Individual Voice Education 4
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 202EIV4 | ZK | 2 | 1T | English | summer |
Subject guarantor
Name of lecturer(s)
Pavla FENDRICHOVÁ, Tereza JANDA ROGLOVÁ
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.
Course contents
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
Campo, Giuliano. Zygmunt Molik’s voice and body work the legacy of Jerzy Grotowski. London, New York: Routledge, 2010.
Heirich, Jane Ruby. Voice and the Alexander Technique: Active explorations for speaking and singing. 2.edition. Berkeley, California: Autumn Press, 2011.
Lewis, Dennis. The Tao of Natural Breathing for Health, Well-Being and Inner Growth. San Francisco: Mountain Wind Publishing,1997.
Newham, Paul. Therapeutic voicework principles and practice for the use of singing as a therapy. London, Philadelphia: Jessica Kingsley,1998.
Park, Glen. The Art of Changing. The Art of Changing. Brassmill Lane: Ashgrove Press Limited, 1992.
Salzman, Eric. The new music theater seeing the voice, hearing the body. New York: Oxford University Press, 2008.
Seikel, John A.. Anatomy & Physiology for Speech, Language, and Hearing. Clifton Park Delmar cengage learning, 2010.
Titze, Ingo R.. Vocology the science and practice of voice habilitation. Iowa City: Utah National Center for Voice and Speech, 2012.
Weiss, Maria. The Alexander Technique and the Art of Teaching Voice: Singing and speaking with an energetic, free and beautiful voice. VDM Verlag Dr. Müller Aktiengesellschaft and Co.KG, 2005.
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 2020/2021:
The schedule has not yet been prepared
Schedule for summer semester 2020/2021:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Authorial Acting in English (M.A.) (required subject)
- Authorial Acting (M.A.) (required subject)