Name of teacher / supervisor
Jodi Gilbert
Period, duration
Block 1, 7 weeks
Block 2, 7 weeks
Block 3, 6 weeks
Study load
30 contact hours, 2-3 self-study hours
Competencies
1, 2, 3, 4
Summary
In this class we will approach the voice in a physical and personal manner: The Voice in Movement, Movement in Voice. The use of the voice in a physical and free manner is paramount in most vocal techniques, be it classical, jazz, folk musics, or experimental vocal techniques. We will emphasise relaxation, physical support of the breath and an open expressive sound. Development of musicality, rhythmic study, and listening in regards to melody and harmony are also touched upon, but first an foremost the goal is to instil a joy of singing together, and familiarity with one’s own vocal potentials.
Content and design of the class
The class will consist of basic vocal and physical warmup exercises done in a group setting, geared to the development of an open expressive voice through a relaxed physicality and awareness of breath and its function in vocal production. We will discuss the use of registers:head, chest and mix, and identify them in one’s own voice. The basis of the technique stems from Somatic Vocal Work™which is grounded in body-centered time where changes are not based on manipulation of the sound or physical manipulation of the vocal mechanism, but the throat and body change gently as a response to vowel colors, dynamics, and use of various registers. We will also spend time listening to varied genres of vocal music and discuss what techniques, traditional, or extended, we hear. The warm- up may then lead to improvisational voice and movement games and exercises, developed by me and influenced by various physical theatre teachers and techniques and move to the learning of a repertoire of ensemble songs, in unison, or simple multi-voiced songs taken from a varied repertoire, from canons, simple classical repertoire, jazz, to bulgarian or georgian polyphonic songs oa.
In approaching improvisation. I will use the form codified by Bobby McFerrin, Circle Song, which in essence is based on rhythmic and polyphonic vocal techniques found in many folk traditions, and used by composers such as Meredith Monk and Steve Reich. There may be moments that students will be asked to sing solo or choose a text or poem that they will explore in terms of form and expression. We may work on a group text for expression, projection, vocal freedom. We will discuss and explore extended vocal techniques, the use of the voice beyond song, and beyond words as an expressive instrument.
The class is developed over three blocks: The first block is an introduction to the body in the voice, and the voice in the body. The students will learn a simple vocal warmup, which can be used in other situations when asked to vocalize in a work of a choreographer, giving students agency over their own voice and how to protect it. After the warmup we may sing a simple ensemble song, unison, or in harmony, and then move to more exploration and experimentation of the voice in movement. The second block is a continuity of the first, with the learning of some ensemble songs, and a solo voice and movement piece to be developed and shown in an informal presentation. The third block, we will continue all the previous work, but also work on a spoken-word piece in small groups, using a text of their own choosing, or suggested by me, which allows for vocal experimentation beyond just content and recitation of a text, but moving into emotion, gesture, abstraction. Underneath all of this is a through line of composition where form, rhythm, and musicality, are underlined. This piece will also work on the peformativity, through the staging, and presentation of the work. This will be shown in an informal presentation.
Throughout all blocks we will listen and discuss vocal musics.
Learning goals
- Awareness of body in the voice, and voice in body. Finding own voice. Joy and freedom in voice.
- Relaxation, breath, projection and expressivity of the voice.
- Building some technical facility within vocal usage. Indentifying registers and various timbres of the voice
- Development of musicality and awareness of simple rhythm, melody and harmony.
- Finding the courage to use the voice, solo, or in a group.
- Listening and responding in a group,
- Making choices in improvisation, commitment
- Use of fantasy and imagination in vocal improvisation
Working method(s) used
Primarily group work. Some individual work. Listening to musical examples
Used study material
Scores, audio material, text.
Assessment criteria
Attendance, attitude, participation, personal development
Students are assessed in regards to the class learning goals and their personal development trajectory.
Method of assessment
Continuous feedback, and self-reflection