Janice L Chapman

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Singing and Teaching Singing: A Holistic Approach to Classical Voice
Janice L Chapman

ABOUT THE BOOK
Singing and Teaching Singing: A Holistic Approach to Classical Voice is a highly personal and accessible approach to the world of the singer and the teacher, written by an internationally renowned singing teacher, researcher, lecturer, and educator.

- Award-winning author of world renown...

- Uniquely examines the holistic nature of singing and its implications for
  singers and their teachers...

- Eminently practical with numerous case examples and many original illustrations...

Drawing on her experiences as a singer with some of the world’s leading opera companies, the author has developed 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. The author’s style is conversational and vibrant and her teaching unfolds logically and in a step-by-step fashion.

Her philosophy of teaching 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 teaching based on the anatomy, muscular function, and the effects of muscular interactions. 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. Finally, the Incremental section shows that singing can be broken down into manageable components and that these components have a natural hierarchy which eventually interact and interlock. Chapman’s 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. Throughout, she stresses the importance of flexibility, partnership, and ongoing learning. Case studies, examples, and exercises further highlight her writing.

Highly readable, Singing and Teaching Singing is an ideal resource for successful development and management of the classical voice.

Read the foreword (1st Edition) by: Robert T. Sataloff MD DMD
Chairman, Board of Directors, The Voice Foundation

CONTENTS
Pedagogical Philosophy. Primal Sound. Postural Alignment. Breathing and Support. Phonation and the Speaking Voice. Resonance. Articulation by Ron Morris. Artistry and Performance. The Teaching and Learning Partnership parts I and II by Marilyn McCarthy. Vocal and Respiratory Anatomy and Physiology by John Rubin, M.D. Voice and the Brain by Pamela Davis, Ph.D.. Hearing and Singing by Adrian Fourcin, Ph.D. Working with the Professional Singer. From Performer to Pedagogue: A Multidisciplinary Route: Appendix I: Exercises. Appendix II: Core Capabilities for Singers and Teachers. Marilyn McCarthy. Index.

ERRATA (2nd Edition) None.

ERRATA (1st Edition)
CHAPTER 5 page 70, second and third line from the top should read:

"The thyroarytenoid and vocalis muscles are active and the cricothyroid passive"

CHAPTER 13
Page 230. Second paragraph commencing: "Relatively little sound etc..."

13th line down should read:
"The recording will be characterised by an essentially flat transfer function, room acoustics apart, whilst the frequency response of the self-monitoring paths to the ear will both have humps (for an adult male around 2kHz and 4kHz) and troughs (around 1 and 3kHz) and a very large tail off by about 20dB at 10kHz etc..."

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© Janice L Chapman 2013-2023
Descriptive text: courtesy of Plural Publishing Inc.