Individual Voice Education 3
|202EIV3||Z||2||1 hours (45 min) of instruction per week, 41 to 51 hours of self-study||English||winter|
Tereza JANDA ROGLOVÁ
Name of lecturer(s)
Learning outcomes of the course unit
- Create impetus for general recognition of the importance of the psychological basis of individual functional voice exercises.
- Developing vocal basics and the phsyical-mental conditions, the need to induce voice exercises in a corresponding physical-mental system. For each harmonically tuned function (in the sense of the harmonic interplay of healthy, vitalizing, mental, physical and vocal production).
- The mediator is primarily the conscientious management of breating which renews the harmonic balance among the body, thoughts and emotions.
- To understand the mechanism of natural (miscellaneous) breathing and its relationship to thought, muscles and emotion, that is, to induce prmiciples of self-awareness and attempt to integrate rational, sensible and emotional thought.
- Justify the reality that voice is a communication of human physical-mental quality and co-creates a comprehensive expression of individuality.
- Quality of voice reflects the tuning of the conscious and subconscious of the individual.
Mode of study
- Solo and group voice instruction. Classes. Analysis of student reviews. Recorded example analyses
- Practice of vocal skills, focused primarily on developing spatial and mass imagination - ex: body mass - in a techical interplay linked to the somatic and psychosomatic.
- Assessment of achieved skill level may be done in instruction at at the summary exam.
Prerequisites and co-requisites
Basic music theory knowledge, middle-school knowledge of wind instruments, vocal and articulation apparatuses. Musicality. Interest in the study. Presumed education.
Voice training is understood as one component of artistic training - very good self-realization - meaning aimed towards getting to know oneself and one's potential also for training the voice. All Alternative Theatre and Puppetry Dept. body-mind course are aimed in this direction.
Recommended or required reading
Seikel, John A.: Anatomy and Physiology for Speech, Language, and Hearing. Clifton Park Delmar cengage learning 2010.
Zinder, David G.: Body voice imagination image. London, New York: Routledge 2009.
Garfield Davies, D.: Care of the professional voice, a guide to voice management for singers, actors and professional voice users. New York: Routledge 2005.
Marafioti, P. Mario: Caruso´s Method of Voice Production the Scientific Culture od the Voice. New York: Appleton-Century 1937.
Linklater, Kristin: Freeing the natural voice. New York: Drama Book Publishers 1976.
Houseman, Barbara: Finding your voice, a step-by-step guide for actors. London: Nick Hern Books 2012.
Titze, Ingo R.: Principles of voice production. Iowa City: National Center for Voice and Speech 2000.
Miller, Donald: Resonance in singing voice building through acoustic feedback. Princeton: Inside view press 2008
Stebbins, Genevieve: Society gymnastics and voice-culture adapted from the Delsarte system. New York: Edgar S. Werner Publishing & Supply Co. 1888
Rodenburg, Patsy: Speaking Shakespeare. London: Methuen 2002.
Rodenburg, Patsy: The actor speaks voice and the performer. London: Methuen Drama 2005.
Rodenburg, Patsy: The Need for Words Voice and the Text. London: Methuen 2005.
Salzman, Eric: Thenew music theater seeing the voice, hearing the body. New York: Oxford University Press 2008.
Newham, Paul: Therapeutic voicework principles and practice for the use of singing as a therapy. London, Philadelphia: Jessica Kingsley 1998.
Rodenburg, Patsy: The Right to Speak working with the voice. London: Methuen 1992
Lewis, Dennis: The Tao of Natural Breathing for Health, Well-Being and Inner Growth: San Francisco: Mountain Wind Publishing 1997
Edgerton, Michael Edward: The 21st-century voice contemporary and traditional extra-normal voice. Lanham: Scarecrow Press 2004.
Alschitz, Jurij: Training forever!. Malmö: Lund University, Malmö Theatre Academy 2003.
Titze, Ingo R.: Vocology the science and practice of voice habilitation. Iowa City: Utah National Center for Voice and Speech 2012.
Shewell, Christina: Voice work art and science in changing voices. Chichester: Wiley-Blackwell 2009.
Martin, Jacqueline: Voice in modern theatre. London: Routledge 1991.
Gutekunst, Christina: Voice into acting Integrating voice and the Stanislavski approach. London, New York: Bloomsbury Methuen Drama 2014.
Berry, Cicely: Voice and the Actor. New York: Wiley Publishing 1973.
Berry, Cicely: Your voice and how to use it. London: Virgin Books 2000.
Campo, Giuliano: Zygmunt Molik’s voice and body work the legacy of Jerzy Grotowski. London, New York: Routledge 2010.
Chapman, Janice L.: Singing and teaching singing. 2012.
Fields, Victor Alexander: Training the Singing Voice. 1947.
Assessment methods and criteria
Credit is awarded based on: Working activity in exercises and classes; completion of two reviews at the summary of both semesters; theory interview on voice technique theory and its importance for personal development.
Schedule for winter semester 2022/2023:
(Karlova 26, Praha 1)
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
Karlova 26, Praha 1
Schedule for summer semester 2022/2023:
The schedule has not yet been prepared