Edinburgh Napier University

  Voice can be an awkward instrument to teach. The research of pioneers such as MeriBeth Bunch, Ingo Titze, and Jo Estill has provided us with illuminating scientific insight in to the mechanics of vocal production. The science helps us understand what the voice is capable of, however it does not give us access to those capabilities. Means of manipulating and accessing the full potential of the voice tends to be taught via abstract cues and sense memory, for example a vocalist might be assisted in manipulating the tension of their vocal folds through imitation of a puppy whining. The complexities of teaching an instrument that cannot be seen or touched can cause the technicalities of vocal production to become the primary focus of vocal training, and musicianship or creative intent can become a secondary concern. Through recognition of vocal production and musicality as expressions of creative intent I have developed a framework, tested and refined over eight years of teaching, for the delivery of practical vocal studies on a four year undergraduate program in Popular Music. This workshop will explore how, through four simple categorisations of vocal performance, I experiment with vocal technique, musicianship and stagecraft in class with the aim of empowering vocalists to explore the full potential of their voices in meeting their creative intentions.