Such considerations should be also addressed to a link (or its lack) between perception and creation of music. Studies on an impact of both potential contributing factors were postulated long ago (Shuter 1966). ![]() The latter question could evolve into consideration on hereditary (genetic) versus environmental background of musicality. Next, watching professional musicians, singers, and composers, raises the question why more talented persons are more frequent in some families and not in others. Further, an individual musicality spans from congenital amusia to absolute (perfect) pitch. A suspected common root of speech and music perception indicated for the same brain attribution within right-hand auditory cortex, prefrontal cortex, and parietal areas of the brain (Stewart 2008, Peretz 2016, Brauchli et al. As such, it is expected to share some brain functions and structures with speech. Defined as the capacity to perceive, reproduce, or create music, is recognized as a communication process involving pitch, rhythm, and timbre. Musicality attracts an attention of the general public as well as researchers because of its universal character. On the other hand, gene deletion leading to dysfunction in amusical individuals also indicated appropriate loci “by negation.” The strongest support for an association of genes with musicality was provided for genes: AVPR1 (12q14.2), SLC6A4 (17q11.2), GALM (2p22), PCDH7 (4p15.1), GATA2 (3q21.3), and few others as well for 4q22, 4q23, and 8q13–21 chromosome bands. Some studies were focused on rare ability to recognize tone without reference that is known as a perfect pitch where a far ethnic differentiation was established. Modern biomolecular techniques exploring linkage analysis, variation of gene copy number, scanning for whole-genome expression helped to identify genes, or chromosome regions associated with musical aptitude. The studies done on a random population, twins and families of gifted musicians provided a strong support for genetic contribution. Musical abilities tend to cluster in families. I believe in singing for social change and diversity and inclusion are central to that ethos.There is an agreement about joint genetic and environmental background of musical reception and performance. ![]() In addition, as an accomplished top line writer and vocal arranger I can share my knowledge of musicality and performance to bring out the best in my clients. I specialise in artist development which explores blue sky thinking, mindset, lifestyle, creative consciousness, heightened awareness and daily practices that challenge limiting ways of thinking and therefore being. ![]() My 30 years of teaching goes way beyond vocal technique. Clients Modern Sky, Starwood Management, ITV’s The Voice UK and The Voice Kids, Inhaler, Dave McCabe, The Zutons, Ray Quinn. I encourage authenticity and individuality in all of my work. I am the Creative Director and manager of the vocal ensemble, Sense of Sound Singers and have successfully secured collaborations with Jamie Webster, Damon Albarn, Take That, Seal, Jon Bon Jovi, David Gilmore, Paloma Faith, Blossoms, Yoko Ono, Massive Attack, Cream Classical, Rugby World Cup at Ethiad Staium 2015 and The Netball World Cup at M&S Arena in 2019 during which I was given the title of Lady Liverpool and sang at the opening and closing ceremonies.Īs a vocal coach, composer and music mentor I am adept at getting amazing results for singers, bands and choirs by focusing on emotional connection through song, vocal techniques, tight harmonisation, musicality, blend and performance skills. In my capacity as a singing lecturer I work nationally in the UK and my clients include Royal Academy of Music, Royal Northern College of Music, BIMM (Manchester) & Liverpool Institute of Performing Arts. I am an award winning composer, vocal coach (specialising in artistic development), singer/songwriter, creative director, project manager and music mentor.
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