Beyond the music : an embodiment-based approach to song recital preparationâintegrating, eurhythmics, laban, and bmc®
department or school: Arts, Faculty of
department or school: Music, School of
data provider: DSpace
degree campus: UBCV
creator: Landstedt, Allison J.
issued: 2025-10-29T22:48:43Z
issued: 2025
related degree: Doctor of Musical Arts - DMA
degree grantor: University of British Columbia
description: Non-verbal communication elements influence our understanding of audio-visual information. Evidence suggests that when gestures and sound are congruent, emotional intent is more clearly understood. In a song recital, performers convey a songâs emotional content through non-verbal elements, such as gestures, bodily movements, and facial expressions. While vocal recitalists are often heavily trained to develop skills in areas such as vocal technique, poetic analysis, historical context, thoughtful program design, and language mastery, movement skills for the physical dimensions of storytelling are often under-emphasized. Despite growing evidence of visual primacy, few song recital rehearsal techniques address the need for structured physical training. Recitalists have limited resources for effective practice techniques that address body movement in recital. This project expands the practice guidelines from Emmons and Sonntagâs book, The Art of the Song Recital, by integrating Dalcroze Eurhythmics, Laban Efforts, and Body-Mind Centering®, providing application analysis to more fully support the foundational aspects of song recital: vocal pedagogy, poetic text engagement, and the often-overlooked role of the body in singer-pianist collaborative techniques. The result is a practical resource for rehearsal, a Practice Companion, that helps performers translate artistic vision into embodied expression through the coordinated integration of mind, body, voice, and music. The Practice Companion presents exploratory rehearsal exercises for solo singers and collaborative duos that draw from three approaches: Eurhythmics fosters musicality, coordination, and the embodiment of rhythm; Laban enhances the conscious articulation of movement; and BMC® encourages awareness of how the mind expresses itself through the body. The Practice Companion aims to improve the audienceâs perception of the artistâs emotional and expressive intent. This project contributes to the ongoing revitali…
aggregated CHO: https://circle.library.ubc.ca/rest/handle/2429/92844
note: BEYOND THE MUSIC: AN EMBODIMENT-BASED APPROACH TO SONG RECITAL PREPARATIONâINTEGRATING EURHYTHMICS, LABAN, AND BMC® by Allison J. Landstedt B.F.A., Carnegie Mellon University, 2017 M.Mus., The University of Cincinnati, 2019 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in The Faculty of Graduate and Postdoctoral Studies (Voice) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2025 © Allison J. Landstedt, 2025 ii The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: Beyond The Music: An Embodiment-Based Approach to Song Recital PreparationâIntegrating Eurhythmics, Laban, And BMC® submitted by Allison J. Landstedt in partial fulfilment of the requirements for the degree of Doctor of Musical Arts in Voice Examining Committee: J. Patrick Raftery, Associate Professor, Voice, UBC Co-supervisor Dr. Leigh VanHandel, Associate Professor, Music Theory, UBC Co-supervisor Dr. T. Patrick Carrabré, Professor, Composition, UBC , University Examiner Dr. Katharina Piechocki, Associate Professor, French Studies, Romance Studies, UBC University Examiner John Tessier, Professor, Faculty of Arts â Music Dept, University of Alberta External Examiner Additional Supervisory Committee Members: Krisztina Szabó, Assistant Professor, Voice and Opera, UBC Supervisory Committee Member iii Abstract Non-verbal communication elements influence our understanding of audio-visual information. Evidence suggests that when gestures and sound are congruent, emotional intent is more clearly understood. In a song recital, performers convey a songâs emotional content through non-verbal elements, such as gestures, bodily movements, and facial expressions. While vocal recitalists are often heavily trained to develop skills in areas such as vocal technique, poetic analysis, historical context, thoughtful program design, and langua…
has type: Thesis/Dissertation
date issued: 2026-05
is shown at: 10.14288/1.0450673
language: eng
degree discipline: Music - Voice
provider: Vancouver : University of British Columbia Library
publisher: University of British Columbia
rights: Attribution-NonCommercial-NoDerivatives 4.0 International
rights URI: http://creativecommons.org/licenses/by-nc-nd/4.0/
scholar level: Graduate
contributor: Raftery, J. Patrick
contributor: VanHandel, Leigh
type: Text
type: Moving Image
identifier URI: http://hdl.handle.net/2429/92844