In partnership with the Welsh Institute of Work Based Learning, the University of Wales (Trinity St David) and Voice Workshop Ltd.
As part of the postgraduate pathway, you will engage with a diverse community of practitioners. The taught classes enable students to connect and share ideas. The PGCert Spoken Voice pathway is a highly flexible route which can progress onto an MA pathway.
The course is designed to provide a broad overview of a number of approaches to working with spoken voice pedagogies. There is no methodological bias and students will be encouraged to develop their own pedagogical pathway. The course will examine anatomy and physiology alongside traditional spoken pedagogies. It can be used to provide a number of tools that can be applied to maximise vocal efficiency. This course combines solid teaching of anatomy and function alongside key practitioners such as Berry, Rodenburg, Houseman, Carey, Verdolini and Turner. It combines practical techniques with theoretical research and it encourages development through the process of reflection and independent research.
This course is ideal for people who wish to work professionally with spoken voice or for those who would like to develop a deeper understanding. This postgraduate pathway will enable you to gain an insight into a diverse range of spoken voice methodologies. A distinct MA pathway will become available for those who wish to develop a specialist knowledge. This course is highly flexible and is designed specifically to support the working practitioner. Taught sessions take place during a number of weekends and flexible tutorial support is also provided.
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Vocal Pedagogy Training
Course Structure / Dates
Who can take the course
A comprehensive knowledge of anatomy and physiology with a clear link to function
An understanding of current debates relating to voice pedagogy and voice practice
An understanding of relevant research methodologies relevant to voice practice and research
The development of a critical awareness of voice pedagogy within the context of anatomy, function and vocal health
An understanding of relevant reflective practices
The development of intellectual rigour to enable appropriate research strategies to be executed
To critically reflect on your own and others’ relevant voice practice
To design and implement pedagogical perspectives linked to professional practice
Organise research material for an effective communication to an audience of peers
Assessment strategies are designed to facilitate the development of a students’ own specialist area of interest. The project-based work will allow the application of techniques to practice. Through the use of reflective practice journals, you will document your pedagogical journey with a view to developing your own research pathway in the form of a work-based learning project. This project is uniquely designed to research, develop and apply strategies to work-based situations.
Induction to the pathway – Introduction to the virtual learning environment and the electronic library Induction to the learning zone Provision of a student handbook Email and telephone tutorials are provided throughout the course Tutor feedback on draft assignments
Induction to the pathway – Introduction to the virtual learning environment and the electronic library
Induction to the learning zone
Provision of a student handbook
Email and telephone tutorials are provided throughout the course
Tutor feedback on draft assignments
Relevant qualifications include an undergraduate degree or equivalent or professional experience relevant to academic study. Where a student does not have a degree level qualification, please make contact with Debbie@voiceworkshop.co.uk so that we can judge your application on its merits.
Barbara Houseman's career as a voice and acting coach and theatre director spans nearly forty years. She trained as a voice teacher at The Royal Central School of Speech and Drama and as a theatre director at The Bristol Old Vic Theatre School. She won an Arts Council director's bursary and assisted Mike Alfreds before working professionally as a director and voice coach.
Having worked alongside Cicely Berry in the Voice Department at the Royal Shakespeare Company, Tim Supple invited her to become Associate Director at The Young Vic. On leaving she wrote 'Finding Your Voice' and 'Tackling Text'.
Since then she has worked extensively as a voice and text coach in the West End including shows including The Ferryman, Curious Incident of the Dog in the Night Time and Equus (The Gielgud); Kenneth Branagh Season (The Garrick); the All Female Trilogy, Trelawney of the Wells, Coriolanus, Les Liaisons Dangereuses, St Joan (The Donmar); Dr Faustus (Duke of Yorks); Macbeth and Richard III (Trafalgar Studios); Rosencrantz and Guildenstern are Dead, Sweet Bird of Youth, Duchess of Malfi, Playboy of the Western World (The Old Vic).
She's been resident voice and text coach at the Open Air Theatre in Regent's Park since 2009 and was Season Associate Director since 2012. Individual clients include Jane Asher, Kenneth Branagh, Jessie Buckley, Omid Djalili, Dynamo, Richard Fairbrass, Jerry Hall, Lenny Henry, Nicholas Hoult, Karl Hyde, Patrick Kielty, Jude Law, Clive Owen, Daniel Radcliffe, Scarlett Strallen, Will Young
Barbara is visiting professor at the University of Tennessee and the University of Connecticut. She works as a voice over artist and coaches journalists who narrate their own documentaries, as well as coaching non-actors and individuals wishing to improve their communication skills. Barbara is a fully qualified Healing-Shiatsu Practitioner, an NLP Master Practitioner and a certified Clean Language Coach.
Dr Jenevora Williams is a passionate pedagogue and a leading exponent in the field of vocal health
and singing teaching. She was the first singing teacher to be awarded a PhD in voice science
in the UK, and won the 2010 BVA Van Lawrence Prize for her outstanding contribution to voice
research. Her book and DVD Teaching Singing to Children and Young Adults has sold several thousand
copies worldwide. As voice science is a relatively young discipline, she has engaged in
pioneering work at a grass roots level through the delivery of innovative lectures on Vocal Health,
Performance Anxiety, Vocal Pedagogy, Teaching Young Singers, Voice Acoustics, and Teaching Studio
Communication Style. She has worked for bodies such as the British Voice Association, British
Association for Performing Arts Medicine (BAPAM) and the Association of Teachers of Singing.
She also wrote the first Vocal Pedagogy syllabus for a university-accredited MA. Some of her
teaching work is in vocal rehabilitation; she offers guidance for singers who may have challenges
with vocal health or technique. Jenevora’s PhD research looked into the vocal health of intensively
trained child singers.
Mel Mehta is a Specialist Speech & Language Therapist (SLT Voice Disorders) and has worked at
various London Hospitals. A graduate of the MA in Voice Studies course, having specialised in
voice early in her career, she has taught practical spoken voice skills as well as lecturing
at the London Academy of Music & Dramatic Art for 14 years plus provides SLT support. Mel
also provides SLT support at Millennium Performing Arts and Arts Educational Trust and has worked
as a voice coach on a London revival of Journey’s End. She teaches practical voice skills across
the classical acting curriculum in addition to providing Voice Therapy support. Mel has presented
at the BVA Conference Choice for Voice, at PEVOC and other study days.
Deborah Garvey is a voice practitioner who teaches both spoken voice, accent work and singing. This multi-faceted approach is informed by her early training as an actor and singer and subsequent study to complete a music degree at Goldsmiths College in 1994. Alongside performance work in West End, repertory, and radio, she went on to gain experience as a singing coach at Goldsmith’s College, the BRIT School and London School of Musical Theatre. In the same period, she became interested in vocal health and independently designed and implemented workshops to fitness professionals, teachers, and performers. This growing enquiry into the spoken voice provided the impetus for her to pursue further specialist study on the MA Voice Studies programme at Central. She graduated in 2008 and began working at Central a year later as a visiting lecturer before joining the faculty as Lecturer in Voice on the MA/MFA Voice Studies programme in 2014.
Deborah’s research interests focus on the relationship between the spoken and sung voice and the development of an integrated approach to access vocal expressivity.
Jedd Owen-Ellis Clark has been teaching voice and singing development, and vocal performance skills for fifteen years. Previous to that he has been a singer, songwriter and performer, recording and performing in many different styles, spoken and sung, as well as developing somatic performance art. He teaches widely on theoretical and practical voice programmes in undergraduate and postgraduate voice and singing related modules, within acting, singing and musical theatre degree courses, particularly Guildford School of Acting and the Vocal & Choral studies BA at Winchester; developing a connection between the body, the voice, the text, and the space. He also works with business speakers, teachers, priests, and recovering voices. He runs workshops for performers and public speakers and has worked on a number of regional theatre productions, as a voice/accent coach and singing advisor.
Annette is a senior coach educator, researcher and author. After a successful career as a research
scientist where she was Fellow of the Royal Society of Chemistry and author of over 50 academic
papers, Annette began a second career with the Professional Development Foundation after attaining
a Masters in Professional Development. She became CEO and designed leadership programmes for
public sector managers and school leaders, and manager coach training programmes across a range
of sectors. During a sabbatical at the University of Manchester in 2008 she was responsible for
the overhaul of the Masters in Educational Leadership and in 2010 Annette moved to Middlesex
University where she was Head of the faculty for the Professional Doctorate where she has supervised
over twenty coaching doctorates and ran the Work and Learning Research Group. She is currently
principal investigator for an EU funded pan-European project on the Modern Doctorate and recently
took up the post of Head of the Wales Institute for Work Based Learning at Trinity St David University
of Wales where she is pursuing her passion for the facilitation of professional development of
This course combines academic learning with interactive, practical voice work. Please note that while every effort is made to not vary the course dates, these may be subject to change.
Introduction day with Annette Fillery-Travis
Anatomy and Physiology Applied to Function with Dr Jenevora Williams
The morning will give an overview of tissue types within the body in order to understand the structures and organs relating to vocal function. The afternoon will look at neurology and the brain, and at overall body use and alignment.
Bone and the skeleton - the scaffolding
Joints – hinges and rotations
Alignment and balance
Anatomy and Physiology Applied to Function continued with Dr Jenevora Williams
The day will investigate the anatomy and function of the respiratory system and how the voice user manages breath flow and pressure. The larynx, vocal tract.
The Larynx – intrinsic and extrinsic structures
The vocal tract
Voice Pedagogies – Converging artistic perspectives:
Please wear loose clothing. The work includes adapted yoga positions, floor and standing work, arm swings and other physical activities. These can all be adjusted to individual needs.
Fitzmaurice Voice Work
Fitzmaurice Voice Work works with the breath with a view to creating a deeper connection with the voice and it seeks to create a foundation for vocal flexibility and strength. The purpose of this day is to provide an overview of the method and to understand the key fundamental principles. The day will explore the core concepts and exercises.
Evening Session - Reflective Practice with Debbie Winter
This module is designed to enable you to critically evaluate a range of concepts, theories and models that you have recently studied, explaining their relevance to your workplace practice and procedures. Through an exploration of relevant theory, you will design a strategy for applying what you have learned to improve your practice and performance. You will also devise a detailed personal development plan highlighting further professional development plans.
This research proposal examines relevant research methodology and critically examines how it can be used in a proposed area of research. You will explore a number of methodological approaches for research in work-based settings and a range of research techniques appropriate for gathering data will be evaluated. You will draw on your formative assessments to identify an area of interest.
Work Based Learning Weekend - Feb 22nd and 23rd Feb 2020
This is where the research proposal is put into action and reported. You will also present your work to a panel and your peers during a study weekend.
Examples of Professional Practice projects previously undertaken have involved strategies for working with aging voice, the importance of alignment in belt voice, the creation of a postural methodology, warm-ups for music directors, the development of practice aids, song-writing as a support tool, breathing methodology for the triple threat performer, the development of performance anxiety strategies and the use of acting pedagogy as a vehicle for teaching group singing.
Course fees are all non-refundable and must be paid in accordance with the fee schedule below:
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