Vocal Pedagogy - Reflections on How to Teach Proper Speaking and Singing to Students

Authors

  • Judit HARY Hungarian Opera of Cluj; Babeş-Bolyai University’s Faculty of Theatre and Film. Email contact: haryjudit@yahoo.com

DOI:

https://doi.org/10.24193/subbmusica.2023.2.15

Keywords:

human voice, pedagogy, technical breathing, professional speech, singing, vocal coach, anatomy.

Abstract

The present study intends to dive into the world of technically appropriate human sound production. Whether it’s used in professional speech or singing, understanding the different elements that aid in the correct creation and emission of sound are prerequisites for all who intend to pursue a career that requires speaking or singing for an extended period of time. From the characteristics of sound, to the anatomy of how sound is created, what does technical breathing mean but also what a voice trainer needs to pay attention to in terms of anatomy but also psychology when working with students, the following article presents the steps and methods a vocal coach needs to take into account when taking on a new student.

Author Biography

Judit HARY, Hungarian Opera of Cluj; Babeş-Bolyai University’s Faculty of Theatre and Film. Email contact: haryjudit@yahoo.com

Judit HARY became a choir member of the Hungarian State Opera House of Cluj in 1988, soon after becoming a principal soloist at the same institution. She has subsequently earned her BA and MA in classical singing and music teaching at the Gh. Dima National Academy of Music in Cluj-Napoca. As a guest artist, she has performed in numerous opera houses and philharmonics in Romania, alongside the State Hungarian Opera House in Budapest, Hungary, for several seasons, at the Győr National Theater, as well as in France, Italy, Germany, Canada, Switzerland, and the United States of America. Main roles: Rosina (Rossini: Il Barbiere di Siviglia); Norina (Donizetti: Don Pasquale); Lucia (Donizetti: Lucia di Lammermoor), Gilda (Verdi: Rigoletto), Violetta Valery (Verdi: La Traviata), Madame Butterfly (Puccini: Madame Butterfly); Micaela (Bizet: Carmen); Nedda (Leoncavallo: I Pagliacci); Valencienne (Lehár: The Merry Widdow); Liza (Lehár: Land of Smiles); Sybill (Jacobi: Sybill); Adele (Strauss: Die Fledermaus). In 2021, she started teaching singing at Babeş-Bolyai University’s Faculty of Theater and Film, also beginning her DLA studies within the same institution. She is a passionate and dedicated artist and teacher who approaches all her roles with equal affection.

References

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Online resources

Bagó, Gizella. Énekes színészek, színész énekesek (Singing actors, acting singers). https://archiv.szfe.hu/wp-content/uploads/2016/09/bago_gizella_dolgozat.pdf, accessed on June 13, 2023

Tosi, Pier Francesco. Opinioni de’cantori antichi e moderni. Bologna, 1723. In. https://imslp.org/wiki/Opinioni_de%E2%80%99_cantori_antichi_e_moderni_(Tosi%2C_Pier_Francesco)

Váradi, Marianna. A művészi hangképzés kérdései, és néhány példa a magyar operafordítások énekelhetőségének problematikájáról (Questions of artistic voice production and some examples of the problem of singability of Hungarian opera translations). PhD thesis, Liszt Ferenc Zeneművészeti Egyetem,2008. https://apps.lfze.hu/netfolder/PublicNet/Doktori%20dolgozatok/varadi_marianna/disszertacio.pdf

STUDIA UBB MUSICA, Volume 68 (LXVIII), No. 2, December 2023

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Published

2023-12-30

How to Cite

HARY, J. (2023). Vocal Pedagogy - Reflections on How to Teach Proper Speaking and Singing to Students. Studia Universitatis Babeș-Bolyai Musica, 68(2), 207–218. https://doi.org/10.24193/subbmusica.2023.2.15

Issue

Volume 68, No. 2, December 2023

Section

Articles

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