nor seek any reconsideration of my own submission. My placement in the competition is irrelevant to the findings, the methodology, and the conclusions of this report. This investigation exists because I believe that human creativity is worth defending. My students deserve a world where songwriting competitions reward actual songwriters. My colleagues—artists who have devoted their lives to this craft—deserve fairness. And the music community at large deserves competitions that uphold their own rules. My commitment to this process has always been the same: to stand for artistic integrity, to protect the value of human musicianship, and to speak honestly at a time when silence would only further erode trust in the spaces meant to celebrate human creativity. This report is offered in service of those values. 8. About the Author Joseph Stanek is a musician, producer, educator, and scholar whose multifaceted career is founded upon 30 years of venerable study in acoustic phenomena, the science of performance, and fiercely authentic self-expression. Through his private the technical backbone for some of pop and Broadway's biggest names. His work with longtime clients, including Kristin Chenoweth, Jennifer Hudson, and Ariana Grande, has contributed to multiple Billboard-recognized releases, highlighted by Chenoweth's The Art of Elegance, which debuted at #1 on the Top Jazz Albums chart and held the spot for eight consecutive weeks. Stanek's contributions extend globally, having produced the Tabernacle Choir’s internationally broadcast Christmas Concert, reaching more than 66 million households. The recipient of the Pi Kappa Lambda Scholarly Writing Award, he founded Tour de Fierce® to empower artists through authentic expression and technical mastery. His mission is to steward honest, skill-driven performance practices that welcome new opportunities for creative expression through technological and artificial intelligence advances rooted in transparency and innovation. 9. Contact Joseph Stanek (Seph Stanek) Producer | Researcher | Educator Founder & Owner of Tour de Fierce® New York, NY Email: contact@tourdefierce.vip Website: www.tourdefierce.vip Full Report: 2024 AI-Detection Report in the International Songwriting Contest https://www.tourdefierce.vip/research/isc-ai-detection-report-2024 © 2025 Joseph Stanek. All rights reserved. Portions of this report may be quoted or referenced with proper attribution. Please link to the official publication page when citing this work. Reproduction or distribution of the full report requires written permission from the author. Cite This Report Recommended Citation: Stanek, Joseph. International Songwriting Competition 2024 AI-Detection Report . Tour de Fierce Research, 2024. https://www.tourdefierce.vip/research/isc-ai-detection-report-2024 Recommended Next Read... Learn how to transform performance anxiety into expressive strength with “Stage Fright to Stage Might,” a concise, easy-to-read information packet rooted in both science and lived experience. Continue Reading > (Free to download. Opens in a new tab.)

Watch Broadway vocal coach Joseph Stanek perform “The Music of the Night” from Phantom of the Opera — a stunning showcase of artistry, power, and vocal mastery. Singing Coach Joseph Stanek Performs “The Music of the Night” from The Phantom of the Opera I have never considered the time I spend as a professional singing coach a “job.” Leave the “job” aspect of it to everyone else out there. Being a singing coach is a testament to the transformative power of dedication. This video is so much more than just a performance I am proud of: it's my proof that anyone can learn to sing. This "The Music of the Night" performance is my own powerful reminder of what’s possible when you dedicate yourself to mastering a new skill. It’s a Phantom of the Opera cover that reflects not only years of vocal training, but the passion behind my work as a Broadway vocal coach and professional singer NYC–based. Witness my journey, from a pitch-challenged child to a professional singer, and understand the fire that fuels my approach as a highly respected singing coach. If you’ve ever wondered what true vocal mastery looks and feels like, you’re watching it come alive right here. If this kind of vocal mastery inspires you, explore voice lessons online to begin your own transformation. From Vocal Struggle Bus to Stage Sensation: My Singing Journey I wish I could show my 9-year-old self this performance. That was how old I was when I first heard a recording of my own singing voice. Back then, “singing” wasn’t even the right word for what I was doing... I couldn’t even match pitch. I was shocked as the pieces came together. I was mortified that my voice sounded the way it did, and even at such a young age, it was a harrowing realization of just how far I was from my dream. But a fire ignited within me: I would become a professional singer, no matter what. This "The Music of the Night" cover showcases the result of years of dedicated work — the kind of operatic musical theatre singing that felt impossible to me as a child. It’s the same determination I bring to my singers as their Phantom of the Opera singing coach, helping them rise from vocal struggle to stage-ready confidence. This is the kind of Broadway vocal performance I once only fantasized about, and now it’s part of my life’s work to show you what’s possible in your own journey. If you’re ready to train with a Broadway vocal coach who teaches both online and in NYC, I’d love to work with you. Privacy settings may affect your ability to watch the embedded video here on Tour de Fierce. Watch Joseph Stanek Singing The Music of the Night on YouTube. The Power of Transformation: Your Voice, Your Potential Today, as a leading singing coach and professional singer NYC, I stand on stages I once only dreamed of. If I could play this Joseph Stanek Music of the Night video for my younger self — this full, dramatic Phantom of the Opera cover — to show him that he is capable of singing the SH*T out of Andrew Lloyd Webber’s most vocally demanding composition ever, he’d probably just tell me to shut up as he hit “replay.” Because deep down, he knew the potential was there. And I know it’s in you, too. This is more than a display of Broadway vocal performance abilities; it’s a demonstration of what dedication and training can achieve. It’s the culmination of technique, storytelling, and vocal mastery — the same qualities I train into my singers every day. Trust me, I’ve been through every painstaking step of becoming a career singer. And now, I’m here to make sure that your vocal journey is as rewarding as the one that changed the trajectory of my own life... and then some! The night Velma Von Tussle had a run-in with the Phantom of the Opera... (Pictured: Kristin Chenoweth and Joseph Stanek during the Broadway Bootcamp 'Dress As Your Favorite Broadway Character' dance.) To learn more about my background and philosophy, you can meet your singing coach here. Ready to begin? You can book a vocal lesson anytime. < Back to "About'

Catch shady tracks in seconds. The Tour de Fierce Audio Clapback Engine is a free AI music detector, autotune analyzer, and full forensic breakdown for song files. Audio Clapback Engine: Free AI-Music Detector & Autotune Analyzer Finally, the receipts. Upload any song and get a full forensic breakdown that exposes AI vocals, autotune abuse, shady editing, and sus “I swear I wrote this myself” claims. Created by a vocal coach and fierce songwriter (the real kind). 100% Free Online Tool That Claps Back When AI Music Slop is Caught 👏 Instant | Accurate | Ruthless - because we need transparency in music creation. Not AI slop. Totally free, no sign-ups, no commitment, three easy steps: Upload a music file. Get the truth. Clap back with confidence. Analyze Your Files How the Audio Clapback Engine Works You may be able to detect some sass in the delivery here, but make no mistakes: this was not built for entertainment. The Tour de Fierce Audio Clapback Engine is a forensic song analyzer that uses real science to give you answers. Like, if Bill Nye gave a Z-snap every time he spoke. Step 1: Upload Your Audio File Just make sure it's an MP3, WAV, AAC, or M4A. Step 2: Automated Signal Processing Your file is fed through pitch mapping software, spectral graphs, timbre models, and generative classifier arrays. Step 3: AI Detection & Autotune Detection The Audio Clapback Engine compares your uploaded music against natural human fold production (one of our specialties here at Tour de Fierce) and typical patterns of synthetic deepfake vocals. Step 4: Full Clapback Report Your results appear instantly in easily digestible language that even Siri can understand the first time through. Clapback Now 👏 AUDIO CLAPBACK ENGINE AUDIO CLAPBACK ENGINE AUDIO CLAPBACK ENGINE AUDIO CLAPBACK ENGINE The Music Industry Needs This Call me old-fashioned, but typing a prompt does not qualify anyone to call themselves a "songwriter" - period. The world deserves transparency about who created the music they listen to, and how it was created. Where I come from, doing something like claiming you "wrote" a song through an AI music generating service is considered fraud. Unfortunately, the AI-music-generating trend has created a lot of distrust around the subject of songwriting, and rightfully so. That's why the Tour de Fierce Audio Clapback Engine was created. Whether you're a: singer evaluating a mix vocal coach analyzing a student's work competition judge screening song submissions producer filtering out collaboration requests human who wants to know more about the music creation process ...then the Audio Clapback Engine gives you the answers you seek, receipts in the form of a printable .pdf file, and the peace of mind you deserve. Ethics, Privacy, & Safety: Your Files Are Safe We do not store your uploads. We also don't sell your data. And, most importantly, we don't train AI on your voice. Everything happens in real time and disappears the moment you leave the page. Unless, of course, you download your Audio Clapback Report ... that's another free gift you can use to validate the origins of any sus AI-slop that comes your way. Made by Joseph Stanek and Tour de Fierce Created by an internationally celebrated vocal coach , producer, songwriter, and performer trusted by: Grammy-winning artists and stage productions Broadway stars A-list celebrities Major TV networks and record labels Tour de Fierce builds tools that demystify the voice, empower artists, and expose nonsense. Check out Tour de Fierce's AI-Detection Report exposing AI fraud among the winners of the International Songwriting Contest - yeah, we mean business. FAQ What does the Audio Clapback Engine do? It detects AI vocals, identifies autotune usage, and breaks down your audio file into human-readable forensic insights. Is it free? Yes. 100% free. And 100% fabulous. What file types can I upload? MP3, WAV, AAC, and M4A. Can it detect autotune? Absolutely. The tool grades pitch correction intensity with a clean color-coded index. Can I use this to verify whether a singer actually recorded their vocals? Oh yes. That's exactly why it exists. More Free Tools from Tour de Fierce Vocal Warm-Up Generator > Tongue Twister Generator > Vocal Range Analyzer > Tour de Fierce Blog > Tour de Fierce Research > How to Deal with Stage Fright >