A Singer’s Guide to Dance - A journey from classical vocalist to interdisciplinary performer
(2020)
author(s): Karin Timmerman-Deddens
published in: Codarts
This research project focuses on the relationship between choreographed dance and the voice, and seeks to discover how dance can co-exist alongside a classical vocal performance as an additional channel or avenue of personal and musical expression. This research was motivated by my desire as a classical vocalist to become more connected with my body, and to better understand and train my voice as a living, breathing instrument. Additionally, this research was motivated by the possibility for dance to provide me with a wider range of expressive possibilities. In this research project I therefore explore how I, as a classical vocalist, could experiment with contemporary dance in a vocal-dance performance of Ravel’s Shéhérazade, which served as the final artistic result of this research. In this report, I first provide an overview of my musical and dance preparation. Second, I provide an analysis of the effects of dance on my musical expression and vocal technique. Third, I examine the use of improvised dance elements versus structured choreography. Lastly, I examine and discuss how I was able to bring all of these elements together and further develop my skills as an interdisciplinary performer. In my discussion and analysis, I draw on a variety of sources of data, including experimentation, interview data, personal coaching, and literature research This report also provides a complete overview of the research ‘intervention cycles’, which explain in detail the research process and development of my final artistic result. As the contemporary performance environment increasingly demands innovative and multifaceted performers, this research can help to inspire and encourage other classical vocalists to consider the incorporation of dance as a valuable way to develop their vocal technique and musical understanding.
Furthermore, for classical vocalists already interested in incorporating dance into their vocal performance, this research can provide a number of valuable practical tools and insights, and help them to become more interdisciplinary performers.
The Eiffel tower, the frog and the dough; Musicality of Movement approach (Virág Dezsö) for singers; connecting the physicality of singing, body awareness, performative skills, and improvisation [Charlotte Riedijk, The Eiffel tower, the frog and the dough, Musicality of Movement for singers - 2025-07-12 15:20] [Charlotte Riedijk, The Eiffel tower, the frog and the dough, Musicality of Movement for singers - 2025-08-01 11:06]
(last edited: 2025)
author(s): Charlotte Riedijk
This exposition is in progress and its share status is: visible to all.
Abstract
The incentive for this research was to explore ways of integrating the physicality of singing into vocal education by means of the Musicality of Movement (MoM) approach. Musicality of Movement is a physical performance training program designed for musicians. Traditionally the importance of the physicality of singing is recognized, yet it remains underexposed in vocal training, which eventually can lead to inhibited vocal freedom and wooden or awkward performances. The Musicality of Movement approach (MoM) opens ways to freer, more imaginative stage presence, better physical awareness and more expressive singing.
The working hypothesis was:
Integrating the Musicality of Movement approach into classical voice education will offer singers tools to enhance stage presence, imaginative expression, clarity of performative skills and can create ways to find physical and mental wellbeing on stage.
The hypothesis was confirmed by the results of the three interventions—consisting of MoM lessons and workshops—that were executed during the academic year 2023-2024, with three groups of voice students, in three different settings. Interviews and questionnaires were analysed to give an impression of how working with the MoM approach supported performative skills and stage presence. Positive results were obtained from relatively small groups of students which shows a need for future research over a longer period and with a larger research population.
Most mentioned keywords to indicate what the MoM-lessons brought the students were body awareness, better breathing, performance skills and playfulness. The practicality of the approach was shown by the fact that participants mentioned to use the exercises in their individual vocal practice.
The Eiffel tower, the frog and the dough; Musicality of Movement approach (Virág Dezsö) for singers; connecting the physicality of singing, body awareness, performative skills, and improvisation [Charlotte Riedijk, The Eiffel tower, the frog and the dough, Musicality of Movement for singers - 2025-07-12 15:20]
(last edited: 2025)
author(s): Charlotte Riedijk
This exposition is in progress and its share status is: visible to all.
Abstract
The incentive for this research was to explore ways of integrating the physicality of singing into vocal education by means of the Musicality of Movement (MoM) approach. Musicality of Movement is a physical performance training program designed for musicians. Traditionally the importance of the physicality of singing is recognized, yet it remains underexposed in vocal training, which eventually can lead to inhibited vocal freedom and wooden or awkward performances. The Musicality of Movement approach (MoM) opens ways to freer, more imaginative stage presence, better physical awareness and more expressive singing.
The working hypothesis was:
Integrating the Musicality of Movement approach into classical voice education will offer singers tools to enhance stage presence, imaginative expression, clarity of performative skills and can create ways to find physical and mental wellbeing on stage.
The hypothesis was confirmed by the results of the three interventions—consisting of MoM lessons and workshops—that were executed during the academic year 2023-2024, with three groups of voice students, in three different settings. Interviews and questionnaires were analysed to give an impression of how working with the MoM approach supported performative skills and stage presence. Positive results were obtained from relatively small groups of students which shows a need for future research over a longer period and with a larger research population.
Most mentioned keywords to indicate what the MoM-lessons brought the students were body awareness, better breathing, performance skills and playfulness. The practicality of the approach was shown by the fact that participants mentioned to use the exercises in their individual vocal practice.