Pub Date : 2023-09-30DOI: 10.1080/23268263.2023.2262776
Larissa Kelloway
"The Voice Coach’s Toolkit." Voice and Speech Review, ahead-of-print(ahead-of-print), pp. 1–2 Additional informationNotes on contributorsLarissa KellowayLarissa Kelloway balances her career between performing and teaching. Her PhD research, “Investigating the role of Pilates in the posture and vocal production of singers,” blended her specializations as a conservatory trained musical theatre performer, and voice and bodywork educator. She passionately advocates for performing arts research and teaching and believes that high quality research supports pedagogical practices, enhances student learning, and champions career longevity. Blending her diverse sources of knowledge, she equips artists with tools that enhance vocal production and body use, prevent injuries, and optimize their instruments.
{"title":"The Voice Coach’s Toolkit <b>The Voice Coach’s Toolkit</b> , Pamela Prather, Oxon, UK; New York, USA, Routledge, 2023, 223 pp., ISBN: 9780367438838, US $39.95 (paperback)","authors":"Larissa Kelloway","doi":"10.1080/23268263.2023.2262776","DOIUrl":"https://doi.org/10.1080/23268263.2023.2262776","url":null,"abstract":"\"The Voice Coach’s Toolkit.\" Voice and Speech Review, ahead-of-print(ahead-of-print), pp. 1–2 Additional informationNotes on contributorsLarissa KellowayLarissa Kelloway balances her career between performing and teaching. Her PhD research, “Investigating the role of Pilates in the posture and vocal production of singers,” blended her specializations as a conservatory trained musical theatre performer, and voice and bodywork educator. She passionately advocates for performing arts research and teaching and believes that high quality research supports pedagogical practices, enhances student learning, and champions career longevity. Blending her diverse sources of knowledge, she equips artists with tools that enhance vocal production and body use, prevent injuries, and optimize their instruments.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136279939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-27DOI: 10.1080/23268263.2023.2258694
Lily Librach
Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsLily LibrachLily Librach is a singer, actor, dancer, creator, and adjunct professor of voice at NYU. She is a 2024 candidate for a MM in Vocal Performance: Musical Theatre, and ADVCRT in Vocal Pedagogy. She graduated from Sheridan College’s Musical Theatre undergraduate program in 2022. There she starred as Lillian Holiday in Weill and Brecht’s Happy End. Lily was named a top 10 finalist of Mirvish’s worldwide Show Tune Idol Competition and has been featured in City Life Magazine. A winner of both the Kiwanis Music Festival and Oakville Vocal Arts Festivals, Lily continues to make her mark as an artist and teacher.
{"title":"The Essentials of CoreSinging: A Joyful Approach to Singing and Voice Pedagogy <b>The Essentials of CoreSinging: A Joyful Approach to Singing and Voice Pedagogy</b> , Meribeth Dayme, edited by Cynthia Vaughn and Matthew Hoch, Lanham, Maryland, Rowman & Littlefield, 2022, 279 pp., US $40.00 (paperback), ISBN: 978-1-5381-6400-6","authors":"Lily Librach","doi":"10.1080/23268263.2023.2258694","DOIUrl":"https://doi.org/10.1080/23268263.2023.2258694","url":null,"abstract":"Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsLily LibrachLily Librach is a singer, actor, dancer, creator, and adjunct professor of voice at NYU. She is a 2024 candidate for a MM in Vocal Performance: Musical Theatre, and ADVCRT in Vocal Pedagogy. She graduated from Sheridan College’s Musical Theatre undergraduate program in 2022. There she starred as Lillian Holiday in Weill and Brecht’s Happy End. Lily was named a top 10 finalist of Mirvish’s worldwide Show Tune Idol Competition and has been featured in City Life Magazine. A winner of both the Kiwanis Music Festival and Oakville Vocal Arts Festivals, Lily continues to make her mark as an artist and teacher.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135536613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-25DOI: 10.1080/23268263.2023.2261612
Frankie Armstrong, Flloyd Kennedy
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. https://amIoldyet.com/are-you-old-yet-interview-with-frankie-armstrong2. Now the Center for Traditional Music and Dance https://ctmd.org3. Archetype Incubator, May 29th to June 6th 2024 at University of Northern Ohio in Ada, Ohio.4. As Far as the Eye can Sing: an autobiography, Frankie Armstrong with Jenny Pearson. The Women’s Press 1992.Additional informationNotes on contributorsFrankie ArmstrongFrankie Armstrong began singing professionally in 1964 and in 1975 began teaching her pioneering voice workshops based on ethnic styles of singing. She has sung and run workshops all over Europe, North America and Australia, published 12 solo albums, co-written with Janet Rodgers Acting and Singing with Archetypes, and co-edited Well Tuned Women with Jenny Pearson. Frankie is an honorary life member of VASTA, President of the Natural Voice Network and was awarded the Gold Badge from the English Folk Dance and Song Society for outstanding contributions to the field of folk music.Flloyd KennedyFlloyd Kennedy is an Australian actress, director and voice coach, singer-songwriter and poet. She participated in the British folk revival in the late 1960s, was Artistic Director of Golden Age Theatre (Glasgow) in the early 1990s, and has taught voice, accents, acting and clowning in the UK, US and Australia. Flloyd is an Associate Artist with International School for Acting And Creativity and is presently Chair of British Actors Equity Merseyside & Cheshire Branch. She has published three poetry collections, and her podcast comedy-drama serial Am I Old Yet? is available on all major podcasting apps.
{"title":"Frankie Armstrong – My Journey to Now","authors":"Frankie Armstrong, Flloyd Kennedy","doi":"10.1080/23268263.2023.2261612","DOIUrl":"https://doi.org/10.1080/23268263.2023.2261612","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. https://amIoldyet.com/are-you-old-yet-interview-with-frankie-armstrong2. Now the Center for Traditional Music and Dance https://ctmd.org3. Archetype Incubator, May 29th to June 6th 2024 at University of Northern Ohio in Ada, Ohio.4. As Far as the Eye can Sing: an autobiography, Frankie Armstrong with Jenny Pearson. The Women’s Press 1992.Additional informationNotes on contributorsFrankie ArmstrongFrankie Armstrong began singing professionally in 1964 and in 1975 began teaching her pioneering voice workshops based on ethnic styles of singing. She has sung and run workshops all over Europe, North America and Australia, published 12 solo albums, co-written with Janet Rodgers Acting and Singing with Archetypes, and co-edited Well Tuned Women with Jenny Pearson. Frankie is an honorary life member of VASTA, President of the Natural Voice Network and was awarded the Gold Badge from the English Folk Dance and Song Society for outstanding contributions to the field of folk music.Flloyd KennedyFlloyd Kennedy is an Australian actress, director and voice coach, singer-songwriter and poet. She participated in the British folk revival in the late 1960s, was Artistic Director of Golden Age Theatre (Glasgow) in the early 1990s, and has taught voice, accents, acting and clowning in the UK, US and Australia. Flloyd is an Associate Artist with International School for Acting And Creativity and is presently Chair of British Actors Equity Merseyside & Cheshire Branch. She has published three poetry collections, and her podcast comedy-drama serial Am I Old Yet? is available on all major podcasting apps.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135814883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-24DOI: 10.1080/23268263.2023.2262180
Rockford Sansom
ABSTRACTThis essay explores Self-Directed Learning in voice training for the performing arts. It begins with a philosophical discussion of adult learning theory, Self-Directed Learning, and the essay ends with tangible and practical steps for including Self-Directed Learning in the higher education classroom. Ultimately, the author encourages instructors to explore Self-Directed Learning teaching practices and for the field of voice studies to examine Self-Directed Learning further.KEYWORDS: Self-directed learningadult learningvoiceactingtheatre Disclosure StatementNo potential conflict of interest was reported by the author.Notes1. Admittedly, most of the adult learning references I offer are “classic” references, so they are quite old. The best (and more contemporary) resource as a primer on adult learning theory is Adult Learning: Linking Theory and Practice (Merriam and Bierema Citation2013).2. How a teacher negotiates their own bias in the classroom and how teachers can breakdown hierarchies (such as in “critical theory”) is an important and marvelous conversation. Oram (Citation2019) offers a starting place for reading on this topic in voice training. Nevertheless, this conversation is beyond the scope of this essay, which seeks to introduce Self-Directed Learning and offer some basic practices.3. Surveymonkey.com is perhaps the most well-known free survey software.4. See Sansom (Citation2016) for a discussion on varying learning styles in voice training.5. First published in 1949, Bloom’s Taxonomy is a widely-used framework in education for discussing the “hierarchy” of learning objectives.Additional informationNotes on contributorsRockford SansomRockford Sansom, PhD, is an Assistant Professor of Voice at Louisiana State University and the voice coach of LSU’s resident Equity theatre, Swine Palace. As a coach, he has worked with actors Off-Broadway and in regional theatre, Fortune 500 executives, UN delegates, and members of the US Congress. He holds a PhD in education (Capella University), an MFA in theatre (University of Central Florida), and voice certifications from Fitzmaurice, Knight-Thompson, and Estill (Master Trainer). As an actor, he performed Off-Broadway, regionally, and in international and national tours. He was the Editor of the Voice and Speech Review and has published the books The History of Voice Pedagogy and Vocal Traditions. Member, AEA, SAG-AFTRA.
摘要本文探讨表演艺术语音训练中的自主学习。它以成人学习理论，自主学习的哲学讨论开始，文章以将自主学习纳入高等教育课堂的具体和实际步骤结束。最后，作者鼓励教师探索自主学习的教学实践，并在语音研究领域进一步研究自主学习。关键词:自主学习;成人学习;声音表演;诚然，我提供的大多数成人学习参考都是“经典”参考，所以它们相当古老。作为成人学习理论入门的最佳(也是更现代的)资源是《成人学习:连接理论与实践》(Merriam and Bierema Citation2013)。教师如何在课堂上协调他们自己的偏见，以及教师如何打破等级制度(比如在“批判理论”中)是一个重要而奇妙的对话。Oram (Citation2019)为阅读语音训练中的这一主题提供了一个起点。然而，这段对话超出了本文的范围，本文旨在介绍自主学习并提供一些基本的练习。Surveymonkey.com也许是最著名的免费调查软件。参见Sansom (Citation2016)关于语音训练中不同学习方式的讨论。布鲁姆的分类法于1949年首次出版，是一个广泛使用的教育框架，用于讨论学习目标的“层次”。rockford Sansom，博士，是路易斯安那州立大学的语音助理教授，也是路易斯安那州立大学的常驻股本剧院——猪宫的语音教练。作为一名教练，他曾与百老汇外和地区剧院的演员、财富500强高管、联合国代表和美国国会议员合作。他拥有卡佩拉大学(Capella University)教育学博士学位、佛罗里达中部大学(University of Central Florida)戏剧艺术硕士学位，以及菲茨莫里斯(Fitzmaurice)、奈特-汤普森(Knight-Thompson)和斯蒂尔(Master Trainer)的声音认证。作为一名演员，他在非百老汇、地区、国际和国内巡演中演出。他是《声音与演讲评论》的编辑，并出版了《声音教育学的历史》和《声音传统》等书。成员，AEA, SAG-AFTRA。
{"title":"Inviting Self-Directed Learning into the College Voice Classroom","authors":"Rockford Sansom","doi":"10.1080/23268263.2023.2262180","DOIUrl":"https://doi.org/10.1080/23268263.2023.2262180","url":null,"abstract":"ABSTRACTThis essay explores Self-Directed Learning in voice training for the performing arts. It begins with a philosophical discussion of adult learning theory, Self-Directed Learning, and the essay ends with tangible and practical steps for including Self-Directed Learning in the higher education classroom. Ultimately, the author encourages instructors to explore Self-Directed Learning teaching practices and for the field of voice studies to examine Self-Directed Learning further.KEYWORDS: Self-directed learningadult learningvoiceactingtheatre Disclosure StatementNo potential conflict of interest was reported by the author.Notes1. Admittedly, most of the adult learning references I offer are “classic” references, so they are quite old. The best (and more contemporary) resource as a primer on adult learning theory is Adult Learning: Linking Theory and Practice (Merriam and Bierema Citation2013).2. How a teacher negotiates their own bias in the classroom and how teachers can breakdown hierarchies (such as in “critical theory”) is an important and marvelous conversation. Oram (Citation2019) offers a starting place for reading on this topic in voice training. Nevertheless, this conversation is beyond the scope of this essay, which seeks to introduce Self-Directed Learning and offer some basic practices.3. Surveymonkey.com is perhaps the most well-known free survey software.4. See Sansom (Citation2016) for a discussion on varying learning styles in voice training.5. First published in 1949, Bloom’s Taxonomy is a widely-used framework in education for discussing the “hierarchy” of learning objectives.Additional informationNotes on contributorsRockford SansomRockford Sansom, PhD, is an Assistant Professor of Voice at Louisiana State University and the voice coach of LSU’s resident Equity theatre, Swine Palace. As a coach, he has worked with actors Off-Broadway and in regional theatre, Fortune 500 executives, UN delegates, and members of the US Congress. He holds a PhD in education (Capella University), an MFA in theatre (University of Central Florida), and voice certifications from Fitzmaurice, Knight-Thompson, and Estill (Master Trainer). As an actor, he performed Off-Broadway, regionally, and in international and national tours. He was the Editor of the Voice and Speech Review and has published the books The History of Voice Pedagogy and Vocal Traditions. Member, AEA, SAG-AFTRA.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135924474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-21DOI: 10.1080/23268263.2023.2258738
Lauren Roth
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsLauren RothLauren Roth (she/her) is an accent coach and teaching artist based in Duluth. Recent coaching credits include Once On This Island and Waitress (Broadway National Tours); Nothing Gold Can Stay (A.R.T./New York Theatres); Once, Ragtime, and Kinky Boots (Duluth Playhouse); and Sweeney Todd (South Coast Repertory). Lauren currently works as an Assistant Professor of voice and speech at the University of Minnesota Duluth. She is a proudly certified teacher of Knight-Thompson Speechwork, and holds an MFA in acting pedagogy from California State University-Long Beach and a BFA in acting from NYU’s Tisch School of the Arts.
点击放大图片点击缩小图片披露声明作者未发现潜在的利益冲突。lauren Roth(她/她)是德卢斯的一名口音教练和教学艺术家。最近的教练成绩包括Once On This Island和Waitress (Broadway National Tours);金不换(A.R.T./New York Theatres);Once, Ragtime, and Kinky Boots (Duluth Playhouse);《理发师陶德》(South Coast Repertory)。劳伦目前在明尼苏达大学德卢斯分校担任语音和言语助理教授。她是Knight-Thompson Speechwork的认证教师，拥有加州州立大学长滩分校表演教育学硕士学位和纽约大学蒂施艺术学院表演学学士学位。
{"title":"Wordslut: A Feminist Guide to Taking Back the English Language <b>Wordslut: A Feminist Guide to Taking Back the English Language</b> , by Amanda Montell, New York, USA, HarperCollins Publishers, 2019, 291 pp., US $17.99 (paperback), ISBN 978-0-06-286888-6","authors":"Lauren Roth","doi":"10.1080/23268263.2023.2258738","DOIUrl":"https://doi.org/10.1080/23268263.2023.2258738","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsLauren RothLauren Roth (she/her) is an accent coach and teaching artist based in Duluth. Recent coaching credits include Once On This Island and Waitress (Broadway National Tours); Nothing Gold Can Stay (A.R.T./New York Theatres); Once, Ragtime, and Kinky Boots (Duluth Playhouse); and Sweeney Todd (South Coast Repertory). Lauren currently works as an Assistant Professor of voice and speech at the University of Minnesota Duluth. She is a proudly certified teacher of Knight-Thompson Speechwork, and holds an MFA in acting pedagogy from California State University-Long Beach and a BFA in acting from NYU’s Tisch School of the Arts.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136136883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-18DOI: 10.1080/23268263.2023.2258739
Jack F. Murphy
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsJack F. MurphyJack F. Murphy is a singing-actor, educator, and multi-instrumentalist, equally at home in the worlds of classical voice, musical theatre, and contemporary commercial music. Recent engagements include performances with the New York Philharmonic, Ohio Light Opera, and Hawaii Performing Arts Festival. He has performed internationally, including in South Africa, Ireland, Greece, Austria, and at the world-renowned Edinburgh Fringe Festival. In addition to his performance career, he is an Adjunct Instructor of voice at New York University.
{"title":"Training Contemporary Commercial Singers <b>Training Contemporary Commercial Singers</b> , by Elizabeth nn Benson, Oxford, UK, Compton Publishing Ltd, 2020, 302 pp., US $39.99 (paperback), ISBN 978-1-909082-62-5","authors":"Jack F. Murphy","doi":"10.1080/23268263.2023.2258739","DOIUrl":"https://doi.org/10.1080/23268263.2023.2258739","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsJack F. MurphyJack F. Murphy is a singing-actor, educator, and multi-instrumentalist, equally at home in the worlds of classical voice, musical theatre, and contemporary commercial music. Recent engagements include performances with the New York Philharmonic, Ohio Light Opera, and Hawaii Performing Arts Festival. He has performed internationally, including in South Africa, Ireland, Greece, Austria, and at the world-renowned Edinburgh Fringe Festival. In addition to his performance career, he is an Adjunct Instructor of voice at New York University.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135149737","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-14DOI: 10.1080/23268263.2023.2258698
Sarah Nichols
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsSarah NicholsSarah Nichols is a second-generation Cuban American voice, accent, and communication coach with an MFA in voice Studies from the Royal Central School of Speech and Drama. She has taught for institutions in the US, UK, Canada, Italy, and Egypt. A Senior Editor-at-Large for the International Dialects of English Archive (IDEA) and an active member of VASTA since 2018, Sarah was awarded the Rocco Dal Vera Graduate Research Award for her 2022 VSR article “Bridging the Gap between Voice Coaches and Sound Designers in the Theatre.” Based in Washington, DC, Sarah holds private and group sessions for actors and executives.
点击放大图片点击缩小图片披露声明作者未发现潜在的利益冲突。萨拉·尼科尔斯萨拉·尼科尔斯是第二代古巴裔美国人的声音、口音和沟通教练，拥有皇家中央演讲和戏剧学院的声音研究硕士学位。她曾在美国、英国、加拿大、意大利和埃及的院校任教。Sarah是国际英语方言档案(IDEA)的高级特约编辑，自2018年以来一直是VASTA的活跃成员，她的2022年VSR文章“弥合剧院语音教练和声音设计师之间的差距”被授予Rocco Dal Vera研究生研究奖。总部设在华盛顿特区，莎拉为演员和高管举办私人和小组会议。
{"title":"Play with Purpose: Lessac Kinesensics in Action","authors":"Sarah Nichols","doi":"10.1080/23268263.2023.2258698","DOIUrl":"https://doi.org/10.1080/23268263.2023.2258698","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsSarah NicholsSarah Nichols is a second-generation Cuban American voice, accent, and communication coach with an MFA in voice Studies from the Royal Central School of Speech and Drama. She has taught for institutions in the US, UK, Canada, Italy, and Egypt. A Senior Editor-at-Large for the International Dialects of English Archive (IDEA) and an active member of VASTA since 2018, Sarah was awarded the Rocco Dal Vera Graduate Research Award for her 2022 VSR article “Bridging the Gap between Voice Coaches and Sound Designers in the Theatre.” Based in Washington, DC, Sarah holds private and group sessions for actors and executives.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134910789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-07DOI: 10.1080/23268263.2023.2250242
Shannon Blanchet, Alice Elizabeth Atkin
ABSTRACT Recent decades have generated a proliferation of research into the phenomenon known as mindfulness. This literature gives voice and speech researchers an opportunity to reconceptualize and assess their practices. Voice and Speech Training (VST) for actors shares certain techniques and attitudes in common with mindfulness. Thus, it is plausible that these two practices rely on similar psychological and neurological mechanisms and may produce similar benefits. We provide an interdisciplinary review of the contemporary literature regarding vocal production, VST practices, mindfulness, and meditation, highlighting conceptual and practical connections between them. We propose that attention is a common mechanism that unifies VST practices and mindfulness. We provide an overview of how attention and mindfulness meditation have been conceptualized and summarize recent empirical studies on their possible relationship. Finally, we suggest future directions for how interdisciplinary research teams might investigate the relationship between VST, mindfulness, and attention, and bring empirical methodologies to bear on questions of artistic significance.
{"title":"A Focus on the Voice: Attention as a Unifying Mechanism Underlying Vocal Training and Mindfulness","authors":"Shannon Blanchet, Alice Elizabeth Atkin","doi":"10.1080/23268263.2023.2250242","DOIUrl":"https://doi.org/10.1080/23268263.2023.2250242","url":null,"abstract":"ABSTRACT Recent decades have generated a proliferation of research into the phenomenon known as mindfulness. This literature gives voice and speech researchers an opportunity to reconceptualize and assess their practices. Voice and Speech Training (VST) for actors shares certain techniques and attitudes in common with mindfulness. Thus, it is plausible that these two practices rely on similar psychological and neurological mechanisms and may produce similar benefits. We provide an interdisciplinary review of the contemporary literature regarding vocal production, VST practices, mindfulness, and meditation, highlighting conceptual and practical connections between them. We propose that attention is a common mechanism that unifies VST practices and mindfulness. We provide an overview of how attention and mindfulness meditation have been conceptualized and summarize recent empirical studies on their possible relationship. Finally, we suggest future directions for how interdisciplinary research teams might investigate the relationship between VST, mindfulness, and attention, and bring empirical methodologies to bear on questions of artistic significance.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":" ","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48045981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-05DOI: 10.1080/23268263.2023.2246308
Amanda Brunk
ABSTRACT This study had two objectives. Within the training programs of community musicians, we sought to investigate the relationship between community music-makers and voice habilitation practices. We also sought to understand how community music-makers learn to adapt their personal vocal practices to an undergraduate curriculum. Ten community musicians participated in this study. They were drawn from a class that was following aspects of Kristin Linklater’s voice progression framework as laid out in her book Freeing the Natural Voice. Linklater’s material was supplemented with other interventions thought to promote voice habilitation, such as laryngeal massage (Mathieson 2011) and semi-occluded vocal tract exercises. Data was collected through class observations, interviews and surveys. While the body of participants was admittedly small, we did see evidence that the vocal habilitation practices advocated by the Linklater voice progression framework seemed to support the efforts of these community musicians to express themselves more effectively. A greater sample may add dimension to these preliminary findings. More study is needed.
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Pub Date : 2023-09-02DOI: 10.1080/23268263.2023.2257987
Shannon Vickers
ABSTRACTThis article highlights the origins of performance training and voice pedagogy in Canada developed, in part, through the work of Michel Saint-Denis and Iris Warren. It further connects the origins of performance voice to the social sciences, highlighting the historical influences that psychodynamic therapeutic approaches have had toward informing somatic voice methodologies and pedagogy. By revisiting one thread within the historic collaboration between these fields, the article encourages actively revisiting cross-disciplinary collaborations to support knowledge-creation; which has the potential to advance both fields and encourage the development of trauma-informed, embodied frameworks to support integrated pedagogies and accessible interventions across disciplines.KEYWORDS: Performancevoicetraumacross-disciplinarypolyvagal theory Disclosure statementNo potential conflict of interest was reported by the author.Notes1. While other voice and speech training methodologies have historically been taught, and continue to be taught globally, naming and detailing other approaches would exceed the scope of this paper. The historical thread which is being investigated and followed throughout this article is focused primarily on the origins of one methodology of voice that began, in part, by Iris Warren and later influenced Kristen Linklater. It is my hope that this article encourages further historiographic research and scholarship in our field.Additional informationNotes on contributorsShannon VickersShannon Vickers is Professor of Theatre Voice in the Faculty of Arts at the University of Winnipeg. She is an interdisciplinary artist-scholar with publications ranging from prolific research-creation in professional theatres across Canada, to impactful scholarship. Shannon has provided voice, text, and dialect coaching for theatrical productions across Canada. She is the recipient of The Dudley Knight Award for Outstanding Vocal Scholarship. The first season of her research podcast, Voicing Creativity, mobilizes research and artistry from leaders in the Arts and Humanities across Canada. Shannon is the Editor of the Voice and Speech Review.
{"title":"Origins of Theatre Performance and Voice Training in Canada: Consciously Bringing Trauma-Informed Voice into View","authors":"Shannon Vickers","doi":"10.1080/23268263.2023.2257987","DOIUrl":"https://doi.org/10.1080/23268263.2023.2257987","url":null,"abstract":"ABSTRACTThis article highlights the origins of performance training and voice pedagogy in Canada developed, in part, through the work of Michel Saint-Denis and Iris Warren. It further connects the origins of performance voice to the social sciences, highlighting the historical influences that psychodynamic therapeutic approaches have had toward informing somatic voice methodologies and pedagogy. By revisiting one thread within the historic collaboration between these fields, the article encourages actively revisiting cross-disciplinary collaborations to support knowledge-creation; which has the potential to advance both fields and encourage the development of trauma-informed, embodied frameworks to support integrated pedagogies and accessible interventions across disciplines.KEYWORDS: Performancevoicetraumacross-disciplinarypolyvagal theory Disclosure statementNo potential conflict of interest was reported by the author.Notes1. While other voice and speech training methodologies have historically been taught, and continue to be taught globally, naming and detailing other approaches would exceed the scope of this paper. The historical thread which is being investigated and followed throughout this article is focused primarily on the origins of one methodology of voice that began, in part, by Iris Warren and later influenced Kristen Linklater. It is my hope that this article encourages further historiographic research and scholarship in our field.Additional informationNotes on contributorsShannon VickersShannon Vickers is Professor of Theatre Voice in the Faculty of Arts at the University of Winnipeg. She is an interdisciplinary artist-scholar with publications ranging from prolific research-creation in professional theatres across Canada, to impactful scholarship. Shannon has provided voice, text, and dialect coaching for theatrical productions across Canada. She is the recipient of The Dudley Knight Award for Outstanding Vocal Scholarship. The first season of her research podcast, Voicing Creativity, mobilizes research and artistry from leaders in the Arts and Humanities across Canada. Shannon is the Editor of the Voice and Speech Review.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134969714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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