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Topic: Voice improvisation

	Hartman, C.O.: Jazz Text: Voice and Improvisation in Poetry, Jazz and Song.
		American arts since World War II have drawn power and mystery from the ideas of voice and of improvisation.
		Applying close-reading techniques to jazz and adapting Bakhtin's theory of dialogue, Hartman confronts the tangled issues of improvisation and composition, originality, authenticity, disguise, and recognition.
		He explores the assumptions incorporated and questioned by "voice" with regard to self and identity and their place in the work of art and the world.
	pup.princeton.edu /titles/4789.html (211 words)

	Vocal improvisation towards musical creation
		As well as the freedom to take risks and explore frontiers,the improvising artist needs to develop fine control of his/her instrument, to train his/her faculties of listening, responding, imagining, feeling and the ability to enter into musical relationship with other improvisers.
		The training involves work on body, breath and voice, enabling students to go beyond boundaries and discover and control a much larger spectrum of sounds than are normally used in singing.
		L' improvisation est une maniere ludique de se libérer de ses inhibitions et de prendre plaisir avec la voix.
	perso.orange.fr /.royhart/Improvisation.html (569 words)

	Welcome to Voice One
		Voice One is the only voice-over training and acting school of its kind.
		Started in 1986 under the direction of owner, Elaine Clark, Voice One is nationally recognized for its comprehensive curriculum, expert staff, nurturing care, and ability to stretch the actor to his or her full potential in a fun, supportive, truthful, learning environment.
		At Voice One, we’re proud to have hired many of our students for jobs cast and produced at our on-site audio recording studio and off site jobs that Elaine Clark directs or produces.
	www.voiceoneonline.com (185 words)

	St. Olaf College \| Academic Catalog 2006-08
		For students with voice as the secondary performing area, the first semester of voice may be voice class, except for students with vocal specialization and piano as the principal performing area.
		Voice class can serve as the first semester of study if voice is the principal area of study.
		For students with voice as the secondary performing area, the first semester of voice may be voice class, except for vocal music education majors with piano as the principal performing area.
	www.stolaf.edu /catalog/academicprogram/music.html (7430 words)

	Institute of Living Voice
		From post-modern pop & electronic hip-hop, to opera & bel canto, from the "extended voice" of 20th century rnusic to traditional ethnic/cultural songs, from sound poetry to the poetry of jazz, from art song & chanson to extreme vocals.
		The Institute offers "voice choices" (concentrations), over 2-3 year periods, in the following areas improvisation, extended vocal techniques, songs (singing and creating), the art of performance, finding your unique voice, traditional vocal techniques, extreme voice, singing for pleasure, voice in theater and dance.
		The Institute of Living Voice is a cooperative project of Muziektheater Transparant, Antwerp and David Moss, supported by the Flemish Ministry of Culture.
	www.geocities.com /bdrogin/institute.html (832 words)

	Voice and Machine
		Titze is Executive Director of the National Center for Voice and Speech, an interdisciplinary, multi-site team of investigators dedicated to studying the powers, limitations and enhancement of human voice and speech and the Gould Voice Research Lab at the Denver Center for the Performing Arts.
		is Assistant Professor of Music and Director of the Commercial Voice program in the Music and Entertainment Industry Studies Department at the University of Colorado at Denver, where she teaches applied voice and improvisation, commercial singing pedagogy, pop songwriting, women in contemporary music, Irish music and directs the singer/songwriter ensemble.
		He also is a Distinguished Professor of Speech Science and Voice in the Department of Speech Pathology and Audiology at The University of Iowa and in the School of Music, and is a member of the Bioengineering faculty at the same institution.
	carbon.cudenver.edu /~jcoe/voice_and_machine.htm (774 words)

	Human Jazz: Improvisation with the Body & Voice
		I have been developing new modes through improvisation, as the compositional forms for theater, dance, and music have grown separate from each other and feel too domesticated.
		In our culture, improvisation in theater and dance has had a controversial history, although this is not true of American music.
		I am seeking a common ground between the aliveness of improvised music and that of the wilderness.
	www.humanjazz.com /who.html (626 words)

	DeShong SAMLA 2003 (printable)
		The key connection is that the improvising voice (or voicing) in jazz can disrupt musical normality in the same way that racialized identity can thwart naturalizations that have produced (and which are circularly based on) the identity.
		In jazz improvisation and in the context of identity, naturalizing frameworks are put into play when otherness intervenes--when what's outside the frame alters the structure and semantics of the framework.
		That is, improvisation (of voice or identity) performs a critique of metaphysics, of presence and totality.
	www.cwru.edu /affil/sce/Texts_2003/DeShong_SAMLAptr.htm (2566 words)

	Public Eyesore Records - Catalog - pit51
		And despite the improvised nature of this, there is a definite melodic correlation between the guitars and the vocals - something that sounds both incidental and intentional at once.
		The second one, "guitar improvisation two," is a bit more playful (if no less noisy), with bursts of mutant sound occasionally heralded by yowling feedback; lots of scratching and beating on the strings, painfully adjusted EQ, and unpredictable noise blurt.
		On "guitar improvisation three" she returns to the frenzied attack mode of the second one, hopping all over the fretboard and making achy-breaky screechy noises like a disembodied noise cowgirl.
	www.publiceyesore.com /catalog.php?pg=2&pit=51 (2236 words)

	Improvisational Mind & Performance
		This intensive focuses on the interdisciplinary practices and research of improvisation, exploring the concerns of contemporary performance and culture.
		The Improvisational Mind and Performance Module connects the fluid, inquisitive, and expansive attitude characteristic of improvisation with the search for clarity and communication accompanying the performance process.
		Improvisational methods such as Action Theater (developed by Ruth Zaporah), Contact Improvisation, Voice and Movement training, and the movement aspects of BodyMind Centering® and Authentic Movement are interwoven to expose participants to a diverse toolkit for allowing change to occur.
	www.movingoncenter.org /IMP.htm (612 words)

	VOICES: Discussions.
		By Silke Jochims, Music teacher for secondary schools (main instrument: voice), piano and percussion teacher, diploma in music therapy, trained in the U.K., licensed psychotherapist in Germany; 20 years of clinical practice as music therapist in the fields of psychosomatic diseases, child psychiatry and neurological rehabilitation.
		When improvising with them and observing them I felt that the main task of these three days was to give them space for personal feelings of freedom, without controlling themselves and without the anxiety of attracting attention when their behaviour did not conform to that of others.
		Some asked to be allowed to take an instrument home in order to improvise at home in the evening.
	www.voices.no /discussions/discm10_07.html (1172 words)

	Universität für Musik und Darstellende Kunst Wien \| University of Music and Performing Arts Vienna (Site not responding. Last check: 2007-11-01)
		The purpose of the work in groups is to gain voice experience and explore vocal possibilities of expressing yourself as well as general voice training and voice hygiene (including a teacher’s use of the speaking voice).
		Content: Voice experience and exploration of vocal possibilities of expression through targeted Voice Training (also as methodical means in teaching an instrument); healthy and creative use of voice in the major genres of popular music (Jazz, Blues, Pop, Rock, Musical); accompanying yourself on the guitar or piano/keyboard.
		Improvisation with students trained in Classical music, possibilities of working with students in crisis situations, organisation of local events in the area of popular music or new overall musical trends.
	www.mdw.ac.at /ects/en/instrumtalBak.php (10511 words)

	Theatre & Dance
		Classes in acting, movement, voice and related topics will be taught by faculty from the Department of Theatre and Dance and the Department of Radio, Television and Film, an internationally-recognized collective of professional performers and scholars.
		The class are designed to give the camper professional training in acting, movement, voice, improvisation, and scene and monologue work.
		Improvisation structures for creating movement pieces, characters, monologues and scenes will allow students to explore a wide use of the voice, body and imagination.
	www.utexas.edu /cofa/theatre/usperfartscamps.html (1051 words)

	Vox Mundi Project
		The Vox Mundi School of Sound and the Voice is an international project founded by award-winning composer, psychologist and voice-culturist Silvia Nakkach, it is the only organization of its kind devoted to researching, teaching and preserving sacred and cross-cultural of vocal music.
		Vocal improvisation, voice range and tone quality are also part of the curriculum of the intensive.
		Silvia (Nakkach) is a leader in the world of healing with the voice, and is able to transmit her knowledge on multiple levels.
	www.voxmundiproject.com /programs.html (3880 words)

	Music Theory: Melody: Voice Leading
		This is a preview of the educational program A Jazz Improvisation Almanac which is under development for the Outside Shore Music Online School.
		Creativity in the improvisation of melody is thus extremely important.
		Many improvisors, even many of those who take a very theoretical approach to harmonic analysis and the selection of scales to use in improvising, rely on their ears alone to guide them in voice leading.
	www.outsideshore.com /school/music/almanac/html/Music_Theory/Melody/Voice_Leading.htm (1743 words)

	Private Coaching for Voice Over Career and Work from Aliso Creek Productions Voice Over School
		When you are trying to learn voice-overs or improve your voice over skills the first step is usually to take a class.
		We worked specifically on portraying strong emotions with his voice and changing from one emotion to the next rapidly.
		If you feel that you have certain of these skills nailed down but have others that are weak then private coaching can help improve your weakness by concentrating on lessons and copy that is specific to the areas that you need to work on.
	alisocreek.net /voice-over-coaching.html (846 words)

	Motivational Keynote speaker, Sandra McKnight
		Sandra points up that more than ever in today’s highly competitive computer based market place, human communication is vital and your voice is the key to getting your point across and to influencing your audience to action whether it be in a live presentation, over the telephone, video conferencing, web-casts or a one-on-one interaction.
		Sandra’s charm, quick-paced humor, and real-life stories of how she changed her voice to become a successful actress/comedienne, motivates her audiences to speak with power and charisma!
		Her highly interactive voice and performance techniques teach audience members to speak with a clear and powerful voice that “takes charge of the room”, and projects confidence, authority, self-assurance, persuasiveness and trustworthiness.
	www.voicepowerstudios.com /keynote.html (471 words)

	Podcast.net - The Podcast Directory
		Layers of older and newer recordings and prerecorded sounds of bamboo flutes and gourd rattles, combined with live improvisation with voice, instruments and delayed feedback thr...
		Dubby Soundscape Background layers of older and newer recordings combined with live improvisation with voice and instruments and delayed feedback through a VST effects chain of delay effects and stut...
		Improvisation with chained VST plugins using one or more instances of the X-Wheel of Fortune I and II (XWOF and XWOF-II) VSTi by H. Fortune, with my own reco...
	www.podcast.net /show/8586 (2691 words)

	THEA - Theatre
		Studies elements of voice, improvisation, movement, dance, character analysis and portrayal specifically based on observed performances.
		THEA 204 Introduction to Voice and Speech 3 The use of voice and speech in performance.
		THEA 606 Voice Development IIIA 1 Individual instruction to identify habitual vocal patterns and to strengthen individual weaknesses in voice.
	www.udel.edu /provost/ugradcat/ugradcat94/26/list/83.html (7000 words)

	Contact Improvisation Events Archive: 2001
		He has co-facilitated Contact Improvisation Teachers Conferences on three continents and was the first contact teacher on the faculty at Stanford University and at the National School of Fine Arts in San Miguel, Mexico.
		Contact Improvisation is unpredictable by nature and requires being in the moment and letting go of preconceived notions of how to move.
		We will use scores to expand and integrate our improvisational choice-making to include: bringing the many facets of ourselves into the improvisation; development of relationships; playing with musicality; and using imagery and imagination to inform and embody the dance.
	www.contactimprov.net /history/2001.html (8194 words)

	[No title] (Site not responding. Last check: 2007-11-01)
		Improvisation: Self-discovery and self-expression through improvisation, emphasizing spontaneity and strong mutual support.
		Choosing scene objectives with progressively higher stakes, then improvising tactics, moment to moment, based on partner’s response.
		Classes in Improvisation, introductory and advanced, while a member of a New York based professional improvisation company.
	home.att.net /~dandiggles/resume_teach_improv.htm (449 words)

	CalArts School of Music: Voice Program
		The Voice Program offers comprehensive training and performing opportunities in classical vocal repertoire and contemporary art music, with a focus on developing a healthy and versatile voice.
		Voice students participate each semester in a wide array of performance situations, both on and off the CalArts campus.
		Having undertaken serious voice study in the western classical tradition, augmented by studies in non– western vocal music, extended vocal techniques, improvisation, etc., voice students leaving CalArts pursue a wide– variety of professional careers.
	music.calarts.edu /voice.html (741 words)

	Macao Cultural Centre
		By promoting a greater awareness of relationship between sensory input and the environment, the performer can better be equipped to realize each moment's potential for composition.
		The aim of this workshop is to explore and develop the voice and body movement as the basis of improvisation.
		Workshop C. Improvisation and Instant Composition (Instructor: Michael Schumacher)The aim of this workshop is to experience and gain the knowledge of improvisation, thus to come to the possibility of composition.
	www.ccm.gov.mo /en/page/page_programs/programs_details.asp?event_id=887 (381 words)

	jan - home page (Site not responding. Last check: 2007-11-01)
		They are known throughout the industry for their fun, informative and innovative format.
		Jan taught improvisation at the Richmond Sheppard Theatre during the '80s and '90s and has taught seminars at high schools, colleges and universities throughout the United States and Canada.
		Jan continues to book his improv seminars for large corporations and uses his unique talents to teach comedy improvisation techniques to students all through North America.
	www.voicetraxwest.com /teaching.htm (176 words)

	Fraley, Patrick
		Patrick Fraley has created voices for over 4,000 characters, placing him among the top ten performers of all time to be cast in animation.
		I teach actors how to create characters and how to reveal those characters through the use of their voices.
		Although my primary focus is on creating character voices for animation, advertising and other voice-over performances, my method yields skills in expressing character through the voice on stage and before the camera.
	www.vasta.org /professional_index/fraleyp.html (188 words)

	Faculty - Voice (Site not responding. Last check: 2007-11-01)
		A gifted and versatile educator, Mary Jo specializes in voice technique, improvisation and ear training.
		She has also worked extensively in artist development, as a staff producer at Benchmark Sound Studios in Atlanta, and as a voice and song writing coach for LaFace Records artists.
		Equally acclaimed for her interpretations of jazz standards and for her improvising work with avant-garde groups such as the NOW Orchestra, she has received two JUNO nominations since 1994.
	www.capcollege.bc.ca /programs/jazz-studies/faculty/voice.html (520 words)

	American Composers Forum
		"The voice, like any instrument can be used to compose music, accompany a leading line, improvise and lay claim to the skill and artistry that instrumentalists enjoy as musicians.
		In VOCE Collaborations, instrumentalists are invited to interact with the voice as equals and even invert tradition by improvising leading lines supported by the voice.
		I hope to continue presenting the voice as an instrument and more deliberately explore the collaborative possibilities of the voice as instrument and muse.
	www.composersforum.org /member_profile.cfm?oid=5798 (876 words)

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