Louisa's Top Picks:
This is a Voice: 99 exercises to train, project and harness the power of your voice by Dr Gillyanne Kayes and Jeremy Fisher
Finding Your Voice, a step-by-step guide for actors by Barbara Houseman
Accents and Dialects for Stage & Screen by Paul Meier
Sophie Recommends:
Talk: The Science of Conversation by Elizabeth Stokoe
Finding Our Tongues: Mothers, Infants and the Origins of Language by Dean Falk
The Musician’s Mind: Teaching, Learning and Performance in the Age of Brain Science by Lynn Helding
The Accent Method Second edition: A rational voice therapy in theory and practice by Kirsten Thyme-Frøkjær and Børge Frøkjær-Jensen
Recent Posts
After The Session
After The Session: Doubles and Stacks, Reverbs and Effects: Teaching Vocal Production Skills
Voice Study Centre
Wednesday 23rd September 2026For many vocalists and voice teachers, the world of digital audio workstations (DAWs), hardware, and studio processing can feel like forbidden territory. Yesterday, Voice Study Centre hosted a hands-on, practical short course led by Kelly Hoppenjans (voice teacher, and PhD candidate in musicology at the University of Michigan), designed specifically to break down these technological barriers and empower singers to approach vocal production creatively, playfully, and confidently - so what did we learn?
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After The Session
After The Session: Games & Gadgets: Unlocking Vocal Skills Through Movement and Play🎤✨
Voice Study Centre
Tuesday 15th September 2026Vocal technique isn't just about standing still in front of a piano and doing scales - it's an interactive, whole-body experience! In a fantastic workshop hosted by the Voice Study Centre today, Naomi Lewandoski (Northside Voice Studio, Australia) led us through an engaging session on how physical movement, somatic awareness, and everyday "gadgets" can transform vocal training.
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Student Interviews
Could a Harmonica Have a Place in the Voice Studio?
Voice Study Centre
Tuesday 8th September 2026What does a harmonica have to do with the human voice? For harmonica performer and music educator Shima Melvin, this question became the starting point for her postgraduate research with the Voice Study Centre. While developing her approach to teaching harmonica, Shima found herself struggling to explain exactly what was happening inside the instrument when she played. The mechanics of the harmonica were, in a sense, invisible.
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