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Singing and Teaching Singing

Singing and Teaching Singing: A Holistic Approach to Classical Voice, Third Edition continues to be a beloved resource for singers and their teachers, speech-language pathologists, laryngologists, and an adopted text for instructors and students in voice, singing, and performing arts courses. Janice L. Chapman 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, animated by her conversational and vibrant style to guide (and entertain) the reader through the book in a step-by-step fashion.The philosophy of teaching presented 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 anatomy, muscular function, and effects of muscular interactions so that 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; and the Incremental section shows that the act of singing can be broken down into manageable components that have a natural hierarchy which eventually interact and interlock. This 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. Case studies, examples, exercises, and contributions from some of the world's best-known voice professionals further highlight the text.New to this edition:The addition of a completely new chapter - an interview with voice specialist osteopath Jacob Lieberman on the subject of Manual Therapy and Voice; A rewriting of Marilyn McCarthy's chapters on Teaching and Learning in the light of advances in the fields of neuroscience and education; Updates to Pamela Davis' chapter on Voice and the Brain, and John Rubin's chapter on Vocal and Respiratory Anatomy and Physiology; Clarifications by Ron Morris on the use of the Accent Method of breathing as a highly effective remedial and training technique; Refinements to chapters on Breathing and Support, Phonation, and Resonance; A PluralPlus companion website with supplemental videos demonstrating some of the exercises from the teaching model.
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Table of Contents

Foreword to the First Edition. Preface to the Third Edition. Acknowledgments. Contributing Authors. Multimedia List. Introduction. Chapter 1. Pedagogical Philosophy; Chapter 2. Primal Sound; Chapter 3. Postural Alignment; Chapter 4. Breathing and Support; Chapter 5. Phonation and the Speaking Voice; Chapter 6. Resonance; Chapter 7. Articulation; Chapter 8. Artistry and Performance; Chapter 9. Voice and the Brain; Chapter 10. At the Heart of Teaching and Learning; Chapter 11. Teachers and Learners; Chapter 12. Vocal and Respiratory Anatomy and Physiology; Chapter 13. Hearing and Singing; Chapter 14. Working with the Professional Singer; Chapter 15. From Performer to Pedagogue: A Multidisciplinary Route; Chapter 16. Manual Therapy in the Management of Voice Disorders: In Conversation With Janice Chapman. Appendix 1. Exercises; Appendix 2. Priorities in Developing the Young Adult Classical Singer at Music College. Index.

About the Author

Janice L. Chapman, AUA, OAM was awarded the Medal of the Order of Australia for "service to music as an operatic singer and teacher of voice and as a contributor to research into human sound production and vocal health." Ms. Chapman has a background as an opera and concert singer, and is a member of the vocal faculties at the Royal Academy of Music and the Guildhall School of Music and Drama in London. She also maintains a busy private practice serving many international clients, and has been a pioneer in the multidisciplinary approach to voice in the U.K.She is internationally recognized as one of the leading teachers of singing. Her own career as a singer spanned over 35 years, with engagements as a principal soprano in all the major UK opera companies, including The Royal Opera Covent Garden, English National Opera, and in many European countries. In 1975 she combined her singing career with teaching when she was invited to join the faculty at the London College of Music where she worked for 8 years before leaving to concentrate on her private practice. She became a member of the founding committee of the Voice Research Society (now the British Voice Association) and has served as its Chair and as a committee member for many years.Many of her singing clients are internationally recognized opera and concert artists and she also works in close collaboration with Laryngologists and ENT Surgeons in the rehabilitation of damaged voices. She visits Australia regularly, collaborating on research at the National Voice Centre, University of Sydney. Her consultancy and workshop client include The London Symphony Chorus, The Royal Shakespeare Company, The BBC Symphony Chorus, The British Federation of Young Choirs, The Friends of Covent Garden, The British Voice Association, The Association of British Choral Directors, and Opera Australia.

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