Berry C. (1991) Voice and the Actor:John Wiley & Sons
Kayes G. (2004) Singing and the Actor:Theatre Arts Books
Kendrick J.(2008) Musical Theatre: A History:Continuum
Miller R. (1986) The Structure of Singing: System and Art in Vocal Technique:Wadsworth
Ostwald D. (2005) Acting for Singers: Creating Believable Singing Characters:Oxford University Press
Potter J. (2000) The Cambridge Companion to Singing:Cambridge University Press
Reid C.L. (1972) Bel Canto: Principles and Practices:Joseph Patelson Music House
Sundburg J. (1987) The Science of the Singing Voice:Northern Illinois University Press
Tomatis A. (2004) The Ear and the Voice: Scarecrow Press

A series of weekly practical workshops (1 ¿ to 2 hours in length) will introduce students to a range of practical skills, techniques and methodologies.
The final practical presentation will allow students the opportunity to evaluate and reflect on their practice through working towards a formal sharing of their work under assessed conditions with solo and / or ensemble work.

Key Information Set Data:
24% scheduled learning and teaching activities
76% guided independent study

Students will explore through practical workshops the theory and practice of voice and song and how this relates to character and communicating the text and sung performance.
Through a wide range of styles and genres, which could include Gregorian chant, opera, music theatre, musical theatre, voice performance and the `actor-singer' from historical and contemporary contexts, students will examine the changing nature of how vocal music is used in theatrical contexts; and the different demands on the performer for each differing style.

Weekly workshops and voice exercises will allow students to build up a technique of correct vocal usage (including warm ups); examine songs in their historical context and how they relate to genre; and an understanding of the relationship between lyrics and music.

[Learning Outcomes 1-4]

This will typically include:
- A one hour practical assessment which will be marked individually and will include a minimum of one solo and two group pieces demonstrating a clear application and understanding of the weekly techniques.
- Continual assessment of your individual approach to the technique and processes of music theatre, including attendance, punctuality and collaboration with group members and one assessed `run through'.

Key Information Set Data:
100% practical exam (skills assessments and presentations)

Drama Studio
Blackboard
Music CDs
Technical Equipment - Keyboard and CD Players
Library
IT software