Presentation

The curricular unit Voz e Canto I is defined as a space for individual and group exploration of the potential of spoken and sung voice (Grade III), the learning and development of musical language in different genres (Grade III), as well as the practice and improvement in the utterance of texts (Grade III), thus constituting one of the structuring axes of the Dramatic Arts- Actor Training course.

Programme

Performing Arts - Actors Training

Level of Qualification|Semesters|ECTS

| Semestral | 4

Year | Type of course unit | Language

2 |Mandatory |Português

Code

ULP1977-15451

Recommended complementary curricular units

Not available

Professional Internship

Não

Syllabus

Vocal technique

1. Morpho-physiology of the Vocal Tract: the pharynx; the extrinsic musculature of the larynx; the height of the larynx; the palatine fleece.

2. Breathing, emotional states and their influences on the vocal tract.

3. Technical exploration of motor control of the vocal tract from breathing and vocal support in singing and vocal exercises (vocalizos).

4. The musician-scenic, interpretive and stylistic work of the period song (medieval, Renaissance and classical).



Text Work

1. The score of images suggested by the text as a story-board of the voice, speech and interpretation.

2. Language in naturalistic dramaturgy and its work of formal, interpretive and stylistic analysis.

3. The vocal coordination work in group and the collective score (spoken and sung choirs)

4. The phonation process of consonants and vowels.

Objectives

1. Identify and execute the musical and stylistic differences of the sung musical repertoire of medieval, Renaissance and classical theater.

2. Carefully execute the possibilities of modulation and molding of the vocal tract according to the intention of vocal coloring, emotional states, breathing and vocal support.

3. Develop the diction and articulation of the text applied to the utterance from textual imagery.

4. Develop the interpretation of the dramatic naturalist text

5. Master the synchrony of breathing, speaking and feeling in a collective of voices, with regard to the spoken and sung voice.

Teaching methodologies and assessment

1. Research and group practice of the technical figures of the physiology of the vocal tract.
2. Individual practice of a monologue of dramaturgy from Greco-Roman antiquity.
3. Group practice of a mandatory Greek Choir.
4. Individual and group practice of songs from medieval musician-theater dramaturgies,
Renaissance and classical.

Evaluation
1. Continuous (Individual sessions of text and vocal technique) 50%
2. Text Assessment Test 20%
3. Corner Assessment Test 20%
4. Self-measurement report 10%

References

Foulds-Elliott, S., Thorp, C.W., Cala, S., Davis, P. (2000) Respiratory function in operatic singing: effects of emotional connection. Logoped. Phoniatr Vocol. Vol. 25:151-168.

Homma, I., Masaoka, Y. (2008) Breathing Rythms and Emotions. Exp. Physiol. Vol 93, Nº 9:1011-1021.

Hemsley, T. (1998) Singing and Imagination: A human approach to a great musical tradition. Oxford: Oxford University Press.

Husler, F., Rodd-Marling, Y. (1976) Singing: the Physical Nature of the Vocal Organ. A guide to the Unlocking of the Singing Voice. London: Hutchinson & Co. Publishers Ltd.

Miller, R. (2004) Solutions for Singers: Tools for Performers and Teachers. Oxford: Oxford University Press, Inc.

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