{"id":36,"date":"2016-11-17T20:56:47","date_gmt":"2016-11-17T19:56:47","guid":{"rendered":"https:\/\/niekbrouw.nl\/?page_id=36"},"modified":"2023-05-02T07:59:31","modified_gmt":"2023-05-02T06:59:31","slug":"voice-and-body","status":"publish","type":"page","link":"https:\/\/niekbrouw.nl\/en\/literature-audio\/voice-and-body\/","title":{"rendered":"Stem en Lichaam [“Voice and Body”]"},"content":{"rendered":"

Introduction<\/strong><\/p>\n

Singing is a form of physical expression requiring a posture that is as free as possible. The influence of the body\u2019s posture on the vocal cords is easy to test, for example, by rocking back and forth from your heels to your toes while trying to hold a constant tone. While doing so, you will notice that the tone changes. However, in the case of certain postural reflexes, a change in posture should not automatically cause a change in voice quality.<\/p>\n

To investigate the scientific composition of the body and the mind in support of vocal expression, I turned to the fields of musculoskeletal medicine and muscle reflexology. Manual medicine consists of the treatment of deviations in the position of the vertebrae and joints and restoring functional movement of the joints. Muscle reflexology refers to the relationship between contracting muscles and relaxing muscles. The aim of the study was to use this knowledge to influence the functioning of the vocal cords.<\/p>\n

The problems addressed in the research were not so much related to singing technique through use of the vocal cords, nasal cavity, diaphragm, tongue or pharynx. These are already well known in the world of singing and, furthermore, I am not sufficiently competent to be a judge of such aspects. Instead, the aim was to further investigate inner factors that influence these anatomical structures.<\/p>\n

The research was conducted in Antwerp among a group of male and female singers, consisting of students and pedagogues of the conservatory. This group committed to participating in the study for a two-year period in order to guarantee the continuity of the research. Vocal pedagogue Lucie Frateur did the voice guidance and the sonographic examination of the voice.<\/p>\n

The project started in October 1978. It began with one day per week to document the physical examination and the composition of the posture of the singers. Mid-1980, the frequency was adjusted to once every fourteen days and, after the general composition, a more individual-oriented approach was taken with regard to the specific posture of the singers. The results were recorded. To conclude, the previous postural corrections were implemented during the singing lessons and while singing. The project lasted until January 1981.<\/p>\n

<\/p>\n

Conceptual framework<\/strong><\/p>\n

Singing is a purposeful kind of expression. It is a kind of expression that is bound to a time and place. The connectedness to time and place applies to the person as a whole. This means that each person has his\/her own history and doesn\u2019t just start out with nothing. He\/she carries a very own psychic and physical experience from the past. Once we acknowledge our connectedness (to place, time and space), then our assumption is that we must try to function as freely as possible. In other words, to minimise the restriction so that we can achieve maximal results with a minimum effort.<\/p>\n

There are a great number of factors that play a role here, and we are only able to influence a few of these. Consider external factors, such as social circumstances, the influence of fellow human beings, etc. Also, the list of internal factors can be quite long (psychic, physical).<\/p>\n

For conducting research, the primary elements of interest are those that could influence the anatomical structure and possibilities. In an ideal situation, all factors work together to enable a person to be as free as possible in his self-expression, in this case, singing. A comfortable temperature in the room, adequate coaching, a well-balanced audience, a relaxed body, etcetera, are of great importance. You must try to eliminate infectious illness, organic sickness and physical tension.<\/p>\n

The posture of each unique individual is the result of all factors combined. When we consider that the entire human body and all of its facets serves as the instrument while singing, then, in order to get the best sound, this instrument must be properly tuned. By tuning the instrument, we can achieve an optimally free functioning for the unique individual bound by place, time and space (optimal refers to the right balance between effort and result).<\/p>\n

More specifically, what is important to achieve this is:<\/p>\n

    \n
  1. The skeleton
    \nMovement that is restricted as a result of the skeleton is limiting to the purposeful ability of self-expression. For the skeleton, we need the following:
    \na) Limbs free of restrictions in movement;
    \nb) Vertebral column free of restrictions in movement. This is important due to:<\/li>\n<\/ol>\n
      \n
    • The overall functioning of the spine, in its cartilage surfaces of the joints as a part of the ability to express oneself and its toning influence on the muscular system;<\/li>\n
    • The neurological aspect, in particular the spinal cord, which is responsible for sending inhibitory and activating signals in good measure and without restriction in order to serve the muscles and organs without restriction; for example, a limited nerve function to a muscle would limit the free functioning of that muscle (sciatica, tennis arm, etc.).<\/li>\n<\/ul>\n
        \n
      1. The muscular system
        \nThe muscular system, with all of its sensory nerves, in order to know its position in a given space and to know how to contract to change its position in that space with a minimum effort and optimal potential for self-expression from either a conscious state or a well-coordinated automatism.<\/li>\n
      2. Psychic balance*
        \nWhen the psyche is in balance with the essence of the individual, then his potential for self-expression is also optimal from this foundation.<\/li>\n
      3. Social circumstances*
        \nIn fact, these are not directly included in the research. Since they cannot be measured objectively and often cannot be influenced by humans themselves (e.g. hospitalisation of a roommate will cause an additional burden to the functioning of the individual).<\/li>\n
      4. Organic sickness
        \nUnderlying organic sickness can also have an inhibiting effect on the free functioning of the individual. Infectious illness such as the flu, bladder infection, etcetera will, for example, have an inhibiting effect on the free will of the individual and bring his level of self-expression \/ performance to a lower level by means of muscle fatigue or muscle aches that may occur.<\/li>\n<\/ol>\n

        These factors must be integrated into a greater whole that is as complete as possible.<\/p>\n

        Breathing is, of course, very important. Breathing patterns normally adapt to the physical and psychological circumstances of an individual. The aforementioned factors, therefore, all have an influence on breathing. Alternatively, breathing can be used to influence these factors.<\/p>\n

        The research was in fact a search for the relationship between anatomical data and the vocal product; the influence of this anatomy to achieve a greater freedom for the individual in his potential for self-expression; teaching the individual command over his\/her body so that external and internal factors can have only a minimal effect on his\/her vocal self-expression.<\/p>\n

        The internal factors and the external factors determine the optimal potential for the vocal product for each unique individual.<\/p>\n

        *The 3rd and 4th factor are important, although not \u2018directly\u2019 included in the research.<\/p>\n

        <\/p>\n

        Summary<\/strong><\/p>\n

        The research was focused on a scientific composition of the body and mind in support of expression, and in this case vocal expression.<\/p>\n

        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.<\/p>\n

        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.<\/p>\n

        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 \u201cself\u201d variations and body composition.<\/p>\n

        The therapy consisted of:<\/p>\n

          \n
        1. Musculoskeletal medicine<\/li>\n
        2. Dispokinesis therapy<\/li>\n
        3. M\u00e9zi\u00e8res Method<\/li>\n
        4. Facilitation\/inhibition technique<\/li>\n
        5. Muscle chain technique<\/li>\n<\/ol>\n

          In succession, this means the following:
          \nRestoring 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).<\/p>\n

          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.<\/p>\n

          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.<\/p>\n

          <\/p>\n

          Conclusion<\/strong><\/p>\n

          Singing is an activity that is borne out of the psyche, muscles and skeleton, in short, the overall posture.<\/p>\n

          When the posture is in harmony, then the voice that produced is optimal. Singing gives more joy when the individual is free of physical and psychological restrictions.<\/p>\n

          Singing is a form of self-expression. The nature of the vocal expression is dependent on the manner in which we express the content of the vocal product through our posture. This is only possible when the unique individual is free to determine his posture (introvert\/extrovert) without this being a compromise for quality of voice. On the contrary, the chosen posture should reinforce voice quality.<\/p>\n

          Ultimately, we can conclude the following:<\/p>\n

          Singing is a performance sport and, therefore, medical diagnostic and therapeutic support is needed for body and mind. <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

          \u2018Singing is a sport at the highest level and as such requires medical, diagnostic and therapeutic guidance of body and mind\u2019 This proposition concludes this book, which is a record of research into the development of body and mind required for vocal expression and its objective measurement. This research has been undertaken on behalf of the Dutch Ministry of Wellbeing, Health and Culture. The research is founded on knowledge of the manual healing arts and the muscle reflexes.<\/p>\n

          The examination of the internal influences acting on various anatomical structures have led to interesting results. While the general conclusion is that the approach and therapy described should be recommended for use in all voice academies, the described techniques are also deemed useful for other professions, giving this book a broader perspective than the title might suggest.<\/p>\n

          \u2018Voice and Body\u2019 is specifically aimed at singers and voice teachers, at doctors who are interested in manual therapy and at physiotherapists.<\/p>\n","protected":false},"author":4,"featured_media":58,"parent":16,"menu_order":5,"comment_status":"closed","ping_status":"closed","template":"tmp-book.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-36","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nStem en Lichaam ["Voice and Body"] - Stichting Ontwikkelingsmotoriek Niek Brouw<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/niekbrouw.nl\/en\/literature-audio\/voice-and-body\/\" \/>\n<link rel=\"next\" href=\"https:\/\/niekbrouw.nl\/en\/literature-audio\/voice-and-body\/2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Stem en Lichaam ["Voice and Body"] - Stichting Ontwikkelingsmotoriek Niek Brouw\" \/>\n<meta property=\"og:description\" content=\"\u2018Singing is a sport at the highest level and as such requires medical, diagnostic and therapeutic guidance of body and mind\u2019 This proposition concludes this book, which is a record of research into the development of body and mind required for vocal expression and its objective measurement. 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