Short Courses & Events / Archive

Singing Hot And Cool: The Polyvagal Theory And Vocal Pedagogy

Thursday 17th June 2021, 5:00 PM - 7:00 PM (London Time)

The vagus nerve is closely involved with both the larynx and the autonomic nervous system (ANS). The polyvagal theory details the remarkable role of this nerve bundle in the evolution of voice and speech communication, and affirms the power of the voice as an instantaneous transmitter of ANS status, both in daily life communication and between artist and audience. Finally, parallels emerge between the vagus nerve’s contributions to psycho-physiological resilience (the ability to be aroused and calm at the same time) and artists’ descriptions of stage presence. Crosslinks between neurological evidence and the experience of performing arts will support suggestions for vocal pedagogy.

 

REVIEW OF TERMINOLOGY

  • Structures of interest: cranial nerve X (vagus) and its brainstem nucleii
  • Functions of interest: autonomic versus sensory-motor
  • Autonomic (ANS) components: sympathetic (“hot”) and parasympathetic (“cool”)

THE POLYVAGAL THEORY OF SOCIAL COMMUNICATION

  • Characteristics of the vagus nerve in animals and humans
  • How “hot and cool” ANS regulation makes speech and singing possible

THE POLYVAGAL VOICE

  • Muscle controls in the vagus nerve: larynx and more
  • Voice as a carrier of ANS signals, in daily life and performance

THE POLYVAGAL THEORY ONSTAGE

  • How performers describe the inner state onstage
  • Is “very hot and very cool” the ANS recipe for stage presence?

RECOMMENDATIONS FOR ARTS TEACHERS

  • ANS regulation as a pedagogical goal
  • The importance of training ensembles
  • Suggestions for warm-ups, cool-downs, and performance anxiety
  • The well-regulated teacher

Joanna Cazden

Joanna Cazden, MFA, MS-CCC is a speech pathologist specializing in vocal arts rehabilitation, now in private practice after 18 years as senior voice clinician...

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.

Introduction to statistics and working with quantitative data for Voice Professionals: 8-Session Online Bootcamp
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

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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.

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

Exploring the roots of the tongue: Ideas for performance

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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.

Emotion and Performing Accents and Dialects: why does Emotion Get in the Way?
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.