Patricia Helsel
Students learn foundational skills in relaxation, breathing, vocal production, articulation, and expression.
Knowledge of vocal anatomy and physiology is essential in understanding how the voice works (or does not work). I created a project requiring students to demonstrate their understanding by presenting a working model of the vocal or breathing apparatus. I assign the project in a group to increase the potential for creativity. Students are required to demonstrate, using the model, how the voice works. Ultimately, the end result has been an array of unique and purposely memorable representations.
Assessment for this class can be challenging with a skill-set often determined from personal, physical characteristics. My task in evaluation, then, is to mark improvement for each individual. One can judge adequate articulation and appropriate expression, but basic vocal technique can only be improved through practice and training. The first two Proficiency Tests use a baseline comparison to gauge improvement.
Proficiency #1: Breathing
During the first week, the student reads through a selection The Telltale Heart, by Edgar Alan Poe. The goal is to increase the amount of text spoken with one breath. A general pace for reading is set, and the student is coached to use a moderate level of volume relative to their individual ability. The reading is recorded and classmates mark the text where the speaker breathes. I use syllables to measure the actual length of the utterance. The expectation, upon testing, during the third week, is that each student will increase his/her overall median length. Since students are expected to improve throughout the semester, they may re-take the proficiency at any time later in the semester to demonstrate mastery.
Proficiency #2: Vocal Production (Resonance and Volume)
To evaluate improvement I compare baseline assessments (acquired through presentations during the first week of class) to the student’s current ability. Most students are self-conscious about changing the intensity of their voices, but I have integrated a new element that helps them to be less self-critical. A Sound Design student provides a basic soundscape for the story which stimulates the performer to tell the story. Without mechanically adjusting the voice, the student responds to the music, sounds and volume in the background recording. Not only is it fun, the students develop an organic sense of vocalization as it relates to communicating.
