Voice : onstage and off /
"Voice: Onstage and Off is a comprehensive guide to the process of building, mastering, and fine-tuning the voice for performance. Every aspect of vocal work is covered, from the initial speech impulse and the creation of sound, right through to refining the final product in different types of...
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| Main Authors: | , |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New York, NY :
Routledge,
2017.
|
| Edition: | Third edition. |
| Subjects: |
MARC
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| 020 | |z 9781317421054 (Mobipocket ebook) | ||
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| 100 | 1 | |a Barton, Robert, |d 1945- |e author. |9 1841 | |
| 245 | 1 | 0 | |a Voice : |b onstage and off / |c Robert Barton and Rocco Dal Vera. |
| 250 | |a Third edition. | ||
| 264 | 1 | |a New York, NY : |b Routledge, |c 2017. | |
| 264 | 4 | |c ©2017 | |
| 300 | |a xxxiii, 381 pages ; |c 25 cm | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a unmediated |b n |2 rdamedia | ||
| 338 | |a volume |b nc |2 rdacarrier | ||
| 501 | |a P.B | ||
| 501 | |a P.B | ||
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a Machine generated contents note: 1.1.A stranger inside -- 1.2.Voice baby -- starting fresh -- Exercise 1.2.1: My voice history -- Exercise 1.2.2: My vocal profile -- Exercise 1.2.3: Tracking the blocks -- Exercise 1.2.4: Keeping the good stuff -- 1.3.Vocal contradictions -- Exercise 1.3.1: Voices from hell -- Exercise 1.3.2: Voices from heaven -- 1.4.Basic equipment -- Exercise 1.4.1: Checking it out -- Exercise 1.4.2: Recording time -- Exercise 1.4.3: Audition update -- 1.5.Imitators -- a voice mirror -- Exercise 1.5.1: My subject in public -- Exercise 1.5.2: Subjects in a scene -- 1.6.The voice recipe -- nine ingredients -- 1.6.1.Tempo: your voice in time -- 1.6.2.Rhythm: your drum beats -- Exercise 1.6.2.1: My tempo/rhythm -- 1.6.3.Articulation -- shaping the sound -- 1.6.4.Pronunciation -- standard, regional, or eccentric? -- Exercise 1.6.4.1: My articulation/pronunciation -- 1.6.5.Pitch -- notes on your sheet music -- 1.6.6.Volume -- filling space | |
| 505 | 0 | |a Note continued: Exercise 1.6.6.1: My pitch/volume -- 1.6.7.Quality -- creating the sound core -- Exercise 1.6.7.1: My qualities -- 1.6.8.Word choice -- your own lingo -- 1.6.9.Vocal nonverbals -- snap, crackle, and pop -- Exercise 1.6.9.1: My words/my sounds -- Exercise 1.6.9.2: My voice recipe -- 1.7.Your voice compared with your classmates' -- the voice awards -- Exercise 1.7.1: The voice awards -- 1.8.The cave -- your voice's home -- Exercise 1.8.1: The cave's effect -- Exercise 1.8.2: Comparing notes -- 1.9.Ownership -- an end to denial -- Exercise 1.9.1: Drawing and coloring your voice -- Exercise 1.9.2: Naming your voice -- Exercise 1.9.3: Talking to your voice -- 1.10.Electronic voices -- Exercise 1.10.1: Electronic analysis -- 1.11.Warming up your voice -- Exercise 1.11.1: vocal warm-up -- 1.12.Mini warm-up -- 1.13.Other short warm-ups -- Terms To Remember -- Summary -- 2.1.The Voice Doc and the Voice Shrink -- 2.2.Vocal health -- caring for your voice | |
| 505 | 0 | |a Note continued: 2.3.The Voice Shrink: vocal use -- how behavior affects voice -- 2.3.1.What you breathe matters -- smoke, dust, allergens, and irritants -- 2.3.2.Dehydration -- 2.3.3.Coughing and throat clearing -- 2.3.4.Shouting, yelling, loud speaking -- 2.3.5.Failure to warm up before extended use and to cool down afterwards -- 2.3.6.Excess tension of the tongue, jaw, and neck muscles -- 2.3.7.Insufficient rest -- 2.3.8.Speaking or singing at vocal extremes -- 2.3.9.Protect your hearing -- 2.4.The Voice Doc -- a medical perspective -- 2.4.1.Vocal hygiene -- 2.4.2.An important note on laryngo-pharyngeal-reflux disease (LPR) -- 2.4.3.Resources for vocal hygiene -- 2.5.Healing breathing -- the source of sound -- 2.5.1.Shallow breathing -- Exercise 2.5.1.1: Observing breathing patterns -- Exercise 2.5.1.2: Finding the full breath -- Exercise 2.5.1.3: Full breath with sound -- 2.5.2.Connecting breath to sound -- avoiding the glottal attack | |
| 505 | 0 | |a Note continued: Exercise 2.5.2.1: Releasing the glottal attack -- 2.5.3.Audible inhalation -- Exercise 2.5.3.1: Freeing inhalation -- 2.5.4.Poor breath management/running out of air too soon -- Exercise 2.5.4.1: Observing breathing in conversation -- 2.5.5.Picking up cues -- Exercise 2.5.5.1: Connecting breath and thought -- 2.5.6.Breathing for phrasing -- Exercise 2.5.6.1: Organizing ideas -- connecting breath and thought -- 2.5.7.Exhaling before speaking -- 2.6.Healing tempo -- your voice in time -- 2.6.1.Raising or dropping pitch and intensity as tempo changes -- Exercise 2.6.1.1: Tempo isolation -- 2.7.Healing rhythm -- your drum beats -- 2.7.1.Phrasing hierarchies -- Exercise 2.7.1.1: Phrasing hierarchies -- Exercise 2.7.1.2: Macbeth on Monday Night Football -- 2.7.2.Punctuation matters -- Exercise 2.7.2.1: The punctuation dance -- 2.7.3.Word stress -- 2.7.4.What not to stress -- 2.7.5.What to stress -- 2.7.6.How to stress | |
| 505 | 0 | |a Note continued: 2.8.Healing articulation -- vocal dexterity -- Exercise 2.8.1: Articulation drills -- 2.9.Healing pitch -- notes on your sheet music -- 2.9.1.Median note -- Exercise 2.9.1.1: Finding the optimal median note -- Exercise 2.9.1.2: Median notes and power plays -- Exercise 2.9.1.3: The heroic build -- 2.9.2.Range, inflection, and intonation -- Exercise 2.9.2.1: Pitch isolation -- Exercise 2.9.2.2: Pitch patterns -- 2.9.3.Putting pitch and rhythm together -- Exercise 2.9.3.1: Esau Wood -- 2.10.Healing volume -- building a bigger voice -- 2.10.1.Volume misconceptions -- 2.10.2.Building a bigger voice -- Exercise 2.10.2.1: Single-note intensification -- Exercise 2.10.2.2: Intensification and breath support -- Exercise 2.10.2.3: Volume isolation -- Exercise 2.10.2.4: Isolating volume, varying pitch -- 2.10.3.How loud is loud enough? -- Exercise 2.10.3.1: Appropriate size -- Exercise 2.10.3.2: Size with intimacy -- connecting | |
| 505 | 0 | |a Note continued: Exercise 2.10.3.3: Size with intimacy -- sharing -- Exercise 2.10.3.4: Size -- expanding the world -- 2.10.4.Volume enhancers -- timbre, quality, and resonance -- Exercise 2.10.4.1: Finding room resonance -- Exercise 2.10.4.2: Finding room resonance in large spaces -- Exercise 2.10.4.3: Focusing sound for volume -- 2.11.Healing quality -- finding the sound core -- 2.11.1.Resonance -- Exercise 2.11.1.1: Full-body resonance -- 2.11.2.Tonal quality -- Exercise 2.11.2.1: Quality isolation -- 2.11.3.Breathy or pressed voices -- Exercise 2.11.3.1: Exploring breathy and pressed sounds -- 2.12.Owning anew -- Exercise 2.12.1: The voice awards, part 2 -- 2.12.1.The top twenty vocal directions -- Exercise 2.12.1.1: Toppling the top twenty -- Terms To Remember -- Summary -- 3.1.Written language versus spoken language -- 3.2.Symbols for sounds -- 3.2.1.Diacritics -- 3.2.2.Respelling or transliteration -- 3.2.3.Phonetics -- 3.3.The International Phonetic Alphabet | |
| 505 | 0 | |a Note continued: 3.4.Sound groups -- Exercise 3.4.1: Separating vowels from consonants -- 3.4.1.Voiced and voiceless consonants -- Exercise 3.4.1.1: Separating voiced and voiceless consonants -- Exercise 3.4.1.2: Voiced endings -- Exercise 3.4.1.3: Voiced/voiceless accent endings -- 3.4.2.Consonant creation -- Exercise 3.4.2.1: Identifying your organs of speech -- Exercise 3.4.2.2: Guess the consonant -- 3.5.Vowel formation -- 3.5.1.Lexical sets for vowels -- 3.5.2.Diphthongs and triphthongs -- Exercise 3.5.2.1: Diphthongs and triphthongs versus two-syllable words -- 3.6.Phonetic transcription -- 3.6.1.Syllabification -- Exercise 3.6.1.1: How many syllables? -- 3.6.2.Syllable stress -- Exercise 3.6.2.1: Which syllables are accented? -- 3.6.3.How to divide syllables -- 3.6.4.Vowel sounds that depend on stress -- Exercise 3.6.4.1: Hearing vowels change with stressing -- 3.6.5.Strong and weak forms -- Exercise 3.6.5.1: Strong or weak form? | |
| 505 | 0 | |a Note continued: 3.6.6.How do sounds affect each other? -- Exercise 3.6.6.1: "R" alterations -- Exercise 3.6.6.2: "R" alterations in sentences -- Exercise 3.6.6.3: Released and Unreleased "L" -- Exercise 3.6.6.4: Released and unreleased "L" in sentences -- 3.7.Pronunciation -- Exercise 3.7.1: Pronunciation attitudes -- 3.7.1.Speech tells who we are, where we are, and when we are -- 3.8.Resources -- Terms To Remember -- Summary -- 4.1.Rediscovering your voices -- Exercise 4.1.1: Being a baby -- getting what you want -- 4.2.Rediscovering language -- Exercise 4.2.1: Battling theories -- Exercise 4.2.2: Word tasting -- a return to the roots of language -- 4.3.Expanding -- tempo/rhythm -- 4.3.1.Feeling the rhythms of words -- Exercise 4.3.1.1: Revealing rhythmic structure -- Exercise 4.3.1.2: Word tasting -- finding the internal rhythms of words -- Exercise 4.3.1.3: Word tasting -- finding internal rhythms of words in text | |
| 505 | 0 | |a Note continued: Exercise 4.3.1.4: Rhythm -- finding freedom within form -- Exercise 4.3.1.5: Tempo -- racing effortlessly -- 4.4.Expanding -- pronunciation/articulation -- 4.4.1.Bone prop/cork -- the controversial helper -- 4.4.2.Consonant action -- finishing off a drill -- Exercise 4.4.2.1: Articulation -- initiating with accuracy -- Exercise 4.4.2.2: Articulation -- attacking the terminals -- Exercise 4.4.2.3: Articulation and breath control -- 4.4.3.Interpreting through articulation -- Exercise 4.4.3.1: Word tasting -- words to hurt or heal -- Exercise 4.4.3.2: Using A.A.C.O. -- Exercise 4.4.3.3: Hidden relationships -- 4.5.Expanding -- pitch -- 4.5.1.Pitch prominence for stronger stressing -- Exercise 4.5.1.1: Pitch and parallelism -- Exercise 4.5.1.2: Singing the speech -- 4.6.Expanding -- volume -- 4.6.1.Vocal weightlifting -- Exercise 4.6.1.1: Volume building -- 4.6.2.Working with amplification -- 4.7.Expanding -- quality -- Exercise 4.7.1: Quality control | |
| 505 | 0 | |a Note continued: 4.8.Expanding -- breath and emotion -- Exercise 4.8.1: Stepping out -- Exercise 4.8.2: Stepping into emotions with Effector Patterns -- 4.9.Putting it all together -- Exercise 4.9.1: Giving meaning to the words -- Exercise 4.9.2: Jabberwocking -- Exercise 4.9.3: Masking and unmasking -- Exercise 4.9.4: Classical masking and unmasking -- 4.10.The vocal gym -- getting in shape -- 4.10.1.Voice warm-up/workout checklist -- 4.10.2.Warm-ups versus workouts -- Exercise 4.10.2.1: Voice awards -- where are you now? -- Exercise 4.10.2.2: Where do we go from here? -- Terms To Remember -- Summary -- 5.1.Class acts -- 5.2.Acrolects and hyperlects -- 5.2.1.General American -- 5.2.2.Elevated Standard -- 5.2.3.British Received Pronunciation -- 5.2.4.A Note on the Estuary Accent -- 5.3.GA, ES, and RP in comparison -- 5.3.1.Resonance and tune -- 5.3.2.R coloration -- Exercise 5.3.2.1: Practice adding and dropping R-coloring -- Exercise 5.3.2.2: Practice R intrusion | |
| 505 | 0 | |a Note continued: 5.3.3.A mediations -- Exercise 5.3.3.1: Practice the flat intermediate and round A -- 5.3.4.U liquidation -- Exercise 5.3.4.1: Practice dropping or adding the liquid U -- 5.3.5.Back-vowel separation -- Exercise 5.3.5.1: Contrasting back vowels -- Exercise 5.3.5.2: Practice adjusting [] in GA and [.r] in ES and RP -- 5.3.6.Twang elimination -- Exercise 5.3.6.1: Practice removing or adding the right kind of twang -- 5.3.7.Schwa elevation -- Exercise 5.3.7.1: Practice lowering or elevating the schwa -- 5.3.8.Completions -- Exercise.5.3.8.1: Practice lovely completions -- 5.3.9.T articulation -- Exercise 5.3.9.1: Practice T articulation -- 5.3.10.W/WH distinction -- Exercise 5.3.10.1: Practice [M,W] in contrast -- 5.3.11.Precision -- detail work -- Exercise 5.3.11.1: Elevating -- Exercise 5.3.11.2: Changing cultures -- Exercise 5.3.11.3: Finding ES -- Exercise 5.3.11.4: Transcribing for precision and accuracy | |
| 505 | 0 | |a Note continued: 5.4.Acting in an acrolect without sounding phony -- 5.5.Regional/ethnic freedom -- owning all language -- Exercise 5.5.1: Storytelling -- Terms To Remember -- Summary -- 6.1.Choosing your text -- Exercise 6.1.1: Choosing your translated or adapted text -- Exercise 6.1.2: Choosing your Shakespearean text -- 6.2.Understanding the text -- 6.3.Paraphrasing -- Exercise 6.3.1: Paraphrasing your text -- 6.4.Finding the simple sentence -- Exercise 6.4.1: Heightening a simple sentence -- Exercise 6.4.2: Finding the simple sentence -- Exercise 6.4.3: Using the simple sentence -- 6.5.Phrasing hierarchies -- Exercise 6.5.1: Acting the versions -- phrasing hierarchies -- Exercise 6.5.2: Acting the versions -- simple to complex -- 6.6.Verse versus prose -- 6.6.1.Scansion -- scoring verse -- 6.6.2.Stress release -- Exercise 6.6.2.1: Scanning -- Exercise 6.6.2.2: The mighty human iambic pentameter line -- 6.6.3.Rhyming | |
| 505 | 0 | |a Note continued: 6.7.Classical speech hints A to Z -- antithesis to zone -- Exercise 6.7.1: Classical speech A to Z -- Exercise 6.7.2: Refinement imitations -- Exercise 6.7.3: Verse imitation/conjecture -- 6.7.4.Pulse beats -- metre and meaning -- Exercise 6.7.4.1: Swinging the pendulum -- Terms To Remember -- Summary -- 7.1.Accents versus dialects -- 7.1.1.Native versus second-language accents -- Exercise 7.1.1.1: Diving into an accent -- 7.2.Opening your ear -- releasing your tongue -- 7.3.Organic/cultural accent base -- 7.3.1.Images -- 7.3.2.Values -- 7.3.3.Influences -- 7.3.4.Warm-ups -- 7.3.5.Physical lives -- Exercise 7.3.5.1: Developing an accent character -- Exercise 7.3.5.2: United Nations of accents -- 7.4.Technical accent base -- 7.5.Researching the sounds -- 7.5.1.Most important resources -- 7.5.2.Online resources -- 7.5.3.Print resources -- 7.6.Geographic index of accent sources -- 7.7.Hierarchies -- individualizing the accent -- Exercise 7.7.1: Hierarchizing | |
| 505 | 0 | |a Note continued: 7.7.1.Thickening and thinning -- Exercise 7.7.1.1: Thin to thick to thin -- Exercise 7.7.1.2: Teaching the accent -- Exercise 7.7.1.3: Testing how it took -- 7.8.Character voices -- 7.8.1.The three Cs -- characters, caricatures, cartoons -- 7.8.2.Same text/different voices -- Exercise 7.8.2.1: Four voices -- Exercise 7.8.2.2: Four voices imitations -- 7.9.Discovering all your voices -- 7.9.1.Voice personas -- Exercise 7.9.1.1: Voice personas -- 7.9.2.Voice attitudes -- 7.9.3.Voice circumstances -- Exercise 7.9.3.1: Do it and change it -- Exercise 7.9.3.2: Voice du jour -- 7.9.4.Voice constructing -- Exercise 7.9.4.1: Individual voice inventory -- Exercise 7.9.4.2: Character voice inventory -- 7.10.Voiceover demos -- Exercise 7.10.1: Find your voiceover type -- 7.10.1.Playing the microphone like an instrument -- 7.10.2.Kinds of demo -- 7.10.3.Commercial demo -- 7.10.4.Non-broadcast demo -- 7.10.5.Cartoon demo -- 7.10.6.Other voiceover styles | |
| 505 | 0 | |a Note continued: Exercise 7.10.6.1: Demo -- 7.11.Taking voiceover direction -- Exercise 7.11.1: Directions: "What are they saying to me?" -- 7.12.For further study -- 7.13.Singing and speaking -- Exercise 7.13.1: Songs as monologues -- Exercise 7.13.2: Song/monologue with underscoring -- Exercise 7.13.3: Recitative -- talking the song -- Exercise 7.13.4: Singing the monologue -- 7.14.Checking back -- Terms To Remember -- Summary -- 8.1.Who are the most influential voice and speech teachers? -- 8.2.A self-assessment -- Exercise 8.2.1: Discovering how you learn -- 8.3.Edith Skinner -- 8.4.Arthur Lessac -- 8.5.Cicely Berry -- 8.6.Kristin Linklater -- 8.7.Patsy Rodenburg -- 8.8.Comparing the systems -- 8.8.1.Comparing the solutions -- 8.8.2.Comparing the qualities -- 8.9.Other sources -- Exercise 8.9.1: Dueling theories -- 8.10.Advanced program checklist -- 8.11.How are voice and speech experts trained, certified, and licensed? | |
| 505 | 0 | |a Note continued: 8.12.Physical relaxation, alignment, focus systems -- 8.13.What promising new approaches are on the horizon? -- Terms To Remember -- Summary -- Exercise 9.1: An honest summary -- Exercise 9.2: A final performance imitation -- Exercise 9.3: A final vocal gift -- Exercise 9.4: Make a list, check it twice -- 9.1.Owning -- 9.1.1.Blocks and strategies -- 9.1.2.Unfinished business -- 9.1.3.Audiolization -- 9.2.Healing -- 9.2.1.The actual shrink -- 9.2.2.Remedial work -- 9.2.3.Behavior modification -- 9.3.Mastering -- 9.3.1.Transcription -- 9.3.2.Memorization -- 9.3.3.Categories -- 9.4.Expanding -- 9.4.1.Body to voice -- 9.4.2.Alignment on -- 9.4.3.Floor on upward -- 9.4.4.Breath power -- 9.4.5.Revolving variety -- 9.5.Refining -- 9.5.1.The sound of silence -- 9.5.2.Coloring -- 9.5.3.Three kinds of freedom -- 9.5.4.Temporary affectation -- 9.6.Expressing -- 9.6.1.Steeping -- 9.6.2.Hearing, and listening -- 9.6.3.Researching -- 9.6.4.Versing -- 9.7.Releasing | |
| 505 | 0 | |a Note continued: 9.7.1.Accenting -- 9.7.2.Character voicing -- 9.7.3.Copy work -- 9.7.4.Demos -- 9.7.5.Songbird -- 9.8.Selecting -- 9.8.1.A better cave -- 9.8.2.Expanded learning modes -- 9.8.3.Systematizing -- 9.8.4.Study -- 9.9.Backing into your future -- lifelong vocal work -- Summary. | |
| 520 | |a "Voice: Onstage and Off is a comprehensive guide to the process of building, mastering, and fine-tuning the voice for performance. Every aspect of vocal work is covered, from the initial speech impulse and the creation of sound, right through to refining the final product in different types of performance. This highly adaptable course of study empowers performers of all levels to combine and evolve their onstage and offstage voices." -- Back cover. | ||
| 650 | 0 | |a Voice culture. |9 82 | |
| 650 | 0 | |a Speech |x Study and teaching. |9 1842 | |
| 650 | 0 | |a Acting. |9 81 | |
| 650 | 2 | |a Voice Training |9 85 | |
| 650 | 6 | |a Voix |x Culture. |9 87 | |
| 650 | 6 | |a Art dramatique. |9 86 | |
| 650 | 7 | |a acting. |2 aat |9 81 | |
| 650 | 7 | |a Acting. |2 fast |0 (OCoLC)fst00796146 |9 81 | |
| 650 | 7 | |a Speech |x Study and teaching. |2 fast |0 (OCoLC)fst01129173 |9 1842 | |
| 650 | 7 | |a Voice culture. |2 fast |0 (OCoLC)fst01168754 |9 82 | |
| 700 | 1 | |a Dal Vera, Rocco, |e author. |9 1268 | |
| 776 | 0 | 8 | |i ebook version : |z 9781317421061 |
| 938 | |a YBP Library Services |b YANK |n 13084309 | ||
| 938 | |a YBP Library Services |b YANK |n 13084310 | ||
| 938 | |a Baker and Taylor |b BTCP |n BK0019254187 | ||
| 942 | |c BK | ||
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