6. 1. Conclusions
As the integration of the Musicality of Movement approach in classical voice education was the topic of this exposition, I needed to go back and connect the results from the previous chapter (Results and analysis) to chapter 1. (The physicality of singing) and look again at the way classical voice training is built. Although, when writing about classical voice education/training, I am referring to conservatoires and Arts Universities as my reference frame, the results can be applied to other types of vocal education.
From the observation that MoM for Singers has positive effects on vocal development and performance skills, I conclude that it is useful to offer it as specific subject in vocal departments curricula.
The approach allows for deepening the experiences and is multi-layered, therefore it can be beneficial for singers of all levels, from beginning bachelor to advanced master students.For professionals working in the field, it can be very enriching and offer them new ways to grow toward their potential and keep developing. Regular MoM training enhances performance skills by learning performers to trust their physical impulses instead of letting the thinking brain take the lead. To reach the state-of-being which is needed, unambitious, process-oriented preparation is crucial. There is no way to skip tuning in to the natural breathing body, becoming aware of the space, the others in space and the relationship between these elements.
As mentioned earlier, many voice teachers refer to the body and work on connecting to it; still, it is my observation that the emphasis remains mainly on the vocal apparatus and a somewhat static approach of physicality, using muscles to sustain a posture or a way of breathing instead of the breath. Breathing and (unperceivable) inner movement need to be recognized by the instructors—therefore I avoid using the term ‘breath-support’ as it implies muscle involvement rather than the natural tidal movement of the breath.
Developing a reliable vocal technique combined with physical awareness and performance skills is crucial for a sustainable professional career. This must be taught to young singers, from the very beginning of a professional education/career and will make them freer in many ways, musically, vocally, expressively, and on stage.
When starting this exposition with the observation that voice students often lack physical awareness, I was hoping to proof that Musicality of Movement approach indeed was contributing to the enhancement of physical awareness; The results of the questionnaires and evaluations showed that body awareness is among the keywords mentioned most by participants. This increased physical awareness supported a more natural way of breathing—this was also mentioned by the respondents—which resulted in more vocal and expressive freedom. These results are positive and support the recommendations in the next paragraph.Performative skills and playfulness, also important in the surveys, will find their ways in performances and real-time compositions that are the result of the improvisational way of working in MoM.The fact that all respondents answered in the questionnaire that they intended to use the work in their vocal practice sounded promising too.
The lessons gave them tools that helped them to stay in the moment and focus on the music, their breath, preparation, direction, space, and movement. Over time this increased awareness was clearly noticeable in presentations and vocal concerts of the Codarts students*, where they showed convincing music making with clearer focus and more performative joy. Even the shorter interventions, I & II showed positive results.
*Codarts students were subject of intervention III, the other participants were followed during intervention I & II.
6. 2. Recommendations
The interventions have shown that physical awareness and performative skills can be improved by MoM classes. Therefore, incorporating MoM-classes into the Art Universities and Conservatoires curriculum will have positive effects on classical voice education, and I recommend any vocal department and opera program to add MoM as weekly subject to their programs. As the clearest, increasing and longlasting effects of the MoM approach is seen over time, regular classes are prefered over occasional projects. If this is impossible within the curriculum, the best option would be to organise several longer intensive workshops during the academic year.
The effects would be even stronger if the main subject teachers were familiar with the approach and able to encourage students to explore the physical freedom and expressive imagination in their daily vocal practice.Therefore, my second recommendation is to offer teachers at Conservatoires and Universities of the Arts the possibility to acquaint themselves with the MoM approach by planning introductory workshops with a certified teacher. It would help teachers to recognize the work students are doing in their physical classes; they can then encourage their students to use the exercises connected to their vocal practice. This could be a step in integrating MoM into the classical voice education and the main subject classes.
6. 3 My contribution
My contribution to the Musicality of Movement approach consists of, on the one hand, the exploration of the effects of the work from a singer's point of view. With my over thirty years of teaching and performing experience, I can confirm and validate the effects of the MoM approach for singers. Because Musicality of Movement is developed by someone with a background as a dancer and mime, the confirmation of a vocal expert is valuable. By still training with the method myself and using it in my own work I can see the results even more clearly: MoM provides for tools to helps singers to stay in touch with their natural breath and the flexible physicality of their singing, thus giving them tools for freedom of expression in all phases of their career.
The other aspect that I bring to the MoM approach—which is constantly evolving—is being a voice teacher, singer, and physical performer in one (also dancing and moving while singing). For me it is natural to relate to singer’s physical and mental hang ups. I understand my younger colleagues, I am one of them and have gone through ways of tackling these issues; ways that I can share with my students. The three sets of exercises I introduced in the interventions and explored while vocalizing can support vocal development in connection with physical awareness. Although they are only a small part of all possible MoM exercises, they can be used in voice lessons to tackle different vocal- or breathing issues. The choice of the elements—spinal flexibility, long-line and hands—was driven by the explorations made during main subject lessons and to dissolve the typical ‘singers’ habits I observed over the years. They are practical and instantly applicable. This brings me back to my second recommendation; it can be very fruitful for any vocal teacher to get to know the MoM approach. It will enrich their toolkit and show them unexpected entrances for vocal teaching.