Pub Date : 2022-05-04DOI: 10.1080/23268263.2022.2079199
Rockford Sansom
Ultimately, the “Vocal Traditions” series is a collection of articles in the Voice and Speech Review (VSR) from 2017–2022 that focus on varying vocal pedagogies. This project sought to offer voice teachers a deeper knowledge of pedagogical history and a wider understanding of different voice training schools and traditions, which highlighted historically important voice teachers and schools of thought in the world of vocal training, particularly as it relates to voice and speech. In many ways, I orchestrated the series of articles that I always wanted to read. When I was in an undergraduate actor training program, the voice and speech teacher exclusively taught a singular voice method, but the teacher never told us that. We just had “voice class.” And while I grew from the training, I knew even then that the training lacked context to the wider field. The acting teachers acknowledged lineages and variety to acting methods and techniques. “I trained with Uta Hagen,” or “We do Meisner in this class.” And they also acknowledged that they offered a perspective on acting, and the teachers acknowledged that many other perspectives existed. This standpoint was not the case in my voice training classes. In graduate school, the voice and speech instructor offered training from several different voice pedagogies, which I believe was a great luxury and benefit, but no resource gave a broader context to the field. For a grad school research project (in circa 2003), I wanted to examine different kinds of speech pedagogy. The VSR had just begun publishing at the time, but I neither had access to it nor knew it existed. And even if I had, those early VSR volumes did not include a systematic discussion of varying vocal pedagogies, at least to any significant degree. And even years later when I decided to focus on becoming a voice trainer, I still could not find a text that offered an expansive view of the field. Suffice to say, this gap in the literature has always bothered me, so when I became Editor of the VSR, filling this gap was a top agenda item. Bartow’s (2006) book on American actor training remains a favorite of mine. He edits a volume that looks at the major schools of American acting, as they existed at the turn of the twenty-first century. And without question, his book helped to inspire me to solicit and create this vocal series. I must also credit Saklad (2011) with her book, Voice and Speech Training in the New Millennium: Conversations with Master Teachers, since
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Pub Date : 2022-05-03DOI: 10.1080/23268263.2022.2067635
M. Elliott
ABSTRACT Actors new to speaking the verse in the plays of William Shakespeare are often intimidated by technical terminology and what they perceive to be an abundance of rules that should be followed. This article describes a Practice as Research study conducted over a seven-year period with student actors in drama schools and working professionals in Canada and the UK. The goal of the study was to develop a training methodology that overcomes the initial anxieties actors may experience and facilitate discoveries about how the verse structure can support actors in performance. The second goal of the research was to help actors to a state of deep embodiment of rhythm and meter which, once achieved, can empower actors to play organically and instinctively rather than analyzing intellectually.
{"title":"Feeling the Beat in Our Bones: Embodying Rhythm and Meter in Actor Training","authors":"M. Elliott","doi":"10.1080/23268263.2022.2067635","DOIUrl":"https://doi.org/10.1080/23268263.2022.2067635","url":null,"abstract":"ABSTRACT Actors new to speaking the verse in the plays of William Shakespeare are often intimidated by technical terminology and what they perceive to be an abundance of rules that should be followed. This article describes a Practice as Research study conducted over a seven-year period with student actors in drama schools and working professionals in Canada and the UK. The goal of the study was to develop a training methodology that overcomes the initial anxieties actors may experience and facilitate discoveries about how the verse structure can support actors in performance. The second goal of the research was to help actors to a state of deep embodiment of rhythm and meter which, once achieved, can empower actors to play organically and instinctively rather than analyzing intellectually.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":" ","pages":""},"PeriodicalIF":0.6,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45104203","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 : 2022-04-20DOI: 10.1080/23268263.2022.2068232
S. Cooke, Tiffany Gilly-Forrer, C. Bassham, Victoria Myssik, Adam Thatcher, T. Varga
ABSTRACT Vocal Traditions is a series in the Voice and Speech Review that highlights both historically important and contemporary voice teachers and schools of thought in the world of vocal pedagogy. This essay explores Seven Pillars Acting, a modern acting technique developed by Sonya Cooke, designed to equip actors with a comprehensive and practical system of crafting character. Inspired by and drawn from the defining techniques of the twentieth century, the Pillars aim to bring acting training into the present by fitting to the current demands of the industry and needs of acting students today. It breaks down an actor’s creative and physical instrument into seven major components. By dissecting these aspects of the craft, the technique enables the actor to utilize each one to its full potential. Upon integrating all seven pillars into one’s process, an actor is equipped to craft their character with authenticity, depth, specificity, and ease. This essay explores the background technique, the central features of system, and the scope of the organization.
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Pub Date : 2022-04-18DOI: 10.1080/23268263.2022.2064045
Michael Mohammed
ABSTRACT This article investigates the use of the voice by five Black opera and musical theatre performers. The performers discuss the approaches that they take in the representation of music that requires integrated vocality, which amalgamates elements from Western classical vocalism and stylistic genres of traditionally Black forms like gospel, jazz, and blues. Data were collected through audio/visual analysis, interviews, and video stimulated recall. The emergent theme explored is as follows: A singer positions themself at the nexus of their cultural legacy as a learner, exemplar, advocate, and transmitter of culture. A Black singer consciously uses musical strategies when presenting and re-presenting music based in culturally affirming aesthetics. The artist becomes skilled at executing Black vocal aesthetics to encourage other artists and to perpetuate Black culture.
{"title":"Black Vocality as Cultural Capital","authors":"Michael Mohammed","doi":"10.1080/23268263.2022.2064045","DOIUrl":"https://doi.org/10.1080/23268263.2022.2064045","url":null,"abstract":"ABSTRACT This article investigates the use of the voice by five Black opera and musical theatre performers. The performers discuss the approaches that they take in the representation of music that requires integrated vocality, which amalgamates elements from Western classical vocalism and stylistic genres of traditionally Black forms like gospel, jazz, and blues. Data were collected through audio/visual analysis, interviews, and video stimulated recall. The emergent theme explored is as follows: A singer positions themself at the nexus of their cultural legacy as a learner, exemplar, advocate, and transmitter of culture. A Black singer consciously uses musical strategies when presenting and re-presenting music based in culturally affirming aesthetics. The artist becomes skilled at executing Black vocal aesthetics to encourage other artists and to perpetuate Black culture.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"17 1","pages":"207 - 220"},"PeriodicalIF":0.6,"publicationDate":"2022-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45009911","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 : 2022-04-12DOI: 10.1080/23268263.2022.2062851
Valerie J. Madden
{"title":"Vocal Awareness and K-12 Education: a Qualitative Research Study","authors":"Valerie J. Madden","doi":"10.1080/23268263.2022.2062851","DOIUrl":"https://doi.org/10.1080/23268263.2022.2062851","url":null,"abstract":"","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":" ","pages":""},"PeriodicalIF":0.6,"publicationDate":"2022-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46118415","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 : 2022-03-22DOI: 10.1080/23268263.2022.2054094
Kristianna Pirrie Dilworth
{"title":"A New Handbook for Singers and Teachers","authors":"Kristianna Pirrie Dilworth","doi":"10.1080/23268263.2022.2054094","DOIUrl":"https://doi.org/10.1080/23268263.2022.2054094","url":null,"abstract":"","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"17 1","pages":"244 - 246"},"PeriodicalIF":0.6,"publicationDate":"2022-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46569863","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 : 2022-03-18DOI: 10.1080/23268263.2022.2052407
A. R. White
ABSTRACT Keep the Arrows was a 30-minute solo performance about the experience, and discrimination faced by Black people who are active in Futurist Fantasy Fiction fandom from children to adults. Framed in the context of the conflict between idealized fantasy worlds and societal racial values, the performer/author attempted to show the audience a view of the intersection of these opposing influences, through a performance developed through dramaturgy, devising, and accent exploration. In this practice as research study, the performer/author explored their own experiences in fandom as well as the experiences of Black professional level cosplayers, casual fans, and people of all ages who share the stories of being unwelcomed in fandom. The mission of Keep the Arrows was to define and dissect the discrimination faced by Black fans of worlds beyond race.
Keep the Arrows是一个30分钟的个人表演，讲述了活跃在未来主义奇幻小说粉丝圈中的黑人从儿童到成人所面临的经历和歧视。在理想化的幻想世界和社会种族价值观冲突的背景下，表演者/作者试图通过戏剧、设计和口音探索的表演，向观众展示这些对立影响的交叉点。在这一实践研究中，表演者/作者探索了他们自己在粉丝圈的经历，以及黑人专业级角色扮演者、休闲粉丝和所有年龄段的人的经历，他们分享了在粉丝圈不受欢迎的故事。Keep The Arrows的使命是定义和剖析黑人粉丝所面临的种族歧视。
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Pub Date : 2022-03-14DOI: 10.1080/23268263.2022.2048461
J. Crockett
ABSTRACT Vocal Traditions is a series in the Voice and Speech Review that highlights historically important voice teachers and schools of thought in the world of vocal pedagogy. In this essay, the author offers a voice pedagogy based on Middendorf Breathwork including an overview, history, teaching style and philosophy, exercises, and next steps in training.
{"title":"Vocal Traditions: A Voice Pedagogy Based in Middendorf Breathwork","authors":"J. Crockett","doi":"10.1080/23268263.2022.2048461","DOIUrl":"https://doi.org/10.1080/23268263.2022.2048461","url":null,"abstract":"ABSTRACT Vocal Traditions is a series in the Voice and Speech Review that highlights historically important voice teachers and schools of thought in the world of vocal pedagogy. In this essay, the author offers a voice pedagogy based on Middendorf Breathwork including an overview, history, teaching style and philosophy, exercises, and next steps in training.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"16 1","pages":"247 - 255"},"PeriodicalIF":0.6,"publicationDate":"2022-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46635809","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 : 2022-03-11DOI: 10.1080/23268263.2022.2043579
A. Preeshl, Foster Johns
ABSTRACT This study of “American Elizabethan” compares key “Hoi Toid” sounds in the “Delmarva” accents on Smith (Maryland) and Tangier (Virginia) Islands utilizing original accent samples collected in 2019. Since these inhabited Islands are only accessible by ferry, it was hypothesized that islanders would retain more accent elements from southwest England and Ireland than mainlanders, resulting in a similarity of contemporary and historical pronunciation and prosody. Though fewer of these accent elements were present than anticipated, several phonetic realizations distinguished the Hoi Toid accents from British and Original Pronunciation accents. Previous linguistic research, including collections of local vocabulary, further inform this comparative analysis that draws attention to contemporary accent loss on Sea Coast Islands in the Chesapeake Bay. Categorization of these accents into an “American Elizabethan” accent attempts to mitigate accent loss by archiving recorded material and analysis and, furthermore, raises awareness of the impact of climate change on speakers’ environments.
{"title":"The American Elizabethan Accent: Sea Island Residents Talk","authors":"A. Preeshl, Foster Johns","doi":"10.1080/23268263.2022.2043579","DOIUrl":"https://doi.org/10.1080/23268263.2022.2043579","url":null,"abstract":"ABSTRACT This study of “American Elizabethan” compares key “Hoi Toid” sounds in the “Delmarva” accents on Smith (Maryland) and Tangier (Virginia) Islands utilizing original accent samples collected in 2019. Since these inhabited Islands are only accessible by ferry, it was hypothesized that islanders would retain more accent elements from southwest England and Ireland than mainlanders, resulting in a similarity of contemporary and historical pronunciation and prosody. Though fewer of these accent elements were present than anticipated, several phonetic realizations distinguished the Hoi Toid accents from British and Original Pronunciation accents. Previous linguistic research, including collections of local vocabulary, further inform this comparative analysis that draws attention to contemporary accent loss on Sea Coast Islands in the Chesapeake Bay. Categorization of these accents into an “American Elizabethan” accent attempts to mitigate accent loss by archiving recorded material and analysis and, furthermore, raises awareness of the impact of climate change on speakers’ environments.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"16 1","pages":"330 - 340"},"PeriodicalIF":0.6,"publicationDate":"2022-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44420564","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 : 2022-03-11DOI: 10.1080/23268263.2022.2049109
Marj Murray, Ela Manga
Vocal Traditions is a series in the Voice and Speech Review that highlights historically important voice teachers and schools of thought in the world of vocal pedagogy. This essay explores the background of Breathwork Africa, the philosophical overview, and the key features.
{"title":"Vocal Traditions: Breathwork Africa","authors":"Marj Murray, Ela Manga","doi":"10.1080/23268263.2022.2049109","DOIUrl":"https://doi.org/10.1080/23268263.2022.2049109","url":null,"abstract":"Vocal Traditions is a series in the Voice and Speech Review that highlights historically important voice teachers and schools of thought in the world of vocal pedagogy. This essay explores the background of Breathwork Africa, the philosophical overview, and the key features.","PeriodicalId":36249,"journal":{"name":"Voice and Speech Review","volume":"16 1","pages":"232 - 240"},"PeriodicalIF":0.6,"publicationDate":"2022-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45078088","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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