The Developmental Approach: Mastering the Voice

Abstract

It is not easy to write about a new method of voice and speech training. If I were to say that it is comprised of awareness exercises or of small movements of the different body parts that participate in speech, the reader might nod in agreement and assume a thorough knowledge of what the method is all about. It is true that many voice training methods contain some awareness exercises in the sense that they bring to consciousness hitherto unknown or unexplored sensations and movement possibilities. But however enriching that may be it does not necessarily ensure the mastery of a new ability. The method I am describing provides expanded and permanent new patterns of vocal functioning. The confusion is compounded if I say that the approach is in the spirit of the Feldenkrais technique, which is also an approach that seeks an improvement of bodily movement by awareness exercises that are addressed to our neuromuscular patterns and to the motor centers in our brains. Practitioners of that technique do not, in fact, deal with voice production. I developed the method as a result of an idea that flashed into my mind when I was doing Feldenkrais exercises on a very sore back. Although I am not a practitioner I had met Moshe Feldenkrais in 1972 when I was doing research on body training for actors. I had also taught voice for actors with current methods for Io years and had done many years of research in speech acoustics. The technique which is now fully mature is totally new and distinct from any other vocal methodology, a synthesis of theories and experiences. Since any written outline of this new pedagogy of voice and speech would necessarily resemble the description of other teaching methods, it will be clearer if the philosophy underlying this new technique is first explained. Voice and speech develop in infancy as a child acquires language. This development ceases when the child becomes proficient in the mother tongue. Obviously, voice and speech characteristics are determined by the language, the milieu, the anatomy, and the temperament of the speaker. Learning a second language or singing or acting can further increase voice and speech potentials. Nonetheless, in the final analysis this learning pro-