What Every Singer Needs to Know About the Body

by Melissa Malde, MaryJean Allen, Kurt Alexander Zeller

How well do you know your body? Well, the here's how and what's what of your vocal instrument your entire body, not just the larynx are contained succinctly, clearly, and simply in this practical book, now in its second edition. What Every Singer Needs to Know About the Body, Second Edition gives singers and their teachers a Body Mapping resource from anatomy and physiology to body awareness that helps them discover and correct misconceptions about the way their bodies are built and the way they function. In doing so, it provides maps with detailed descriptions of the structures and movement used in breathing, phonation, resonance, articulation and gesture illuminated with numerous illustrations and supported by many exploratory exercises. Because the structures and movements inherent in the vocal instrument are the same for every singer, they apply equally to every kind of singing. Differences in style result from differences in the choice of movement. Understanding and mapping the structures and movements used in singing provides the technical foundation for all singers. The purpose of this book is to provide singers with that foundation. This book does not espouse a single method or attempt to teach singing techniques. Rather, it describes the movements of singing with accuracy and detail so that singers may experiment on their own and communicate with each other more effectively. This has never been done before and it is a substantial contribution to music education in general and the education of singers in particular. For the second edition, the authors have greatly updated and expanded the content throughout the volume, reflecting the latest research on and knowledge. Some specific additions *New images and exercises on breathing
*Substantially revised chapter on physical expression
*Fresh material about visual focus and facial expressions
*Many updates and extensions in response to reader feedback
*A comprehensive glossary of key terms In one author s words, "This book is needed because singers deserve to know the truth about their bodies. There are many pedagogy books that present the anatomy and physiology without helping singers find its practical application. There are books that take a holistic approach without sufficient anatomical and physiological detail. What Every Singer Needs to Know About the Body will strike a balance, giving singers the information they need and the tools to embody it so that they can use the whole body for creative vocal expression. It will de-mystify the process of singing, opening up a world of artistic choice.

Genres: Music, Nonfiction

251 pages, Paperback

First published October 1, 2008

Reviews

[Barbara Wilson · Rating 4 out of 5]

I had this book for some time before having the opportunity to read it. The concepts addressed were already familiar to me, but I'm always interested in learning more ways of helping students and therapy patients understand the information.

What Every Singer Needs to Know About the Body, is organized around the concept of "body mapping" and "inclusive awareness". That is the ability of the singer to understand both anatomically and kinesthetically the true balances and movements of the body. In doing so, the authors postulate that the singer is better able to perceive an efficient and balanced position for voicing.

An interesting example I used just last week is the description of the way in which many people map themselves as having two jaws, rather than just one lower mandible. I hadn't thought about the way in which a person trying to open both a lower and a mythical "upper" jaw would result in neck and jaw thrusting, but there it was when I was looking for it. Rather than giving my typical cue regarding allowing the neck to remain long, I provided information about the concept of one jaw versus two and suggested he try again, incorporating that idea. The minute he organized himself physically in that way, his alignment was beautiful and the previous perceived strain was gone.

I was impressed with the accuracy of the information provided, having been disappointed more times than I can count by books claiming to teach singers the "real" physiology of singing. The one piece of the book I was disappointed with was the description of the vocal folds themselves, which they likened to a muscular system, but the actual vibratory properties of the vocal folds are mediated by the superficial lamina propria, which is much more complex than the surface "membrane" described. I reached out to the publisher about this, as I know that there are newer editions of this book. A representative emailed me back to point out a few new phrases. One included the following: "The lamina propria is a flexible layer of membrane that is between the conus elasticus
and the epithelium membranes". I still maintain that the lamina propria is not a membrane itself and this description is misleading in terms of its function in voicing.

Despite this flaw, I still have to give this book a high rating for overall accuracy and usefulness in terms of describing some of the ways in which students and patients are hampered by their mismapping of their bodies.

[KrisAnne · Rating 5 out of 5]

Should be required reading for all voice teachers.

[Cathy Wood · Rating 4 out of 5]

Useful information and exercises, more detailed anatomy of the vocal cords and surrounding structures than I'd seen before

[Rosemary · Rating 4 out of 5]

Some murky/outdated terminology in the section on registration, but overall an amazing resource.

[Jeannine · Rating 5 out of 5]

Great book! Every singer should read this.