After completing this curricular unit, the student should be able to:
a) Perform pieces from a selected vocal repertoire;
b) Improvise in predefined tonal contexts;
c) Improvise using a wide range of vocal and body expressions;
d) Analyse vocal and movement techniques showing critical and contemplative abilities.
Helena Maria Ferreira Rodrigues da Silva
Weekly - 4
Total - 168
Campo, G. & Molik, Z. (2012). Trabalho de Voz e Corpo de Zygmunt Molik: o legado de Jerzy Grotowski. São Paulo: É Realizações.
Gordon, E. (2005). Harmonic Improvisation for Adult Musicians. Chicago: GIA.
Jordan, J. & Shenenberger, M. (2004). Ear Training Immersion Exercises for Choirs. Chicago: GIA.
Nachmanovitch, S. (1990). Ser Criativo - o poder da improvisação na vida e na arte. São Paulo: Summus
Editorial Schafer, M. (1991). O ouvido pensante. São Paulo: UNESP.
Voice and movement activities led by the teacher. Individual and group exercises (two, three or four students).
Open classes with the participation of guest lecturers. Listen and watching educational material of an artistic
nature: analysis, discussion and reflection.
1. Practical exercises using both physical and vocal elements.
2. Ensenble vocal music pratice:
2.1. Performance of vocal repertoire covering different time periods.
2.2. Free improvisation.
2.3. Improvisation in a tonal context.
3. Apreciation of art works, with particular emphasis on musicaltheatre and vocal works.
4. Attending rehearsals / coming into contact with artists and specialists in the area of the specific techniques
that are part of the studies involving the voice and movement
Programs where the course is taught: