Summary
The research was focused on a scientific composition of the body and mind in support of expression, and in this case vocal expression.
The changes that occurred during the composition were evaluated. The results of the research were so positive that it was concluded that such a composition can be useful to anyone who is restricted in his freedom of physical expression.
Although the research was focused on vocal expression, it can certainly also be applied to every form of artistic expression such as painting, playing music and ballet. Communication between people is also a form of expression.
The research was made up of the documentation of as much data as possible about the singers at the beginning of and at various moments during the research period. The different therapies were applied from a general physical composition, followed by an approach regarding the unique individual with his unique “self” variations and body composition.
The therapy consisted of:
- Musculoskeletal medicine
- Dispokinesis therapy
- Mézières Method
- Facilitation/inhibition technique
- Muscle chain technique
In succession, this means the following:
Restoring the function of the skeleton -> retraining the natural standing up reflex -> restoring the function of the m. psoas and the diaphragm -> maintaining the results through breathing techniques -> optimising the function of the unique person or, in other words, giving the unique person the opportunity to come into action in his own style of character (e.g. more introvert or extrovert).
The results were evaluated, and connections were made between the data and the changes respectively that were observed during the period of the study. All of this was done within the possibilities and the limitations for the research, such as time period, the medical guidelines and the available singers and pedagogues, and of course also more accurate methods for measurement that could be applied.
The therapeutic influences on the symmetry and the harmony of the facial and neck muscles contributed to an easy acoustic modification of the voice from an internally suppressed laryngeal suspension. Also, the thoracic and diaphragmatic freedom also gave a free choice for a turbulent, yet linear outflow of air. In other words: a free choice for vibrato or no vibrato.