Christina Shewell’s ‘Voice Work’ is a ‘tour de force’. On receiving the book a moment of panic set in when I realized the size and scope of the volume. But nothing could be further from the truth. Once you begin you are compelled to keep reading.
This book contains such a wealth of information it will take some time to absorb it all and in the confines of this review I may not be able to do it justice. Christina describes the style of her book as ‘scholarly but accessible’, which indeed it is. All practitioners regardless of their field of practice will benefit greatly from reading it.
The book is divided into five sections that take the reader on a journey through all aspects of voice work, both artistic and scientific. Christina reminds us that bi-polar terms such as art and science are not necessarily a hindrance but a ‘meeting point’ that can be viewed as ‘a place of interest and creativity’. The sections begin with ‘Considering Voice Work’ in which clear definitions of all practitioners groups, their philosophies and shared methodologies are considered. Part 2 ‘Investigating Voices’ is split into two chapters, ‘Seeing Voices’ and ‘Hearing Voices’. In the ‘Seeing Voices’ chapter the reader is given very clear descriptions of the modern methods used to see the vocal tract and to record the acoustic patterns of the voice.
In ‘Hearing Voices’ the idea of ‘focused listening’ is discussed with some very useful information on the use of formal symptom questionnaires, use of recording equipment and ending with the ideas that led to the development of Voice Skills Perceptual Profile. Part 3 introduces readers to the Voice Skills Perceptual Profile, a new perceptual scheme of eight core voice skills for depicting voices that can be used by all practitioner groups. The eight core skills are described as ‘the free voice’ and these skills are developed through the remaining chapters in this section.
Part 4 takes us through the foundations of Voice Work, - bodywork, breath work, channel work (the adjustments in the shape of moveable structures from the larynx and above), phonation, resonance, loudness, articulation and voices and emotions.
Part 5 presents a wide range of practical ideas, specific techniques and exercises and practical voice care. The chapters in this section provide an extensive variety of different exercises based on the eight core voice skills, ending with a very useful chapter on group voice exercises that will be of interest to any practitioner who has to work with voice classes.
The last section, examining ‘voice disturbances’ describes the main voice disorders occurring in working life focusing on acting and the singing voice.
The audio files that can be found on the publisher’s website are well worth a visit if you have access to the internet.
This is a superb book that all voice practitioners should read.