If you are looking for a qualification to get started in the art of Singing or to specialize in choirs and musicals, this program will give you everything you need to achieve it" 

"I do not sing to be happy, I am happy because I sing", is how the American philosopher and psychologist William James summed up the therapeutic power of music at the beginning of the 20th century. And the fact is that this discipline has accompanied man throughout history, forming part of the most important events of each era. The projection of the voice as a form of expression has been taking a special relevance with the passage of time, becoming an authentic figure of art and becoming part of the catalog of activities that represent the cultural level of society. And the fact is that the various genres that can be interpreted through Singing, as well as its use combined with other artistic expressions such as dance or theater, have opened a wide range of possibilities for those who possess this gift.

For this reason, TECH and its team of specialists in Musicology have decided to design a program through which those interested in this field can delve into it, either to work personally on the development of their own qualities, or to transmit them to their students. Thus arises the Postgraduate diploma in Singing, a 6-month experience in which they can work with the most complete and innovative information related to choral Singing, breathing techniques in different genres, the tools currently available to enhance the voice as a vehicle for musical expression and enjoyment, with the rules and regulations governing this artistic activity as a whole. They will also delve into the keys of the musical as a discipline with multiple outlets for lovers of interpretation and Singing.

To achieve this, they will have 600 hours of theoretical, practical and additional content, the latter presented in different formats: detailed videos, research articles, complementary readings, self-knowledge exercises and much more. Everything will be hosted in a state-of-the-art virtual campus, which can be accessed from any device with an internet connection. In addition, all the content is downloadable, so that you can enjoy it even after the academic experience is over.

In addition to learning the best vocal strategies, you will work on dance techniques for comping performance, so that you can participate in various shows"

This Postgraduate diploma in Singing contains the most complete and up-to-date program on the market. The most important features include:

• Practical cases presented by experts in Psychology
• The graphic, schematic and practical contents of the book provide technical and practical information on those disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning
• Its special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

With self-knowledge exercises, you will be able to assess yourself and identify those areas where you need to put special emphasis. So that you can get the maximum benefit from this experience" 

The program’s teaching team includes professionals from the sector who contribute their work experience to this educational program, as well as renowned specialists from leading societies and prestigious universities. 

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive education programmed to learn in real situations. 

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the academic year For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts. 

You will be able to perfect your skills in the use of the inner ear as the basis of intonation"

Detailed videos in each unit will help you to perfect your skills in harmonic hearing and musical interpretation"

TECH and its team of experts in Musicology have invested hundreds of hours in the development of the curriculum of this Postgraduate diploma in Singing to form a multidisciplinary and innovative qualification, but, above all, highly educational, so that graduates can make the most of it. Therefore, those who opt for this course will have access to 600 hours of the best theoretical, practical and additional material, thanks to which they will not only be able to expand their knowledge to specialist level, but will also be able to improve their artistic skills in order to enhance themselves and their students' artistic skills. their knowledge to the level of specialist, but will also be able to perfect their artistic skills to enhance in themselves and in their students the necessary qualities to succeed through the Singing voice.

You will have access to 600 hours of diverse content, thanks to which you will be able to decide the level of deepening you can do in each module" 

Module 1. Initiation to Choral Singing

1.1. Choral Education

1.1.1. Introduction to the Choral World
1.1.2. First Choral Formations
1.1.3. The Unison Choral Formation
1.1.4. Polyphonic Choral Formation

1.2. Evolution of the Choral Repertoire

1.2.1. Choral Music in the Middle Ages
1.2.2. Choral Music in the Renaissance
1.2.3. Choral Music in Baroque
1.2.4. Choral Music in Classicism
1.2.5. Choral Music in Romanticism
1.2.6. Choral Music in the 20th Century

1.3. Diaphragmatic Breathing

1.3.1. Basic Concepts and Parts of the Phonatory Apparatus
1.3.2. The Diaphragm, What is It?
1.3.3. Usefulness of Diaphragmatic Breathing
1.3.4. Practical Exercises for Muscle Memory

1.4. Body Posture

1.4.1. The Correct Body Posture for Singing

1.4.1.1. The Head
1.4.1.2. The Neck
1.4.1.3. The Spine
1.4.1.4. Pelvis
1.4.1.5. Standing
1.4.1.6. Sitting

1.5. Vocalization

1.5.1. What is Vocalization and What is it Used for?
1.5.2. When to Vocalize?
1.5.3. Exercises to Exercise the Voice
1.5.4. Diction in Singing

1.6. Music Reading. Practical Part

1.6.1. Research Work on the Piece to be Performed
1.6.2. Reading Notes Accompanied by the Text
1.6.3. Reading Text with Rhythm
1.6.4. Music Reading Separated by Voices
1.6.5. Musical Reading with all Voices Joined together

1.7. Classification of the Voices

1.7.1. The Vocal Tessitura
1.7.2. Classification of the Female Voices
1.7.3. Classification of the Male Voices
1.7.4. The Figure of the Countertenor

1.8. Canon

1.8.1. What is a Canon?
1.8.2. The Canon and its Beginnings
1.8.3. Types of Canon
1.8.4. Musical Offering BWV by J.S. Bach
1.8.5. Practical Part of the Canon

1.9. Basic Gestures in Conducting

1.9.1. Recognition of the Main Gestures
1.9.2. Key Moments to look at the Director
1.9.3. The Importance of the “Attack”
1.9.4. The Silences

1.10. Musical Genres, Styles, Forms and Textures

1.10.1. Introduction to the Term Musical Genre
1.10.2. Introduction to the Term Music Style
1.10.3. Introduction to the Term Musical Form
1.10.4. Introduction to the Term Musical Texture

Module 2. Choirs

2.1. The Human Voice. Phonatory Apparatus. The Diaphragm

2.1.1. The Human Voice
2.1.2. Intensity and Frequencies of the Voice
2.1.3. The Resonator Apparatus

2.1.3.1. The Resonators

2.1.4. The Diaphragm

2.2. Body Preparation for Singing

2.2.1. Inhalation and Exhalation
2.2.2. Diaphragmatic Support
2.2.3. Positioning and Rectification of Bad Postural Habits
2.2.4. Facial Muscle Release
2.2.5. Stretching

2.3. Correct Body Posture

2.3.1. The Head
2.3.2. The Neck
2.3.3. The Spine
2.3.4. Pelvis
2.3.5. Standing
2.3.6. Sitting

2.4. Vocalization

2.4.1. Breathing
2.4.2. Vocalizations Combining Nasal Consonants with Open Vowels
2.4.3. Vocalizations Combining Nasal Consonants with Closed Vowels
2.4.4. Tessitura Vowels (All the Extension of Each Voice)

2.5. Music Reading

2.5.1. Reading Notes without Intonation
2.5.2. Reading Music with Intonation and without Text
2.5.3. Reading Text
2.5.4. Musical Reading of the Whole

2.6. A Cappella Choral Singing

2.6.1. What is a Cappella Singing?
2.6.2. Introduction to a Cappella Choral Singing and Main Repertoire
2.6.3. Practical Part: a Cappella Singing for Separate Voices
2.6.4. Practical Part: a Cappella Singing by all Voices Together

2.7. Initiation to Gregorian Chant

2.7.1. What is Gregorian Chant?
2.7.2. Beginnings and Evolution of Gregorian Chant
2.7.3. Knowledge of Main Works

2.7.3.1. Puer Natus Est Nobis. Introit (Mode VII)
2.7.3.2. Genuit Puerpera Regem. Antiphon and Psalm 99 (Mode II)
2.7.3.3. Veni Creator Spiritus. Hymn (Mode VIII)

2.7.4. Practical Part: Interpretation of a Gregorian Piece

2.8. The Operatic Choir

2.8.1. What is the Operatic Choir?
2.8.2. First Operas with a Choral Part
2.8.3. The Importance of the Chorus in Opera
2.8.4. Choral Parts of the Most Transcendental Operas

2.8.4.1. Va Pensiero. Nabucco. G. Verdi
2.8.4.2. Perchè tarda la luna. Turandot. G. Puccini

2.9. Interpretation of the Gestures of Choral Conducting

2.9.1. Marking of Tempo
2.9.2. The Attack
2.9.3. The Anacoustic Gestures
2.9.4. The Silences

2.10. Voice Care

2.10.1. What Possible Injuries can we Prevent if we Take Care of the Voice?
2.10.2. Hygiene for the Correct Emission of the Voice
2.10.3. Physical Care for the Voice
2.10.4. Exercises to Settle Diaphragmatic Breathing

Module 3. The Musical

3.1. The Musical

3.1.1. What is the Musical?
3.1.2. Characteristics of the Musical
3.1.3. History of the Musical
3.1.4. Main Musicals

3.2. Most Outstanding Composers of Musicals

3.2.1. Leonard Bernstein
3.2.2. John Kander
3.2.3. Stephen Lawrence Schwartz
3.2.4. Andrew Lloyd Webber

3.3. Interpretation Techniques Applied to Musicals

3.3.1. The Stanislavski method
3.3.2. Chekhov’s Technique
3.3.3. The Meisner Technique
3.3.4. Lee Strasberg and his Method

3.4. Singing Techniques

3.4.1. Theoretical and Practical Learning of Singing Technique and Vocal Education Adapted to Musical Theater
3.4.2. Study of the Anatomy of the Larynx and the Functioning of the Respiratory and Phonatory Apparatuses
3.4.3. Recognition of the Diaphragm
3.4.4. Correct Diction

3.5. Contemporary Dance. Hip-Hop

3.5.1. Contemporary Dance Style
3.5.2. Main Movements in Hip Hop
3.5.3. Basic Steps Hip Hop
3.5.4. Introduction to the Creation of Choreographies

3.6. Music

3.6.1. Music Theory
3.6.2. Reading Sheet Music
3.6.3. Rhythm
3.6.4. Aural Education

3.7. Milestones of the Musical

3.7.1. Study of the Path of the Musical Genre from the European and North American Precedents
3.7.2. Consolidation and Splendor of the Musical Theater in the United States
3.7.3. The Present Time of the Genre and its Incidence in the Billboard
3.7.4. The Digital Age of the Musical

3.8. Delving into the Interpretation

3.8.1. Theatrical Construction of a Character
3.8.2. Vocal Construction of a Character
3.8.3. Choreographic Construction of a Character
3.8.4. Fusion of All the Previous Ones: Definitive Creation of the Character

3.9. The Musicals in the Cinema

3.9.1. The Phantom of the Opera
3.9.2. Les Miserables
3.9.3. Jesus Christ Superstar
3.9.4. West Side Story

3.10. Main Singers of Musicals

3.10.1. Sarah Brightman
3.10.2. Philip Quast
3.10.3. Michael Ball
3.10.4. Sierra Bogges

Module 4. Singin

4.1. Breathing

4.1.1. The Diaphragm
4.1.2. History of Diaphragmatic Breathing
4.1.3. Practical Breathing Exercises
4.1.4. Breathing Signs and Their Importance

4.2. Preparation for Singing

4.2.1. Neck Stretching
4.2.2. Stretching of the Arms
4.2.3. Maxillary Massage
4.2.4. Vocalization

4.3. The Phonatory Apparatus

4.3.1. What is the Phonatory Apparatus?
4.3.2. Breathing Organs
4.3.3. Organs of Phonation
4.3.4. Organs of Articulation

4.4. The Falsetto

4.4.1. What is the Falsetto?
4.4.2. History of the Falsetto
4.4.3. The Head Voice
4.4.4. Examples of Falsetto Use

4.5. Jazz Vocal Repertoire

4.5.1. Characteristics of Jazz
4.5.2. Vocal Technique SCAT
4.5.3. Glossolalia
4.5.4. Performance of a Piece to Be Chosen from a Stipulated List

4.6. Pop Vocal Repertoire

4.6.1. Origin of the Term Pop
4.6.2. Characteristics of Pop Music
4.6.3. Pop Technique
4.6.4. Performance of a Piece to Be Chosen from a Stipulated List

4.7. Opera Vocal Repertoire

4.7.1. Opera Characteristics
4.7.2. Opera Technique
4.7.3. The Impostation
4.7.4. Performance of a Piece to Be Chosen from a Stipulated List

4.8. Vocal Repertoire of Lied

4.8.1. Characteristics of the Lied
4.8.2. The Technique in the Lied
4.8.3. General Theme of the Lied
4.8.4. Performance of a Piece to Be Chosen from a Stipulated List

4.9. Vocal Repertoire of Zarzuela

4.9.1. Characteristics of Zarzuela
4.9.2. Technique in La Zarzuela
4.9.3. General Themes of La Zarzuela
4.9.4. Performance of a Piece to Be Chosen from a Stipulated List

4.10. Vocal Repertoire of the Musical

4.10.1. Characteristics of the Musical
4.10.2. Technique in the Musical
4.10.3. The Spoken Voice
4.10.4. Performance of a Piece to Be Chosen from a Stipulated List

A program with which you will work on self-control, memory control and communication skills to succeed on stage through the projection of your voice. Are you going to pass up the opportunity to get it?"