ONE VOICE Centre for Integrative Studies

Communicating across boundaries, through research, integrative pedagogies, and practical training

To book courses in the US and abroad, please contact Joan Melton at joan.melton@joanmelton.com.

Founders

Joan Melton, Voice/Movement Research and Training, Director of Programs

Jennie Morton, Anatomy/Physiology, Voice and Dance Technique Integration 

Guest Artists

Irene Bartlett, Jazz/Contemporary Pedagogy

Janet Feindel, Voice/Dialects and Alexander Technique

Wendy LeBorgne, Professional Voice Care

William Lett, Tap/Voice for Musical Theatre

Marya Lowry, Roy Hart/Ecstatic Voice/Lamentation

Michael Lugering, Expressive Actor Training

Patricia Prunty, Classical Singing Techniques

Mimi Quillin, Dance Techniques, Jazz

Mary Saunders-Barton, Singing in Musical Theatre

Neil Semer, Vocal Technique and Performance Practice

Kenneth Tom, Vocal Anatomy/Physiology

Pat Wilson, Studio Work/Mic Technique

Faculty Bios

 

Practitioners

Julio Agustin (Hons), US

Zac Bradford (Hons), Australia/US

Kristen Calgaro (Hons), US

I Putu Budiawan (Hons), Australia

Sammi Grant, (Hons), US

Crystal Hanson (Hons), Canada

James Harrison (Hons), Australia

Robert Lewis (Hons), Australia

Maggie Marino-Pitts (Hons), US

Amanda Wansa Morgan, US

Erica Northcott, Canada

Sara Paar, US 

Nick Salamone (Hons), US

Noémi Sárog (Hons), Hungary/US

Elizabeth Smith, US

Jennifer Spencer (Hons), Canada

Caitlyn Stirling, Australia

Petra Valman (Hons), Sweden

Janet Van Wess, US

Jack Wallace (Hons), England/US

Colton Weiss (Hons), US

Practitioner Bios

 

FEATURED PRACTITIONER

PETRA VALMAN, Opera Singer, Voice Teacher, Speech-Language Therapist


Petra Valman is a free-lance coloratura soprano, voice teacher and speech-and-language therapist in Knivsta, Sweden. She currently heads a major project with The Magic Flute, of Mozart. Petra will conduct opera workshops for 300 young students. then present a performance of the opera for workshop participants. She will sing both the Queen of the Night and Pamina in the opera production! https://petravalman.se


 

Perspective – excerpts from “Integrative Links,” by Joan Melton

Voice & Speech Review 2013

Even in integrated programs, there is seldom the opportunity or incentive to really listen to experts outside our own respective field(s). The only people who must listen across disciplines are our students, who regularly take classes in dance (e.g., ballet, tap, modern, jazz), voice/movement for the actor, singing (e.g., classical, musical theatre, jazz, pop, rock) and acting. And the potential for conflict in all of that is enormous!

At the most basic level, what seems to separate us clearly in the training process is our concept of anatomy and physiology…Acting curricula probably come nearer to putting it all together than either singing or dance. Yet, even from actor training, students more often than not emerge thinking the diaphragm is something in their belly that they’re supposed to use—consciously—somehow.

Jennie Morton said, “A better anatomical understanding amongst both performers and teachers can ultimately give them better tools to work with…” 

In addition, it takes getting out of our own little corner to see the links from one discipline to another. Long-held views can change—and that’s scary—and what is “true” today may be only partly true or transformed tomorrow. So we must be daring. We must actually listen to colleagues, address the information gaps, and follow threads we never before considered—because staying put is simply not an option.


Click here for information re ONE VOICE Training - for performance specialists in Theatre, Music and Dance