Voice and the Alexander Technique
| BUY FROM AMAZON.COM |
|---|
|
Our Price: $49.00 Usually ships in 24 hours |
Consumer Rating: 
By: Jane Heirich
Format: Hardcover
From: Mornum Time Press
Pub. Date: December 2004
From: Mornum Time Press
Pub. Date: December 2004
Product Details:
Catalog: Book
Release Date: 2005-01-01
Media: Hardcover
Number Of Pages: 192
Ean: 9780964435254
Isbn: 096443525X
Catalog: Book
Release Date: 2005-01-01
Media: Hardcover
Number Of Pages: 192
Ean: 9780964435254
Isbn: 096443525X
ABOUT THE BOOK
EDITORIAL REVIEW
Are you an actor who routinely loses his voice before the end of a run? As a serious student of singing, do you wish those high notes would come more easily? Do you need courage to sing outside the shower?
In this book, designed for both teachers and students of the speaking and singing voice, Jane Heirich addresses some common problem areas of the voice-teaching world: breath management, voice projection, resonance building, ?breaks? in the vocal range, and the relevance of overall poise to vocal output. The step-by-step approach through which she takes the reader allows new skills to develop for both beginning and experienced students/performers.
This book is the culmination of decades of work integrating two approaches that will have a profound impact on your voice; the centuries-old Italian bel canto singing tradition and the FM Alexander Technique.
If you've wondered whether you can improve your voice and enjoy using it more effectively, this is the book for you.
In this book, designed for both teachers and students of the speaking and singing voice, Jane Heirich addresses some common problem areas of the voice-teaching world: breath management, voice projection, resonance building, ?breaks? in the vocal range, and the relevance of overall poise to vocal output. The step-by-step approach through which she takes the reader allows new skills to develop for both beginning and experienced students/performers.
This book is the culmination of decades of work integrating two approaches that will have a profound impact on your voice; the centuries-old Italian bel canto singing tradition and the FM Alexander Technique.
If you've wondered whether you can improve your voice and enjoy using it more effectively, this is the book for you.
USER REVIEWS
"This book and the included CD provides an excellent way to discover the full potential of your voice. Nothing short of awesome!"
~ Written on 2006-05-12
~ Written on 2006-05-12
"It gives me great pleasure to recommend Voice and the Alexander Technique, written by the highly regarded educator and certified Alexander teacher, Jane Ruby Heirich, to teachers and students of speech, singing and Alexander Technique.
The book's nine chapters are preceded by an introduction, which is one of several times in which she cautions that the "guidance of an Alexander teacher's hands" would be the ideal way for one without previous Alexander training to use this book, while she acknowledges that not all communities have a certified teacher. The first four chapters cover the basics of habit, a short history of F.M. Alexander and what his Technique is and what it is not, a vocal technique primer, and some common postural and vocal problems. The next four chapters apply principles of Alexander Technique via "Games and Explorations". The final chapter is a two page summary of the book. Four appendices follow: an explanation of IPA International Phonetic Alphabet), an additional Alexander exercise called hands on the back of a chair, contact information for teachers and books, and a generous glossary of musical and Alexandrian terms.
"To Do" sections in each chapter explore ways to address vocal and use problems. Use (as defined in the aforementioned glossary) is "the term Alexander used to mean how a person organizes him/herself in daily activities. He often spoke and wrote about the use of the Self in activity, meaning how one responds to a stimulus or does everything he does." The vocal (sung) "To Do" exercises, included on the CD which accompanies the book, are discussed and then played on a piano in several keys.
Voice teachers may quibble with some of the information found in the vocal primer section (Chapter 3), but most will appreciate her multi-sided approach to the art of vocal pedagogy, combining complex mechanistic and anatomical description, while also offering solutions to problems via imagery and movement. In a later chapter she states, " I will not pretend to define what is meant by all voice teachers when they uses these three terms - support, breath support or project." And to avoid Alexandrian semantic squabbles, she often gives several names for one "Alexandrian" term, for example: Alexander Lie-Down, Semi-Supine and Constructive Rest Position. I enjoyed her definition of "up". "Up" at its simplest means the direction in which the head is releasing away from the other end of the spine, the tailbone." And her discussion of the whispered ah as taught by Alexander (Pages 85-91) resulted in several rewarding practice sessions for me and therefore my students.
The book is tall and heavy which presents an Alexandrian challenge (I propped it up on two pillows), but it is this bulkiness which allows the excellent, clear illustrations by Jaye Schlesinger and other sidebars to appear on the pertinent page. These gray shaded sidebars, sprinkled throughout the book, detail stories about students of the author which are relevant to the chapter.
According to Ms. Heirich, the first factor in the process of changing a habit is that the individual must desire to change and the second is that "we must begin where we are". Reading this book is a wonderful place for either the novice or the professional to do just that. Katherine Keyes, certified teacher of the Alexander Technique, voice teacher, singer. VoicePrints-Sept.2005
"
~ Written on 2005-09-06
The book's nine chapters are preceded by an introduction, which is one of several times in which she cautions that the "guidance of an Alexander teacher's hands" would be the ideal way for one without previous Alexander training to use this book, while she acknowledges that not all communities have a certified teacher. The first four chapters cover the basics of habit, a short history of F.M. Alexander and what his Technique is and what it is not, a vocal technique primer, and some common postural and vocal problems. The next four chapters apply principles of Alexander Technique via "Games and Explorations". The final chapter is a two page summary of the book. Four appendices follow: an explanation of IPA International Phonetic Alphabet), an additional Alexander exercise called hands on the back of a chair, contact information for teachers and books, and a generous glossary of musical and Alexandrian terms.
"To Do" sections in each chapter explore ways to address vocal and use problems. Use (as defined in the aforementioned glossary) is "the term Alexander used to mean how a person organizes him/herself in daily activities. He often spoke and wrote about the use of the Self in activity, meaning how one responds to a stimulus or does everything he does." The vocal (sung) "To Do" exercises, included on the CD which accompanies the book, are discussed and then played on a piano in several keys.
Voice teachers may quibble with some of the information found in the vocal primer section (Chapter 3), but most will appreciate her multi-sided approach to the art of vocal pedagogy, combining complex mechanistic and anatomical description, while also offering solutions to problems via imagery and movement. In a later chapter she states, " I will not pretend to define what is meant by all voice teachers when they uses these three terms - support, breath support or project." And to avoid Alexandrian semantic squabbles, she often gives several names for one "Alexandrian" term, for example: Alexander Lie-Down, Semi-Supine and Constructive Rest Position. I enjoyed her definition of "up". "Up" at its simplest means the direction in which the head is releasing away from the other end of the spine, the tailbone." And her discussion of the whispered ah as taught by Alexander (Pages 85-91) resulted in several rewarding practice sessions for me and therefore my students.
The book is tall and heavy which presents an Alexandrian challenge (I propped it up on two pillows), but it is this bulkiness which allows the excellent, clear illustrations by Jaye Schlesinger and other sidebars to appear on the pertinent page. These gray shaded sidebars, sprinkled throughout the book, detail stories about students of the author which are relevant to the chapter.
According to Ms. Heirich, the first factor in the process of changing a habit is that the individual must desire to change and the second is that "we must begin where we are". Reading this book is a wonderful place for either the novice or the professional to do just that. Katherine Keyes, certified teacher of the Alexander Technique, voice teacher, singer. VoicePrints-Sept.2005
"
~ Written on 2005-09-06
"Voice and the Alexander Technique: Active Explorations for Speaking and Singing (w/CD), by Jane Heirich, Mornum Time Press
Many books have been written about the art and the science of singing. Most of them follow the medical model, that is, they deal with the actual physiology of making vocal sound. And there is no shortage of written material about the Alexander Technique-the remarkable method of aligning the body for maximum physical efficiency in any endeavor, be it singing, playing tennis, washing dishes or whatever-formulated by the Tasmanian Shakespearean actor F. M. Alexander in the late-19th century. But Jane Ruby Heirich's book, Voice and the Alexander Technique, is, as far as I know, the first to delineate the specific benefits of the Alexander Technique for those who are concerned with the quality and healthfulness of vocal sound in either spoken or sung form.
Heirich knows her business; she dispenses her excellent information with the expertise of sequence and timing that only comes from having coached hundreds of subjects in these techniques for many years. She intersperses her factual material with exercises, which she refers to as "to dos," and almost every page has a box in the margin with an anecdote pertaining to the problem at hand or a technique used for its remedy. There are many well-executed and useful illustrations, and the material, even though sophisticated and scientific in nature, is presented in the clear, easy-to-understand English similar to a do-it-yourself self-help manual. Furthermore, there is a glossary of terms, appendices with all manner of other useful information and a CD with recordings of vocal exercises recommended in the book is included.
I have only one complaint about this publication: it is hardbound, over-sized and rather expensive. So, many students who should have access to this information, will pass it up for economic reasons. Let's hope for a quicker-to-read, smaller and cheaper reprinting in paperback. Reviewed by Benton Hess, Webster, New York.
Reprinted from American Music Teacher, Volume 55, No. 1, August/September 2005, with permission of Music Teachers National Association.
"
~ Written on 2005-08-29
Many books have been written about the art and the science of singing. Most of them follow the medical model, that is, they deal with the actual physiology of making vocal sound. And there is no shortage of written material about the Alexander Technique-the remarkable method of aligning the body for maximum physical efficiency in any endeavor, be it singing, playing tennis, washing dishes or whatever-formulated by the Tasmanian Shakespearean actor F. M. Alexander in the late-19th century. But Jane Ruby Heirich's book, Voice and the Alexander Technique, is, as far as I know, the first to delineate the specific benefits of the Alexander Technique for those who are concerned with the quality and healthfulness of vocal sound in either spoken or sung form.
Heirich knows her business; she dispenses her excellent information with the expertise of sequence and timing that only comes from having coached hundreds of subjects in these techniques for many years. She intersperses her factual material with exercises, which she refers to as "to dos," and almost every page has a box in the margin with an anecdote pertaining to the problem at hand or a technique used for its remedy. There are many well-executed and useful illustrations, and the material, even though sophisticated and scientific in nature, is presented in the clear, easy-to-understand English similar to a do-it-yourself self-help manual. Furthermore, there is a glossary of terms, appendices with all manner of other useful information and a CD with recordings of vocal exercises recommended in the book is included.
I have only one complaint about this publication: it is hardbound, over-sized and rather expensive. So, many students who should have access to this information, will pass it up for economic reasons. Let's hope for a quicker-to-read, smaller and cheaper reprinting in paperback. Reviewed by Benton Hess, Webster, New York.
Reprinted from American Music Teacher, Volume 55, No. 1, August/September 2005, with permission of Music Teachers National Association.
"
~ Written on 2005-08-29
"Meticulous cross-indexing alone whets an appetite for this book - invaluable for any teacher of AT or Voice. Attention to detail throughout makes it an interactive workbook that invites use. A CD with musical examples and chart for non music-readers are included.
Heirich, well-known Alexander teacher, taught a voice technique class in Michigan for over 30 years, and learned that not everyone responds to the same approach. She uses whatever it takes to get her message through. I particularly like "Singing to a candle" to clarify the difference between blowing a stream of air and creating a sound wave.
The first half discusses habit, Alexander and his technique, and includes a voice primer describing skills that promote effortless effort, vitality, resonance and intelligibility throughout the vocal range. It also gives examples of postural and vocal problems including the effects of knee-locking, TMJ tension and rib cage corseting.
The interlude connects AT and voice work and includes a beautiful illustration of the "nodding place". It also invites the reader to use the later chapters (which address postural and vocal problems) to have an experience rather than just read about it, and cautions that this takes awareness of existing habits. Naturally, guidance from an Alexander teacher would be helpful here, but the following games and explorations are described with such clarity that a conscientious and motivated reader could discover a lot without a teacher - preferably with a sympathetic friend. Heirich mentions the essential feedback of an observing listener.
By getting out of our own way we can free the voice and learn the resultant sensations so we can choose and enjoy them. Heirich says the voice is one of the most habitual of our daily tools, and inarguably one of our most valuable. With thought and practice, we can change and mold it into something healthy, flexible, beautiful, and alive."
~ Written on 2005-05-06
Heirich, well-known Alexander teacher, taught a voice technique class in Michigan for over 30 years, and learned that not everyone responds to the same approach. She uses whatever it takes to get her message through. I particularly like "Singing to a candle" to clarify the difference between blowing a stream of air and creating a sound wave.
The first half discusses habit, Alexander and his technique, and includes a voice primer describing skills that promote effortless effort, vitality, resonance and intelligibility throughout the vocal range. It also gives examples of postural and vocal problems including the effects of knee-locking, TMJ tension and rib cage corseting.
The interlude connects AT and voice work and includes a beautiful illustration of the "nodding place". It also invites the reader to use the later chapters (which address postural and vocal problems) to have an experience rather than just read about it, and cautions that this takes awareness of existing habits. Naturally, guidance from an Alexander teacher would be helpful here, but the following games and explorations are described with such clarity that a conscientious and motivated reader could discover a lot without a teacher - preferably with a sympathetic friend. Heirich mentions the essential feedback of an observing listener.
By getting out of our own way we can free the voice and learn the resultant sensations so we can choose and enjoy them. Heirich says the voice is one of the most habitual of our daily tools, and inarguably one of our most valuable. With thought and practice, we can change and mold it into something healthy, flexible, beautiful, and alive."
~ Written on 2005-05-06
"I think this book is wonderful. I am a vocalist/performer and I teach voice. I have already ordered a copy for my student to read because the information is given in such a clear and easy to understand manner. So many voice books get convoluded when it comes to anatomy and technique but this book really trys to stay pretty straight forward. You can take or leave the visual imagery. It works for some people and not for others but don't let that stop you from adding this to your collection. I know that I will be using this book as my main teaching/practicing reference for a long time"
~ Written on 2005-03-28
~ Written on 2005-03-28