Short Courses & Events / Archive

VoceVista Bundle

Wednesday 29th May 2024, 5:00 PM - 7:00 PM (London Time)

Attend both of the upcoming VoceVista short courses with Dana Zenobi and save £10!

Course one - An Introduction to VoceVista (Tue 21st May 2024)

Course two - Scaffolding Voice Acoustics into Your Teaching with VoceVista (Wed 29th May 2024)

Bundle price: £50 (£60 if booked separately).

Dana Zenobi

Dana Zenobi enjoys a multi-faceted career as a performer, teacher, and voice pedagogy scholar. A champion of art song by women, her 2022 album and annotated score anthology...

Sorry, 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.

Teach Voice, Make Money: How Professional Voice Teachers Do Business
Tuesday 25th June 2024
5:00 PM - 7:00 PM
(London Time)

Teach Voice, Make Money: How Professional Voice Teachers Do Business

Noel Smith

This course will give you the tools to grow a voice studio that is not only successful but also business- and tech-savvy…while still turning a profit and developing a following of students, teachers and parents.

Vocal Intonation Therapy®: the singing-inspired voice therapy technique demystified!
Thursday 27th June 2024
5:00 PM - 7:00 PM
(London Time)

Vocal Intonation Therapy®: the singing-inspired voice therapy technique demystified!

Dr Charlene Santoni

Vocal Intonation Therapy (VIT)® is a singing-inspired voice therapy technique that combines logic from the fields of speech-language pathology, music therapy, and singing voice pedagogy. This presentation will provide a working understanding of VIT®, highlighting relevant research that supports its basic translational procedures, its logic components, and its clinical application.

The Dog’s Meow: The Countertenor Voice in the 21st Century
Tuesday 2nd July 2024
5:00 PM - 7:00 PM
(London Time)

The Dog’s Meow: The Countertenor Voice in the 21st Century

Dr. Lawrence Zazzo

Dr. Lawrence Zazzo will give an overview on the reception of the countertenor voice, reflecting on early modern views on the erotics of the castrato and contextualising the modern reception of countertenor performances of both Baroque and new music.