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Singing with Your Whole Self


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Table of Contents

Part 1 Preface Part 2 Acknowledgments Part 3 Chapter 1 Overview Chapter 4 Relating to the Feldenkrais Method to the Teaching of Singing Chapter 5 Overview of the Feldenkrais Method Chapter 6 Key Ideas in the Development of the Feldenkrais Method Chapter 7 Kinesthetic Imagination Chapter 8 Relationship of This Work to Pedagogical Literature Chapter 9 Awareness Through Movement Chapter 10 Introduction to the Lessons Chapter 11 Mini-ATM: Freeing the Neck to Turn Freely Part 12 Chapter 2 Control and Letting Go Chapter 13 Active Control Chapter 14 Allowing or Passive Control Chapter 15 ATM: Weights and Levers Chapter 16 Tension and Function Chapter 17 ATM: Taming Tongue Tension Part 18 Chapter 3 The Base of Support Chapter 19 The Role of Feet and Legs Chapter 20 ATM: Balance in Standing Chapter 21 Using the Floor Chapter 22 ATM: The Connection of Feet Through to Head Chapter 23 High Heals Chapter 24 Leg-Length Differential Chapter 25 A Simple Exercise: Strengthening the Adductors Part 26 Chapter 4 Intentionally and Effort Chapter 27 Intention Chapter 28 Efforting Chapter 29 Power and Potential Chapter 30 Reversibility Principle Chapter 31 The Whole Is Not the Sum of the Parts Part 32 Chapter 5 Pelvic Power Chapter 33 The Pelvis Chapter 34 Vocal Context: Powering from the Power Base Chapter 35 ATM: Pelvic Clock Chapter 36 The Pelvis in Sitting Chapter 37 ATM: The Role of the Pelvis in Sitting Erect Part 38 Chapter 6 Breathing Chapter 39 Mechanics of Breathing Chapter 40 ATM: Breathe and Find Your Center Chapter 41 Recovery from Illness Chapter 42 ATM: Lengthening the Lungs Part 43 Chapter 7 Upper Trunk Flexibility Chapter 44 The Upper Trunk Chapter 45 ATM: Freeing the Ribs Chapter 46 The Midspine Chapter 47 ATM: Lateral Flexion Chapter 48 Scoliosis Chapter 49 Mini-ATM: Evening the Sides Part 50 Chapter 8 Shoulder Girdle and Arms Chapter 51 Shoulders and Breath Chapter 52 ATM: Reaching Out Chapter 53 Shoulder Tension Chapter 54 ATM: Shoulder Release Part 55 Chapter 9 Head and Neck Chapter 56 Positioning the Neck Chapter 57 ATM: Relating Head and Pelvis Chapter 58 Role of the Head in Vocal Production Chapter 59 ATM: Relating Shoulders, Neck, and Jaw Chapter 60 Headaches Chapter 61 Mini-ATM: Releasing the Neck Part 62 Chapter 10 Hands and Mouth Chapter 63 Relationship of Hands and Tongue Chapter 64 Shoulders and Hand Tension Chapter 65 ATM: Magic Hands Chapter 66 Imaginary Warm-Ups Chapter 67 The Mouth Chapter 68 ATM: Softening the Mouth Part 69 Chapter 11 The Eyes Chapter 70 Role of the Eyes in Movement Chapter 71 Releasing Minor Neck Cricks Chapter 72 Visual Tension Chapter 73 ATM: Releasing the Eyes Chapter 74 Glasses Chapter 75 Ocular Muscles and the Sinuses Chapter 76 ATM: Eyes Relate to Jaw Part 77 Chapter 12 Pedagogical Uses for This Volume Chapter 78 Student Use Chapter 79 Group (Class) Voice and Ensemble Rehearsal Use Chapter 80 Teacher Use (Private Studio Voice) Part 81 Appendix Functional Integration Part 82 Glossary Part 83 References and Resources Part 84 Index of Lessons Part 85 General Index Part 86 About the Authors

About the Author

Samuel H. Nelson is a Guild Certified Feldenkrais Practitioner in private practice in Rochester, NY. Elizabeth Blades-Zeller is Associate Professor of Voice, Opera and Music Education, Coordinator of Voice Area, and Director of Opera at Heidelberg College. She is also a Music Editor for Mountain View Video Production, Roanoke, VA.


The book is exceptionally clear and eminently practical. The authors' explanation of the Feldenkrais Method is lucid and succinct, the lessons are laid out in a format that is easy to follow, and the diagrams aid in understanding the movements...Singing with Your Whole Self is a valuable volume, both for those who have been previously introduced to the Feldenkrais Method, and for those unfamiliar with this type of body work. * Nats Journal Of Singing *
While stating that the book is intended as a handbook, there is much to stimulate the intellect within its pages...Nelson and Blades-Zeller are highly qualified and experienced in pedagogy...As the saying goes, "the proof of the pudding is in the eating". This writer attempted the exercises that were appropriate to his technique finding a high success rate. * Australian Voice *
Divided into small units that can be undertaken by people who do not have large amounts of time at their disposal, the exercises are described simply and clearly and are accompanied by helpful drawings. * CHOICE *

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