The Eiffel tower, the frog and the dough; Musicality of Movement approach (Virág Dezsö) for singers; connecting the physicality of singing, body awareness, performative skills, and improvisation [Charlotte Riedijk, The Eiffel tower, the frog and the dough, Musicality of Movement for singers

Abstract The incentive for this research was to explore ways of integrating the physicality of singing into vocal education by means of the Musicality of Movement (MoM) approach. Musicality of Movement is a physical performance training program designed for musicians. Traditionally the importance of the physicality of singing is recognized, yet it remains underexposed in vocal training, which eventually can lead to inhibited vocal freedom and wooden or awkward performances. The Musicality of Movement approach (MoM) opens ways to freer, more imaginative stage presence, better physical awareness and more expressive singing. The working hypothesis was: Integrating the Musicality of Movement approach into classical voice education will offer singers tools to enhance stage presence, imaginative expression, clarity of performative skills and can create ways to find physical and mental wellbeing on stage. The hypothesis was confirmed by the results of the three interventions—consisting of MoM lessons and workshops—that were executed during the academic year 2023-2024, with three groups of voice students, in three different settings. Interviews and questionnaires were analysed to give an impression of how working with the MoM approach supported performative skills and stage presence. Positive results were obtained from relatively small groups of students which shows a need for future research over a longer period and with a larger research population. Most mentioned keywords to indicate what the MoM-lessons brought the students were body awareness, better breathing, performance skills and playfulness. The practicality of the approach was shown by the fact that participants mentioned to use the exercises in their individual vocal practice.

APPENDIX

Interview with Virág Dezsö, 2023-10-18

Questionnaire MHI, before my visit

Google Forms

Questions MHI before the workshop

1. Do you have experience with any physical awareness training (dance, yoga, Alexander Technique or similar)?

2. If yes, what kind of training did you do and since when?

3. What do you expect of the workshop?

4. What would you like to learn?

Audio transcription evaluative talk with MHI students, 2023-11-16

With keyword coloring.

Questionnaires MoM workshops Haarlem, spring 2024

Questionnaire #1, before the workshops MoM for Singers, February 2024

· What made you join the workshops?

· Do you have earlier experiences with physical practice on a regular basis?

· If yes, what kind of physical training?

· Do you integrate movement in your daily vocal practice?

1. If yes, what kind of movement and why?

2. If no, why not?

3. If sometimes, what kind of movement and why?

· Which of the following aspects is most important for you at this moment in your development as a singer? (you can choose several)

· Can you explain why this/these aspect(s) are important for you?

In case you chose more than one aspect, please explain which one is most important and why.

Questionnaire #2 MoM for Singers, after the workshop series, May 2024

· What was most important for you during the workshop sessions that you attended? Multiple answers are possible

· How does working with physical awareness during the workshop influence your singing/vocal practice?

· How does the increased spatial awareness influence your being on stage and/or your vocal performance?

· How does the awareness of others influence your stage performance/ease on stage?

· How do the playful exercises work for you and how do you intend to implement them in your vocal practice and performance?

· What do the exercises with different kinds of breathing bring you?

· Are there any other observations you would like to share?

· The exercises were centered around the following physical aspects. Please pick the one that worked best for you. (multiple answers possible)

1. Spine flexibility; how does it serve your singing?

2. Long line; how does it serve your singing?

3. Hands (&feet); how do they serve your singing?

· Do you intend to use the exercises of the workshop in your practice?

· Improvisation with sound and movement is an important aspect of the musicality of movement approach. Did you improvise with movement and sound/voice before?

· How did the improvisation make you feel on stage?

· Please explain how the way you felt influenced your phonation and movement

· How many times were you able to attend the lessons?

· Do you have any remarks, wishes or feedback that you would like to share?

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