Aber gilt das denn nicht für jeden Gesangsunterricht ? Ich stimme jede Stunde individuell auf den jeweilgen Schüler ab, Schema F versuche ich möglichst zu vermeiden, und vor allem höre ich zu... ich höre so genau wie möglich zu.
Das ist doch super! Find ich cool, dass du das so machst! Ich habe es halt auch schon oft anders erlebt... Jeder Gesangslehrer sollte gut zuhören!
Meine Erfahrung ist die, daß nicht jeder alles singen kann. Manche Stimmen eignen sich besonders für Crooning und Balladen, andere für Bossanova und Chanson, andere für Rock, Soul und explosives Belting ... es ist nicht mein Anspruch, daß jemand alles können muss, das führt nur in eine klangliche Sackgasse und frustriert beide Seiten schnell und nachhaltig.
So ist das ja auch nicht gemeint. Hab ich an anderer Stelle schonmal erklärt.
Es geht nicht darum, dass jeder jede Stilistik bedienen kann, sondern die gleichen Klänge erzeugen kann. Natürlich eignet sich dann eine bestimmte Stimme mit der zugrunde liegenden Art der Musikalität für einen, oder evtl mehrere Stile. Das allerdings lässt die CVT völlig den Schüler bestimmen. Zugleich geht es aber auch darum, dass der Lehrer jedem Schüler aus jedem Genre weiter helfen kann. Es ist nicht das Ziel eines CVT-Lehrers, dass jeder alles können muss. Der Schüler lernt nur das, was er für seine Stimme und seine Bedürfnisse braucht, außer er verlangt nach mehr.
Zitat: [h=3]
Technique and expression
The CVT book however is mainly about technique - this is not because we believe technique is the most important aspect of singing. On the contrary, technique is only the MEANS by which we express ourselves. At CVI we think the most important aspect is EXPRESSION - to convey a message. What to convey and how to convey it are artistic choices that every singer has to make for her/ himself. The CVT book is about the techniques required to accomplish the artistic choices you would like to make[/h]Quelle:
http://completevocalinstitute.com/vocal-technique/cvi-philosophy/
Wer sich allerdings als autorisierter CVT-Lehrer bezeichnen möchte, muss (!) alle Klänge, die die CVT abdeckt, beherrschen und vermitteln können.
Was ein CVT-Lehrer nach der dreijährigen Ausbildung können muss, kann man der Homepage entnehmen. Hier ein kleiner Auszug:
[h=3]Summing up and establishing overview will be practised, so the participants on completion of the course can:[/h]
- [h=3]master theory[/h]
- [h=3]immediately solve singing problems[/h]
- [h=3]hold advanced teaching skills[/h]
- [h=3]demonstrate vocal modes clearly, especially in different sound presentations that may impede recognition[/h]
- [h=3]recognize vocal modes and the correct and incorrect use of them, both live and on recorded material[/h]
- [h=3]be capable of recognizing and examining techniques used in all forms of singing[/h]
- [h=3]be capable of explaining words and singing concepts, to use and apply them in a teaching context and be able to answer difficult questions relating to technique and interpretation in a satisfactory manner[/h]
- [h=3]be rapid in their analysis and problem solving[/h]
- [h=3]be aware of their own strengths and weaknesses, to what extent and how this may affect their teaching[/h]
- [h=3]continuously evaluate their teaching experience and revise their teaching strengths and weaknesses[/h]
- [h=3]be able to differentiate between genre and technique, with regard, yet again, to their own strengths and weaknesses in teaching[/h]
- [h=3]understand the importance of being open and approachable, or of making clear that this will not be the case before undertaking a long period of instruction[/h]
- [h=3]be punctual so appointments and schedules can be met[/h]
- [h=3]be acquainted with relevant published texts and publications[/h]
[h=3]The various working methods that have been studied during the course will be integrated though an intensive work process and the work of a teacher will be carefully examined. Furthermore, emphasis will be put on the strengths and weaknesses of the individual - and each participant will be encouraged to find his/ her own specific identity as a singing teacher.[/h][h=3]
Study groups
All participants are encouraged to form groups for the duration of the course. Working in study groups will help all singers in practising and developing.[/h][h=3]
Methods
Each participant will, from the beginning of the course, work both as a singer and as a singing teacher in order to become confident in both roles while working in the group. Instruction during the course will be a combination of individual singing work, theory and training teaching skills under supervision. There will be individual as well as group exercises. The work with the group will be both process and result related, and theory will relate to the techniques and exercises undergone with the group.[/h][h=3]
Lectures, talks and debates
The working methods will include study and lectures on theory, as well as practical testing of theory. Moreover, there will be talks and debates, including what the participants expect from the course, what may be expected of a singing teacher, investigating and debating outdated terminology frequently encountered, a common platform to exchange and discuss teaching difficulties, critique of technique, including joint questions and answer sessions.[/h][h=3]
Pianist
A pianist will be present for accompaniment during certain parts of the course.[/h][h=3]
Tests
The work method will include tests, self-assessment and skills tests to highlight the participant's awareness of his or her singing and teaching skills.[/h][h=3]
Ongoing assessment
All topics and modules will be tested to assess the development of each individual participant as well as the course.[/h][h=3]
Oral presentation
Each participant will present subjects orally in the presence of the group. Theoretical study will form the basis of oral presentations.[/h][h=3]
Supervision of teaching
Participants will teach test singers/ "guinea pigs"; in the presence of the group and receive guidance during and after teaching class. Teaching beginners, intermediate and advanced students will be tested out. The participants will also teach each other, in the presence of the group.[/h][h=3]
Auditory analysis
The work method will include auditory analysis of live and recorded singing. The used techniques will be examined under supervision, both live and recorded, before the group. Assessments together with group.[/h][h=3]
Written and practical tests
There will be ongoing written, theoretical tests, most of these taking place at the beginning of the course so weaknesses and problems may be discovered and corrected at an early stage. The course concludes with a written and practical examination of all studied subjects.[/h][h=3]
Theoretical tests and examination
There will be ongoing theoretical exercises and a major test covering related theory at the end of the 1st and the 2nd year, enabling the participants to assess their grasp of theory and their progress as a whole. The 3rd year ends with an examination module where participants will be individually tested in all subjects on the course. In special circumstances participants may choose to undergo examination before the 3rd year, in which case the exam module costs (DKK) 9.000. When the exam module is taken as part of the full 3-Year Course, the costs are included in the course fee.[/h][h=3]
Diploma
Upon successfully having completed the course appertaining examination, a diploma granting authorization to teach Complete Vocal Technique is issued. Diploma trained singing teachers are encouraged to participate in a singing teacher think-tank. This is a network of singing teachers who meet in order to remain updated on the latest developments at home and abroad, discussing teaching skills and exchanging know-how and experience.[/h]Quelle:
http://completevocalinstitute.com/coursessign-up/three-year-courses/course-description/
Ein 4-Säulen-Baukasten á la CVT wäre meiner Vorstellung von Gesangsunterricht diametral entgegengesetzt, fürchte ich.
Dann ist es halt einfach nicht deins.
Ich finde es praktisch, dass man mit dieser 'Sprache' jeden Stimmklang greifbar und somit erlernbar machen kann. Und die klare Struktur hilft dabei enorm. Nicht nur dem Schüler, sondern auch dem Lehrer. Ob man damit arbeiten möchte, oder nicht, ist ja jedem selbst überlassen.
Sören Lillkung fasste das ganz schön zusammen: "No one is saying that we have been developing the wheel... they are explaining how the wheel is built in a very clever way... There are many ways to roll but this a good way." 07.20
http://www.youtube.com/watch?v=W7M_ZloBi5g
(Die Youtubevideos über den 3-year course finde ich überhaupt sehr aufschlussreich. Ebenso die Videos in denen Dr. Julian McGlashan von der University of Nottingham über die Forschungsergebnisse über das Erzeugen von Stimmeffekten vom CVI referiert.)
) auf den gewünschten Sound einjustieren und evtl damit Tonfolgen üben, oder aber die Dynamik verfeinern... undundund... Das kommt ganz auf das Problem drauf an und lässt sich so pauschal nicht beantworten.
