Singing and Teaching Singing. A Holistic Approach to Classical Voice

Now in its second edition, Singing and Teaching Singing: A Holistic Approach to Classical Voice improves on a predecessor that has proven to be a resounding hit for singers and their teachers, speech-language pathologists, laryngologists, practitioners of Alexander, Yoga, Feldenkrais, and others, and, increasingly, as an adopted text for instructors and students in voice, singing, and performing arts courses.

For this edition, all chapters have been revised and updated, with particular attention to the Accent Method of breathing as a highly effective remedial and training technique appropriate for all singers and students; new research on use of the transverse abdominis muscles in vocal support strategies; a complete revision and updating of the case studies; a new description of the ?ultimate tongue release? exercise; and the addition of the ?puffy cheeks? exercise.

Eminently practical, with numerous case examples and two-color illustrations, Janice Chapman?s book remains a highly personal and accessible approach to the world of the singer and the teacher.

Aside from being an internationally renowned singing teacher, researcher, lecturer, and educator, she is able to draw on her experiences as a singer with some of the world?s leading opera companies, to present a teaching technique specifically focusing on voice in the areas of classical and opera singing. Interspersed with the concepts and components of Chapman?s methods are vignettes from her life and career, brought to life by her conversational and vibrant style to guide (and entertain) the reader through the book logically and in a step-by-step fashion.

Chapman?s philosophy of teaching combines three main facets: Holistic, Physiological, and Incremental. The Holistic segment emphasizes that the act of singing involves the whole person (that is, body, mind, spirit, emotion, and voice). The Physiological segment stresses teaching based on the anatomy, muscular function, and the effects of muscular interactions. Students and teachers alike can understand and visualize the functional workings of the torso, larynx, and the vocal tract and their impact on good singing practices. Finally, the Incremental section shows that singing can be broken down into manageable components, and that these components have a natural hierarchy which eventually interact and interlock. Chapman?s teaching model provides a framework to master one element at a time, with the resulting effect of a complete and integrated mastery of technique.

Chapman recommends this framework for rehabilitative work with the dysfunctional singer, for working with the developing singer, and for the ongoing development and maintenance of the technically able professional singer. Throughout, she stresses the importance of flexibility, partnership, and ongoing learning. Case studies, examples, and exercises and contributions from some of the world?s best known voice professionals, further highlight her writing.

CONTENIDO:



Foreword to First Edition, by Robert T. Sataloff, M.D., D.M.A.
Preface to Second Edition
Acknowledgments
Contributing Authors
Introduction


- Pedagogical Philosophy
Primal Sound
Postural Alignment
Breathing and Support (Janice Chapman and Ron Morris)
Phonation and the Speaking Voice (Janice Chapman and Ron Morris)
Resonance (Janice Chapman and Ron Morris)
Articulation (Ron Morris and Janice Chapman)

- Artistry and Performance
The Teaching and Learning Partnership Part I. The Singer's Journey: A Case Study of Eleven Singers Associated with the Studio (Marilyn McCarthy)
The Teaching and Learning Partnership Part II. The H-Factor: Working Holistically Within the Teaching and Learning Partnership (Marilyn McCarthy)
Vocal and Respiratory Anatomy and Physiology (John S. Rubin)
Voice and the Brain (Pamela Davis)
Hearing and Singing (Adrian Fourcin)

- Working with the Professional Singer
From Performer to Pedagogue: A Multidisciplinary Route
Appendix I: Exercises
Appendix II: Core Capabilities for Singers and Teachers (Marilyn McCarthy)
Appendix III: Priorities in Developing the Young Adult Classical Singer at Music College
Index