dc.contributor.author | Thomaidis, K | |
dc.date.accessioned | 2017-04-03T13:42:53Z | |
dc.date.issued | 2015-05-28 | |
dc.description.abstract | In this chapter I address the implications of mono-disciplinary or disciplinary-bound approaches
for the training of opera singers. Rather than fully unpacking details of technique or proposing
specific exercises and regimes, my interest here lies in the discursive domains within which operatic
pedagogies operate. I will focus on the example of the Experience Vocal Dance Company in order
to problematise the contexts and critical frameworks that dictate predominant approaches to the
pedagogy of bel canto. | en_GB |
dc.identifier.citation | In: Music on stage, edited by Fiona Jane Schopf, pp. 245-252 | en_GB |
dc.identifier.uri | http://hdl.handle.net/10871/26934 | |
dc.language.iso | en | en_GB |
dc.publisher | Cambridge Scholars Publishing | en_GB |
dc.relation.url | http://www.cambridgescholars.com/music-on-stage | en_GB |
dc.rights.embargoreason | Under indefinite embargo due to publisher policy. The final version is available from the publisher via the link in this record. | en_GB |
dc.subject | bel canto | en_GB |
dc.subject | integrated voice training | en_GB |
dc.subject | voice | en_GB |
dc.subject | opera | en_GB |
dc.subject | performer training | en_GB |
dc.subject | transdisciplinarity | en_GB |
dc.title | Musicianship above all? New perspectives on training towards integrated bel canto performance | en_GB |
dc.type | Book chapter | en_GB |
dc.contributor.editor | Fiona Jane Schopf | en_GB |
dc.identifier.isbn | 978-1-4438-7603-2 | |
dc.relation.isPartOf | Music on Stage | en_GB |
dc.description | This is the final manuscript of this chapter as accepted for inclusion to the collection Music on Stage
by the editor (date of acceptance: 17/02/2014). | en_GB |