Competences developed in the course

Transversal competences:

CT1: Organise and plan work efficiently and in a motivating way.

CT2: Gather significant information, analyse it, synthesise it and manage it appropriately.

CT3: Solve problems and make decisions that respond to the objectives of the work being carried out.

CT4: Use information and communication technologies efficiently.

CT6: Carry out self‑criticism regarding one’s own professional and interpersonal practice.

CT7: Use communication skills and constructive criticism in teamwork.

CT8: Develop ideas and arguments in a reasoned and critical manner.

CT13: Seek excellence and quality in one’s professional activity.

General competences:

CG8: Apply the most appropriate working methods to overcome challenges that arise in personal study and collective musical practice.

CG10: Argue and express verbally one’s points of view on diverse musical concepts.

CG12: Demonstrate sufficient knowledge of the musical phenomenon and its relationship with the evolution of aesthetic, artistic and cultural values.

CG15: Have extensive knowledge of the most representative works of historical and analytical music literature.

CG17: Be familiar with different musical styles and practices that allow understanding, in a broader cultural context, one’s own field of activity and enriching it.

CG18: Communicate in written and verbal form the content and objectives of one’s professional activity to specialised audiences, using appropriate technical and general vocabulary.

CG19: Know the pedagogical and educational implications of music at different levels.

CG20: Know the classification, acoustic, historical and anthropological characteristics of musical instruments.

CG24: Develop capacities for self‑training throughout one’s professional life.

CG25: Know and be capable of using study and research methodologies that enable continuous development and innovation in musical activity throughout one’s career.

CG26: Be capable of linking one’s musical activity to other disciplines of scientific and humanistic thought, to the arts in general and to other musical disciplines in particular, enriching professional practice with a multidisciplinary dimension.

Specific competences:

PE1: Understand and explain the foundations of contemporary music pedagogy, both in systematic knowledge and in its application, and base critical reflection on one’s own and others’ educational practice on these foundations.

PE5: Be capable of developing an educational‑musical practice, as an artist and musical educator, oriented towards the community.

PE10: Design, carry out and evaluate research in music education, both individually and as an active member of research teams.

PE11: Know the foundations of musical acoustics, organology and their applications in musical practice.

Learning outcomes (general objectives)

1. Acquire awareness of the essential role of the voice and its use in communication, particularly in musical performance and pedagogy, and demonstrate mastery of vocal technique.
2. Explain competently in different professional contexts how the voice works and how to maintain vocal hygiene.
3. Detect vocal problems and limitations in people within one’s professional environment.

Contents

The voice. Overview and anatomophysiology of the phonatory system: Vibrator: larynx, function and structure. Laryngeal mechanisms. Fundamental frequency / pitch. Air source: expiratory flow; breathing; characteristics of lung tissue; respiratory volumes; diaphragmatic dynamics. Posture and breathing. Respiratory needs for spoken and sung voice. Resonators: the vocal tract; timbre and articulation. Vocal colour and text. Use of resonators in different musical aesthetics.

Voice acoustics: fundamental frequency, harmonics and formants. Vocal intensity. Spoken and sung voice, differences and similarities. The “singing formant” in lyric singing. Vocal timbre: breathy, swallowed, constricted, rough, nasal… their production. Computer‑based voice analysis (classroom work with a vocal quality analysis program). Relationship with the activity of the different structures of the vocal tract.

The body as a condition of possibility for the voice. Ergophonation. Posture, tensions, muscular systems associated with phonation. Hyoid system, respiratory system, cervico‑postural system.

Neurological control of the voice. Brain, communication and voice. Stress, neurotransmitters and voice. Audiovocal control: long loop and short loop. Voice and emotions.

Different vocal aesthetics: range, tessitura, limits and possibilities. Lyric voice, modern voice, countertenor voice, jazz, flamenco. Professional risks: stress, maladaptation, environmental aggression, inadequate medication.

Evolution of the voice: baby, child, adult, old age. Vocal change in boys and girls. Vocal possibilities of intensity, range and timbre at each stage, both spoken and sung. Vocal limits and possibilities throughout life.

Vocal problems: causes and solutions. Concept of dysphonia. Causes and treatments. Vocal fold lesions: malregulative origin, congenital origin, others. Detection by the teacher: alterations in timbre, pitch or intensity. Signs of vocal fatigue. Basic vocal hygiene.

Teaching methodology

The teaching‑learning methodology includes lecture sessions (presentation of topics), debate and discussion sessions, group work sessions and student presentations.

Assessment systems

The assessment system is continuous assessment, based on diagnostic assessment and formalised through summative assessment that leads to the final grade.
Continuous assessment is carried out through different records derived from activities such as participation and class work, presentation of work in class, completion of assignments and/or readings outside class, submission of written work or written or oral tests.