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Body and Voice: Somatic Re-Education [Multiple-component retail product]

  • Formaat: Multiple-component retail product, 272 pages, kõrgus x laius x paksus: 229x152x13 mm, kaal: 386 g, b/w illustrations, Contains 1 CD-Audio and 1 Paperback / softback
  • Ilmumisaeg: 01-Jun-2014
  • Kirjastus: Plural Publishing Inc
  • ISBN-10: 1597565091
  • ISBN-13: 9781597565097
  • Formaat: Multiple-component retail product, 272 pages, kõrgus x laius x paksus: 229x152x13 mm, kaal: 386 g, b/w illustrations, Contains 1 CD-Audio and 1 Paperback / softback
  • Ilmumisaeg: 01-Jun-2014
  • Kirjastus: Plural Publishing Inc
  • ISBN-10: 1597565091
  • ISBN-13: 9781597565097
Body and Voice: Learning to Work Together is an excellent resource for teachers of singing, voice coaches, and speech-language pathologists who work with singers and other voice professionals. It provides a new paradigm for working with singers in a way that allows for improved kinesthetic awareness needed to work with their body rather than against it. The text contains a series of lessons designed to train singing teachers, coaches, and voice therapists to recognize in their students the patterns of use and posture that interfere with respiration, phonation, and/or resonance. In addition, it provides tools for the teacher to guide the student to a level of self-awareness of habituated patterns along with strategies to implement change from the inside out. Few pedagogical or therapeutic approaches provide any training in the recognition of the subtle, indirect patterns of use, stance, or tension that prevent students from relaxing the jaw, releasing the breath, lifting the palate, or any of the other demands teachers make to get them to sing well.Even when the teacher recognizes that there is a problem, the knowledge of how to retrain the student's neuro-musculo-skeletal system in order to effect real change and self-awareness by the student is often limited or lacking. Body and Voice: Learning to Work Together addresses this need. This book begins with a brief definition and theoretical overview of body reeducation, its principles and applications. Subsequent chapters teach how to recognize poor body dynamics. The final chapters provide specific lessons as well as guidance for independent explorations that will increase the student's kinesthetic and body awareness. A CD-ROM containing the lessons described in the book is included.
Preface ix
Acknowledgments xiii
Part I 1(66)
Chapter 1 The Somatic Awareness: Body and Voice Working as One
3(30)
Awareness—What Is It?
7(5)
The Somatic Map and Self-Image
12(5)
The Role of Posture
17(4)
Stability and Instability
21(2)
Changing Complex Patterns
23(2)
Pedagogical Methods: Outside In Versus Inside Out
25(1)
Parasitic Versus Diversionary Movements
26(1)
Additional Roadblocks to Look For
27(3)
Learning to See
30(1)
References
31(2)
Chapter 2 Body and Voice: Somatic and Physiologic Connections
33(16)
Anatomy of Connections
36(6)
Current Research
42(4)
Next Steps: Learning to Recognize and Change Patterns
46(1)
References -
47(2)
Chapter 3 The Significance of the Unremarkable
49(18)
Diversionary, Parasitic, or Unnecessary Preparatory Movements
52(4)
Clothing Anatomy
56(2)
Clothing Tells a Story
58(8)
References
66(1)
Part II 67(180)
Introduction
67(10)
Understanding the Complexity of Movement
67(4)
Basic Principles and Ground Rules
71(6)
Chapter 4 Diversionary, Parasitic, or Other Unnecessary Preparatory Movements
77(42)
Introduction
77(4)
When to Use These Lessons
79(2)
Lesson One: Bringing the Head Forward and Back
81(8)
Basic Movements
82(4)
Troubleshooting
86(1)
Case Study
86(3)
Lesson Two: Lifting and Lowering the Shoulders
89(5)
Basic Movements
90(2)
Case Study
92(2)
Lesson Three: Releasing the Jaw
94(13)
Basic Movements
96(3)
Troubleshooting
99(1)
Case Studies
100(7)
Lesson Four: Anchoring the Tongue
107(5)
Troubleshooting
110(1)
Case Study
110(2)
Lesson Five: Externalization of an Internal Process
112(6)
Troubleshooting
115(1)
Case Study
115(3)
Reference
118(1)
Chapter 5 Releasing for Breathing
119(54)
Release of the Breath: Lesson and Variations
123(11)
When to Use This Lesson
124(1)
Basic Movement
125(1)
Discovering the Habituated Pattern
125(3)
Understanding the Action
128(2)
Releasing the Breath—Passive Inhalation
130(2)
Sound Variations—Semioccluded
132(1)
Variations to Increase the Duration and Contour of Voiced Segments
133(1)
Positional Variations to Facilitate Abdominal Release
134(14)
Sitting Variation
134(3)
Standing Variation
137(2)
Troubleshooting
139(3)
Case Studies
142(6)
Breath Holding
148(23)
How to Identify Breath Holding or Constriction of Airflow
151(6)
Troubleshooting and Case Study
157(7)
Externalizing Through Hand Gestures and Movement
164(1)
Complexities of Breath Holding
165(6)
A Word About the Words We Use
171(1)
References
172(1)
Chapter 6 Mobilizing the Pelvis
173(36)
Freeing the Pelvis: Lesson and Variations
177(2)
When to Use These Lessons
177(1)
Basic Movements
178(1)
Basic Lesson: Sitting One Hand on the Small of the Back
179(29)
Variation 1: Sitting with One Hand on Small of the Back the Other Hand on Top of Head
181(4)
Variation 2: Sitting with One Hand on the Small of the Back, the Other on the Top of the Head, Head Tilts Up and Down
185(5)
Variation Three: Standing Variation
190(5)
Troubleshooting
195(4)
Case Studies
199(9)
Reference
208(1)
Chapter 7 Improving Stability
209(38)
Stability x Stasis
209(9)
What to Look For
212(1)
What to Listen For
213(1)
Balance, Shoes, and Body Physiognomy
214(3)
When to Use These Lessons
217(1)
Lesson One: Pencil Lesson
218(8)
Basic Movements
218(8)
Lesson Two: Circles Over the Feet
226(21)
Troubleshooting
232(5)
Case Studies
237(10)
Index 247
Marina Gilman, MM, MA, CCC-SLP, holds an MM in Vocal Performance (Ithaca College) and an MA in Communication Disorders (Northwestern University). She is a singing voice teacher, performer, Guild Certified Feldenkrais(R) Practitioner, and licensed speech pathologist with specialization in the singing voice. In addition to serving as head of the Vocal Coaching Program at Cornell University, Adjunct Professor of Voice at Syracuse University, and Adjunct Professor of Voice and Speech at the DePaul University Theater School, she has maintained a private voice studio for over 35 years. Ms. Gilman also taught at The School at Steppenwolf Theater Company summer program.