Singing with Your Whole Self: The Feldenkrais Method and Voice [NOOK Book]

Overview

Singing with Your Whole Self teaches performers to use the Feldenkrais Method to ameliorate problems of tension, muscle strain, and illness in order to obtain optimal vocal performance. It contains an important and unique feature: modularized Feldenkrais "Awareness through Movement" lessons. These are specifically designed for liberating function in all musicians and in singers in particular. Modularized lessons allow the user to choose between functionally useful short segments or entire lessons. The first part ...
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Singing with Your Whole Self: The Feldenkrais Method and Voice

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Overview

Singing with Your Whole Self teaches performers to use the Feldenkrais Method to ameliorate problems of tension, muscle strain, and illness in order to obtain optimal vocal performance. It contains an important and unique feature: modularized Feldenkrais "Awareness through Movement" lessons. These are specifically designed for liberating function in all musicians and in singers in particular. Modularized lessons allow the user to choose between functionally useful short segments or entire lessons. The first part of the book presents the theory explaining why this approach works in an easily understood and concrete fashion. The remaining chapters explore our anatomy by area and explain usage, problems and how these relate to singing; lessons throughout revolve around improving performance. Includes an index both by lesson and by problem, referring performers to the lessons most effective for a specific problem.
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Product Details

  • ISBN-13: 9781461664284
  • Publisher: Rowman & Littlefield Publishers, Inc.
  • Publication date: 11/27/2001
  • Sold by: Barnes & Noble
  • Format: eBook
  • Pages: 200
  • File size: 2 MB

Meet the Author

Samuel H. Nelson is a Guild Certified Feldenkrais Practitioner in private practice in Rochester, NY.
Elizabeth Blades-Zeller is Associate Professor of Voice, Opera and Music Education, Coordinator of Voice Area, and Director of Opera at Heidelberg College. She is also a Music Editor for Mountain View Video Production, Roanoke, VA.
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Table of Contents

Part 1 Preface
Part 2 Acknowledgments
Part 3 Chapter 1 Overview
Chapter 4 Relating to the Feldenkrais Method to the Teaching of Singing
Chapter 5 Overview of the Feldenkrais Method
Chapter 6 Key Ideas in the Development of the Feldenkrais Method
Chapter 7 Kinesthetic Imagination
Chapter 8 Relationship of This Work to Pedagogical Literature
Chapter 9 Awareness Through Movement
Chapter 10 Introduction to the Lessons
Chapter 11 Mini-ATM: Freeing the Neck to Turn Freely
Part 12 Chapter 2 Control and Letting Go
Chapter 13 Active Control
Chapter 14 Allowing or Passive Control
Chapter 15 ATM: Weights and Levers
Chapter 16 Tension and Function
Chapter 17 ATM: Taming Tongue Tension
Part 18 Chapter 3 The Base of Support
Chapter 19 The Role of Feet and Legs
Chapter 20 ATM: Balance in Standing
Chapter 21 Using the Floor
Chapter 22 ATM: The Connection of Feet Through to Head
Chapter 23 High Heals
Chapter 24 Leg-Length Differential
Chapter 25 A Simple Exercise: Strengthening the Adductors
Part 26 Chapter 4 Intentionally and Effort
Chapter 27 Intention
Chapter 28 Efforting
Chapter 29 Power and Potential
Chapter 30 Reversibility Principle
Chapter 31 The Whole Is Not the Sum of the Parts
Part 32 Chapter 5 Pelvic Power
Chapter 33 The Pelvis
Chapter 34 Vocal Context: Powering from the Power Base
Chapter 35 ATM: Pelvic Clock
Chapter 36 The Pelvis in Sitting
Chapter 37 ATM: The Role of the Pelvis in Sitting Erect
Part 38 Chapter 6 Breathing
Chapter 39 Mechanics of Breathing
Chapter 40 ATM: Breathe and Find Your Center
Chapter 41 Recovery from Illness
Chapter 42 ATM: Lengthening the Lungs
Part 43 Chapter 7 Upper Trunk Flexibility
Chapter 44 The Upper Trunk
Chapter 45 ATM: Freeing the Ribs
Chapter 46 The Midspine
Chapter 47 ATM: Lateral Flexion
Chapter 48 Scoliosis
Chapter 49 Mini-ATM: Evening the Sides
Part 50 Chapter 8 Shoulder Girdle and Arms
Chapter 51 Shoulders and Breath
Chapter 52 ATM: Reaching Out
Chapter 53 Shoulder Tension
Chapter 54 ATM: Shoulder Release
Part 55 Chapter 9 Head and Neck
Chapter 56 Positioning the Neck
Chapter 57 ATM: Relating Head and Pelvis
Chapter 58 Role of the Head in Vocal Production
Chapter 59 ATM: Relating Shoulders, Neck, and Jaw
Chapter 60 Headaches
Chapter 61 Mini-ATM: Releasing the Neck
Part 62 Chapter 10 Hands and Mouth
Chapter 63 Relationship of Hands and Tongue
Chapter 64 Shoulders and Hand Tension
Chapter 65 ATM: Magic Hands
Chapter 66 Imaginary Warm-Ups
Chapter 67 The Mouth
Chapter 68 ATM: Softening the Mouth
Part 69 Chapter 11 The Eyes
Chapter 70 Role of the Eyes in Movement
Chapter 71 Releasing Minor Neck Cricks
Chapter 72 Visual Tension
Chapter 73 ATM: Releasing the Eyes
Chapter 74 Glasses
Chapter 75 Ocular Muscles and the Sinuses
Chapter 76 ATM: Eyes Relate to Jaw
Part 77 Chapter 12 Pedagogical Uses for This Volume
Chapter 78 Student Use
Chapter 79 Group (Class) Voice and Ensemble Rehearsal Use
Chapter 80 Teacher Use (Private Studio Voice)
Part 81 Appendix Functional Integration
Part 82 Glossary
Part 83 References and Resources
Part 84 Index of Lessons
Part 85 General Index
Part 86 About the Authors
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