Class Voice and Singing II

The Voice and Singing II subject integrates practical work that is highly fundamental to the training of the performer/interpreter of Dramatic Arts. An efficient and versatile vocal expression is an essential component for this performer and, as worked previously in Voice and Singing I, Voice and Singing II encompasses the practical development of various capacities and skills of spoken and sung voice, as well as theoretical knowledge and understanding of topics related to the efficient and versatile approach to vocal use in various contexts. Besides studying the morphology and physiology of the vocal apparatus and working on text preparation methods for vocal work, we develop general vocal technique including posture, breathing, resonance, projection, placement, articulation, and diction, among others, which applies to spoken and sung voice and the basic rhythmic and melodic reading.

Not applicable

1 Morphology and Physiology of the Vocal Apparatus 1.1 Morphology of the vocal apparatus: producers, vibrators, and resonators. 1.2 Physiology: breathing, vibration, and placement. 1.3 Healthy and efficient vocal production. 1.4 Vocal apparatus and respiratory system. 2 Pitch and Intonation 2.1 Differentiation between range and register. 2.2 Lower and upper range for each voice. 2.3 Ear training and tuning. 3 Vocal Technique 3.1 Posture and movement. 3.2 Abdominal and global breathing. 3.3 Vibration and Projection: "inalare la voce". 3.4 Placement and Resonance: harmonization of focal points. 3.5 Articulation and diction. 3.6 Vocal warm-up and training. 4 Performance - Spoken Voice 4.1 Text preparation for vocal interpretation. 5 Performance - Singing Voice 5.1 Voice as a musical instrument. 5.2 Basic rhythmic and melodic reading. 5.2 Vocal and bodily rhythm.

Expository and interrogative methods: theoretical exposition of the topics, presenting premises for practical approaches to voice usage; discussion of the topics, based on prompting students to question their vocal experience both in and outside the classroom. Demonstrative method: during the execution of spoken and sung vocal exercises, the teacher will demonstrate the most efficient way to achieve the desired vocal performance. Active method: guided execution of vocal development and warm-up exercises, as well as vocal interpretation of texts and songs. ASSESSMENT: Participation 70% + Final Presentation 30% Attendance to 75% of the class time is mandatory for passing the subject. In case of an exam, it will consist of a written test and a practical exam consisting of two songs and a monologue (chosen by the teacher).

BOONE, Daniel R.; McFARLANE, Stephen C., A Voz e a Terapia Vocal, ArtMed Editora S.A., Porto Alegre, 2003 DAYME, Meribeth Bunch, Dynamics of the Singing Voice, Springer Wien New York, Áustria, 2009 GRAAF, Van de, Human Anatomy, WCB – McGraw-Hill, Boston, 1998 HARRISON, Peter T., The Human Nature of the Singing Voice, Dunedin Academic Press, Edimburgo, 2006 HUSLER, Frederick; RODD-MARLING, Yvonne, Singing – The Physical Nature of the Vocal Organ, Hutchinson & Co (Publishers) Ltd., Londres, 1983 KAYES, Gillyane, Singing and the Actor, Methuen Drama, Londres, 2004 KIMBALL, Carol, Song – A Guide to Art Song Style and Literature, Hal Leonard Corporation, Milwaukee, 2005 LOVE, Roger; FRAZIER, Donna, Set Your Voice Free, Little, Brown and Company, New York, 1999 MENDES, Ana; GUERREIRO, David; SIMÕES, Marina; MOREIRA, Miriam, Fisiologia da Técnica Vocal, Lusociência – Edições Técnicas e Científicas, Lda., Loures, 2013