Arts, Faculty of
Music, School of
DSpace
UBCV
Landstedt, Allison J.
Doctor of Musical Arts - DMA
University of British Columbia
Non-verbal communication elements influence our understanding of audio-visual information. Evidence suggests that when gestures and sound are congruent, emotional intent is more clearly understood. In a song recital, performers convey a song’s emotional content through non-verbal elements, such as gestures, bodily movements, and facial expressions. While vocal recitalists are often heavily trained to develop skills in areas such as vocal technique, poetic analysis, historical context, thoughtful program design, and language mastery, movement skills for the physical dimensions of storytelling are often under-emphasized. Despite growing evidence of visual primacy, few song recital rehearsal techniques address the need for structured physical training. Recitalists have limited resources for effective practice techniques that address body movement in recital. This project expands the practice guidelines from Emmons and Sonntag’s book, The Art of the Song Recital, by integrating Dalcroze Eurhythmics, Laban Efforts, and Body-Mind Centering®, providing application analysis to more fully support the foundational aspects of song recital: vocal pedagogy, poetic text engagement, and the often-overlooked role of the body in singer-pianist collaborative techniques. The result is a practical resource for rehearsal, a Practice Companion, that helps performers translate artistic vision into embodied expression through the coordinated integration of mind, body, voice, and music. The Practice Companion presents exploratory rehearsal exercises for solo singers and collaborative duos that draw from three approaches: Eurhythmics fosters musicality, coordination, and the embodiment of rhythm; Laban enhances the conscious articulation of movement; and BMC® encourages awareness of how the mind expresses itself through the body. The Practice Companion aims to improve the audience’s perception of the artist’s emotional and expressive intent. This project contributes to the ongoing revitalization of the song recital by encouraging creativity, expressive delivery, and interpretive risk-taking. It offers a curriculum-ready resource for vocal performance and singer–pianist training, presenting a fresh approach to recital preparation grounded in embodied practice. The Introduction establishes the conceptual foundation, presents scientific evidence, and reviews relevant literature. Part I (Chapters 1–3) introduces each movement method and its exercises. Part II (Chapters 4–5) presents outcomes, rehearsal reflections, a case study, and concluding insights.
BEYOND THE MUSIC: AN EMBODIMENT-BASED APPROACH TO SONG RECITAL PREPARATION—INTEGRATING EURHYTHMICS, LABAN, AND BMC® by Allison J. Landstedt B.F.A., Carnegie Mellon University, 2017 M.Mus., The University of Cincinnati, 2019 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in The Faculty of Graduate and Postdoctoral Studies (Voice) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2025 © Allison J. Landstedt, 2025 ii The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: Beyond The Music: An Embodiment-Based Approach to Song Recital Preparation—Integrating Eurhythmics, Laban, And BMC® submitted by Allison J. Landstedt in partial fulfilment of the requirements for the degree of Doctor of Musical Arts in Voice Examining Committee: J. Patrick Raftery, Associate Professor, Voice, UBC Co-supervisor Dr. Leigh VanHandel, Associate Professor, Music Theory, UBC Co-supervisor Dr. T. Patrick Carrabré, Professor, Composition, UBC , University Examiner Dr. Katharina Piechocki, Associate Professor, French Studies, Romance Studies, UBC University Examiner John Tessier, Professor, Faculty of Arts – Music Dept, University of Alberta External Examiner Additional Supervisory Committee Members: Krisztina Szabó, Assistant Professor, Voice and Opera, UBC Supervisory Committee Member iii Abstract Non-verbal communication elements influence our understanding of audio-visual information. Evidence suggests that when gestures and sound are congruent, emotional intent is more clearly understood. In a song recital, performers convey a song’s emotional content through non-verbal elements, such as gestures, bodily movements, and facial expressions. While vocal recitalists are often heavily trained to develop skills in areas such as vocal technique, poetic analysis, historical context, thoughtful program design, and language mastery, movement skills for the physical dimensions of storytelling are often under-emphasized. Despite growing evidence of visual primacy, few song recital rehearsal techniques address the need for structured physical training. Recitalists have limited resources for effective practice techniques that address body movement in recital. This project expands the practice guidelines from Emmons and Sonntag’s book, The Art of the Song Recital, by integrating Dalcroze Eurhythmics, Laban Efforts, and Body-Mind Centering®, providing application analysis to more fully support the foundational aspects of song recital: vocal pedagogy, poetic text engagement, and the often-overlooked role of the body in singer-pianist collaborative techniques. The result is a practical resource for rehearsal, a Practice Companion, that helps performers translate artistic vision into embodied expression through the coordinated integration of mind, body, voice, and music. The Practice Companion presents exploratory rehearsal exercises for solo singers and collaborative duos that draw from three approaches: Eurhythmics fosters musicality, coordination, and the embodiment of rhythm; Laban enhances the conscious articulation of movement; and BMC® encourages awareness of how the mind expresses itself iv through the body. The Practice Companion aims to improve the audience’s perception of the artist’s emotional and expressive intent. This project contributes to the ongoing revitalization of the song recital by encouraging creativity, expressive delivery, and interpretive risk-taking. It offers a curriculum-ready resource for vocal performance and singer–pianist training, presenting a fresh approach to recital preparation grounded in embodied practice. The Introduction establishes the conceptual foundation, presents scientific evidence, and reviews relevant literature. Part I (Chapters 1–3) introduces each movement method and its exercises. Part II (Chapters 4–5) presents outcomes, rehearsal reflections, a case study, and concluding insights. v Lay Summary Beyond conventional song recital preparation, this project applies three embodiment-based approaches — Dalcroze Eurhythmics, Laban Efforts, and Body-Mind Centering® — to develop a Practice Companion that equips singers and their collaborators with embodied strategies for creating more expressive, engaging, and collaborative performances. While these movement practices exist independently in fine arts training, their integrated application to recital preparation is unique. Grounded in evidence-based research and self-practice, the Practice Companion presents adapted solo and duo rehearsal exercises, designed to enrich three key pillars of recital: vocal pedagogy, embodied poetic storytelling, and collaborative dramatic interpretation. Findings suggest that embodiment-based approaches expand on traditional singing techniques, enhance storytelling in art song, and fosters collaborative narrative interpretation for singer and pianist. The project contributes to the ongoing revitalization of the song recital, encouraging creativity and interpretive risk-taking. It offers a curriculum-ready resource for vocal performance and singer–pianist training, presenting a fresh approach to recital preparation. vi Preface This thesis is original, unpublished, independent work by the author, Allison J. Landstedt. I was responsible for designing and implementing all components of this project, as well as conducting and testing each exercise. During testing, I completed the Solo Version exercises independently, while pianist Gabriel Landstedt collaborated with me on the Duo Version exercises, providing the live musical partnership necessary for data collection. This document was partially aided by using AI tools (specifically Grammarly and OpenAI’s ChatGPT) to help with writing clarity and provide suggestions for revisions, similar to a writing consultation. AI did not conduct any research or contribute to the analysis, and the final choices were made by me to ensure originality and maintain academic honesty. vii Table of Contents Abstract .................................................................................................................................... iii Lay Summary.............................................................................................................................. v Preface ....................................................................................................................................... vi Table of Contents………………………………………………………………………………...vii List of Tables ............................................................................................................................. ix List of Figures ............................................................................................................................. x List of Recordings ..................................................................................................................... xi Abbreviations ............................................................................................................................xii Glossary .................................................................................................................................. xiii Acknowledgements .................................................................................................................. xiv Dedication ................................................................................................................................. xv Introduction: Theoretical Framework ..........................................................................................1 The Song Recital .............................................................................................................3 Embodiment………………. .......................................................................................... 11 The Science of Emotional Communication in Gesture ................................................... 14 “The Singing Actor” ...................................................................................................... 21 Developing an Embodiment-Based Approach for Revitalizing the Song Recital ............ 27 Part I Chapter One: Dalcroze Eurhythmics ......................................................................................... 31 Eurhythmics Overview .................................................................................................. 31 Practice Companion Exercise 1: Walk and Sing ............................................................. 34 Practice Companion Exercise 2: Phrasing with a Ball or Scarf ....................................... 39 Chapter Two: Laban Efforts ...................................................................................................... 48 Laban Overview ............................................................................................................ 48 Practice Companion Exercise 3: Creating Narrative with Mapped Efforts ...................... 54 Practice Companion Exercise 4: Exploring Vocal Expression Through Laban and Spectrogram Pro ............................................................................................................ 61 Chapter Three: Body-Mind Centering® .................................................................................... 70 viii Body-Mind Centering® Overview ................................................................................. 70 Practice Companion Exercise 5: Poetry Recitation and ‘The Rotating Heart’ (BMC®) .. 75 Practice Companion Exercise 6: ‘The Body Systems’ (BMC®) Through Art Song ........ 81 Part II Chapter Four: Outcomes and Rehearsal Reflections .................................................................. 89 Working with Eurhythmics ............................................................................................ 89 Working with Laban ...................................................................................................... 92 Working with BMC® .................................................................................................... 96 Sample Practice Log .................................................................................................... 100 Case Study: A Group Vocal Lesson ............................................................................. 102 Reflection: Application to Lecture Recital Preparation................................................. 104 Chapter Five: Conclusion ........................................................................................................ 108 Summary Exercises and Practical Applications ............................................................ 108 Future Directions ......................................................................................................... 117 Bibliography ........................................................................................................................... 119 Appendices ............................................................................................................................. 126 ix List of Tables Table 1: Categorizing Exercises from The Art of the Song Recital into Embodiment-Based Approaches................. 25 Table 2: Linking Body Systems to Art Song Themes and Performance Outcomes ................................................. 98 Table 3: Sample Solo Rehearsal Incorporating the Practice Companion Exercises ............................................... 100 Table 4: Exercise Concepts Used for Each Song in Lecture Recital Performance ................................................. 105 Table 5: List of Practice Companion Exercises ................................................................................................... 115 x List of Figures Figure 1: Interdependency of Recital Elements ....................................................................................................... 6 Figure 2: Singer Leads Piano (Walk and Sing). ..................................................................................................... 35 Figure 3: Photo of Singer showing the Piano Line of “Try Me Good King” ........................................................... 43 Figure 4: Laban Efforts and the Effort Derivatives ................................................................................................ 50 Figure 5: Comparative Results for Spectrogram Pro .............................................................................................. 65 Figure 6: One Phrase Performed 8 Ways ............................................................................................................... 66 Figure 7: Summarizing Illustration: BMC’s Process of Embodiment ..................................................................... 72 Figure 8: NIM (Nearly Identical Movement) Example 1 ........................................................................................ 90 Figure 9: NIM Example 2 ..................................................................................................................................... 91 Figure 10: Annotated Score, "Violon" (Poulenc), Example for Practice Companion Exercise 3 .............................. 94 Figure 11: Exercise #1 – Poster-Style Version ..................................................................................................... 109 Figure 12: Exercise #2 – Poster-Style Version ..................................................................................................... 110 Figure 13: Exercise #3 – Poster-Style Version ..................................................................................................... 111 Figure 14: Exercise #4 – Poster-Style Version ..................................................................................................... 112 Figure 15: Exercise #5 – Poster-Style Version ..................................................................................................... 113 Figure 16: Exercise #6 – Poster-Style Version ..................................................................................................... 114 xi List of Recordings Video: ubc_2026_may_landstedt_allison_lecturerecital.mp4 - This file presents the D.M.A. Lecture Recital, comprising the oral presentation followed immediately by the performance portion of the recital. xii Abbreviations BMC® Body-Mind Centering®. Developed by Bonnie Bainbridge Cohen. NIM Nearly Identical Movements. Refers to gestures that appear visually the same and occur consistently at specific musical moments across multiple rehearsal sessions, without deliberate coordination. xiii Glossary embodied. Something that is done by thoughtfully and consciously integrating mind and body. embodiment. The idea that mind and body are not separate. Thinking emerges through the body that feels and senses. Our physical state shapes how we think and feel. The melding of mind and body, so that it is one agent of action and will. gesture. Purposeful physical actions chosen by the performer used to express interpretive decisions. movement. Purposeful physical actions chosen by the performer used to express interpretive decisions. movement studies. In this project, it refers to Dalcroze Eurhythmics, Laban Efforts, and Body-Mind Centering®. non-verbal communication. In this project, it refers to gesture, bodily movement, facial expression, eye contact or gaze, spatial relationships, and physical action used to communicate meaning through the body. song recital. A musical performance of art songs by a singer and pianist duo. visual aspects / elements. In this project, it refers to gesture, bodily movement, facial expression, eye contact or gaze, spatial relationships, and physical action used to communicate meaning through the body. xiv Acknowledgements I extend my deepest gratitude to those who have shaped my journey as an artist and scholar. To those who first inspired my love of art song — Rena Sharon, Dr. Ana Maria Otamendi, Daniel Teadt, Gwendolyn Coleman, Kenneth Griffiths, and Djordje Nesic; to those who sparked my interest in expressive movement in singing — Susan Moser, Dr. Stephen Neely, Michele de la Reza, and Peter Kope; and to those who fostered my passion for storytelling — Scott Fults, Dr. Derrick Bready, Robin Guarino, Tony McKay, Thomas Douglas, and Vincent DeGeorge — thank you for your influence and example. Thanks also to Dr. VanHandel, my co-supervisor. I offer special thanks to my voice teacher and supervisor Professor J. Patrick Raftery, whose steadfast support, insightful questions, and unwavering encouragement helped me find and refine my authentic voice. Your continued belief in my work, and your readiness to engage thoughtfully (and often with a laughing smile), have been invaluable throughout this process. To my friends and colleagues, thank you for sustaining me with laughter, curiosity, and inspiration. I am especially grateful to the CMU Vocal Performance Class of 2017, the CCM MM Voice Class of 2019, and the UBC Opera students and Pianist Collaborators 2019-2022 for your support and companionship. To the members of the Band, thank you for motivating me to pursue music that is both beautiful and meaningful. Special thanks to Emma P. M., Justin C., Victoria O., Cassandra H., Mackenzie A., and Taylor I. for your enduring friendship and support. I am profoundly grateful to my Parents, whose love and support are beyond measure. From the earliest singing lessons to this milestone, you have stood beside me, and I owe all that I have accomplished to your care and belief in me. I also offer heartfelt thanks to my Grandparents, whose constant support has always made me feel seen and encouraged. Thank you to those who supported me with childcare. To my Siblings, thanks for remaining by my side at every stage of this journey. Finally, to my new family, the Landstedts, your belief in me has meant more than I can express. Kate, you are the brightest light I’ve ever seen, and you have made me stronger, softer, and more determined to chase after the work that God has for me. Thank you for every snuggle, sweet smile, and your constant wonder. Gabriel, thank you for your constant encouragement, steady support, and the joy you bring to my life. Your example to our family and others fills me with pride, and your unwavering sincerity continues to guide me. I am grateful for every homemade latte, every dad joke, and for the way you help keep me grounded. You are the stillness that steadies my reach, and for that, I am more thankful than words can express. xv Dedication To the Anderson and Landstedt families, especially Gabriel & Kate. Colossians 3:171 Introduction: Theoretical Framework Envision the captivating scene of a live vocal recital — stage lights glimmering, the distinct architectural features of the venue, and the polished curve of the grand piano catching reflections of the expectant audience. In the charged stillness before the first note, the singer’s interpretation is already unfolding, carved into the atmosphere through their movement, facial expression, breath, and stillness. These are not just aesthetic choices; they are forms of non-verbal communication.1 Before the music begins, meaning is already being communicated. Subtle visual cues, whether deliberate or unintentional, begin to shape the audience’s emotional and intellectual perception. The song recital holds a unique and powerful space within the classical tradition, a place where voice, poetry, movement, and musical expression come together to create deeply personal, emotionally charged performances. For the singer, the demands of the song recital extend beyond technical mastery. Success depends on crafting emotional worlds with authenticity, physical presence, and clarity of artistic intention, shaping a dramatic arc that draws audiences into each unfolding moment. Yet despite this rich complexity, many traditional approaches to recital preparation leave gaps when it comes to fully integrating the emotional, physical, and interpretive demands of performance. Singers may intellectually understand a song’s emotional arc or technical 1. Rick Kemp, Embodied Acting (Routledge, 2012), 21. 2 challenges but still struggle to translate that understanding into fully embodied, expressive delivery. Vocal pedagogy principles often prioritize technical correctness without acknowledging emotional integration and its effect on the singing voice. Similarly, typical strategies for poetic analysis often overlook the body’s crucial role in interpreting meaning within language and how subtext is effectively delivered. Collaboration remains essential to recital performance; however, there is limited pedagogical focus on how to communicate and share artistic vision through non-verbal communication. This project applies three embodiment-based approaches — Dalcroze Eurhythmics, Laban Efforts, and Body-Mind Centering® — to develop a Practice Companion that equips singers and their collaborators with embodied strategies for creating more expressive, engaging, and collaborative performances. While these movement practices exist independently in fine arts training, their integrated application to recital preparation is unique. Grounded in evidence-based research and self-practice, the Practice Companion presents adapted solo and duo rehearsal exercises, designed to enrich three key pillars of recital: vocal pedagogy, embodied poetic storytelling, and collaborative dramatic interpretation. Findings suggest that embodiment-based approaches expand on traditional singing techniques, enhance storytelling in art song, and foster collaborative narrative interpretation for the singer and pianist duo. At its core, this project is driven by the need to give singers accessible, structured methods for embodiment-based exercises. By placing the body at the center of rehearsal preparation, performers can move beyond purely cognitive or technical approaches and develop greater freedom, emotional resonance, and physical ownership of their performance. 3 Ultimately, this work advocates for a more fully embodied approach to art song performance, one where the singer functions as an expressive storyteller, fully integrated with the collaborative pianist. The Song Recital Characteristics of the Song Recital The performers (singer and pianist) must present the song recital with the utmost care, vision, beauty, authenticity, and trust. The song recital has unique demands, intentions, identity, and musical mediums which set it apart from other vocally centered productions. Despite numerous variations to this traditional model, the basic principles of a vocal recital are as follows: • Singer and pianist duo on stage; no additional coordinators like conductors, stage managers, directors. • Performance spaces range from acoustically intimate to grand concert halls. • Music selections cover a wide range of styles, which are demanding of any performer. • The sung poetry is the central element. • Stand-alone songs, partial or full cycles of songs can be included in programming. • Performances typically last one to one-and-a-half hours. • Supplemental theatrical elements such as props, sets, lighting effects, or costumes are not necessary. • The recital is designed to highlight the strengths of the performer and is, at times, created expressly to bring focus or awareness to a cause or message, unified by related musical or poetic themes. Song recitalists have relatively few concrete guidelines for shaping the visual dimensions of interpretation and often rely primarily on auditory-related aspects such as the composer’s 4 score, historical context, and poetic text, without input from a production team to help shape the thematic concept. Performers craft compelling and expressive performances using extensive resources and techniques. This means that performers must research the background and context of songs, exploring all details such as the composer’s life and relation to their contemporaries, music compositional techniques, and the appropriate performance style.2 Ultimately, however, it is the singer’s voice, the music, the text, and the visible, embodied expression that captivate audiences during live performances. In this unique art form, performers rapidly shift between contrasting characters, emotional landscapes, and poetic contexts, often within just a few minutes. With each new piece, the performer must invent a new world to fully embody the song’s distinct mood and narrative while maintaining vocal and musical precision. The singer and pianist duo must work together to determine how these worlds relate and thread an otherwise unseen connection of theme, emotional arc, or narrative to the audience. Crafting a successful recital requires a deep understanding of various components, some of which may go unnoticed by the audience. Authors Emmons and Sonntag quote James Levine saying: “The goal of producing a performance as faithful to the composer’s intentions as possible requires…fathoming the depth, breadth, and complexity of the most imaginative impulses of men, many of whom lived hundreds of years ago. To approach this goal…[one] must steep himself in a number of other things—as much of that composer’s output as possible, as well as language, culture, human experience, psychology, performance practices of the period.”3 2. Shirlee Emmons and Stanley Sonntag, The Art of the Song Recital (Waveland Press, Inc., 1979), chap. 9. 3. Emmons and Sonntag, The Art of the Song Recital, 173-174 (source of original quote not identified). 5 These interpretive nuts and bolts must be carefully threaded together, and require the singer to be highly sensitive, refined, and vulnerable. In addition to the technical aspects of music making, complexities of self-identity, musical ability, beliefs, self-awareness, and self-perception come into play. These internal complexities and technical demands of singing highlight the need to approach recital preparation as a holistic process in which each element interacts with and influences the others. Interdependency of Recital Elements The process of artistic singing is a complex web of interconnected elements. In The Structure of Singing, vocal pedagogue Richard Miller says: “The imagination must be subjected to the schooling of this technical and artistic unity…The artistic temperament must be trained to think in this unified fashion without becoming fractured and splintered over the many individual factors involved in performance.”4 One challenge many performers face is maintaining their artistic vision while balancing numerous details. These “many individual factors”5 include the full capacity of voice, intellect, mind, and body, and they closely link with one another. Each factor contributes a unique value to the singer, and if any one of them is absent, it creates a domino effect. The goal is for the singer to “function freely” and “associate emotional and creative experiences with sensation that results from specific kinds of physical coordination.”6 This kind of integrated approach is essential for balanced and complete recital preparation. The illustration 4. Richard Miller, The Structure of Singing: System and Art in Vocal Technique (Schirmer Books, 1986), 204. 5. Miller, The Structure of Singing, 204. 6. Miller, The Structure of Singing, 199. 6 below outlines the elements of a recital and how their interconnections contribute to successful recital preparation and performance: Figure 1: Interdependency of Recital Elements This illustration demonstrates elements of vocal recital preparation and their distinct interconnectedness. Each element is a separate component yet is interdependent, relying on the other for initiation, comprehension, and means of expressive delivery. “Visual Aspects” and “Intangibles” (non-verbal communication, gestures, movement, and body language) often receive insufficient emphasis in traditional training for recital preparation. While the other three elements, “Musical Composition,” “Text / Poetic Meaning,” and “Vocal Performance” have established, accessible, and structured training methods. Given this interdependent framework, it is essential to begin with vocal performance, where the singer’s technical and expressive capabilities form the basis for meaningful engagement with the other elements. 7 Training in Vocal Performance and Music One of the foundational pillars of recital preparation is training in vocal performance. A professional singing career demands both technical versatility and interpretive depth, requiring singers to develop a wide range of musical, physical, and expressive skills. This often involves navigating diverse performance contexts, including opera houses, musical theater stages, solo recital work, professional and community choirs, oratorio performances, and semi-staged operas. This diverse landscape calls for not just strong vocal skills, but also the ability to adapt to different musical styles, languages, and performance settings. In response to these demands, university voice programs typically require students to select a specialization based on musical or vocal style. These tracks include focused coursework and performance opportunities, such as chamber music ensembles,7 designed to prepare students for professional work after graduation. Students pursuing degrees in voice or opera study song recital literature, diction, music theory, music history, ear training, piano, and private voice lessons. Many programs also incorporate foundational training in acting and dance. Curricula vary widely across institutions in how they prioritize vocal pedagogy, musicianship, contextual understanding of repertoire, and holistic artistic development. Nonetheless, singers are generally expected to achieve a high level of competence in all of these areas. With the technical foundation in place, successful recital preparation also requires focused attention on poetic interpretation, which shapes the emotional and intellectual framework of the performance. 7. NECMusic, “Chamber Ensembles,” Updated 2025. https://necmusic.edu/the-college/performance-opportunities/chamber-ensembles/. 8 Training in Poetic Interpretation In The Art of the Song Recital, authors Emmons and Sonntag state poetic interpretation is the most important responsibility of the singer in the vocal recital.8 Emmons and Sonntag suggest that the words in art song act as the “common ground” for the audience and musician.9 Because poetry is an art that invites the reader to absorb a unique message, art song interpretation allows for a wide range of expressive possibilities. This results in performances that often differ dramatically between singers and makes each recital unique and artistically distinct. The process of text analysis is a lengthy step, and is separate from learning the notes, pitches, and general practice time. The singer must research the poet, the larger body of the poet’s work, and the music composition’s context and techniques to reveal as much about the underlying meaning as possible. Once the singer comprehends the poetic meaning, they must decide how the music amplifies its significance and develop a distinctive viewpoint from which to perform. To support the full realization of poetic meaning in performance, educational programs must also expand their focus to include the “visual” and “intangible” elements that contribute to recital preparation. Movement Training in Vocal Education Some music educators, conservatories, and music schools incorporate movement training into their curricula. In these institutions, weekly and daily movement instruction is typical. These 8. Emmons and Sonntag, The Art of the Song Recital, 111. 9. Emmons and Sonntag, The Art of the Song Recital, 112. 9 courses are often titled Movement for Opera Singers or Stagecraft. For instance, according to the Juilliard School of Music’s archived catalog, a list of the required courses for the Bachelor of Music degree in Voice reports: Movement I: A basic dance technique class. Jazz, theatrical, and Baroque dance styles will be covered in addition to turns, leaps, basic partnering, physical storytelling, stage deportment, gesture, and craft. This class focuses on body awareness, coordination, stretching, strengthening, fitness, and movement memory. Required of all undergraduates. 10 Movement II: Prerequisite: Movement I. At the second level, the class will continue moving forward with more advanced dance technique, including multiple turns, leaps/jumps, and basic partnered lifts/tricks in addition to learning the basics of waltz, American tango, and swing. Each semester includes a project in which the students work on stagecraft and deportment within arias, songs, and opera scenes. Required of all undergraduates.11 In Movement II, students work on projects that involve “deportment” in songs, which includes exploring gestures, personalities, or mannerisms. These concepts are the secondary, deeper level from which the topics covered in Movement I, “physical storytelling, stage deportment, [and] gesture,” were explored.12 The approach presented in this curriculum focuses on addressing the singer’s physicality and translating it to the stage. While these programs provide strong instruction in movement and dance techniques, they would benefit from more directly addressing how these skills can be applied to the specific demands of vocal recital preparation. To deepen the impact of such training, it is essential to consider how movement influences not just stage presence, but every facet of recital preparation and performance. 10. “Program: Voice, BM - The Juilliard School - Acalog ACMSTM,” Juilliard Catalog, accessed February 9, 2024. https://catalog.juilliard.edu/preview_program.php?catoid=43&poid=4116. 11. “Program: Voice, BM – The Juilliard School,” accessed February 9, 2024. 12. “Program: Voice, BM – The Juilliard School,” accessed February 9, 2024. 10 Engaging in movement training can profoundly influence each component of a vocal recital, resulting in beneficial cascading effects such as enhanced self-awareness, increased confidence, improved internal rhythm, greater vocal ease, and refined storytelling capabilities. Each component interrelates, collectively forming a network of balanced attributes conducive to a comprehensive methodology for recital preparation. While university voice programs provide a robust foundation in musicianship and vocal technique, these skills alone do not guarantee compelling or authentic performance. As Emmons and Sonntag observe, “the body will reveal what is on the mind… let us point out that the mind must first understand and the body must first be freed in order to reveal.”13 This insight underscores the essential connection between cognitive understanding and physical expression. It also challenges the assumption that expressive movement or interpretive presence comes naturally. “Such technique is not a natural gift,” they continue, but rather a skill that must be cultivated.14 Real acting training, in their view, equips singers not just to perform, but to embody the deeper meanings of the text and share them with the audience.15 This perspective underscores the importance of educational programs that address the physical, expressive, and embodied aspects of performance with the same depth and intentionality as vocal and musical training. To fully understand how these aspects influence the singer’s craft, it is essential to explore the concept of embodiment itself. 13. Emmons and Sonntag, The Art of the Song Recital, 127. 14. Emmons and Sonntag, The Art of the Song Recital, 127. 15. Emmons and Sonntag, The Art of the Song Recital, 127. 11 Embodiment What is Embodiment? Embodiment refers to the idea that mind and body are not separate entities. Embodiment theory suggests that thinking emerges through the body, which feels and senses, and our physical state shapes how we think and feel. Dr. Lisa Clughen, Senior Lecturer in the School of Arts and Humanities at Nottingham Trent University,16 observes that “the body offers knowledges that may not be accessible to the thinking mind.”17 Embodiment holds that the melding of mind and body acts as one agent of action and will. Practicing embodiment involves thinking, feeling, sensing, and acting in a continuous and reciprocal relationship where body and mind intertwine. Embodiment, therefore, involves training both the physical body to convey meaning and emotion alongside the mind. This mind-body connection not only influences how we perform physically and emotionally, but also plays a key role in how we process and understand language. Embodiment and Language Comprehension Recent theories in cognitive science propose that understanding language relies on mentally recreating lived experiences, linking meaning to how we physically and emotionally engage with the world. In their 2024 article “Embodied Approaches to Language Comprehension,” Kaschak et al. describe the 1990s psycholinguistic theory that understanding language involves sensorimotor simulations, or mental recreations of perceptual, motor, and 16. “Lisa Clughen,” accessed July 14, 2025, https://www.ntu.ac.uk/staff-profiles/arts-humanities/lisa-clughen. 17. Lisa Clughen, “‘Embodiment Is the Future’: What Is Embodiment and Is It the Future Paradigm for Learning and Teaching in Higher Education?” Innovations in Education and Teaching International 61, no. 4 (2023): 738. 12 emotional experiences.18 For example, understanding the sentence “Michael gave Meghan a birthday cake” activates visual (seeing the cake), motor (handing it over), and emotional (joy) responses.19 Citing Barsalou (1999) and Pulvermüller (2018), Kaschak et al. note that “the simulations are generated by activating patterns of neural activity that occur when real objects, actions, events, and emotions are perceived.”20 By positioning the imaginative recreation of sensorimotor experiences as fundamental to meaning making, this theory highlights the importance of engaging the body as an essential part of interpreting language. In poetic interpretation, this theory helps explain how language evokes felt experience. Even abstract language draws from embodied memory: “linguistic simulations are built using traces of our experience perceiving and acting in the world.”21 Thus, when performers engage with poetic texts through embodied practices, their interpretive choices are informed by lived, bodily knowledge. This theory supports the idea that when preparing the song recital, performers should begin the interpretive process by incorporating the active body. The connection between lived experience and language comprehension offers a foundation for exploring how embodiment enhances text interpretation in song recital performance. Embodiment and Text Interpretation Poetic text plays a central role in the performance and interpretation of art song. As collaborative pianist Martin Katz states, “the text of a song is a pair of glasses through which I 18. Kaschak, Michael P., Michael Long, and Julie Madden, “Embodied Approaches to Language Comprehension,” in The Routledge Handbook of Embodied Cognition, 2nd ed. Routledge, (2024): 191. 19. Kaschak et al., “Embodied Approaches,” 191. 20. Kaschak et al., “Embodied Approaches,” 191. 21. Kaschak et al., “Embodied Approaches,” 191. 13 read the music.”22 Analyzing poetic elements involves subjectivity, nuance, and imagination. As Katz says, the music stirs emotion, but the text gives it form, guiding how character, mood, and affect take shape in performance.23 In the context of the song recital, embodiment refers to the integration of body (voice, physical awareness) and mind (emotions, cognition) to animate the poetic text. To illustrate this concept, consider Schubert’s “Gretchen am Spinnrade.” The performer’s emotional responses and personal associations from lived experiences significantly inform interpretive choices. For example, rising tension may be expressed through increasingly restless hand movements or by adopting a breathless posture and matching vocal color that reflects Gretchen’s psychological state. These physical expressions, in turn, can deepen the performer’s emotional connection to the character, highlighting the reciprocal relationship between body and mind that is central to embodied interpretation. In addition to shaping expressive choices, this integration also plays a vital role in how performers internalize and retain music and text. Embodiment in Music Memory Apart from the benefits to dramatic presentation, embodied practice also supports the music and text memorization in art song performance. Clughen describes simple embodiment exercises that improve learning and memory by grounding students in physical awareness.24 When performers feel physically at ease, they are more easily able to memorize. As Clughen 22. Martin Katz, The Complete Collaborator (Oxford University Press, 2009), 61. 23. Martin Katz, The Complete Collaborator, 62. 24. Clughen, “What Is Embodiment,” 741-742. Two embodiment-based exercises are described: “Technique 1 – ‘Breathing out the rubbish’” and “Technique 2: ABC centring.” 14 notes, this embodiment integration opens “space for the hippocampal/neural replay that is crucial for the consolidation of learning and memory.”25 Embodiment invites heightened awareness of the body’s role in thinking, memory, decision-making, and learning.26 Performers serve the text not only musically but through the expressive intelligence of the entire body. The result is a rich and compelling form of storytelling. Given that embodiment involves the coordination of physical expression and cognitive-emotional processes, scientific evidence provides valuable insights into how non-verbal communication contributes to meaning making in performance. The Science of Emotional Communication in Gesture Embodiment and Non-verbal Communication Body movements are an integral part of communication worldwide.27 Non-verbal communication elements create shared meaning between individuals. In musical performance, this non-verbal communication between performers and audience members helps elevate the experience beyond sound alone. Language, music, and non-verbal cues can work together to convey meaning, sometimes reinforcing each other or, in other moments, creating contrast or contradiction. For communication to be effective, there must be a mutual understanding supported by precise language, appropriate tone, active listening, and congruent non-verbal cues. 25. Clughen, “What Is Embodiment,” 742. 26. Clughen, “What Is Embodiment,” 735. 27. Jörg Hagemann, “Body movements – Functions, contexts, and interactions,” Body—Language—Communication, ed. Müller et al. (De Gruyter, 2014): 1301-1323. 15 Recent research reflects growing interest in these non-verbal communicative elements. According to Hagemann, in the 2014 article “Body movements – Functions, Contexts, and Interactions,” facial expressions, bodily movements, gestures, posture, and eye contact have increasingly become the focus of scientific inquiry due to technical advances in data collection. 28 Hagemann observes that these recent studies systematically link verbal information to visual aspects of an interaction,29 and highlight the integrated nature of communication. Studies by de Gelder (2006), Keck et al. (2025), and van Heijnsbergen (2007),30 demonstrate the significance of non-verbal communicative elements in creating meaning. Jessen and Kotz (2011), along with Föcker et al. (2011),31 provide evidence that visual and non-verbal signals are often the dominant carriers of emotional and empathetic meaning. These findings suggest that gesture and body language are not secondary to communication but central to it. These insights align with evolutionary models suggesting that language, music, and gesture emerged together as interconnected forms of non-verbal communication. The Evolutionary Foundations of Language, Music, and Gesture Steven Brown’s 2017 article, “A Joint Prosodic Origin of Language and Music,” explores the evolution of human communication through the development of spoken language and music. 28. Hagemann, “Body movements – Functions, contexts, and interactions,” 1317. 29. Hagemann, “Body movements – Functions, contexts, and interactions,” 1317. 30. Beatrice de Gelder, “Towards the Neurobiology of Emotional Body Language,” Nature Reviews Neuroscience 7, no. 3 (2006): 242–249; Keck, Johannes, Julia Bachmann, Adam Zabicki, Jörn Munzert, and Britta Krüger. “Decoding Affect in Emotional Body Language: Valence Representation in the Action Observation Network,” Social Cognitive and Affective Neuroscience 20, no. 1 (2025): nsaf021; Heijnsbergen, C. C. R. J. van, H. K. M. Meeren, J. Grèzes, and B. de Gelder, “Rapid Detection of Fear in Body Expressions, an ERP Study,” Brain Research 1186 (2007): 233–41. 31. Jessen, S., and S. A. Kotz, “The Temporal Dynamics of Processing Emotions from Vocal, Facial, and Bodily Expressions,” in NeuroImage 58, no. 2 (2011): 665–74; Föcker, Julia, Matthias Gondan, and Brigitte Röder, “Preattentive Processing of Audio-Visual Emotional Signals,” in Acta Psychologica 137, no. 1 (2011): 36–47. 16 According to Brown, vocalization and gesture function as “complementary communicative specializations.”32 Most interestingly, Brown suggests that humans are innately prone to pantomiming, not just about our environment, but also to bolster an emotion.33 This means that gesture conveys physical properties such as weight and size, but also serve a more symbolic, emotional function. Brown states this emotional function precedes the lexical function; intentional emotional meaning is thus the primary goal of gesture and bodily expression.34 Brown’s evolutionary model suggests that language and music originally existed as a unified form of communication, called “Musilanguage,” pantomiming and vocalization patterns of stress and intonation designed for emotional and functional communication.35 Over time, “Musilanguage” split into two: language developed phonemic structures and conversational turn-taking, while music evolved tonal systems, meter, and rhythm.36 As musical structures became increasingly systematized, they were also increasingly separated from language, developing into distinct yet complementary modes of communication. Gesture retained its expressive role throughout this evolution, while also integrating with the rhythmic entrainment characteristic of musical structure.37 This evidence is significant because it demonstrates that, through shared origin and evolutionary interdependence, linguistic meaning, music, and gesture are complementary systems that are naturally essential tools for communicating meaning. This insight supports the idea that the body is an integral expressor of authentic emotional content. This model 32. Brown, “A Joint Prosodic,” 2. 33. Brown, “A Joint Prosodic,” 2. 34. Brown, “A Joint Prosodic,” 3. 35. Brown, “A Joint Prosodic,” 6. 36. Brown, “A Joint Prosodic,” 11-12. 37. Brown, “A Joint Prosodic,” 11-12. 17 underscores that embodied movement practices are biologically grounded and essential for authentic and effective performance, not merely artistic embellishments. Recent research strengthens this foundational relationship by showing that people recognize emotions most accurately when vocal and physical expressions are congruent, reinforcing the evolutionary view that these modes of communication co-developed as an integrated system. Congruence Leads to Best Recognition Föcker et al.’s 2011 study, “Preattentive Processing of Audio-Visual Emotional Signals,” examined how congruency between facial and vocal expressions influences emotional recognition and response time.38 In two experiments, participants viewed actors speaking pseudowords with “happy, sad, angry, and neutral” expressions, presented either unimodally or as face-voice combinations with congruent or incongruent emotional content.39 Participants rated either the facial expression or the vocal expression while disregarding the other channel.40 Results showed that emotional identification was faster and more accurate when the audio-visual signals were congruent, regardless of whether participants focused on the face or the voice.41 Experiment 2 indicated that mismatched signals reduce perceptual clarity.42 Föcker et al.’s study found that participants automatically combine multiple emotional signals to recognize and categorize emotions before selecting a response,43 and that the more 38. Julia Föcker et al., “Preattentive Processing of Audio-Visual Emotional Signals,” Acta Psychologica 137, no. 1 (2011): 36–47, 10.1016/j.actpsy.2011.02.004. 39. Föcker et al., “Preattentive Processing,” 36. 40. Föcker et al., “Preattentive Processing,” 38. 41. Föcker et al., “Preattentive Processing,” 42. 42. Föcker et al., “Preattentive Processing,” 42. 43. Föcker et al., “Preattentive Processing,” 36. 18 reliable expression tended to dominate perception.44 This has clear implications for vocal performance, where congruent audio-visual expression enhances communication and emotional impact. While this study addressed basic emotions, complex emotions like “wonder, longing, desire, passion, indifference, contempt, pride, sneakiness, flirtation, and playfulness” 45 require even greater expressive nuance. Thus, recital performance is most effective when gesture and sound are emotionally aligned, or congruent. Beyond congruence, research indicates that visual cues often outweigh sound in shaping emotional perception, underscoring the significant role of physical expression in vocal performance. Visual Primacy in Perceiving Emotion in Vocal Music Multiple studies demonstrate that visual cues, whether facial expressions or bodily movements, not only strongly influence but also often hold primacy over audio information and guide the emotional interpretation of musical and vocal stimuli (see studies Thompson, Russo, and Quinto 2008; Föcker et al., 2011; Jessen & Kotz, 2011).46 The 2008 article “Audio-Visual Integration of Emotional Cues in Song,” by Thompson, Russo, and Quinto, illustrates this concept. The authors studied how people perceive emotions in vocal music, focusing on whether they rely more on visual or auditory cues.47 To test this, Thompson et al.’s experiments presented participants with video recordings that showed a singer 44. Föcker et al., “Preattentive Processing,” 46. 45. Benda, Margaret S., and K. Suzanne Scherf. “The Complex Emotion Expression Database: A Validated Stimulus Set of Trained Actors.” PLOS ONE 15, no. 2 (2020): e0228248, https://doi.org/10.1371/journal.pone.0228248. 46. William Forde Thompson et al., “Audio-Visual Integration of Emotional Cues in Song,” in Cognition and Emotion 22, no. 8 (2008): 1457–70; Föcker, Julia, Matthias Gondan, and Brigitte Röder, “Preattentive Processing of Audio-Visual Emotional Signals,” in Acta Psychologica 137, no. 1 (2011): 36–47; Jessen, S., and S. A. Kotz, “The Temporal Dynamics of Processing Emotions from Vocal, Facial, and Bodily Expressions,” in NeuroImage 58, no. 2 (2011): 665–74. 47. William Forde Thompson et al., “Audio-Visual Integration of Emotional Cues in Song,” in Cognition and Emotion 22, no. 8 (2008): 1457. 19 performing passages that were musically happy or sad, along with facial expressions that were either congruent or incongruent with the emotional tone of the music.48 Participants rated the emotion conveyed by combining the singer’s facial expression with the sung passage, while some actively counted numbers at the same time.49 Then they were instructed to ignore the singer’s facial expressions and make another rating of the emotion.50 The experiments showed that, despite the attention-diverting task of counting numbers,51 participants still correlated their ratings with the singer’s facial expression and the corresponding emotion, even when told to disregard visual cues and focus solely on the auditory information. 52 Thompson et al.’s findings indicate that audio-visual integration of emotional information in musical performance occurs automatically and even when requiring attention elsewhere, without requiring conscious effort.53 The study highlights that the visual aspects of a sung performance significantly shape audience perception of emotion, often more than the sound itself.54 This demonstrates the powerful influence of visual information even when it lies outside the listener’s primary focus of attention.55 To further explore this effect, Jessen and Kotz examined the timing of emotional processing and found that early visual cues shape how we interpret subsequent vocal information.56 48. Thompson et al., “Emotional Cues in Song,” 1461. 49. Thompson et al., “Emotional Cues in Song,” 1461–1462. 50. Thompson et al., “Emotional Cues in Song,” 1464–1465. 51. Thompson et al., “Emotional Cues in Song,” 1466. 52. Thompson et al., “Emotional Cues in Song,” 1465. 53. Thompson et al., “Emotional Cues in Song,” 1467. 54. Thompson et al., “Emotional Cues in Song,” 1467. 55. Thompson et al., “Emotional Cues in Song,” 1468. 56. S. Jessen and S. A. Kotz, “The Temporal Dynamics of Processing Emotions from Vocal, Facial, and Bodily Expressions,” NeuroImage 58, no. 2 (2011): 665–74. 20 Gestures Precede and Drive Emotional Processing Within 100ms In the 2011 study, “The Temporal Dynamics of Processing Emotions from Vocal, Facial, and Bodily Expressions,” authors Jessen and Kotz used electroencephalogram (EEG)57 to monitor the brain’s response time to identifying emotions based on visual and auditory cues.58 Participants watched recorded video clips that displayed split stimuli: an audio clip, a visual clip, and an audio-visual clip.59 The clips featured actors presenting body movements that expressed either anger (such as clenched fists and raised arms),60 fear (including backward steps and bending over),61 or neutral emotions (like grooming or speech gestures)62— each body movement paired with appropriate auditory interjections of pseudo-language sounds. The researchers asked the participants to identify the emotion expressed by the actor and recorded their response times. Their findings show that emotional comprehension occurs very early, around 100ms,63 when visual information precedes sound,64 suggesting that more precise emotional predictions are possible because “complex visual information, consisting of body language and facial expression, strongly influences the processing of congruent auditory information.”65 Jessen and Kotz demonstrate the demand for visual components to be dynamic rather than static.66 This theory of dynamic movement comes from the notion that emotional perception is understood based on a continuous “stream” of developing movements (Carretié et al., 2009; 57. Jessen and Kotz, “Temporal Dynamics,” 665. 58. Jessen and Kotz, “Temporal Dynamics,” 665. 59. Jessen and Kotz, “Temporal Dynamics,” 666. 60. Jessen and Kotz, “Temporal Dynamics,” 666. 61. Jessen and Kotz, “Temporal Dynamics,” 666. 62. Jessen and Kotz, “Temporal Dynamics,” 666. 63. Jessen and Kotz, “Temporal Dynamics,” 672. 64. Jessen and Kotz, “Temporal Dynamics,” 672. 65. Jessen and Kotz, “Temporal Dynamics,” 672. 66. Jessen and Kotz, “Temporal Dynamics,” 666. 21 Kilts et al., 2003; Sato et al., 2004).67 In song recital, complex language, rather than simple pseudo-words, make up the auditory information. Ultimately, this study reveals that using a dynamic stream of continuous movement, which consistently precedes the sounds (text and voice), leads to greater emotional perception. *** Scientific evidence demonstrates that gesture is evolutionarily essential; emotional communication is most accurate when sound and visuals are congruent; visual information often dominates perception, even when it lies outside the viewer’s focus; and emotional understanding is enhanced when movement precedes sound. This body of research highlights the importance of incorporating “Visual Aspects” and “Intangibles” into song recital preparation and performance. Emmons and Sonntag address this in The Art of the Song Recital, where their concept of the "singing actor" emphasizes the integration of voice, body, and emotion, representing an early step toward an embodiment-based approach to song recital preparation. “The Singing Actor” Emmons and Sonntag’s “Singing Actor” Approach Emmons and Sonntag, in The Art of the Song Recital, recognize the importance of training the visual aspects of recital performance. They acknowledge that a song recital 67. Jessen and Kotz, “Temporal Dynamics,” 666. 22 performance requires more than vocal technique or musical accuracy alone. In Chapter 6, titled “The Singing Actor,” the authors present various physical and creative exercises aimed at helping performers deliver more expressive and cohesive performances,68 which align with embodiment-based principles. Drawing on sources such as Stanislavski’s acting methods, Alexander Technique, and imaginative and reflective exercises, they offer accessible entry points for developing physical presence and emotional connection.69 Their work includes actor’s exercises for accessing imaginative response; the application of Alexander Technique to posture and ease of movement; a detailed survey of eye and facial expressions aligned with poetic subtext; and guidance on the role of gesture, distinguishing between traditional stylistic gestures, spontaneous movement, and the separation of gesture from full-body movement.70 For example, in the chapter’s section on eye and facial expressions, the authors recommend following this embodiment-based technique: a) study the song’s poem to uncover the emotion, b) imagine how one would behave in a real-life situation, and c) use imagination to visualize an acting counterpart to direct the eye contact and eye movements — “see inwardly the relative physical positions of what you are describing. The plastic reaction follows naturally. [It] is very meaningful to the audience when the singer really sees his imaginary person or thing and truly relates to it.”71 68. Emmons and Sonntag, The Art of the Song Recital, chap. 6. 69. Emmons and Sonntag, The Art of the Song Recital, 124-130. 70. Emmons and Sonntag, The Art of the Song Recital, 124-130. 71. Emmons and Sonntag, The Art of the Song Recital, 119. 23 Emmons and Sonntag’s work marks an important step toward integrating embodiment into recital preparation. However, their framework can expand to offer performers clear pathways for deeper exploration. The Gap in Emmons and Sonntag’s Approach While Emmons and Sonntag present an important early model for integrating physical awareness, imagination, and acting technique into song recital preparation, their approach remains eclectic and loosely structured. Of the nineteen exercises they offer, only five (Exercises 1–4 and 6) include source methodologies. Because these exercises are not systematically situated within clearly defined methodologies, performers are limited in their ability to explore the foundational principles behind each technique. While they do include exercises aimed at exploring movement, they simultaneously discourage planning or rehearsing gestures, instead advising singers to let gestures emerge “organically” in performance. As Emmons and Sonntag put it, “if in the moment of performance it seems natural to gesture, allow it to happen. Planning or practicing a gesture for a specific place is almost never successful.”72 This position reflects their broader argument that recital performance is shaped by long-standing norms of physical expression, where gesture is governed by tradition and emphasizes simplicity, sincerity, and naturalness.73 Their approach, while valuable, may limit deeper embodied exploration. 72. Emmons and Sonntag, The Art of the Song Recital, 120. 73. Emmons and Sonntag, The Art of the Song Recital, 120. 24 Building on Emmons and Sonntag’s Approach In response, the following table presents my analysis of their exercises through the lens of embodiment-based methodologies. Building on their foundation, this project proposes a more systematic and experientially grounded model, drawing from Dalcroze Eurhythmics, Laban Efforts, and Body-Mind Centering® to offer singers an expanded framework for cultivating embodied presence and emotional authenticity in recital work. For example, what Emmons and Sonntag describe as simple physical relaxation or gesture creation can be reframed and deepened through Laban’s detailed analysis of effort; their walking exercises can be expanded through the rhythmic embodiment practices of Eurhythmics; and their general call for somatic awareness can be enhanced through BMC®’s rich vocabulary of internal sensing, physiological support, and developmental movement patterns. Table 1 is an analytical chart showing my analysis of Emmons and Sonntag’s nineteen exercises from Chapter 6, “The Singing Actor.”74 I have grouped their exercises into five categories: • Physical Coordination and Relaxation ▪ as seen in exercises based on Alexander Technique principles and Stanislavski’s differentiation between working contractions and superfluous tensions. • Body Awareness and Consciousness ▪ as seen in the Jesuit Exercise; conjuring emotions, thoughts, and feelings through imagination. • Expressive Movement ▪ including gesture creation and purposeful walking exercises intended to foster smooth weight transfer and bodily freedom. • Emotional Preparation ▪ through imagination work, character analysis, and text interpretation to help singers inhabit the emotional world of each song. • Cognitive Reflection 74. Emmons and Sonntag, The Art of the Song Recital, 109-130. 25 ▪ using writing exercises, image sourcing, and exploratory analysis to deepen intellectual engagement with the text and performance context. Offering an opportunity to expand and clarify these exercises for singers, the chart shows that many of the unspecified sources align with the embodiment-based methods central to this project (see Table 1). Table 1 CATEGORIZING EXERCISES FROM THE ART OF THE SONG RECITAL INTO EMBODIMENT-BASED APPROACHES Exercise Summary from The Art of the Song Recital by Emmons and Sonntag:75 Source Stated Within Book Analysis: The Conceptual Focus Analysis: The Aligning Methodologies 1 Muscle relaxation (arms, legs, neck, trunk) Stanislavski (via Pavel Rumyantsev) Physical Coordination and Relaxation BMC®, Eurhythmics 2 Posture & alignment, full-body release Alexander Technique Physical Coordination and Relaxation BMC® 3 Walking smoothly to slow music Stanislavski Physical Coordination and Relaxation BMC®, Eurhythmics, Laban 4 “The Jesuit exercise”: relive daily conversations, imagine others’ feelings Elemer Nagy (via Max Reinhardt) Body Awareness and Consciousness BMC®, Laban 5 Write 100 words on singing vs acting Not Specified Cognitive Reflection BMC®, Laban 6 Gesture with inner purpose & circumstances Stanislavski Expressive Movement BMC®, Laban 7 Routine actions with varied imagined circumstances Not Specified Expressive Movement Laban 8 Focus on an insignificant object; build associations Not Specified Emotional Preparation BMC®, Laban 9 Create scenarios while acting to nonvocal music Not Specified Expressive Movement BMC®, Eurhythmics, Laban 10 Text analysis: overt and inner meanings, align with music Not Specified Emotional Preparation BMC®, Eurhythmics, Laban 75. Summary of the exercises described in Emmons and Sonntag, The Art of the Song Recital, 123-130. 26 11 Identify overt images & how music reflects them Not Specified Cognitive Reflection BMC® 12 Discover song’s communicative core Not Specified Cognitive Reflection Eurhythmics 13 Research & experience poetic images to create memory Not Specified Cognitive Reflection BMC® 14 Character analysis: traits, commonalities with self Not Specified Body Awareness and Consciousness Eurhythmics, Laban 15 Differentiate verses within a strophic song Not Specified Emotional Preparation BMC®, Eurhythmics, Laban 16 List facts from words, connotations, music Not Specified Cognitive Reflection Eurhythmics, Laban 17 Focus and attention throughout song Not Specified Expressive Movement BMC®, Eurhythmics 18 Emotional state & physical stance analysis Not Specified Expressive Movement BMC®, Eurhythmics, Laban 19 Sing a song down an octave maintaining expression Not Specified Emotional Preparation BMC®, Eurhythmics My analysis reveals a strong integration of the three methodologies across the exercises. Body-Mind Centering® appears in nearly every exercise, highlighting an emphasis on embodiment as central to both physical coordination and psychological preparation. Eurhythmics supports a wide range of cognitive, emotional, and movement-based activities, aiding rhythm, phrasing, memory, and focus. Laban primarily contributes to exercises emphasizing expressive movement and physical action work. By situating their exercises within these established movement systems, my analysis provides both theoretical grounding and a more pedagogically integrated approach to embodiment for the singing actor. 27 Developing an Embodiment-Based Approach for Revitalizing the Song Recital Identifying the Gap Building on Emmons and Sonntag’s recognition of the need for greater physical and imaginative training in recital preparation, current vocal pedagogy sources offer limited practical guidance for integrating embodied movement expression into performance. Singers often prioritize vocal technique above all else in their training. As a result, recitalists who turn to vocal pedagogy for performance preparation find little practical guidance on the expressive use of the body. Richard Miller, for instance, emphasizes the face as “the chief transmitter of emotion, in partnership with musical and textual ideas”76 and notes that singers must “learn almost as much about what the body can say during a performance as must be known about what vocal timbre can convey.”77 Yet, The Structure of Singing offers no specific movement-based exercises and warns against using “stock gestures” or “physical clichés.” 78 This emphasis on the face as the primary transmitter reflects how easily recitalists may gloss over the body’s role in preparation for recital. Emmons and Sonntag pose, in my view, a key question: why haven’t singers pushed for a “revitalization of the recital?”79 They suggest that many singers lack a clear artistic vision and elevated expectations for what the recital format can achieve.80 This, they argue, stems in part from limited exposure to truly masterful recital performances, leaving many singers with low 76. Miller, The Structure of Singing, 202. 77. Miller, The Structure of Singing, 202. 78. Miller, The Structure of Singing, 202. 79. Emmons and Sonntag, The Art of the Song Recital, 86. 80. Emmons and Sonntag, The Art of the Song Recital, 86. 28 expectations regarding expressive dramatic delivery.81 They cite Stanislavsky’s position that “the creative capacity of an actor and a singer is a science. You have to study, develop it, as you do other forms of science.”82 Emmons and Sonntag push for acting training as the solution to revitalization and deeper self-expression, yet the exercises remain introductory. In their work, Emmons and Sonntag acknowledge the body but do not fully develop it as a central expressive medium in recital preparation. The Need for an Embodied Approach What remains missing is a structured, movement-based pedagogy that prepares the body for expressive performance. No widely used guide unites embodiment-based training with the interpretive and technical demands of song recital. This project identifies that gap and responds by placing the body at the center of training for recital performance. Rather than relying solely on general advice, spontaneous intuition, or voice performance training, singers need concrete tools for developing emotional expression through a unified body and mind. Recitalists should integrate embodied practice into the earliest stages of preparation alongside vocal work and textual analysis. The Path Forward This project expands Emmons and Sonntag’s ideas by proposing that embodiment-based training offers a practical and necessary response to the lack of structured exercises for the recitalist. By training performers to engage fully with their bodies as expressive partners, and integrating gesture, movement, and physical presence with voice, text, and music, embodiment 81. Emmons and Sonntag, The Art of the Song Recital, 87. 82. Emmons and Sonntag, The Art of the Song Recital, 86. 29 provides a concrete pathway toward the kind of expressive depth and artistic vitality that Emmons and Sonntag advocate. In this sense, revitalization of art song requires the performer to cultivate self-expression through the embodied externalization of the inseparable body and mind. The nature of these movement studies requires a significant amount of time spent in preparation through exercises and reflection. It’s important to note that preparing somatically based movements does not preclude the natural emergence of emotions, ad-lib movements, or extinguish the flame of inspired dramatic choices at the moment of performance. Instead, it asks the singer to consider their preparation deeply, as though their body is their instrument, for all to see, and which will convey a message. Simply put, performers should employ techniques that reveal the “emotions of the body.”83 This project offers a more systematic approach with targeted applications in vocal pedagogy, poetic text and storytelling, and collaborative dramatic interpretation. Embodied training is not an enhancement or afterthought; it is the next step forward in revitalizing the song recital. 83. Émile Jaques-Dalcroze, The Eurhythmics of Jaques-Dalcroze, (Small, Maynard, and Company, Inc., 1918), 25. 30 Part I 31 Chapter One: Dalcroze Eurhythmics Eurhythmics Overview Dalcroze Eurhythmics (UK), or Eurhythmics (USA), is a musical training methodology based on a kinesthetic sense-feeling approach to producing musical expression. Eurhythmics consists of three principles for study:84 Rhythmics (the study of music through the lens of movement), Aural Training (or Solfège), and Musical Improvisation. The three principles culminate in a final visual demonstration called Plastique Animée.85 An educational experiment developed by Émile Jaques-Dalcroze (1865 - 1950), Eurhythmics was born from his belief that music pupils lacked educational instruction for crafting authentic musical expression.86 Eurhythmics provides the tools and vocabulary to explore the connection between the internal (mind-body) and the external (rhythm, pitch, and sound). Before Eurhythmics’ invention, the most valued musical achievement was mastery of skill and technical proficiency. Jaques-Dalcroze believed that music making, in its highest capability, should unveil the person and their most profound expression.87 Eurhythmics emphasizes the vital connection between the natural emotional current of a person and the music. In his book, The Eurhythmics of Jaques-Dalcroze, Émile Jaques-Dalcroze writes: [Eurhythmics’] chief value lies in the fact that it trains the powers of apperception and of expression in the individual and renders easier the externalization of natural emotions.88 84. Karin Greenhead, “Dynamic Rehearsal,” 399. 85. Karin Greenhead, “Theory And Practice of Dalcroze Eurhythmics: Le Collège de l’Institut Jaques-Dalcroze,” L’Identité Dalcrozienne, last modified May 2006: 13, identite_dalcroze-fev_2020.pdf. 86. Émile Jaques-Dalcroze, The Eurhythmics of Jaques-Dalcroze, 25. 87. Émile Jaques-Dalcroze, The Eurhythmics of Jaques-Dalcroze, (Small, Maynard, and Company, Inc., 1918), 43. 88. Émile Jaques-Dalcroze, The Eurhythmics of Jaques-Dalcroze, 39. 32 Jaques-Dalcroze continues: Up to this point movement had only been used as an accompaniment to music, not as a means of expressing it; the next step was to give the body a training so refined and so detailed as to make it sensitive to every rhythmic impulse and able to lose itself in any music. This co-ordination of movements and music is the essence of Jacques-Dalcroze method, and differentiates it from all other methods of similar aim.89 Eurhythmics students develop a deep understanding of music by using their whole body as an instrument. Through movement-based exercises, they internalize rhythm, melody, and harmony, learning to express these elements physically and intuitively. This training fosters self-expression by encouraging alignment between movement and emotion, developing sensitivity to gesture as a reflection of inner feeling. Embracing the rhythm of sound and body enhances timing, coordination, and musicality, while integrating sensory and kinesthetic awareness. Eurhythmics courses are offered at varying levels and are suitable for all musicians seeking to advance their skills and achieve greater artistic expression.90 Eurhythmics courses are taught in a group classroom environment, with a focus on both individual and ensemble work. Group work builds students’ skills in communication, awareness, connection, and musical responsiveness.91 Eurhythmics exercises completed as an individual support musical education in training rhythmic skills, inner hearing, internalization, externalization, self-awareness, musical comprehension, self-confidence, trusting the innate impulses of bodily expression, and greater 89. Émile Jaques-Dalcroze, The Eurhythmics of Jaques-Dalcroze, 37. 90. “What Is Dalcroze?” The Dalcroze School of Music and Movement, accessed February 10, 2024, https://dalcrozemusic.com/what-is-dalcroze-. 91. Julia Schnebly-Black and Stephen Moore, The Rhythm Inside: Connecting body, mind, and spirit through music, (Rudra Press, 1997), 30. 33 control of musical expression.92 Focused refinement of whole-body movement enhances audiovisual articulation and elevates musical performance. Karin Greenhead’s research on the impact of Dalcroze Eurhythmics in her 2020 thesis, “Dynamic Rehearsal and Dalcroze Eurhythmics,” provides evidence that Eurhythmics can train the coordination of body to mind and allow the musician to access what they wish to say through the song.93 In his book The Eurhythmics of Jaques-Dalcroze, Émile Jaques-Dalcroze asserts that singers on the stage cannot be allowed to walk and gesticulate without regard to music’s time and sound, performing without a "shade of expression" as revealed by the orchestra through its colors, dynamics, rallentando, and the like.94 He insists on discovering the “wholly instinctive transformation of sound movements into bodily movements.”95 I believe this principle uniquely applies to the vocal recitalist. Application and Exercises The following exercises are synthesized from guides,96 methodologies, and curricula focusing on individualistic or partner-pair Eurhythmics training (See Greenhead, 2020; Schnebly-Black and Moore, 1997; Jacques-Dalcroze, 1918).97 Each exercise details questions for reflection, suggested variations, and singer-pianist duo versions. My personal reflections and 92. Julia Schnebly-Black and Stephen Moore, The Rhythm Inside: Connecting body, mind, and spirit through music, (Rudra Press, 1997). 93. Karin Greenhead, “Dynamic Rehearsal and Dalcroze Eurhythmics: A Phenomenological Investigation into Participants’ Experiences and Their Implications for the Practice, Teaching and Learning of Music and Musical Performance,” (Doctoral thesis PhD, Royal Northern College of Music and Manchester Metropolitan University, 2020), 5, https://e-space.mmu.ac.uk/625108/. 94. Émile Jaques-Dalcroze, The Eurhythmics of Jaques-Dalcroze, 21. 95. Émile Jaques-Dalcroze, The Eurhythmics of Jaques-Dalcroze, 21. 96. Karin Greenhead, “Dynamic Rehearsal,” 327. 97. Karin Greenhead developed Dynamic Rehearsal to help musicians improve performance and ensemble skills. This project expands on the principles of DR by including movement practices beyond Eurythmics alone. Though the aims of DR and this Practice Companion are united, the methods are different. This project creates a vocabulary for all the facets of song recital preparation; from vocal pedagogy to working collaboratively with a pianist. See, Karin Greenhead, “Dynamic Rehearsal,” (2020). 34 application analyses are recorded and aim to establish focus for the exercise in relation to recital preparation. Practice Companion Exercise 1: Walk and Sing98 Focus - Walking to the pulse while singing encourages body-mind coordination and supports externalization for musical phrases, ideas, and inner hearing. This exercise should be incorporated early in the music learning process; preferably immediately after solidifying memorization. Preparation - Live musical collaboration is always preferred when available. As an alternative to live collaboration, recordings of accompaniment should be used only from trusted sources. The singer will need space to roam freely, bare feet preferred, in a comfortable environment conducive to full body gesture and roaming. Directions - 1. The song begins. Without singing, walk to the beat and imagine the vocal line. Change direction at random. 2. Sing the full song while walking to the beat. Change direction at random. 3. Now sing, walk to the beat, and change direction at each phrase. Keep a steady pulse throughout. Change direction based on phrase during the solo piano interludes. 4. Sing, walk the beat while changing your speed faster or slower with the music. Change walking direction at random. 5. Finally, sing, walk the beat while changing your speed faster or slower with the music, and change direction at each phrase. 98. Name derived from exercises described in: Karin Greenhead, “Dynamic Rehearsal,” 169, 175, 184. 35 Duo Version for Singer and Pianist - Pianist and Singer can designate musical parameters which signal a change in walking speed or direction for the Singer. A. Pianist can take liberty to invent musical markings of forte or pianissimo at will → Singer responds with appropriate correlated change in speed and walking direction. B. Another variation can be singer-led movements which signal change to the Pianist. When Singer changes walking speed at will → Pianist attempts a new tonal color, dynamic, or creative choice (see Figure 2 below). Figure 2: Singer Leads Piano (Walk and Sing). Singer leads Piano by changing walking speeds and directions; a following game (duo version of Walk and Sing exercise). Reflection - Vocal Pedagogy • In what ways does Walk and Sing reinforce musical memory during performance? • How does moving while singing increase breath capacity and stamina? 36 • How does physical movement help stabilize or enhance vocal inflection of the sung text and dynamic variation? • How does the exercise support more effortless transitions between vocal registers? • What changes occur in breath pacing and phrase length management as a result of continuous walking? Embodied Poetic Text and Storytelling • How does combining walking with singing strengthen the integration of movement, text, and vocal expression? • In what ways does the exercise open deeper emotional access to the song’s narrative? • How does walking serve as a physical tool for embodying shifts in emotional or musical intensity? • How does the body naturally shape or support expressive choices while moving through the space? Collaboration / Dramatic Interpretation • How does Walk and Sing increase awareness of mutual tempo, and the ability to anticipate musical changes while coordinating with a pianist? • What nonverbal cues become more apparent or necessary while moving and performing collaboratively? • How does this practice encourage flexibility in responding to the partner’s timing and interpretive shifts? Application to Preparing the Vocal Recital - Vocal Pedagogy The externalization and physical anticipation of the ‘Walk and Sing’ exercise lends support to reengaging the breath management systems consisting of measured support and release. Walking and singing can promote the correction of unintended straight tone which is caused by excess tension in the body. Richard Miller, author of the vocal pedagogy book, The Structure of Singing, explains that vibrancy in singing occurs naturally as a biproduct of effective 37 vibrato.99 Singing with the absence of vibrato is called straight tone singing, which can be purposefully used for artistic purposes in certain repertories but should overall be infrequently used to permit vibrant singing and techniques eliciting artistic timbre colors such as mezza di voce.100 Miller explains the pedagogical causes of unintended straight tone are presented at times of sudden interval jumps or difficult vocal passages.101 It can also occur at times when the laryngeal muscles and support become too rigid. To avoid an unintended straight tone, Miller suggests a correction in the functions related to breath management and releasing laryngeal tension.102 By consciously uniting body and music, the singer can ease tensions by means of redirecting focus elsewhere. Additionally, because of the added awareness and anticipatory features of this exercise the difficult vocal passages are more readily approached, achieving the desired vocal timbre and vibrancy. The ‘Walk and Sing’ exercise supports the overall active lifestyle recommendation to conditioning the healthy voice. Author Richard Miller suggests, “Physical activities that produce flexibility and suppleness for light movement are best for the singer.”103 Brisk and light pacing while singing is an excellent addition to best practices for the health of the vocal recitalist. Embodied Poetic Text and Storytelling One of the biggest benefits of this exercise is to invite imagination into the preparation space of the song. Through the simple act of walking around the room, the singer can become just distracted enough to release habits of previous muscle-memory gestures acquired during the learning period and reimagine vocal choices, implementing new ones. Walking at varying speeds 99. Richard Miller, The Structure of Singing, chap. 14. 100. Richard Miller, The Structure of Singing, 188. 101. Richard Miller, The Structure of Singing, 188. 102. Richard Miller, The Structure of Singing, 188. 103. Richard Miller, The Structure of Singing, 238. 38 and alternating directions allows the singer to use imagination to externalize internal momentum, exploring musical phrases with freedom. Simple walking patterns evolve during the exercise to become elevated and more distinctively unique from phrase to phrase. The musical elements drive the walking and bring a heightened awareness to musical aspects, revealing new musical truths related to intensity, tempo, and color palettes. The singer then has new pathways to explore varied interpretive decisions which can produce new and authentic expressive physical choices. The musical characteristics inform the singer’s imagination of each phrase and drive the walking step’s quality, intensity, speed, direction, and shape. For example, at the start of the phrase, the singer may feel a dramatic slowing of pace while the turbulent ostinato of the piano line drives the phrase’s climax, propelling the steps to quicken, arms to extend forward, and then slowly lower at the conclusion. This exercise promotes improvisatory gestures and movement that produce storytelling elements because it allows the singer to create new pathways at every iteration. Improvisation is the result of a baseline knowledge and tool kit that can be utilized on the spot. Therefore, this experience can help the singer expand their toolbox to express the musical qualities of each phrase during performances. Collaboration / Dramatic Interpretation This exercise prepares both singer and pianist to be attuned and aware of precise musical details chosen by one another at any given moment. A sense of following and leading should be felt through this exercise where one performer is not dominant over the other but in tandem. ‘Walk and Sing’ allows the singer to make dramatic choices ahead of time, such as specific gestures helping to tell the character’s story. Practicing the singer-pianist duo version of ‘Walk 39 and Sing’ helps the pianist include their interpretation in the discovery process for the performers. The discoveries elicited from 'Walk and Sing' do not have to be set in stone when it comes to the time of the performance. The repetition of such exercises completed by both signer and pianist in the rehearsal space can help them become free in phrasal shaping, tonal colors, and both major and minor gestural adjustments. This also builds a dynamic trust between them. They become aware and sensitive to one another’s improvisatory dramatic choices and learn to respond freely and authentically. This enhances listening, anticipation, and the concept of ‘following and leading’ in performance. This exercise benefits the collaboration of ideas between the singer and pianist and performance communication skills. Practice Companion Exercise 2: Phrasing with a Ball or Scarf Focus - This exercise uses a physical object set in motion by the performer to show a musical idea. ‘Phrasing with a Ball or Scarf’ allows the musician to practice self-projection. This reveals the union of mind, body, and music. The focus is twofold: one, to draw the audience’s attention to the musician’s intentionality, and two, create a kinesthetic approach to musical sensitivity for the performer. This reveals a clear physical representation of the music. The body’s connection to the object creates a component that is a tangible and concrete visualization for the performer. Preparation - According to the Director of Studies Diplôme Supérieur at the Institut Jaques-Dalcroze in Geneva,104 Dr. Karin Greenhead, silk scarves that are flowy are best, but any lighter fabric scarf will work.105 For the ball, a Rhythmic Gymnastics Ball weighing 14oz. or other similar workout style weighted ball will work. The object for motion should be 104. “Dr Karin Greenhead.” Dalcroze UK (blog). Accessed July 14, 2025. https://dalcroze.org.uk/dr-karin-greenhead/. 105. Greenhead, “Dynamic Rehearsals,” 323. 40 minimally weighted so that it doesn’t move in space too quickly or is not too heavy to be maneuvered easily. Live musical collaboration is always preferred when available. As an alternative to live collaboration, recordings of accompaniment should be used only from trusted sources. The singer will need space to roam freely, bare feet preferred, in a comfortable environment conducive to full body gesture and with space to move the object freely. Directions - 1. Choose to work with one object, either the ball or scarf. 2. Orient your actions by designating a specific wall in the space to perform toward the imaginary audience. This can also be done without having a focal point. 3. The song begins, but do not sing. Imagine the object is your voice, the text, and the vocal line. Use the object freely in space showing your musical ideas, making the vocal interpretation visible. I have found that using my favorite recording (of another artist or yourself) is most helpful at the beginning of this step. • Explore the space with the object. • Rolling, tossing, holding, and leaving the object stationary are all options. It can be hidden or visible to the audience. • Remember to consider the audience’s point of view. • Use your gaze to draw attention to or away from the object. • Involve your whole body and the whole space in the interactions with the object (i.e. ankles, feet, hands, back / floor, wall, piano). 4. Continue moving the object to the song without vocalizing, several times in a row to generate new ideas about interpretation, particularly for the voice, textual meaning, storytelling, and character development. Take notes of the sensations, physical pathways, interpretative insights, and emotions that have developed. 5. Finally, remove the object from the exercise. The voice and body now take the place of the object. Sing the song freely, imagining the path and character of the object, letting the voice and body replace the once tangible element. 6. Complete the reflection and make notes of the experience. 41 Reflection - Vocal Pedagogy • How does using a ball or scarf improve breath management and stamina during phrasing? • In what ways does this exercise expand access to vocal color and dynamic nuance? • How does coordinating physical gestures with phrasing promote freedom and flexibility in vocal production? • What effect does the physical motion have on sustaining legato lines and smooth phrase connections? Embodied Poetic Text and Storytelling • How does the movement create a stronger mind-body connection to the emotional narrative of the piece? • In what ways does manipulating the object clarify which words, musical moments, or emotional ideas to emphasize or withhold? Does this clarify which lines are most important at any given moment (voice, piano, or full texture)? • How does the physical shaping of phrases stimulate imagination? • What role does the ball or scarf play in determining the scope and scale of body movement for the given text and music? Collaboration / Dramatic Interpretation • How does the exercise enhance awareness of the ensemble’s phrasing choices? • In what ways does it sharpen the ability to anticipate and respond to musical shifts initiated by the pianist or singer? • How does this approach foster a more unified collaborative vision for the dramatic arc of the song? • What insights emerge about balancing attention between text-driven phrasing and musically driven phrasing within the ensemble? 42 Duo Version for Singer and Pianist - Several variations of this exercise can be explored. Each iteration should be followed by a complete performance on voice and piano. In each version, the duo interacts with either the ball or scarf while listening together to a favorite professional audio recording:106 A. Each performer selects an object to represent a musical line, either the vocal line, the piano part, or the overall musical texture. After several side-by-side run-throughs, the pair gradually introduces moments of interaction (e.g., eye contact, changes in spatial relationship). To deepen the experience, partners may switch musical lines or experiment with different objects. B. The duo uses a single object to explore one musical line at a time (vocal, piano, or full texture), passing the object between them as they alternate roles. C. Each performer takes a turn using an object to physically interpret their partner’s musical line. For example, the singer might embody the piano part, offering new insight into the pianist’s interpretive role (see Figure 3). 106 The exercise requires both performers to listen to the same recording simultaneously, either through a loudspeaker in the rehearsal space or with shared Bluetooth earbuds. 43 Figure 3: Photo of Singer showing the Piano Line of “Try Me Good King” Application to Preparing the Vocal Recital - Vocal Pedagogy Singers and teachers can implement the exercise to positively affect legato/sustained singing and in producing nuanced tonal colors. The scarf/ball shows flexibility of what the voice is doing, the music’s flowing legato contours, sharp staccatos, and agile qualities. Incorporating sensory experience in recital preparation guides the used to produce nuanced tonal colors. Achieving a legato supple sound is difficult and requires skillful vocal technique in tandem with conceptualizing the desired sound. According to Miller, sustained singing (sostenuto) or smooth singing (legato) are inextricably linked with agile singing: Agility and sostenuto are opposing poles of vocal proficiency, but both are produced by the same muscle participants. Dynamic muscle balance is determined by synergism of muscles of the torso…and the responding supple adjustments of the muscles and tissues of the larynx. …There is a danger during sustained singing, especially when the tessitura is high and the writing is dramatic, to fix an energy level. At such moments, the imagination is kindled, the flow of adrenaline increases, the body is keyed up, and the full athleticism 44 of the singer is brought into play. Such passages risk introducing tension and subsequent vocal fatigue. How can a singer reveal the powerful, expressive sweeping of the voice and still remain free? The answer lies in the agility factor. Even if the climatic phrase consists of a series of whole notes at slow tempo, agileness must be present.107 Considering Miller’s suggestion that imagination is required for sustained singing, this exercise can be very practical for the singer. The constant interactive energy and motion from the object avoids a fixed energy level,108 as Miller warns is the pitfall of sustained singing or agile singing. Physically connecting with the object provides also a certain level of athleticism to be introduced to the song, revealing dramatically driven energy. The innate agility of a scarf or ball set in motion is yet another layer of tangible example for the singer to experience and apply to the voice. Maintaining an active supple energy is initiated by imagination and enacted by the body’s balancing of tension and release. James McKinney, author of The Diagnosis and Correction of Vocal Faults writes “when sustaining a sound, imagine that the sound is flowing freely out of your body, but that your breath is staying inside your body.”109 These are key concepts accessed in the ball and scarf exercise. Therefore, a singer practicing this exercise will enhance their concept of legato/sustained singing and agile singing. Vocal color relates to the aesthetic qualities of the singing voice like brightness, darkness, ring, ping, power, and registration.110 To affect a particular color there is not one specific skill the singer must master, but rather a coordination of the voice as a whole.111 Richard Miller writes: 107. Richard Miller, The Structure of Singing, 40-41. 108. Richard Miller, The Structure of Singing, 41. 109. James C. McKinney, The Diagnosis & Correction of Vocal Faults, Broadman Press, 1982, 80. 110. Ian Howell, “Parsing the Spectral Envelope: Toward a General Theory of Vocal Tone Color,” D.M.A., New England Conservatory of Music, 2016: 21. 111. Richard Miller and Richard Miller, Solutions for Singers: Tools for Performers and Teachers, Oxford University Press, Incorporated, 2004: 179. 45 [Premiere singers] sing to communicate text, drama, musical concepts, and their own personal understanding of the music… These functions are stimulated by a concept of tone brought into being through acquired mental processes. How a tonal concept is developed lodges in the mysterious complexity of individual personality.112 Miller’s theory suggests that conceptualization and imagination are responsible for tonal color production. This exercise benefits the singer’s technique by transforming imagination into a tangible form, stimulating nuanced meaning which the singer will use for developing vocal colors, thereby making it an effective method for exploring vocal interpretation. Embodied Poetic Text and Storytelling Whether using a scarf or ball, the object’s movement represents an inextinguishable energy that serves as the metaphorical source of inspiration for the music. Both objects serve as versatile tools, enabling performers to experiment with different techniques, movements, and artistic styles. The performer initiates its motion, maneuvering the object to express musical ideas, sparking creative imagination that reveals new musical ideas and solidifies previous interpretive choices. The body, singing voice, piano line, and full texture musical sound are challenged. Furthermore, developing tonal color through this exercise creates congruency with dramatic gestural interpretation, enhancing the overall vocal impact. Collaboration / Dramatic Interpretation Awareness of timing and phrasing is critical in collaborative voice-piano performance because it directly shapes expressive alignment and musical cohesion. Musical material in the score reveals clues that guide interpretation, and uncovering these clues is a fundamental challenge for performers. In art song, this challenge is heightened by the presence of two 112. Richard Miller and Richard Miller, Solutions for Singers: Tools for Performers and Teachers, 261. 46 interpreters who must work in close dialogue to realize the expressive potential encoded in the music. Martin Katz, in The Complete Collaborator, articulates a philosophy in which the pianist plays an active and imaginative role in shaping interpretation. It should not be assumed that decisions about ensemble timing, phrasing, or tone color rest solely with the singer, as this overlooks the pianist’s integral role in the duo partnership; Katz’s theory insists on equal interpretive responsibility, offering clear examples of how the pianist actively shapes and shares in the expressive direction of the performance. Rather than merely supporting the singer, Katz suggests that the pianist actively guides and influences expressive decisions by attending to nuanced musical shifts in timing and tone color.113 Katz emphasizes that even minimal material in the piano part can be used deliberately to affect the dramatic or emotional trajectory of the song.114 He notes in Schumann’s, “Ich kann’s nicht fassen, nicht glauben,” for instance, a single F-sharp played with a different tone, perhaps more pointedly, more delicately, or with a shift in timing, can signal a narrative or psychological change to the singer.115 This change functions as a non-verbal cue that invites the singer to adjust their vocal color, phrasing, or character accordingly. Similarly, the piano can prompt the singer’s return to a previous emotional state by aligning or contrasting with the vocal line through intentional use of tone color and timing. Completing the phrasing with a ball scarf exercise offers an embodied, kinesthetic approach to sensing where significant shifts occur, such as Katz’s example of the expressive moment marked by the F-sharp. By physically tracing the arc and weight of the phrase, 113. Katz, The Complete Collaborator, 47. 114. Katz, The Complete Collaborator, 47. 115. Katz, The Complete Collaborator, 46-47. 47 performers can use an embodiment-based approach to identify these turning points, supporting Katz’s theory that sensitivity and intentional design evokes more nuanced and meaningful interpretive choices. 48 Chapter Two: Laban Efforts Laban Overview Knowing Rudolf Laban’s (1879 - 1958) life and journey of artistic development provides performers with the context necessary for approaching Laban Efforts with the ultimate freedom to explore. He is widely recognized as the founding father of Tanztheater due to his innovative approach to expressive movement, which has had a lasting impact on both dance and acting.116 Despite not having formal dance training, Laban exhibited a natural choreographic instinct, creating tableaux-vivants and integrating folk dances during his time at a military academy before embarking on a career as an artist.117 His artistic development was shaped by various experiences in his youth, including mentorship from a painter and time spent in nature. Laban’s profound connection with nature, along with experiences such as observing Sufi Dervishes and military parades, greatly influenced his fascination with movement.118 In the early 20th century, Laban’s work in Germany primarily centered on dance, but he sought to explore movement in all its forms beyond traditional boundaries.119 Laban Efforts (also known as Laban Movement Analysis) is a system developed by Rudolf Laban that examines and categorizes human movement into 8 Efforts, giving actors a vocabulary to describe thought, translate intention, and inspire communicative movements. 116. Ewan and Sagovsky, Laban’s Efforts in Action, 4. 117. Ewan and Sagovsky, Laban’s Efforts in Action, 3. 118. Ewan and Sagovsky, Laban’s Efforts in Action, 3. 119. Ewan and Sagovsky, Laban’s Efforts in Action, 3. 49 Laban did not develop new movements; rather, he recognized and articulated existing patterns within human movement that are universally understood due to common human experiences. The terms used are designed for practical applications in acting, making them easily understandable and inspirational for movement. For actors, prioritizing Effort is essential, as the quality of movement directly affects physical expression and the ability to convey emotions and thoughts. The execution of actions significantly shapes an actor’s portrayal of character. In my experience and research of Laban Efforts, I have found that many aspects of my recital preparation were improved by incorporating this movement study. Central to his theory is the concept of Effort, which encompasses the quality of movement based on four Motion Factors: Weight, Time, Space, and Flow.120 Weight is a continuum between Strong/Heavy and Light motion, Time is a continuum between Sudden and Sustained motion, Space is a continuum between Direct and Indirect motion, and Flow is a continuum between Bound and Free motion.121 Laban identified eight Efforts—Floating, Dabbing, Wringing, Thrusting (sometimes called Punching),122 Pressing, Flicking, Slashing, and Gliding—each representing different ways of engaging with these factors.123 The most elusive and often misunderstood motion factor is Flow. A continuum between Bound and Free, Flow refers to how much energy the body expends and how that energy is controlled.124 Ewan and Sagovsky explain that when a young person has lots of energy to spend, 120. Vanessa Ewan, and Kate Sagovsky, Laban’s Efforts in Action: A Movement Handbook for Actors with Online Video Resources, Bloomsbury Publishing Plc, 2019: 8. 121. Ewan and Sagovsky, Laban’s Efforts in Action, 257. 122. Ewan and Sagovsky, Laban’s Efforts in Action, 266. 123. Ewan and Sagovsky, Laban’s Efforts in Action, 8. 124. Ewan and Sagovsky, Laban’s Efforts in Action, 258. 50 they move with Free Flow; conversely someone recovering from illness may need to conserve energy, which results in Bound Flow. 125 Laban emphasized the significance of everyday gestural movements, concentrating on individual expressive potential rather than training performers to conform to a specific style. Variations in Effort can be perceived through visual, auditory, and imaginative means, enabling observers to connect with the Effort Quality across different expressions, such as in music or literature. Much of our expression of Effort is instinctive and learned; however, we can also intentionally adjust our effort depending on the context. A performer without any prior experience with Laban can still rehearse the suggested practice exercises successfully.126 125. Ewan and Sagovsky, Laban’s Efforts in Action, 258. 126. As seen in this document’s Chapter Four, the “Case Study: A Group Vocal Lesson.” Figure 4: Laban Efforts and the Effort Derivatives Created with Canva: June 3, 2025. https://www.canva.com/templates/EAFnnrrv110/. Source consulted: Vanessa Ewan, and Kate Sagovsky, Laban’s Efforts in Action: A Movement Handbook for Actors with Online Video Resources, Bloomsbury Publishing Plc, 2019: 267. 51 Our thoughts and feelings are significant players in initiating actions, as they influence our behaviors.127 Actors embody specific thoughts and emotions, transforming them into physical actions through their performances. Just as actors can adjust their physical movements, they can also modify the quality of their thought and emotional movements, which in turn affects their overall performance. Both thoughts and feelings may be viewed as actions, underscoring their importance in the acting process. The internal landscape of thoughts and feelings can be expressed physically, thereby enriching the portrayal of characters. By consciously surveying and choosing movement qualities, performers can achieve self-expression more effectively. In my own experience with Laban, I have found implementing the Efforts to be highly effective for exploring new vocal choices, guiding interpretive choices with its key terms, and as a useful tool for describing my vision to the collaborative partner. Laban acknowledged that language often fails to adequately describe movement, lacking precise terminology or necessitating multiple words for a single action.128 Throughout his work, he consistently sought the right words for movement elements, leading to an evolving vocabulary that sometimes uses different terms for similar ideas.129 The variety in terminology offers a range of options for articulating movement, allowing performers to select what most resonates with the interpretation. In summary, Laban Efforts provide a robust foundation for actors, emphasizing the importance of movement quality, emotional expression, and the intricate relationship between body and mind, all of which contribute to compelling character portrayals on stage. 127. Ewan and Sagovsky, Laban’s Efforts in Action, 229. 128. Ewan and Sagovsky, Laban’s Efforts in Action, 269. 129. Ewan and Sagovsky, Laban’s Efforts in Action, 10. 52 Why Laban for Singers is Unique The preparation process for a recitalist is like that of an actor, as it involves analyzing the text, understanding the context, and emotionally connecting with the poetic text of the song. Unlike the Actor, recitalists approach performance through the lens of music rather than words alone. Because of this, recitalists’ performance constraints are quite different from the Actor's. Once the singer has explored the text’s meaning, the next step is understanding how the music serves the poetic meaning. To investigate meaning in the text, the singer must analyze the musical score and its various elements. These elements include the piano part, melody, musical themes, and piano interludes. The singer must also investigate the significance of musical patterns, such as intentional features that highlight a sub-meaning. Singers have a unique set of materials to analyze since there is both music and text. When a singer investigates different ways to express a musical phrase using Laban Efforts, they need to think about how these movements match or contrast with the story or feelings behind the music, fit with the overall sound, feel natural in the body, and reflect what they truly want to convey. All these aspects come together to create a unique and meaningful expression. General Directions for Applying Efforts to Singing “Music may illuminate, ignore or betray the text. The artist must find his way to resolve any conflict.”130 Based on a vocal phrase’s musical qualities, identify one of the 8 efforts that most closely matches the way the music sounds. Then with the singing voice apply the Effort’s characteristics, 130. William Gephart, chairman of the voice faculty, Hartford Conservatory, quoted in Shirlee Emmons and Stanley Sonntag, The Art of the Song Recital, Waveland Press, Inc., 1979: 120. 53 considering weight, time, space, and flow as a guide. For instance, the opening phrase of Debussy’s C’est l’extase langoureuse, marked rêveusement meaning ‘dreamily’, has a melting feeling that is an elongated and slow downward, stepwise pitch pattern, saying in English translation, “It is languorous rapture.” Given these musical parameters, applying an Effort that is light, sustained, direct, and free would be congruent gesturally, thematically, and aurally. Therefore using GLIDE would suit the singer as an actionable physical intention in both vocal technique and bodily movement. Application My research and subsequent experience using Laban in the practice room to prepare my vocal recital is the first of its kind to be documented. There are no empirical studies related to Laban’s application for singers; however, numerous case studies present Laban’s impact on conductors, band students, piano students, and choral students.131 Laban is inherently applicable to singers, and this project recommends further data to be collected from singers’ experience with Laban in the recital preparation process. 131. As of April 2025, UBC library catalogue research populates zero related results for “Laban Efforts impact on vocal singers’ recital”. The search, “Laban Efforts impact on musicians” yielded 10 results populating in other musical fields (i.e . conducting, band, choir, and piano). 54 Practice Companion Exercise 3: Creating Narrative with Mapped Efforts Focus - Not all art songs use poems with forward-moving narratives, leading to an outcome or describing external events. Often, the most challenging poems to express are the inward, reflective, and emotionally static pieces. In songs featuring reflective poetry,132 audience engagement can be more difficult because there is often no straightforward narrative or specific outcome.133 This physical exercise helps the performer build a meaningful narrative framework to embody otherwise abstract, ambiguous, or emotionally internal songs. Ultimately, this process develops a narrative that integrates thoughts, feelings, and physical actions. These techniques help the performer create tangible imagery, clear emotional arcs, and a stronger sense of intention and control; all made visible through physical expression. In addition to reflective poetry, other art song storytelling styles can benefit from the ‘Creating Narrative with Mapped Efforts’ exercise, such as a narrator’s point of view,134 minimal vocal range or ensemble collaboration,135 non-lexical vocables (vocalise/no words),136 and multiple settings of the same poems.137 The goal is to engage audiences in any poetic text style successfully. Preparation - Developing a performance narrative within a reflective poem involves integrating a personal interpretation of the text/music with storytelling elements. The performer will need several materials to complete the exercise, including an unmarked score, both a poetic and word-for-word translation, and a journal for notetaking. Practicing the 132. Ted Hannah, “What Is Reflective Poetry - Poetry & Poets,” January 7, 2024. 133. Most German Lied and French Mélodie use reflective poems and center thematically on inner thoughts, imagery, and emotional nuance. Examples, (narrative): “He left me standing there, cold air rushing past and slamming the door”; (reflective): “Silence swirled around, chilling all it touched.” 134. Example in music: Rhian Samuel, “The Hare in the Moon.” 135. Example in music: John Cage, “The Wonderful Widow of Eighteen Springs.” 136. Example in music: Camille Saint-Saëns, “The Nightengale and the Rose.” 137. Example in music: Offenbach and Caplet, “Le corbeau et le renard.” 55 exercise in a large space with ample room to move freely, and without shoes is preferred. Useful exploration tools such as chairs or sturdy surfaces (tables or dance blocks) for leaning and applying body weight are encouraged. Directions - Part I – Warm-up 1. Start by gently warming up the body and imagination by moving quickly from one type of Effort to another without stopping. This can be done with music or in silence. • The changes will feel quite different from each other. • No specific scene or story is needed. • It should feel similar to a dance warm-up: flowing, shifting, and organic. • Bring focus to how the body moves, what thoughts come up, and any feelings brought to the surface. 2. Utilize the full space, props like chairs or a piano, the floor or other sturdy surfaces for leaning/applying body weight. 3. After all the 8 Efforts have been explored, reflect on the experience. Part II – Poetic Prep Work 1. Start with the poetic text. Consider every word of the text or its translation. Then write out the poem in your own words. Be precise in the translation to include the hidden meanings of subtext. 2. Using “your own words” version, read the text silently and aloud, without the music. Journal initial thoughts, feelings, and ideas that arise. 3. Create a shorthand of the poetic analysis, condensing the central themes. Using “your own words” version, speak the text as a poetic recitation. Let the text be as fluid and naturally spoken as possible. Part III - Draft a Narrative Outline 1. Identify if the song is reflective or narrative. 56 2. Analyze the text and divide it into emotional beats. These are moments of change in emotion, tone, thoughts, mood, language, perspective, or move the poem forward. Mark these beats in both the texts and translation document and the musical score. 3. For each emotional beat write down the most prominent nuanced thought, emotion, feeling, or inner state (e.g. resigned, vulnerable, isolated, numb, weary, nostalgic, awakening, wonder with unease). 4. Identify and mark in the score with a slur marking the moments of overlapping emotions or contradictions. These are moments of deep complexity or emotional layering. 5. Using the emotional beats and slur markings as the guide, assign, mark, and map out the Efforts which correspond most appropriately. The string of varying Efforts creates a map of narrative, both physical and internal, to follow as a guide for expressive gesture, thought, feeling, and movement. Reflection - Vocal Pedagogy • How does shifting between physical explorations of the Efforts influence breath management and tempo choices? • In what ways does mapping emotional beats support vocal color choices? • How does embodying precise and nuanced emotional states clarify phrasing and dynamic contrast? • In what ways does mapping physical Efforts impact vocal freedom and resonance consistency? Embodied Poetic Storytelling • How does constructing an internal narrative bring clarity to abstract or reflective poetic texts? • How does shifting between Efforts uncover deeper layers of emotional subtext, and where do these discoveries apply more strongly, within the text or the music? • How do the Efforts sharpen the connection between inner thought and outward expression? • How does the narrative story and its mapped Efforts support congruent facial expressions and bodily gestures? 57 Collaborative Dramatic Interpretation • How does defined emotional phrasing support shared interpretive decisions with a collaborative partner? • In what ways does marking emotional beats improve the alignment of musical pacing between singer and pianist? • How does this process encourage both partners to maintain dramatic momentum even in non-narrative or static texts? • What new possibilities emerge for ensemble timing, dramatic arc, and audience engagement through the shared narrative framework? Duo Version for Singer and Pianist - The duo works together in this process; both working to prepare the emotional beats and assign the Efforts. They can take turns asking one another to identify an emotional beat and its corresponding Effort and supporting their choice with some musical evidence. Once the map is completed in the annotated score, the duo can use a filming session to review how their work played out and review each other’s interpretive choices. Note that the Efforts can individually represent the unique meaning of the musical voices, and no matching is needed. For example, the pianist can be showing PRESS while the singer shows DAB. The most important goal with this exercise is for the duo to communicate specific interpretive choices, have them designated within the score or texts, and have a clearer vision of the nuanced emotional beats to guide expression. Application to Preparing the Vocal Recital – Vocal Pedagogy According to Richard Miller, tonal color arises from the singer’s coordinated use of imagination and an internal concept of sound.138 Laban Efforts support this principle by activating expressive states that influence vocal tone. Each Effort combines elements of weight, time, space, and flow, which in turn influence breath energy, vocal tract positioning, and 138. Richard Miller and Richard Miller, Solutions for Singers: Tools for Performers and Teachers, 179, 261. 58 resonance balance. These physiological shifts produce tonal outcomes that reflect the expressive intent of the movement. McKinney, in The Diagnosis and Correction of Vocal Faults, emphasizes the importance of the onset or “attack phase” as a key component of healthy vocal production.139 One benefit of this exercise is that each Effort shapes the physical preparation that occurs before phonation. The narrative mapping of Efforts provides phrase-by-phrase imagery and action that strengthens pre-phonatory coordination. As McKinney notes, “before your start any sound, always try to picture in your mind the pitch, dynamic level, and quality of the sound you want to make.”140 When Efforts are selected and mapped into a score, the singer recalls the corresponding physical and emotional state at each expressive beat. This recall activates a particular expressive tone and directly informs vocal production. The Effort THRUST (or its derivative, PUNCH) supports the goal of achieving balanced phonation, or “balanced attack” by “going to the opposite extreme of a tight (pressed) phonation by the deliberate introduction of breath into the sound.”141 As William Vennard suggests, as cited by McKinney in The Diagnosis and Correction of Vocal Faults, teachers may “[ask] students to start a sound with an exaggerated [h] followed by a firm, clear vowel,” and then gradually remove the [h] so that it becomes “only imaginary.”142 This method mirrors the physical intent of THRUST, directing breath and muscular energy with control and clarity to support a healthy onset. In contrast, GLIDE encourages legato singing and ease in accessing higher pitches. McKinney recommends a gliding technique for ascending intervals, suggesting that singers 139. James C. McKinney, The Diagnosis and Correction of Vocal Faults: A Manual for Teachers of Singing and for Choir Directors, Waveland Press (2005): 78. 140. McKinney, The Diagnosis and Correction of Vocal Faults, 91. 141. McKinney, The Diagnosis and Correction of Vocal Faults, 92. 142. McKinney, The Diagnosis and Correction of Vocal Faults, 92. 59 “make a legato connection to the high notes from the lower notes immediately preceding it…actually slide from the lower to the upper note; then speed up the slide; then eliminate it, but be certain to stay connected.”143 This mirrors the sustained, continuous quality of GLIDE, which supports upward motion without vocal disruption. Physiologically, GLIDE encourages thoracic openness and minimal added tension, promoting a softer onset and a more legato sound. The voice responds by matching the expressive and physical qualities of each Laban Effort. Rather than relying solely on conscious technical adjustment, this exercise and approach allows the voice to emerge through embodied expression, as movement and emotion shape vocal function in an integrated way. Embodied Poetic Text and Storytelling Laban Efforts provide a structured movement vocabulary that can be mapped phrase-by-phrase to reflect the emotional progression of a poem or song. As Vanessa Ewan and Debbie Green suggest, “when physical action in embodied…it can be the ‘action of all actions’, an action of the whole body, including the breath,”144 and embodying that intention deepens authenticity and responsiveness in performance. This approach is particularly effective for abstract or reflective poetic texts, which often lack a clear dramatic arc. Connecting movement with intention allows the performer to communicate layered inner states more clearly, especially in texts that resist literal interpretation. For example, WRING may reflect inner tension or grief, while FLOAT suggests openness or suspension. The Effort qualities anchor expressive states in the body, giving the performer a physical pathway that supports specificity in storytelling even in static or symbolic material. 143. McKinney, The Diagnosis and Correction of Vocal Faults, 189. 144. Vanessa Ewan and Debbie Green, Actor Movement: Expression of the Physical Being, (Bloomsbury Methuen Drama, 2015): 72. 60 Collaboration / Dramatic Interpretation Mapping Laban Efforts into a narrative framework influences the shared understanding between pianist and singer, especially during musically exposed or vulnerable moments such as beginning a piece “from nothing.”145 Martin Katz describes the challenge faced when a song lacks an introduction, requiring the singer to begin without the usual cues from the piano,146 (e.g. Ophelia, by Earl Kim). He emphasizes that this moment demands the singer to construct an inner world that justifies the entrance of the voice: “She [the singer] must construct the atmosphere, the emotion which gives birth to the opening text, and the need to sing—all without the accustomed inspiration provided by a piano introduction.”147 In such moments, having previously mapped the Efforts into a clear narrative allows both performers to enter this space with shared intentionality. Whether the first word is initiated from a GLIDE, a sudden PUNCH, or a tentative DAB, the Efforts give shape to what might otherwise be an abstract or disjointed beginning. The pianist, too, benefits from this narrative, knowing how to hold space energetically for the singer’s emotional preparation. This mutual understanding fosters the trust and permission that Katz insists are essential in rehearsal.148 145. Katz, The Complete Collaborator, 94. 146. Katz, The Complete Collaborator, 94. 147. Katz, The Complete Collaborator, 94. 148. Katz, The Complete Collaborator, 94. 61 Practice Companion Exercise 4: Exploring Vocal Expression Through Laban and Spectrogram Pro Focus – This exercise integrates the iPad app Spectrogram Pro with the Laban Efforts to create a multi-sensory approach to vocal exploration. Using the app, singers can visualize their sound in real time through spectral analysis, observing how different vocal choices affect the shape and intensity of their sound on the graph. The core of the exercise involves repeating a short phrase, such as a vowel, scale, or musical line, while applying a different Laban Effort with each repetition. By intentionally shifting the expressive quality and physical energy behind each vocalization, singers can observe how these changes influence both the visual representation and the auditory result. This process adds a new dimension to the feedback loop, allowing singers not only to hear but also to see the impact of their expressive choices. As a result, they begin to connect movement, intention, and sound more consciously. The integration of visual, auditory, and kinesthetic input enhances technical awareness, encourages experimentation, and supports a more nuanced approach to vocal performance. Preparation – Warming up the voice beforehand ensures a more productive expressive exploration in this exercise. The Spectrogram Pro app should be set up on an iPad in a quiet practice space with the microphone positioned to capture the voice. Select a short, repeatable phrase (e.g. a vocalise, a neutral vowel, or a short line from the recital program). Approach the exercise with a curious mindset to support experimentation and reflection. Directions - 1. Open Spectrogram Pro app and check that it’s capturing the voice in real time. 2. Test out the vocal phrase to establish the base line. 3. Choose which Efforts to flow through; use any number and in any order (Float, Dab, Wring, Thrust, Press, Flick, Slash, Glide) 62 4. Sing the phrase using the Effort qualities that align with your expressive and physical intentions. 5. Observe the spectrogram’s output and look for the differences in clarity, intensity, or shape of the image. 6. Continue repeating the phrase with different Efforts, noticing how the visual feedback shifts. Reflection – Vocal Pedagogy • In what ways can each Effort be translated into vocal pedagogy terminology to guide singing technique? How do the Spectrogram visuals reinforce this? • How does the physical intention behind the Efforts shape resonance and technical ease? Were there Efforts that made it more difficult to sing? • In what ways does the visual feedback from the spectrogram reinforce or challenge habitual vocal tendencies? • In what ways does this exercise identify which Effort produces the most natural and congruent vocal sound for phrase meaning and subtext delivery? Embodied Poetic Storytelling • How does pairing physical Efforts with vocalization create a more nuanced and expressive phrase? • In what ways does experimenting with Efforts reveal which physical choices feel most emotionally authentic? • How does heightened kinesthetic awareness influence text expression? • How does the exercise uncover new connections between physicality and emotional delivery of the musical line? Do these discoveries align with the visual output on the Spectrogram? Collaborative Dramatic Interpretation • How does applying different Efforts expand the range of interpretive options for collaborative rehearsal? • In what ways does exploring multiple Efforts clarify which interpretation serves the music and text most effectively? 63 • How does integrating visual, auditory, and physical feedback encourage flexible phrasing within ensemble performance? • How does this process support final interpretive decisions when preparing the phrase collaboratively? Duo Version for Singer and Pianist - The goal of this duo adaption is to practice feeling the intention of the partner before the music is played. The duo can take turns playing a single phrase, capturing the sound with the app and viewing how the sounds change the visual output. The duo can make decisions about which Effort was most success in achieving the desired musical sound, using the visual representation as further contextualization for expressive musical shapes. There are several iterations to explore: A. Spectrogram Pro app is set up where both players can view the output. The pianist plays alone, telling the singer which Efforts they will use for the phrase, and they both watch the output. Discussion and reflection should follow. B. The singer identifies an Effort as guiding intention for the singing, and they both watch the output. Discussion and reflection should follow. C. They take turns guessing which Effort is used based on sound quality and the visual clues from the app output. For example, as the singer views the app, the pianist plays a single Effort for a phrase without telling the singer which Effort was chosen. Then they discuss which Effort the singer experienced in comparison to the actual Effort the pianist intended. Discussion and evidence for each player’s rationale is valuable information regarding their musicality and the player’s unique perspective. Application to Preparing the Vocal Recital – Vocal Pedagogy As the singer moves through the Laban Efforts, they engage with a visual representation of their sound via the Spectrogram Pro app. Professor of Voice Science and Pedagogy at the Ohio State University, Dr. Scott McCoy in Your Voice: An Inside View, says that spectrograms 64 add “new dimension” by seeing the sound, including “vibrato…pitch, loudness, and time.”149 The primary goal is to distinguish the different Efforts and understand their applications from a vocal perspective. This allows the singer to connect specific Efforts to corresponding vocal choices and pedagogical techniques. In doing so, the expressive relationship between vocal technique and the physical qualities of the Laban Efforts is strengthened and more fully realized. The integration of multi-sensory feedback enhances a singer’s understanding of their technique while fostering a more nuanced and innovative approach to performance. As singers analyze their vocal patterns and make necessary adjustments, they become more skilled at using their voice, resulting in improved technical abilities and greater expressiveness. This visualization strategy powerfully informs the exploration of vocal techniques and encourages dynamic artistic engagement. This work stands out by bridging physical movement and vocal technique through technology, offering a fresh perspective on vocal training for recital. 149. Scott McCoy, Your Voice: An Inside View -Multimedia Voice Science and Pedagogy, (Inside View Press, 2004): 16. 65 Figure 5: Comparative Results for Spectrogram Pro Figure 5 presents a comparative analysis of the vocal outcomes produced by performing the phrase “Quoi! nulle trahison?” from Debussy’s Ariettes oubliées,150 using different Laban Effort qualities. Figure 6 below, shows the corresponding visual changes. The illustration visualizes how the expressive character of each Effort influenced vocal parameters such as amplitude,151 and articulation. For instance, the THRUST and SLASH iterations are represented by a thicker blue line, indicating increased volume, which aligns with their Heavy and Sudden Effort qualities. In contrast, the DAB and FLICK interpretations display more truncated phrasing, with noticeable space between pitches, highlighting a pointed articulation consistent 150. From Debussy’s Ariettes oubliées, Song II, page 7, m. 47–49. 151. McCoy notes, “amplitude is defined as the magnitude of the compressions and rarefactions within a sound wave. The most common unit of measurement is the decibel, abbreviated dB…loudness is a subjective measurement.” McCoy, Your Voice: An Inside View, 20-21. 66 with their Light and Sudden dynamics. These results demonstrate a perceptible correlation between movement intention and vocal technique, reinforcing the value of integrating Effort-based narrative in interpretive practice. Embodied Poetic Text and Storytelling Figure 6: One Phrase Performed 8 Ways Figure 6 illustrates the impact of Laban Efforts on facial expression when applied to the same vocal phrase “Quoi! nulle trahison?”. The image shows that each Effort generates a distinct and contrasting facial expression, even when performed with the same musical material. After exploring all eight Efforts, the singer is better equipped to craft a clear and intentional interpretive narrative. In each iteration, bodily movement and gesture are also influenced by the chosen Effort, reinforcing the physical and expressive qualities unique to each one. Based on my experience, isolating the voice from facial and bodily expression during the exercise supports more focused exploration and creative discovery. This process begins with attention to vocal sound alone, 67 using the spectrogram to observe visual feedback. Once the sound is established, facial expressions are added, followed by bodily movement and gesture. Each element (spectrogram visualization, musical sound, facial expression, and gesture) should correspond to the specific Effort being explored. The Effort serves as a narrative foundation, allowing all expressive components to align and support an interpretive vision. Collaboration / Dramatic Interpretation As Rudolf Laban articulates, movement provides a shared foundation that connects different elements of performance and brings all participants into a unified expressive process: “In theatrical acting, which is the artistic enhancement of human action, the controversial tendencies contained in the thinking and feeling of the various characters represented are expressed both in words and in gesture. In mime and ballet, the dynamics of thought and emotion are expressed in a purely visible form…What music, the audible part of a ballet performance, does for dancing is partly to heighten the rhythmical components of bodily movement, and partly to translate their emotional content into sound-waves. In opera, speaking is replaced by singing, whereby the prominent role is given to music. Movement, with its wide range of visible and audible manifestations, offers not only a common denominator for all stage work but also secures the basis for the common animation of all those participating in its creation.”152 This assertion highlights movement as a foundational element in collaborative performance, including within the singer-pianist partnership. By engaging in structured iterations where each partner alternates between initiating, perceiving, and responding to the Effort-driven phrase, the duo cultivates heightened sensitivity to the expressive undercurrents within one another’s performance. Clarity, intensity, attack, and decay are acoustic elements made visible through the shared viewing of the Spectrogram Pro output. This visual feedback encourages a more nuanced, evidence-based discussion of expressive success, removing a layer of abstraction from the interpretive process. 152. Rudolf Laban, The Mystery of Movement (Macdonald & Evans, 1971): 8-9. 68 This exercise also provides practical solutions to ensemble balance. Martin Katz emphasizes that for the duo attempting to gauge proper balance, “even if it were a precise science—is an impossibility in an empty hall. Friends can be recruited to help, but this attempt too can be maddening.”153 He recommends evaluating balance with listeners in the space,154 but this exercise serves as a valuable pre-performance alternative. By analyzing amplitude visually, the duo can anticipate and adjust balance challenges in rehearsals before reaching the performance venue. Katz notes, “At the same time that we [pianists] are exercising caution not to overwhelm our partners [singers], we must also remember that we are custodians of the composer’s white canvas... When balance issues arise... something must replace the decibels we have had to reduce.” 155 He asserts that this replacement should take the form of “well-defined pianism, clean articulation, pedaling that maintains clarity, and voicing that highlights what is most important within the keyboard part,” all of which preserve the “role originally intended for the piano.”156 In the context of this exercise, it is the dramatic intent derived from the Efforts that serves this expressive function. It is important to note that the Efforts are not intended to replace traditional pianistic techniques, but rather to serve as a shared language between singer and pianist. They offer a way to translate the pianist’s technical tools, such as articulation, voicing, and pedaling, into a form that the singer can physically and emotionally respond to. For example, PRESS can correspond to smooth, sustained pedaling that enhances clarity and depth. PUNCH aligns with focused 153. Katz, The Complete Collaborator, 137. 154. Katz, The Complete Collaborator, 137. 155. Katz, The Complete Collaborator, 137-138. 156. Katz, The Complete Collaborator, 137. 69 voicing that brings out the most important material in the keyboard texture. In this way, the exercise not only supports Katz’s balance strategies but also expands them by incorporating embodied intention as a tool for improved communication between singer and pianist. 70 Chapter Three: Body-Mind Centering® Body-Mind Centering® Overview Body-Mind Centering® (BMC®) is a personal, embodied approach to learning and transformation. Created by Bonnie Bainbridge Cohen, it blends movement, anatomy, perception, and touch into a training that’s as much about being as it is about doing.157 As Cohen writes in her book, Sensing, Feeling, and Action, “Body-Mind Centering is an ongoing, experiential journey into the alive and changing territory of the body. The explorer is the mind—our thoughts, feelings, energy, soul, and spirit.”158 According to authors Barone and Paula, BMC® is about the feeling and awareness of oneself through direct experience, starting from the cellular level of the body.159 This understanding is not gained by thinking or analyzing, but by truly experiencing and sensing through the body. Students learn to feel and move from within by building awareness that links bodily tissue with thought and intention. Central to BMC® is the notion that movement is initiated from our organs, or from the contents (cellular level) of the container (the body).160 Students explore everything from the body systems to developmental patterns (infant and evolutionary), to the art of perception.161 BMC® has a uniquely wide application to areas such as: touch and repatterning, developmental progression, fine arts, yoga practice, emotional 157. Bonnie Bainbridge Cohen, Sensing, Feeling, and Action: The Experiential Anatomy of Body-Mind Centering, Contact Editions, 2003: 1. 158. Cohen, Sensing, Feeling, and Action, 1. 159. Castilho Barone, and Luciana Paula, “The Use of Body-Mind Centering® to Support Training in Michael Chekhov’s Acting Technique,” Theatre, Dance and Performance Training 15, no. 1 (2024): 61–75. 160. Cohen, Sensing, Feeling, and Action, 10. 161. Cohen, Sensing, Feeling, and Action, 2, 4, 5. 71 perception and expression, vocalization perception and expression, and reflexes and spontaneity of expression.162 BMC®’s theory suggests, for example, that asking someone to move from their ribcage, with their hands touching the bones, will produce a different quality of movement than asking them to move from the muscles, blood, or tissue, between the ribcage.163 The latter instruction of moving from the organs suddenly alters the quality of movement to reflect the nature of that person’s part.164 The essence of this type of embodiment practice creates bodily expression by revealing the quality of the mind. The result is often a deeper organic and natural expressive gesture, through the subtle transformation process that refines both mind and action. The concepts hinge on embodiment, defined by Bainbridge Cohen as: The process of embodiment is a being process, not a doing process, not a thinking process. It is an awareness process in which the guide and witness dissolve into cellular consciousness. Visualization and somatization provide steps to full embodiment, helping us return to preconsciousness with a conscious mind.165 Below is an illustration summarizing Bainbridge Cohen’s “Process of Embodiment.” She presents it as a three-part process (visualization, somatization, and embodiment) that is fluid and non-linear, allowing for exploration in any order. Each component contributes to a shift into a state of being that transforms how one senses, feels, and moves within the body’s structures and systems.166 162. Cohen, Sensing, Feeling, and Action, 1-157. 163. Cohen, Sensing, Feeling, and Action, 10. 164. Cohen, Sensing, Feeling, and Action, 10. 165. Cohen, Sensing, Feeling, and Action, 157. 166. Cohen, Sensing, Feeling, and Action, 157. 72 In practical terms, visualization is when the brain informs the body; somatization is when the body informs the mind through direct sensory experience; and embodiment is when awareness arises directly from the cells, guiding consciousness.167 These concepts, which form the foundation of Bainbridge Cohen’s approach, are rooted in decades of personal inquiry and practice. In 1959, Bainbridge Cohen began her exploration at the age of sixteen.168 Her catalyst experience volunteering as a dance teacher for children with cerebral palsy while simultaneously beginning her formal studies of anatomy inspired her path in this work. Foundational to her own research is her education as an Occupational Therapist, and additional certificates in Neurodevelopmental Therapy, Laban Movement Analysis, and Kestenberg Movement Profiling. Bainbridge Cohen’s work extends into many fields from dance, 167. Cohen, Sensing, Feeling, and Action, 157. 168. Cohen, Sensing, Feeling, and Action, 204. Figure 7: Summarizing Illustration: BMC’s Process of Embodiment 73 therapy, voice, yoga, to martial arts. Ultimately, she founded The School for Body-Mind Centering® in New York City in 1973.169 Her work with BMC® has combined movement arts with the sciences, impacting students’ and instructors’ emotional and physical well-being.170 The function of BMC® in recital preparation is distinct from the contributions of Eurhythmics and Laban. If Eurhythmics is like drills for a sport’s practice with structured routines that help the body and mind learn techniques, rhythms, and coordination, and Laban is like running the team’s plays and strategies for advancing the game, BMC® is like the gentle warm-up before the game: a time for stretching, breathwork, and internal focus that prepares the athlete not only physically, but also emotionally and mentally. In this way, BMC® doesn’t just get the performer ready for the “game”; it makes sure that when the moment comes, they are completely there, focused and deeply connected to their own “movement from within.”171 BMC® focuses on bringing the heart, mind, and body into a balanced awareness. It regulates the nervous system, awakens cellular awareness, and fosters conditions in which precise movement can emerge organically from presence rather than force. Rather than shaping movement through external form, BMC® encourages the performer to inhabit the body from within, allowing gesture to arise from lived experience and personal meaning. This process nurtures a felt sense of confidence grounded in authenticity rather than performance alone. As authors Emmons and Sonntag observe, “Music may illuminate, ignore or betray the text. The artist must find his way to resolve any conflict.”172 BMC® offers an exploratory path to resolve 169. Cohen, Sensing, Feeling, and Action, 1. 170. Annie Brooke, and Bonnie Bainbridge Cohen, "Body-Mind Centering®," In The SAGE Encyclopedia of Theory in Counseling and Psychotherapy, SAGE Publications, Inc., 2015: 125. 171. Cohen, Sensing, Feeling, and Action, 7. 172. Emmons and Sonntag, The Art of the Song Recital, 190. 74 such matters of revealing meaning in music, inviting the artist to trust that their intentions will flow clearly and honestly through the body. An example of how BMC® can inform artistic expression, particularly in disciplines like song recital where meaning is created through the body, can be found in Dr. Karola Lüttringhaus’s investigative dissertation titled “Tracing Gesture: The Body’s Intrinsic Intelligence – Choreographing Meaning.”. Lüttringhaus writes: “Experientially, it is never quite clear if thinking drives movement or movement drives thinking and it seems to me that both are true, as evidenced by studies in gesture research…”173 Her work explores how abstract thought is translated into meaningful, precise gesture within dance-making.174 Drawing on Bonnie Bainbridge Cohen’s use of embodiment, Lüttringhaus models her creative inquiry on BMC® practices. She investigates how ideas can be embodied through movement, revealing a process that is equally valuable for vocal recitalists, who must similarly transform inner experience into deliberate, expressive action. Application and Exercises These exercises are informed by the methods, concepts, and exploratory spirit of Body-Mind Centering®. As Linda Hartley notes in Wisdom of the Body Moving: An Introduction to Body-Mind Centering, BMC® “offers no fixed rules [or] procedures” for its practice.”175 Instead of a standardized set of exercises, what one typically finds in BMC® are what Bonnie Bainbridge Cohen refers to as “explorations.”176 These “explorations” are guided movement or 173. Karola Lüttringhaus, “Tracing Gesture: The Body's Intrinsic Intelligence - Choreographing Meaning,” (Doctor of Philosophy), University of California, Davis, 2024: 82. 174. Lüttringhaus, “Tracing Gesture,” 83. 175. Linda Hartley, Wisdom of the Body Moving: An Introduction to Body-Mind Centering, North Atlantic Books 1995: xxi. 176. Cohen, Sensing, Feeling, and Action, 127. 75 emotional exercises that invite personal expression and inner awareness. With this type of exercise style and concept in mind, while meeting the needs of offering concrete application within a practice room setting, the following exercises are original adaptations that draw from BMC®’s principles and approach. Practice Companion Exercise 5: Poetry Recitation and ‘The Rotating Heart’ (BMC®) Focus - This exercise aims to integrate poetic text, movement, and emotional storytelling by applying Bonnie Bainbridge Cohen’s “Rotating Heart” concept during art song preparation. This exercise enhances vocal inflection, dynamic range, vocal color, and deepens the performer’s embodied understanding of poetic content, ultimately enriching collaborative dramatic interpretation. Preparation - To begin this exercise, select an art song and have its text available in the original language or a trusted translation. While memorization is ideal for deeper embodiment, the printed text may also be referenced. Choose a space that allows for free, unobstructed movement, and wear comfortable clothing to facilitate ease and fluidity of motion. For added visual feedback, use a mirror or record your session for reflection. If working as a singer-pianist duo, ensure both partners have access to the text and enough space to engage in movement simultaneously. Directions - 1. Begin by standing in a neutral position. Take a few deep breaths, bringing awareness to your body and breath. Sense the position of your sternum, and the front and back of your heart center. 76 2. Visualize the heart as a three-dimensional, fluid, rotating sphere within your chest. Allow gentle, natural movements as if the heart rotates on multiple axes (front-back, side-side, diagonal planes). 3. Begin small, subtle rotations and gradually expand the range of motion. 4. Without speaking, continue gentle movement while imagining the emotions and imagery of the poem. Allow the heart’s rotation to guide limbs, torso, head, and weight shifts. Move with intention but without forcing. 5. Begin reciting the poem aloud, allowing the heart’s rotation to continue guiding your movement. Stay present to the inflections, emotional waves, and imagery as you speak. Explore how the movement naturally invites dynamic shading, shifts in vocal color, phrasing, and emphasis. 6. Repeat multiple times, refining your connection between text, movement, and voice. Vary the speed, emotional tone, and physical range of the rotating heart. 7. Return to neutral standing, breathing calmly. Reflect on any sensations, discoveries, or emotional shifts. 8. Finally, sing the song while continuing to imagine the rotating heart. Reflection – Vocal Pedagogy • How does the movement of the rotating heart influence vocal inflection? • How do new musical dynamic ranges or expressive vocal colors emerge? • How do vocal choices connect organically to the text? Embodied Poetic Text and Storytelling • How does embodying the rotating heart shift the emotional connection to the poem? • How does the movement clarify the poem’s imagery, emotion, or dramatic arc? • How do particular words or phrases become more resonant or significant when embodied? Collaboration/Dramatic Interpretation • What new truths, intentions, or emphases emerge within the textual meaning from the exercise? • How do these discoveries align with the musical setting, and with the pianist? 77 • How does this exercise affect the delivery of the poetic narrative, inflection choices, and musical timing within the ensemble? Duo Version for Singer and Pianist - The duo can take turns doing this exercise for each other and provide feedback on what worked well based on the goals for their interpretations. Observing one another or using filming is valuable feedback for this exercise. The duo can also recite in an alternating pattern, where after each stanza or single line of text the other takes over. This can be an exciting adaptation which fosters responsiveness in line-by-line detail. Another iteration for the duo is to have the singer complete the exercise while the pianist plays, filming for feedback which should be viewed together for reflection. Application to Preparing the Vocal Recital - Vocal Pedagogy Reciting aloud a song’s poetry helps the performer identify where the greatest inflection naturally falls within the text. It also provides an opportunity to discover nuanced subtextual meaning, often reveal the “composer’s initial inspiration.”177 Unlike typical poetic recitation, this approach invites awareness that initiates text delivery from within the body, mind, and heart. Once the recitation portion is complete, the performer integrates its insights into the singing of the song. The result is a deeper physical connection between voice and body, allowing the singer to access optimal vocal technique while maintaining an inward focus. The Rotating Heart Exercise supports the development of a relaxed, grounded state of mind and improved tonal balance. Initiating movement and sound from the heart center allows the breath cycle to align naturally with expressive intention, contributing to enhanced resonance and greater ease in the upper register. This inward focus shifts attention away from isolated technical concerns, which can sometimes distract the singer, and instead centers the act of 177 Katz, The Complete Collaborator, 39. 78 singing around internal sensation and emotional presence. The approach also deepens awareness of breath support, resulting in increased clarity and legato in melismatic passages. The effectiveness of the Rotating Heart concept on vocal technique lies in its ability to ground the voice physiologically. By focusing attention on the heart as the initiator of sound, the singer cultivates a state of internal calm and centeredness, which supports efficient vocal function. Physiologically, this mental grounding often results in spontaneous mirroring responses in the body, such as a naturally lowered larynx and appropriate engagement of the diaphragmatic muscles, both of which contribute to desirable vocal tone,178 ease, and resonance. These responses occur without the added effort or tension that can arise when such adjustments are made through conscious muscular control alone.179 As a result, the singer experiences greater ease, reduced physical strain, and more consistent vocal tone across registers. This integrated state promotes optimal breath flow and resonance, allowing technical precision to emerge through embodied awareness rather than force. Embodied Poetic Text and Storytelling Developed from Cohen’s concepts in Body-Mind Centering®, this exercise supports nervous system regulation as a foundation for expressive storytelling, an outcome further supported by Cysarz et al.’s research on rhythmic recitation and Cazden’s application of polyvagal theory to vocal performance. This exercise helps performers stay grounded and responsive, creating the bodily conditions necessary for effective storytelling through emotional connection, vocal clarity, and stage presence. 178. McKinney, The Diagnosis and Correction of Vocal Faults, 129. 179. McKinney, The Diagnosis and Correction of Vocal Faults, 193-194. 79 In their 2004 article, “Oscillations of Heart Rate and Respiration Synchronize during Poetry Recitation,” Dirk Cysarz et al. investigated how reciting hexameter verse affects the synchronization between breathing and heart rate, measured through respiratory sinus arrhythmia (RSA).180 They found that among 20 participants, poetic recitation produced significantly stronger cardiorespiratory synchronization than either controlled or spontaneous breathing.181 This effect was linked to the breathing patterns shaped by the poem’s rhythmic structure. Their findings suggest that poetry recitation correlates to a synchronization of heart rate and breath, concluding that poetic recitation can “greatly influence well-being.”182 Their findings are supported by a stress-regulating therapy, Anthroposophic Therapeutic Speech (ATS), a method rooted in Rudolf Steiner’s philosophy, which uses poetry recitation to regulate stress in the cardiovascular and respiratory systems.183 This kind of physiological synchronization points to enhanced nervous system regulation, creating a more stable internal state for expressive communication.184 Speech pathologist Joanna Cazden,185 in her 2017 article “Stalking the Calm Buzz,” explains that effective performers must balance two nervous system states: the high energy and alertness of the sympathetic nervous system (SNS), and the inner calm and safety of the parasympathetic nervous system (PNS).186 Cazden emphasizes the role of the vagus nerve in maintaining balance between vocal tone and autonomic regulation, highlighting its centrality to both physiological and expressive control.187 180. Dirk Cysarz, et al., “Oscillations of Heart Rate and Respiration Synchronize during Poetry Recitation,” American Journal of Physiology-Heart and Circulatory Physiology 287, no. 2 (2004): H579–87. 181. Cysarz, et al., “Oscillations of Heart Rate and Respiration Synchronize during Poetry Recitation,” H579. 182. Cysarz, et al., “Oscillations of Heart Rate and Respiration Synchronize during Poetry Recitation,” H579. 183. Cysarz, et al., “Oscillations of Heart Rate and Respiration Synchronize during Poetry Recitation,” H579. 184. Cysarz, et al., “Oscillations of Heart Rate and Respiration Synchronize during Poetry Recitation,” H579. 185. “Joanna Cazden,” The Fitzmaurice Voice Institute, Accessed July 11, 2025. 186. Joanna Cazden, “Stalking the Calm Buzz: How the Polyvagal Theory Links Stage Presence, Mammal Evolution, and the Root of the Vocal Nerve,” Voice and Speech Review 11, no. 2 (2017): 144. 187. Cazden, “Stalking the Calm Buzz,” 144. 80 Dr. McCoy also underscores the importance of the vagus nerve, specifically noting its anatomical connection between the brain and the larynx.188 According to Cazden, a performer’s “well-regulated condition” is “communicated directly to onstage partners and to the audience,” allowing for emotional resonance and presence.189 Bonnie Bainbridge Cohen, founder of Body-Mind Centering®, expands this idea by describing the autonomic nervous system (ANS) as “a balancing continuum of expression.”190 Through practices such as the Rotating Heart, she observes that the SNS “brings about more alertness towards the environment,” while the PNS fosters “a more internally directed... and sensory awareness.”191 Because of the combined regulating effects of poetry recitation and the BMC® concept of the Rotating Heart, this exercise supports the expressive range required for storytelling performance. Regulating the nervous system is not just beneficial but essential for clear, connected, and emotionally resonant communication on stage. Collaboration / Dramatic Interpretation Martin Katz argues that “the pianist must learn the shape of the text, just as the singer does, and both performers will triumph over the limits of the printed notation.”192 This exercise merges textual interpretation with embodied rehearsal practices, encouraging performers to explore inflection, meaning, and rhythmic nuance through physical engagement. Katz emphasizes that mastering text delivery is key to ensemble alignment, noting that inflection may range from a single natural speech rhythm to multiple expressive possibilities.193 He advises 188. McCoy, Your Voice: An Inside View, 122. 189. Cazden, “Stalking the Calm Buzz,” 144. 190. Cohen, Sensing, Feeling, and Action, 16. 191. Cohen, Sensing, Feeling, and Action, 16 192. Katz, The Complete Collaborator, 28. 193. Katz, The Complete Collaborator, 28. 81 pianists to “prepare the accompaniment with this inflection challenge in mind before the first rehearsal” by speaking the text aloud and then singing it, taking care “not to change the inflection she has discovered while speaking.”194 To further his claim, he offers seven examples from the art song repertoire where textual inflection and ensemble timing present specific challenges.195 This exercise expands the rehearsal toolkit by offering embodied strategies to support shared timing and nuanced text delivery. As Katz states, “a fine singer will serve both words and music; his pianist can do no less.”196 Practice Companion Exercise 6: ‘The Body Systems’ (BMC®) Through Art Song Focus - The focus of this exercise is to use the body’s anatomical systems (bones, muscles, organs, fluids, etc.) as described in BMC® to inform and support interpretive choices in art song recital. This exercise connects text, music, and physical embodiment by assigning different body systems to specific interpretive moments, emotional qualities, or dramatic functions. The goal is to deepen technical awareness, enhance expressive storytelling, and create physically integrated performance choices rooted in the song’s poetic and dramatic content. This exercise can also apply to the transitions between songs in the same cycle, or from cycle to cycle. Preparation - To begin this exercise, select an art song and have its text available in the original language or a trusted translation. Have a journal ready for capturing thoughts about body 194. Katz, The Complete Collaborator, 28. 195. Composers of the musical passages are Barber, Schubert, Brahms, R. Strauss, Grieg, Obradors, and Rodrigo. Katz, The Complete Collaborator, 29-36. 196. Katz, The Complete Collaborator, 23. 82 system corresponding to emotions, dramatic arc, and character. Choose a space that allows for free, unobstructed movement. For added visual feedback, use a mirror or record your session for reflection. If working as a singer-pianist duo, ensure both partners have journals and enough space to engage in movement simultaneously. Directions - 1. Choose one short section of your art song: a phrase, a stanza, or a transition between songs. If you are working on a cycle, you may also choose a transition point between songs to explore shifts in emotional or dramatic state. 2. Read through the text and music. Identify specific emotional qualities, dramatic shifts, or character intentions in the selected passage. Write down 2–3 keywords that capture the emotional or dramatic essence of this moment (e.g., longing, release, tension, vulnerability, resolve). 3. For each keyword or moment, choose a body system that might support or resonate with that quality. These choices are meant to be intuitive; there are no wrong answers. It can be useful to listen to a recording of the song and warm-up the body by moving freely to the music, with a goal of identifying emotions within the body systems. As an example:197 • Bones: stability, grounding, structure • Muscles: effort, action, strength • Organs: vulnerability, inner emotion, breath support • Fluids: flow, transition, softness, emotional shifts • Ligaments & Fascia: resilience, holding patterns, elasticity • Nervous System: alertness, sensitivity, quick shifts 4. Spend a few minutes bringing gentle awareness to the assigned system. Use simple movement, touch, breath, or imagery to activate your awareness. For example, if you chose "organs," you might bring attention to your breathing, feel the fullness of the abdominal space, or gently massage your abdomen. If you chose "bones," you might sense your weight through your skeleton and feel your feet grounded into the floor. 197. These examples are modeled after Cohen’s work in Sensing, Feeling, and Action, 2-4 and 14-15. 83 5. Sing the selected passage while staying connected to the chosen body system. Focus on how the awareness of this system shapes: breath, vocal tone, phrasing, expressive gestures or stillness. Reflection - Vocal Pedagogy • How does the awareness of an organ’s emotional quality (e.g., buoyancy from the lungs)198 influence vocal onset? • How does focusing on a specific body system affect your tone quality and its intensity? • Which body systems facilitate vocal ease, and which present an emotional or physical blockage? Embodied Poetic Text and Storytelling • What are the effects on improvisatory gesture when organs initiate the movement? • In what ways do the initiating body systems establish a new vocabulary for describing narrative? • How do particular body systems offer new insights to the poetic text, or connecting song-to-song transitions with subtextual meaning? Collaboration/Dramatic Interpretation • What kinds of movement discoveries or emerging qualities can be communicated and shared with your partner during collaboration? • When identifying emotions from you own organs, how are they similar or different from your partner’s experience? • In observing your partner’s performance, what kinds of cues (visual or aural) reveal to you the quality, energies, or emotions of an initiating organ? Duo Version for Singer and Pianist - A. As a duo, explore a short phrase or moment in the recital program by identifying 2–3 emotional or dramatic keywords. Choose a body system that aligns with those qualities. 198. Cohen, Sensing, Feeling, and Action, 38. 84 They do not need to match.199 Rehearse and film the musical moment while embodying the chosen systems. Review and share reflections. Discuss how the systems enhanced the musical choices. B. Choose a shared passage or transition to explore together. Agree on a single or complementary organ systems to embody collectively. Rehearse and film the section while staying physically and expressively connected to the selected systems, allowing the shared embodiment to shape timing, phrasing, and dramatic expression. Review and share reflections. C. Take turns performing a short phrase or transition while intentionally initiating movement and expression from a specific organ system. The selected system can be kept secret or announced it afterward. As the observer, watch and listen closely, then try to identify which body system your partner is using based on the qualities, energy, movement, or emotional tone that emerge. After guessing, discuss your observations and compare interpretations to build shared understanding. Application to Preparing the Vocal Recital - Vocal Pedagogy “In order to vocalize, we must actively engage our organs. Without organic support, we cannot utter a sound. The strength of our voice is based upon the degree of involvement of our total organ system. A blockage somewhere in our organs will be reflected in the quality and intensity of our voice.”200 – Bonnie Bainbridge Cohen This exercise supports core principles of vocal pedagogy by connecting anatomical embodiment to vocal function. By focusing on specific body systems such as the lungs for buoyancy or the heart for warmth,201 singers can refine vocal onset, enhance tonal clarity, and recognize physical or emotional blockages that disrupt ease. As Dr. McCoy states, “Study of the 199. The Body Systems do not need to match. For instance, the pianist can say, “I feel this phrase in the bones because of it’s rigid, horizontal momentum” while the singer says, “this phrase is an emotional shift for my part. And it has subtle text, with soft dynamics, so it works best to feel this in the fluids.” 200. Cohen, Sensing, Feeling, and Action, 38. 201. Cohen, Sensing, Feeling, and Action, 38. 85 anatomy and physiology of singing requires an examination of the skeletal, muscular, and nervous systems.”202 These systems include both voluntary and involuntary muscles, many of which respond indirectly to intention.203 By cultivating awareness of these internal body systems, singers bring sensory information to the forefront, influencing everything from physical alignment to emotional presence and ultimately shaping the quality of the voice. Embodied Poetic Text and Storytelling In art song recital programming, it is common for songs to move from one piece to the next without any direct narrative or textual connection. These transitions may occur between songs by different composers, poets, languages, or even emotional worlds. While the text may offer no clear link, the performer can cultivate narrative cohesion through intentional embodied expression (see Appendix B for illustration). Research consistently demonstrates that physical action preceding sound enhances clarity and understanding of expression.204 While BMC® concepts can be applied at any time during the performance, one unique application, which many performers overlook, is the moment of silence between songs. This connective silence presents a unique opportunity where the performer may engage with specific body systems as a preparatory emotional, and storytelling bridge. The body establishes essential foundations for entering the emotional world of the next piece before the first sound is made. Collaboration / Dramatic Interpretation The goal of this exercise is to create a unified emotional point of entry for both singer and pianist, minimizing the risk of interpretive disconnects. When both collaborators engage in 202. McCoy, Your Voice: And Inside View, 76. 203. McCoy, Your Voice: And Inside View, 78. 204. S. Jessen, and S. A. Kotz, “The Temporal Dynamics of Processing Emotions from Vocal, Facial, and Bodily Expressions,” NeuroImage 58, no. 2 (2011): 665–74. 86 reflective discussions or parallel embodiment explorations using the same body systems, they establish a shared dramatic world. Art songs often contain highly nuanced shifts in mood, tone, and dramatic function. Rather than relying solely on detailed musical analysis, the performers embody these shifts instinctively through BMC® principles. In doing so, the singer conveys emotional transitions not only through the voice, but also through physical expression. The pianist, in turn, mirrors or complements these shifts, allowing for a more cohesive and integrated dramatic narrative throughout the performance. This exercise naturally enhances the singer’s physical timing, such as breath initiation, weight shifts, and subtle gestures that convey the emotional content of each phrase. These physical cues serve as important non-verbal signals for the pianist, facilitating ensemble unity in rubato, phrase shaping, and entrances. The pianist, in turn, can respond to these physical indications, fostering a more fluid and organically cohesive musical partnership. Both partners can analyze the text and map out body system exploration together. This co-creative process creates a performance that feels more like a living conversation between voice, piano, text, and body. The embodied states initiated by BMC® give both performers access to the unspoken emotional content of the music in real time. Subtle gestures, postural alignment, or the quality of movement provides immediate information about the emotional world of the song. This shared physical language allows the pianist to anticipate and align with the singer’s expressive choices, and vice versa, without needing explicit instruction. As Bainbridge Cohen writes: 87 “One of the things that I think is essential with sensing, is that we reach a point where we become conscious and then we let it go, so that the sensing itself is not a motivation; that our motivation is action, based on perception.205 205. Cohen, Sensing, Feeling, and Action, 63. 88 Part II 89 Chapter Four: Outcomes and Rehearsal Reflections Working with Eurhythmics One of the most striking outcomes of engaging the ‘Phrasing with a ball or scarf’ exercise was the emergence of what I have termed Nearly Identical Movement (NIM). This term was created for the purposes of this project to describe gestures that appear visually similar, occurring at precisely the same musical moments across multiple rehearsal sessions. These gestures were not choreographed or imposed but emerged spontaneously through embodied listening and expressive engagement with the music. Figures 8 and 9 illustration how across rehearsals of the scarf exercise, similar movements surfaced repeatedly at the same musical moments, suggesting that the body naturally gravitates toward particular shapes, directions, and energies in response to specific musical material. To enhance this example, a photo of the matching moment from the performance is compared side-by-side. This phenomenon aligns with the Eurhythmics concept of Plastique Animée. According to the article, “Le Collège de l’Institut Jaques-Dalcroze” by Dr. Karin Greenhead, Plastique is described as “the realisation in movement by an individual or a group of a piece of music: ‘making music visible.’”206 In Plastique Animée, movement is used to interpret and physically embody music and its essence. It becomes a kind of “living analysis in real time,” offering a visible manifestation of how music is perceived, felt, and understood.207 These repeated gestures 206. Karin Greenhead, “Theory and Practice of Dalcroze Eurhythmics: Le Collège de l’Institut Jaques-Dalcroze,” L’Identité Dalcrozienne, (2004): 19. 207. Karin Greenhead, “Theory and Practice of Dalcroze Eurhythmics,” 20. 90 are not arbitrary but arise because they are the most physically and emotionally congruent way to express the music in that context. In this way, the findings of NIM are naturally linked to the ideas of Plastique. Figure 8 is an example that features a rehearsal segment in which I appear as the singer, working with my frequent pianist collaborator. Figure 8: NIM Example 1 shows that I exhibited a forward-moving gesture while twirling a scarf in an upward motion at a key phrase, while he responded with a bold, cross-body downward swoosh (see Figure 8). Though not identical in form, our gestures expressed a shared quality of momentum, urgency, and directional energy. In the performance photo underneath the rehearsal stills, these qualities remain: I stand in a grounded, expansive stance with lifted arms and outward gaze, evoking longing and intensity; Figure 8: NIM (Nearly Identical Movement) Example 1 91 he leans forward in tension, echoing the rehearsal’s kinetic drive. The scarf, originally a rehearsal tool, is translated into a performance gesture that evokes space, elevation, and emotional reach. In Figure 9: NIM Example 2, four movements, swinging, pulling, heaving, and lifting, all show variations of upward motion. Even when our gestures varied in mechanics, they conveyed the same underlying dramatic intent. My arms demonstrate breadth, space, and lift. My gaze is forward and out. His gestures continue to show intensity, and his posture remains consistent. Though physically distinct, our movements share pointedness and emotional urgency. The performance photo mirrors these qualities. Figure 9: NIM Example 2 92 These examples suggest that through embodied rehearsal exploration, we developed a shared physical vocabulary that reflects how the music most naturally and expressively moves through the body. Through both Eurhythmics exercises, we achieved a better balance between self-focus and ensemble awareness. As reported in the 2020 article, “Exploring the Lived Experiences of Instrumental Ensemble Performers With Dalcroze Eurhythmics: An Interpretative Phenomenological Analysis,” Catrien Wentink and Liesl Van der Merwe state that Dalcroze rehearsal sessions for ensembles “made them aware of the other [musical] parts and of the relationship between their own part and the other parts before starting to rehearse together.”208 This mirrors our own growth, in which we became increasingly sensitive to each other’s phrasing, timing, and dynamic shifts as we progressed through the recital rehearsal process. Working with Laban Applying Laban Efforts during duo rehearsals enhanced not only the ensemble’s overall sound quality but also deepened shared interpretive expression. From the pianist’s perspective, practicing these movement-based exercises revealed benefits beyond the expected, such as improved relaxation and reduced tension in areas like the back, ease of phrasing, and a more engaged presence. While there were some limitations due to the pianist’s seated position, the benefits were clear: rehearsals became more dynamic, connected, and enjoyable. Through this process, I developed and tested additional exercises adapted specifically for the pianist, based on 208. Catrien Wentink and Liesl Van Der Merwe, “Exploring the Lived Experiences of Instrumental Ensemble Performers With Dalcroze Eurhythmics: An Interpretative Phenomenological Analysis,” Frontiers in Psychology 11 (2020): 11. The main goal of the article was “using Dalcroze Eurhythmics to prepare for a performance of the ‘Tango’ and ‘Charleston’ of the jazz ballet La revue de Cuisine by Bohuslav Martinů.” 93 Laban Effort principles. These proved to be valuable tools not only for the pianist’s own expressivity but for fostering stronger collaboration with the singer. In this rehearsal, we worked on Poulenc’s “Violon”, beginning with an intentionally blank slate. Without prior discussion of interpretation or historical context, I asked the pianist to describe the opening piano interlude (mm. 1–7) using the Laban Effort breakdown chart, focusing on Space (direction), Weight, Time (speed), and Flow. Using only musical cues, I posed a series of comparative questions: “Does this phrase feel Indirect or Direct?” (Answer: Indirect), “Heavy or Light?” (Light), “Sustained or Sudden?” (Sustained), and “Free or Bound?” (Free). This combination corresponds to the Effort quality Float. I then guided the pianist through a series of seated, exaggerated movements that embodied Float. He noted that while the exercise was interesting, the exaggerated motion interfered with his technique and felt more distracting than helpful. After adjusting the instruction, we shifted focus: rather than physically replicating Float, he applied float-like qualities to the emotional intent and sound production. This proved far more effective. The resulting tone colors and atmosphere evoked, in his words, a Hungarian nightclub (Bernac, 1978). In the following phrase (mm. 8–11), the vocal line enters with a contrasting energy. Through the same set of comparative questions, we identified Wring as the dominant Effort for the voice, though Press or Slash were also possibilities. Meanwhile, the piano continued with the opposing Effort, Float. Identifying and mapping these contrasting Efforts enriched our expressive clarity and enhanced the dynamic interaction between singer and pianist. To further clarify this process, the annotated score below provides rationale for each selected Effort and its interpretive function within the phrase structure: 94 Figure 10: Annotated Score, "Violon" (Poulenc), Example for Practice Companion Exercise 3 95 Textual Meaning and Musical Sound in Opposition There are moments in song literature where the surface-level meaning of the text differs significantly from its emotional truth, often revealed more clearly through the music. This musical compositional technique is seen typically in dramatic or emotionally charged contexts. When the music and text are in emotional opposition, a singer using Laban Efforts must decide to align their non-verbal choices with either the music or text, depending on their vision for allowing the drama to unfold. A compelling example of this interpretive tension appears in Libby Larsen’s (b.1950) “Jane Seymour” from the song cycle Try Me, Good King. The text presents Jane Seymour, one of King Henry VIII’s wives, joyfully embracing her newborn son while giving thanks to God. She follows this with a sweet nursery rhyme that reflects her deep love and relief as a mother. Yet, the music contrasts sharply with the cheerful words. It has a breathless, delicate quality, suggesting a woman who is fighting for her life, eventually fading into a haunting, wordless hum. The text alone would not indicate her immediate and impending death. However, the music illustrates that truth. In the opening section of “Jane Seymour,” the music is initially congruent with the text. However, a piano interlude between the moment she welcomes the child and the start of the lullaby introduces a foreboding tension. The interlude builds and crescendos, depicting her decline with each labored breath and musical gesture. It is only at this point that the audience becomes aware of the deeper reality. One artistic approach is for the singer, using Laban Efforts, to foreshadow this truth from the beginning, introducing a visual contrast that creates interpretive tension. Conversely, if the singer’s non-verbal communication simply mirrors the tone of the text and music early on, the emotional depth of the scene may remain hidden. 96 To navigate this tension, the singer might employ different Efforts for voice and body. This layered approach as referred to by authors Ewan and Sagovsky in Laban's Efforts in Action, as an Effort Duo, involves applying two distinct Efforts simultaneously.209 This technique enables greater expressive nuance and facilitates a more nuanced portrayal of character, thereby enriching the overall interpretation. Working with BMC® Bonnie Bainbridge Cohen’s BMC® approach offers a valuable framework for recital preparation. Each body system carries inherent emotional qualities and psychological associations, which Cohen identifies as, “key emotional cues for organs and systems.”210 When the performer consciously activates the qualities of a particular system during the stillness and silence between songs in the performance, they embody the emotional essence of the piece before the first note sounds. This creates a subtle, non-verbal continuity that draws the audience into each song’s world with greater immediacy. The body becomes both the canvas and the vehicle for expressive storytelling. Aligning the body system with the emotional core of the next song allows the performer’s physical presence to initiate the storytelling before any sound is produced. These brief somatic preparations create smoother emotional transitions between songs, even when the program contains contrasting texts or styles. As a result, the audience experiences a continuous, cohesive performance despite the absence of overt narrative links. 209. Ewan and Sagovsky, Laban’s Efforts in Action, 201. 210. Cohen, Sensing, Feeling, and Action, 38. 97 Table 2 presents an analysis that links art song themes and performance outcomes to BMC® body system concepts, as described in Sensing, Feeling, and Action.211 It offers an entry point for exploring the integration of BMC® principles in art song interpretation. It serves both as a reflective conclusion to the project and as a practical guide for performers (see Table 2). 211. Cohen, Sensing, Feeling, and Action, 2-17. 98 Table 2 LINKING BODY SYSTEMS TO ART SONG THEMES AND PERFORMANCE OUTCOMES BMC® Concepts Corresponding Art Song Themes Performance Outcomes 1 Skeletal system: ▪ “the mind is ordered” ▪ “supports thoughts” ▪ “joints for moving ideas” ▪ “space for articulation” Contemplative, Meditative, A Commentator to the Action, or A Narrator Point-Of-View Calm Precision, Emotion Is Contained, Not Overwhelmed, Deliberate Holding/Revealing Of Information, Fully Engaged 2 Ligamentous system: ▪ “set boundaries for movement” ▪ “direct paths of movement” ▪ “specificity, clarity, and efficiency for bones and organs” ▪ “focus, and concentration to detail” Inner Resolve, Intricate Complex Text Settings, Internal or Rhetorical Monologues Not Indulgent, Without Hesitation, Deliberate Progression, Tracing Intentional or Direct Special Paths, Clear Beginning and End 3 Muscular system: ▪ “three-dimensional grid for balanced support” ▪ “moves bones with elastic forces” ▪ “vitality, express our power” ▪ “resistance and resolution” Dramatic Contrast, Moving From Restraint to Letting Go, Dignity, Power, Strength, Struggle With Resolving Clarity Tension Without Rigidity, Intensity With Resolution, Knowing When to Push and Pull, Balanced Emotional Layering, Projecting Power Through Movement 4 Organs system: ▪ “survival functions” ▪ “contents of the container” ▪ “full-bodiedness” ▪ “natural environments of our emotions, aspirations, memories, and reactions” Highly Emotional Text, Longing, Deep Personal Memory, Primitive, Instinctual Drive, Spiritual or Existential Anchored Strong Emotional States, Protective Gestures, Instinctual Response, Not Structured, Fully Immersed 99 BMC® Concepts Corresponding Art Song Themes Performance Outcomes 5 Endocrine System: ▪ “surges” ▪ “explosions of chaos/balance” ▪ “crystallization of energy into archetypal experiences” ▪ “underlie intuition” Passion, Urgency, Sudden Change in Emotional State, Dramatic Self-Realization, Visions, Love and Death Forward Motion, Intensity, Impulsivity, Collapsing, Awakening, Sharp Dynamic Shifts 6 Fluid system: ▪ “interplay between stillness and action” ▪ “transformation” ▪ multi-expressions in one flow” ▪ “support, continuity, and trust” Nostalgia, Grief, Awakening, Revelation, Dreams, Madness, Acceptance and Inner Peace Emotional Softness, Flow, Internal Spaciousness, Suspended Gestures, Multi-Layered Expression, Subdued Momentum 7 Skin: ▪ “defining us as individuals by separating us from that which is not us” ▪ “first line of defense and bonding” ▪ “sets our general tone of openness and closedness” ▪ “invaded and protected” Longing For Connection, Self-Discovery, Isolation, Vulnerability In Love, Cautious Love, Emotional Guardedness and Risk, Attachment Searching Eye Focus, Tentative and Expansive Physical Shifts, Minimal and Inward Focus, Exposed Gestures and Orientations, Sensitive and Subtle Articulations 8 Mouthing: ▪ “establishes the head as the major extremity to search, guide, and lead the rest of the body” ▪ “the body becomes bisymmetrical” ▪ “the first extremity in the infant to reach, grasp, release, and have desire and an opinion” Emotional emergence, first contact, curiosity, will, infatuation, playfulness Projecting bottled emotional states, breath-led action, delicate and deliberate expression, alert, direct and assertive 100 Sample Practice Log Table 3 SAMPLE SOLO REHEARSAL INCORPORATING THE PRACTICE COMPANION EXERCISES Part I Body Warm Up 1. Stretch out the body. Focus on hips, hamstrings, shoulders, neck, and reach all directions. (Approximately 3 minutes.) 2. Breathing exercises: exhale on [ts]212 sound for as long as comfortable; repeat three times, challenge the exhale to increase at each repetition. (Aim for 30 – 50 seconds.) 3. Complete a body scan — where are the parts of greatest tension, flexibility? How am I doing mentally, physically, emotionally, and overall? 4. Make a note of the repertoire or techniques to practice for the session. Have a focused goal and stay on target. 5. Use BMC® rotating heart (Practice Companion Exercise 5) through a breathing exercise — long exhales while envisioning the lengthening in the diaphragm, rotating the heart on its axis as the lungs have counter movement. Take note of the emotional state, and any thoughts or feelings that arise from these sensations. Vocal Warm-Up Vocalise # 1 Aim for expressive freedom and refinement of sound: 1. Use appropriate Laban effort (Practice Companion Exercise 4) for the current vocal state (e.g. PRESS for onset coordination to ensure appropriate vocal fold closure; FLOAT for when the voice is already warm and the goal is to achieve fine edge vocalizing.) Add in the Spectrogram Pro for optimal feedback. 212. [ts] notation, and all other letters within a bracket use International Phonetic Alphabet symbols to describe word-sounds. (e.g. [i] is pronounced like the first vowel sound in the English word ‘cheese.’). 101 2. Continue moving up the piano to higher keys, adding in Eurhythmics’ walking and singing (Practice Companion Exercise 2)— imagine the voice filling the room, the movement informs the sound, and vice versa. 3. Incorporate BMC® concept (Practice Companion Exercise 6)— sing from a specific body system or organ (i.e. more fluidity and expression from the Fluids; access higher pitches through envisioning ligaments’ ground resistance push/pull motion, or the sound emanating and flowing from the rotating heart). Vocalise #2 Aim for character driven sound and clean vocalisms: 1. Choose Efforts that match the sound and character. For example, use DAB in Laban to inspire both the character (e.g. Jubilant teenager in love) and the vocalisms (i.e. clean staccato and smooth transitions between vocal registers). 2. Continue by adding Eurhythmics’ (Practice Companion Exercise 1) visualized phrasing concepts by using arms/hands to depict the shape, color, and direction of the vocal phrase. Let it be informed by the character established from Laban Effort, and the sound, in turn, inspires new movements. 3. Add in the BMC® concept (Practice Companion Exercise #6) of moving from a specific body system or organ by identifying which part the sound and character are living in (e.g. in the jubilant teenager in love, moving from the hips and knees to show both love and clumsiness.) Part II Applied Studies 1. Complete any combination of the 6 Practice Companion Exercises that best align with the goals for the practice session. Make notes and complete reflections where applicable. EXAMPLE 102 a. For text work, use Practice Companion Exercise 5. b. For interpretive storytelling decision-making work, use Practice Companion Exercise 3. 2. Trouble Shooting — Identify a challenging vocal passage to address. Apply the concepts from all three movement studies to improve the passage. Make note of the vocal breakthroughs, encouraging thoughts, and useful tools that address the technical problem. Consider how the leading concept can be applied to the overall presentation physically and apply to the duo. Make notes on this so it can easily be described to the collaborative partner. EXAMPLE: Musical Phrase The opening two phrases of “C’est l’extase langoureuse.” The Challenge To keep consistent resonance and vibrancy. Specific methods from the Practice Companion Exercises which made the most significant improvement Laban PRESS and GLIDE in conjunction with BMC® moving from the Ligaments, offered enough physical and mental stimulus to inspire the desired vocal production, which matched with the gesture and mood created. Note for the Pianist “Think of this phrase as a hidden energy that seeps out, under immense pressure. The character is both divulging and withholding.” Case Study: A Group Vocal Lesson This Case Study provides documentation for the application of the Practice Companion exercises and its outcomes within a group vocal lesson setting. The outcomes and methods were documented through self-reflection at the conclusion of the lesson, which have been reformatted from journal notes to fit the style of this document. *** 103 In an informal 90-minute session, I worked as a vocal coach with a five-member co-ed high school A Cappella jazz group preparing the piece “Don’t Mean a Thing.” The group consisted of two sopranos, an alto, tenor, and bass. Initially, they lacked blend, dynamic balance, and a unified stage presence. Rather than using traditional vocal pedagogy, I shifted quickly to movement-based exercises, which proved to be highly effective. We began with a Eurhythmics-inspired “Walk and Sing” activity, where they moved freely around the room while singing five-note patterns on a blended [u] vowel. This exercise immediately improved ensemble cohesion, listening skills, and tonal balance. Adding eye contact and a playful challenge to avoid looking at the floor increased their engagement and trust. Next, we adapted the “Phrasing with a Ball or Scarf” exercise by having them physically gesture their vocal lines in a circle. This helped clarify individual roles within the harmonic texture, leading to new insights such as the tenor and bass discovering their unique descending motif. To address performance presence, I introduced the Laban Efforts by holding up a list of the eight movement qualities without explanation. When asked to sing “like Flick,” their vocal delivery dramatically improved, and they were more unified in tone, pitch, breath, and diction. Encouraging free movement during these exercises further energized their performance and reinforced individuality within group cohesion. We applied these strategies to specific phrases, shaping vocal balance and interpretive choices through movement. For example, referencing earlier exercises helped them quickly correct dynamic imbalances. In the final minutes of the lesson, we explored simple Body-Mind Centering® concepts by adjusting group formations, observing how spatial relationships influenced vocal blend and interpretation, and how they each perceived each other. I instructed 104 them to be open to observing one another’s physical presence, and to allow their personal perceptions influence their reactions. This session demonstrated that movement-based practices, especially those drawn from Eurhythmics, Laban, and Body-Mind Centering®, can be powerful tools for young singers, fostering both technical improvement and expressive confidence in a short amount of time. Reflection: Application to Lecture Recital Preparation Through reflective journaling and rehearsal trials, the following illustrations show a summary of the rehearsal techniques and concepts that I used most prominently to craft the performance at my lecture recital. These visuals were originally displayed on an overhead PowerPoint screen during the recital portion of the lecture-recital, visible only during the opening phrases of each song. Their purpose was to offer audience members a brief glimpse into the interpretive journey, revealing how specific artistic choices were developed and realized throughout the rehearsal process. Their inclusion here is valuable as a case study for applying the Practice Companion exercises to the song recital preparation process (see Table 4). 105 Table 4 EXERCISE CONCEPTS USED FOR EACH SONG IN LECTURE RECITAL PERFORMANCE 106 107 108 Chapter Five: Conclusion Summary Exercises and Practical Applications The Practice Companion offers solo and duo rehearsal exercises that equip performers to engage the body as an essential instrument equal in expressive power to voice, music, and text. The practical application findings suggest that first, expressive singing is most fully realized when body and voice are integrated. Notably, vocal technique serves the art movement, and the movement, in turn, refines the technique. Second, Bodymind rehearsal practices help performers organically access the subtext, motivation, and gestures that bring music to life. And finally, the often-overlooked role of the body as a communicator in the singer-pianist partnership is reimagined here, with practice exercises designed to support shared storytelling on stage. This matters because the song recital demands a particularly nuanced balance of vocal, poetic, and dramatic musical expression. This project offers structured, repeatable tools to support performers in the recital preparation process. Below is a printable poster-style PDF version of each exercise that presents the Practice Companion in the physical form of a hands-on resource. These poster-style versions are designed to live in the practice or voice lesson room: 109 Figure 11: Exercise #1 – Poster-Style Version 110 Figure 12: Exercise #2 – Poster-Style Version 111 Figure 13: Exercise #3 – Poster-Style Version 112 Figure 14: Exercise #4 – Poster-Style Version 113 Figure 15: Exercise #5 – Poster-Style Version 114 Figure 16: Exercise #6 – Poster-Style Version115 Applied to the context of song recital, somatic practices help performers uncover subtext, motivation, imaginative gesture, and interpretive nuance within the text and music. By integrating movement-based methodologies, the Practice Companion reimagines conventional singer-pianist rehearsal structures, providing exercises that support collaborative storytelling in performance. Table 5 shows the list of Practice Companion Exercises. Table 5 LIST OF PRACTICE COMPANION EXERCISES Methodology Exercise # Exercise Name (Eurhythmics) EXERCISE 1 Walk and Sing (Eurhythmics) EXERCISE 2 Phrasing with a Ball or Scarf (Laban Efforts) EXERCISE 3 Creating Narrative with Mapped Efforts (Laban Efforts) EXERCISE 4 Exploring Vocal Expression Through Laban Efforts and Spectrogram Pro (Body-Mind Centering®) EXERCISE 5 Poetry Recitation and ‘The Rotating Heart’ (BMC®) (Body-Mind Centering®) EXERCISE 6 Exploring ‘The Body Systems’ (BMC®) Through Art Song Early Integration The body should take an active role in the preparation process, starting with song selection. When evaluating whether a piece is a good fit, singers often consider vocal range and tessitura. Embodiment adds another layer by encouraging the singer to speak the text aloud while moving, allowing them to sense how the character and language resonate physically and emotionally. This early engagement helps determine not just vocal suitability, but also emotional connection, allowing the singer to more readily enter the world of the song and discover its unique meaning. 116 Voice Lesson Integration Teachers often implore singers to use imagination and visualization “as perceptible as sound”213 to fuel musical ideas. Internationally recognized voice teacher Richard Miller asserts that, “artistry in singing is acquired by practice (habit) just as is technique.”214As Miller suggests, artistry is something to be nurtured. Artistic expressions are directly linked to the body, as they must be projected and externalized.215 However, voice lessons rarely incorporate the concept of body as it relates to embodiment and generating artistic vision. Teachers often emphasize the role of the body concerning the mechanics of vocal production, or its natural responses to music,216 such as how we naturally gesticulate when speaking. The body’s role in the mechanics of singing is undoubtedly essential for the performer. However, this project suggests that the role of the body in artistic creation and recital preparation must begin as early as the voice lesson. This project finds ample evidence of direct benefits for incorporating embodied movement exercises alongside vocalises in traditional instruction. Another advantage is that, when working with the teacher, the performer establishes patterns of practice that tend to be the ones they later replicate during their self-guided practice sessions. Therefore, incorporating embodiment movement practices into vocal instruction is advantageous for establishing habits that allow for the fullest possible access to one’s faculties for artistic expression. This teaching approach actively includes the body as a vital part of artistic expression. 213. Miller, The Structure of Singing, 204. 214. Miller, The Structure of Singing, 197. 215. Miller, The Structure of Singing, 201. 216. Miller, The Structure of Singing, 200-201. 117 Future Directions There are several embodiment-based methodologies that could be meaningfully integrated into this Practice Companion to further support the recitalist’s development. Among the most impactful are the Alexander Technique, Roth Rhythms, Michael Chekhov’s acting methods, and Stanislavski’s approach to performance. Expanding the Practice Companion into a structured workshop for university-level students, particularly those studying voice performance or collaborative piano, would offer a dynamic and experiential way to explore art song in a masterclass setting. These foundational ideas could also evolve into larger-scale Workshops or Festival Masterclasses, such as those offered at summer programs focused on collaborative arts for voice and piano, including initiatives like The Collaborative Piano Institute.217 A long-term goal for this project is seeing embodiment practices incorporated at each level of training from the voice lesson to duo coaching, to the masterclass. The Practice Companion can expand with more input from those who instruct these methods. Due to their strengths in vocal pedagogy and performance practice skills, voice teachers could contribute more adapted exercises from embodiment-based practices. The Practice Companion and its applications could also adapt into a digital resource, expanding to feature video tutorials and journaling capabilities. Further expansion is possible through making the rehearsal process part of the product or final performance material. Popular media has shown favor to ‘behind the scenes’ or ‘how it’s made’ material as entertainment and education. Filming the rehearsal exercises for presentation at the final recital could be adapted not only to recital performances but also to collaborative music festivals such as Song Fest, 217. See https://www.collaborativepianoinstitute.org/. 118 whose innovative approach to art song performance has attracted world class teachers and students. 119 Bibliography “Dr Karin Greenhead.” Dalcroze UK (blog). Accessed July 14, 2025. https://dalcroze.org.uk/dr-karin-greenhead/. “Joanna Cazden.” The Fitzmaurice Voice Institute. Accessed July 11, 2025. https://www.fitzmauriceinstitute.org/teacher-gallery1/joanna-cazden. “Lisa Clughen.” Accessed July 14, 2025. https://www.ntu.ac.uk/staff-profiles/arts-humanities/lisa-clughen. 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Udell, Ashlen Sprague. “Effect of Laban Movement on Gesture Recognition and Response of Seventh- and Eighth-Grade Band Students.” ProQuest Dissertations & Theses, 2025. https://go.exlibris.link/h9nkbftQ. 125 Wentink, Catrien, and Liesl Van Der Merwe. “Exploring the Lived Experiences of Instrumental Ensemble Performers with Dalcroze Eurhythmics: An Interpretative Phenomenological Analysis.” Frontiers in Psychology 11 (2020): 336. https://doi.org/10.3389/fpsyg.2020.00336. Yontz, Timothy Gene. “The Effectiveness of Laban-Based Principles of Movement and Previous Musical Training on Undergraduate Beginning Conducting Students’ Ability to Convey Intended Musical Content.” ProQuest Dissertations & Theses, 2001. https://go.exlibris.link/GtB49XhN. 126 Appendices Appendix A Annotated Score, Exercise 6, The Transition Between Unrelated Songs
Thesis/Dissertation
eng
Music - Voice
Vancouver : University of British Columbia Library
Attribution-NonCommercial-NoDerivatives 4.0 International
Graduate
Raftery, J. Patrick
VanHandel, Leigh
Beyond the music : an embodiment-based approach to song recital preparation—integrating, eurhythmics, laban, and bmc®
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Moving Image