Kinesthetic Voice Pedagogy 2:
Motivating Acoustic Efficiency

ISBN: 978-1-7335060-3-8

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Endorsements for Kinesthetic Voice Pedagogy 2

In the voice teaching and voice science communities, the gulf between what is true and what is helpful often appears impossible to bridge. Kenneth Bozeman is that rare teacher who can distill complex material into a usable framework for voice teachers. Taking nothing away from centuries of tradition, Bozeman uses his holistic knowledge of acoustics, resonance, and (false) kinesthesia to help us notice important patterns of behavior in the singing voice. His work doesn’t just stimulate the mind; it will make you a better teacher in a remarkably short period of time.
      Ian Howell, voice faculty, director of vocal pedagogy, New England Conservatory

Kenneth Bozeman does a remarkable job of making voice science understandable and accessible to every student and voice teacher.  In Kinesthetic Voice Pedagogy, Mr. Bozeman makes clear that the innate response of the body to express is the foundation for ideal Western classical singing, and uses today’s technology to back his argument.  No longer do voice scientists and the masters of Italian bel canto have to fight over how to teach.  Kenneth Bozeman has married the two beautifully.
      Carol Mastrodomenico, voice faculty, Longy School of Music

In Kinesthetic Voice Pedagogy, Kenneth Bozeman masterfully connects science and tradition. His detailed discussions on vocal tract mapping combined with the latest science behind harmonics, formant tuning, and vowel perception theory are significant contributions to the literature on fact based pedagogy. Most importantly, Bozeman details how to teach these concepts using physiological, kinesthetic, and visual approaches. This book is a must read for the 21st century teacher!
      Matthew Edwards, Associate Professor, Musical Theatre Styles specialist,
      Shenandoah Conservatory


Foreword, by Norman Spivey

1: Introduction

2: Remapping the Open Throat (Gola Aperta)

3: Studio Metaphors for Acoustic Pedagogy

4: Psychoacoustics and Somatosensory Perception
5: Vowel Perception, Modification, and Motivation  

6: Sensation Migration Across Range 

7: Comparison of Treble and Non-Treble Voice Training

 8: Essential Characteristics of Western Classical Bel Canto Singing

9: Training for Balanced Chiaroscuro Timbre

10: Singing an /i/ Across Range with Clarity and Fullness

11: Belting Revisited

12: Pharyngeal Voice

13: Summary of Acoustic Objectives and Strategies

14: Training Exercises

Appendix I:  Acoustic Designations/Abbreviations 
Appendix II: Definitions 
Selected References                                                                  
End Notes                                                                                    

Kenneth Bozeman, tenor, Frank C. Shattuck Professor of Music at Lawrence University Conservatory of Music in Appleton, Wisconsin, (1977-present) holds performance degrees from Baylor University and the University of Arizona. He subsequently studied at the State Conservatory of Music in Munich, Germany on a fellowship from Rotary International. He is chair of the voice department at Lawrence, where he teaches voice and voice science and pedagogy.

Mr. Bozeman has received both of Lawrence University's Teaching Awards and was awarded the Van Lawrence Fellowship by the Voice Foundation and NATS in 1994 for his interest in voice science and pedagogy.  He is currently the chair of the editorial board of the NATS Journal of Singing.  He is a frequent presenter on voice acoustics—especially as applied to male passaggio training—for venues including the Voice Foundation, the Physiology and Acoustics of Singing Conference, the Pan European Voice Conference, and the European Voice Teachers Association, and various NATS venues: the 2012 and 2014 conventions, the 2015 Winter Workshop, and an online chat in January 2016, and as a master teacher for the 2013 and 2017 Intern Programs. His book, Practical Vocal Acoustics:  Pedagogic Applications for Teachers and Singers, is used in many voice pedagogy courses. Mr. Bozeman was an active recitalist and performer of oratorio, having performed with the Milwaukee Symphony, the Wisconsin Chamber Orchestra, the Green Lake Music Festival, the Louisville Bach Society, and on Wisconsin Public Radio.  His students have sung at major opera houses, including Deutsche Oper Berlin, New York City Opera, Santa Fe, Houston Grand, San Francisco Opera, Chicago Lyric, and the Metropolitan Opera.