The Sounds and Ornamentations of Indian Classical Music
Tuesday 13th August 2024, 5:00 PM - 7:00 PM (London Time)
Indian Classical Music (ICM) is an ancient oral tradition that dates back to around 500 BC. Despite its evolution over the centuries, it has managed to maintain its unique style and cultural significance. Until recently, this style of music has been largely overlooked in voice research. Given the global presence of the Indian community, it is essential for both teachers and singers to understand and learn from this style to better serve Indian students while staying true to the authentic form of the music while also gaining insight on how to diversify and cross-train within your own singing practice. Indian Classical Music is split into two major styles: North Indian (Hindustani) and South Indian (Carnatic). The workshop will primarily focus on Carnatic Music.
This workshop first explores the ‘authentic’ sound of ICM. The questions we will explore are:
- What is the authentic ICM sound? Is there only one?
- What have singers and teachers experienced as the authentic ICM sound quality?
- What the ranges and acoustic features of an authentic sound are, and some ways to train these sounds
Next, you will get an introduction to various vocal ornamentations, which is one of ICM’s key stylistic features. To execute these ornamentations, the singer requires a great deal of vocal agility. Accordingly, we will explore:
- The various types of vocal ornamentations in ICM
- Trying out these ornamentations in your voice
- Ways to train these ornamentations
Finally, we will discuss some of the habits that could hamper the ICM style - what some of the vocal function hurdles are that ICM singers face and how to approach these in a culturally sensitive way.
The workshop will include interactive components, such as singing and listening to ICM singers, and there will be plenty of time for questions.
Samyukta Ranganathan
Samyukta is an award-winning singer of Indian Classical Music (ICM) with an active teaching and performance career in New York City.

Attend this course for as little as £22 as part of the Voice Professional Training CPD Award Scheme.
Learn MoreSorry, this is an archived short course...
We have plenty of upcoming short courses coming soon. See details of some of them below or look at the full list of short courses.

Monday 7th July 2025
2:00 PM - 4:00 PM
Tuesday 8th July 2025
2:00 PM - 4:00 PM
Wednesday 9th July 2025
2:00 PM - 4:00 PM
Friday 11th July 2025
2:00 PM - 4:00 PM
Monday 14th July 2025
2:00 PM - 4:00 PM
Tuesday 15th July 2025
2:00 PM - 4:00 PM
Wednesday 16th July 2025
2:00 PM - 4:00 PM
Friday 18th July 2025
2:00 PM - 4:00 PM
(London Time)
Introduction to statistics and working with quantitative data for Voice Professionals: 8-Session Online Bootcamp

Dr David Cane
This certificated statistics course is ideal for individuals interested in laying a solid foundation in quantitative research methods. By focusing on essential statistical principles, you will be equipped with the tools to understand and apply quantitative research techniques effectively. Statistics is a crucial component of quantitative research; mastering it will enable you to grasp quantitative methods more confidently and precisely.


Tuesday 15th July 2025
5:00 PM - 7:00 PM
(London Time)
Exploring the roots of the tongue: Ideas for performance

Walt Fritz
As a relative outsider looking into the voice and performance world, I witness the bell curve of thoughts and actions on how the tongue contributes to voice problems and how best to tame that tension. Traditional ways of taming tongue tension seem adequate (or would seem so, based on feedback), so what is different and new? In this short course for the Voice Study Centre, Walt Fritz will introduce the learner to variations on self-applied tongue stretches and exercises.


Wednesday 16th July 2025
2:00 PM - 4:00 PM
(London Time)
Emotion and Performing Accents and Dialects: why does Emotion Get in the Way?

Louisa Morgan
At points of heightened emotion, it is common for actors working in an accent to default to their natural speech. How do we help performers to avoid this issue and provide them and their directors with the confidence they need regardless of the emotional demands of the piece? What can we learn from research in vocal expression of emotion to help actors to embody the emotion and keep control of their voice and accent? Our very own Louisa Morgan will guide participants through the latest research and offer practical suggestions for working with performers needing to navigate this challenge.