The Constructed Voice: A Sociocultural Model of Learning for Undergraduate Singers

Latukefu, Lotte

doi:10.1375/auv.13.1.8

Cited by 3 publications

(4 citation statements)

References 20 publications

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“…Singers also learn to position their head and shoulders to obtain a better vocal performance, to treat their body properly, to warm up before singing and to use their acquired knowledge to overcome obstacles they encounter while singing (Barr, 2009; Latukefu, 2007). By acquiring corporal knowledge, singers discover ways of conducting themselves in a professional manner (Dall’Alba and Barnacle, 2007), and develop a sense of who they are and how to engage within a community of practice (Gee, 2000; Sutherland and Markauskaite, 2012).…”

Section: The Professional Bodymentioning

confidence: 99%

“…This required Alona to assess Moshe’s corporal capital and design a work plan. Bodies differ in their readiness for singing and in the type of training they need (Latukefu, 2007). Teachers generally tailor a set of exercises to their students to equip them with corporal knowledge so that their body will react reflexively to the requirements of the musical text.…”

Section: ‘Singing Is All About the Body’: Acquiring Habitsmentioning

confidence: 99%

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‘If you ever saw an Opera singer naked’: The social construction of the singer’s body

Gvion

2015

European Journal of Cultural Studies

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This article analyzes the process by which a singer's body is turned into an instrument that produces music. Through practice, singers develop bodily habits and a 'corporal memory' consisting of techniques, sensations and positions, all of which are used reflexively when singing. This 'tool kit' enables singers to deconstruct their bodies, mobilizing necessary bodily functions and synchronizing them to meet the requirements of the musical text. Using Bourdieu's concepts of habit and habitus, I illustrate how singing classes become arenas where corporal capital (habit) and cultural capital (habitus) are formed and transformed, enabling singers to enter the professional world. Data were gathered via participant observation in private classes, a music school, a university-affiliated academy of music and master classes at a conservatory, since the studio is the social arena in which both forms of capital are developed and sustained.

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Section: The Professional Bodymentioning

confidence: 99%

Section: ‘Singing Is All About the Body’: Acquiring Habitsmentioning

confidence: 99%

‘If you ever saw an Opera singer naked’: The social construction of the singer’s body

Gvion

2015

European Journal of Cultural Studies

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“…The use of sociocultural approaches as a basis for learning the arts in higher education has also been documented in a number of scholarly works, for Vol.7, Nr.5, Art. 3, 2014, 1-16 example in the area of singing instruction (Latukefu, 2007) or composition (Partti & Westerlund, 2013).…”

Section: Sociocultural Perspective On Learningmentioning

confidence: 99%

Before and after Lightfoot/León. Using rich pictures to illustrate an educational journey through the world of opera and ballet

Habib

Juell²

2014

FormAkademisk

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“…This article presents part of a five-year Australian study, which aimed to develop and critically evaluate a model of vocal pedagogy influenced by Vygotskian sociocultural theories (Latukefu, 2007(Latukefu, , 2009. The study incorporated Vygotskian notions of the zone of proximal development, socially and culturally mediated learning, co-construction of knowledge, self-regulated learning and concept formation.…”

Section: Introductionmentioning

confidence: 99%

Scientific concepts in singing: Do they belong in a student toolbox of learning?

Latukefu

Verenikina

2011

Brit. J. Music. Ed.

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This article presents part of an Australian study the purpose of which was to look at learning singing in a pedagogical environment designed using sociocultural theory.The classroom environment was transformed over 5 years in consultation with other staff members and used the reflective journals that students wrote during that time, as a way of refining and changing the design. Themes emerging from the journals were analysed to inform changes to the design. One of the main themes to emerge was student reflections about the scientific concepts they were taught and the ways the concepts were introduced. These reflections became the basis for the discussion in this paper. The study demonstrated that the students' acquisition of scientific concepts of singing affected both their singing performance and their ability to learn in a positive way. The study suggests that scientific concepts of singing could become part of the students' toolbox that helps develop their singing by making meaning of what they are experiencing kinaesthetically and aurally while they sing.

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The Constructed Voice: A Sociocultural Model of Learning for Undergraduate Singers

Cited by 3 publications

References 20 publications

‘If you ever saw an Opera singer naked’: The social construction of the singer’s body

‘If you ever saw an Opera singer naked’: The social construction of the singer’s body

Before and after Lightfoot/León. Using rich pictures to illustrate an educational journey through the world of opera and ballet

Scientific concepts in singing: Do they belong in a student toolbox of learning?

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