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David Vinden (Professor of Kodály Method, Guildhall School of Music and Drama)
Two-part hearing development
This will work at any and every level so is relevant to all singing teachers, writes David:
- Learning to develop good rhythm reading, incorporating pedagogically sound ideas.
- Simple harmonic hearing – by taking simple songs we can develop an understanding of what harmony fits.
- Hearing two melodies at the same time. This forces two-part hearing which strikes at the heart of good sight reading because good readers are reading a bar ahead of what they are singing. All will be explained!
Nicola Harrison and Alan Watson
Anatomy and imagination in effective singing teaching
Continuing her work in the imagination and its application to singers, Nicola shares the results of 10 years' fascinating research. Working with anatomists, neuroscientists and a wide range of singers across several universities and conservatoires she has evolved an embodied motor imagery technique to train the muscles of singing. Nicola shows how the technique was created and objectively tested. Alan applies his extensive expertise as an anatomist to explain how this process works physiologically in the muscles and the brain of singers.
Sue Anderson
Accompaniment
Many singers think of themselves as ‘failed pianists’, having struggled with the peculiar demands on the brain of two staves, two hands, with up-down and left-right orientation. When the focus of study is switched from pianistic repertoire and performance to melodic and harmonic exploration, students are free to gain essential physical skills and muscular co-ordination in a structured version of ‘messing around’ at the keyboard. Many shy away from accompanying and Sue will guide us through the basics that help even the most challenged pianists as well as short cuts for the more advanced among us.
Niamh McGuckin (University of West London)
Vitality and narrative in song – engaging students with text
Having taught voice and singing for almost ten years, Niamh believes that the essence of all performance lies within the analysis of the text and the methods by which a real sense of engagement can take place. Her presentation will explore techniques that rekindle the vitality in the text – essential in coaching effective and memorable performances.
Bookings close Wednesday 18 October
