Body Mapping & Vocal Technique - 1

Body Mapping Your Choir to Promote Healthy Vocal Technique

Benjamin R. Rodgers

Master’s Project

Completed in partial fulfillment of the degree Master of Music Education

VanderCook College of Music

July 2009

______________________________________
Joe Martorano – July 2009
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Abstract

This project is designed to offer exercises for choral directors to develop body

awareness in their students. This awareness will, in time, encourage healthy vocal

technique. Using the Body Mapping method, which is derived from the Alexander

Technique, we can educate the brain as to what senses it should have throughout the

body while singing. One’s body map is how they perceive the movements, size, and

shape of their body. To obtain a correct body map we must develop the kinesthetic

sense.

The use of pictures, guided exploration of movement, aerobic balls, balance

or wobble trainers, or lying in supine or semi-supine position are all great ways

directors can utilize to begin to develop one’s body map. Body Mapping is a

successful method to teach healthy vocal technique to a mass setting.

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Introduction

Statement of the Problem

Picture yourself in a choral rehearsal when all of a sudden some of your

sopranos and/or tenor’s tone instantly becomes tense and pinched. As teachers, we

probably would not stop rehearsal to give an impromptu vocal lesson to our

individual students while the rest of the class mindlessly drifts into boredom due to

the waste of time. It has been my experience that it is extremely difficult to teach

vocal technique and healthy singing in a mass large choral ensemble. The nature of

an ensemble does not lend itself to individual one-on-one teaching that is normally

associated with the specifics of vocal technique. However, by using a method known

as Body Mapping, we can facilitate building a singer’s body awareness that will

promote healthy singing habits. Body mapping is useful because it can be taught in

a group setting without becoming too wrapped up in anatomical and vocal

technique jargon.

Vocal technique is a phrase that encompasses the happenings in one’s body

during the process of phonation, specifically singing. Healthy vocal technique is

difficult to teach due to the fact that, unlike an instrumentalist, we cannot visibly see

the instrument. The vocal mechanism is a complex and fragile instrument that

demands care when being used. During a 1993 survey of musicians attending the

Benjamin T. Rome School of Music, 76% of those surveyed claimed to have music

related injuries that prevented them from playing or singing for periods up to two
 Body Mapping & Vocal Technique - 4
weeks (Buchanan 2005). Similar to instrumentalists, vocalists can permanently

damage their vocal folds to the point where singing is no longer possible for the rest

of the singer’s life.

When vocal damage occurs, the treatment is often lengthy periods of vocal

rest with plenty of fluids. The technique of Body Mapping, which is derived from the

Alexander Technique, is a less-known approach to body awareness designed to give

individuals the needed tools to develop proper body alignment needed to allow

their voice to function in a healthy manner. ‚Body Mapping is the conscious

correcting and refining of one's body map to produce efficient, graceful,

coordinated, effective movement‛ (2004, ¶ 4). Your body map is how your brain

perceives the movements, structures, and size of your own body. Students who

work to correctly map their body and vocal mechanism may be less likely to

develop vocal issues due to singing.

To examine this issue, the project will address the following questions:

 Why teach Body Mapping instead of the Alexander Technique?

 How will mapping the skeletal structure, breathing process, and vocal

mechanism promote healthy singing?

 What terminology could be used to better encourage proper movement and

alignment?

 What tools or resources are available to aid in the teaching of body mapping

in the classroom?
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Our skeleton is designed in a way that it can support itself when properly

aligned without the use of muscle. Body mapping allows our bodies to work as

efficiently as possible which enhances our musical capabilities.

Review of Literature

Alexander Technique

To understand Body Mapping we must first study the Alexander Technique.

Frederick Matthias Alexander (1869-1955) was an Australian actor who often found

himself with a hoarse voice after he performed. Upon consulting vocal teachers and

doctors they advised him to go on vocal rest, a period of little to no speaking and

plenty of water. After being told repeatedly to practice vocal rest while still losing

his voice, he decided to take charge and find his own solution (Gelb, 1994).

Alexander began to watch himself in a mirror while he recited lines and

noticed his muscles would tense while using his voice. Specifically, he noticed that

his head would pull back and down while the muscles in his neck would tense

(Williamon, 2004). From this point on he continued to observe himself and became

aware of how he used his body. His vocal health improved and his findings began

to gain interest from his acting colleagues and doctors of his time (Gelb, 1994). He

began teaching his technique to individuals in a very hands-on approach by

physically moving people to suggest proper movement. Alexander’s major concepts

in his technique are:

Primary Control: how we balance and support our body;

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Downward Pull: our created tension that interferes with our primary control;

Conscious Control: our ability to inhibit inefficient tension or movement.

(B. Conable & W. Conable, 1995)

Barbara Conable, a teacher of body mapping and certified Alexander teacher, and

former wife of William Conable, the founder of Body Mapping and certified

Alexander teacher, has taken Alexander’s concepts and placed them into two basic

principles:

I. Habituated tensing of the muscles of the neck results in a predictable

and inevitable tensing of the whole body. Release out of the tensing in

the whole must begin with release in the muscles of the neck.

II. In movement, when it’s free, the head leads and the body follows.

More particularly, the head leads and the spine follows in sequence.

(B. Conable & W. Conable, 1995, p. 2)

Alexander’s findings, along with these two principles are the basic building blocks

of body mapping.

Body Mapping

The body mapping process happens in the brain and facilitates healthy

movement when it is done correctly. If the map or ‚sense‛ of one’s self is incorrect,

then work is needed to re-map the body. Since body mapping is how we perceive

our body in our mind, it lends itself to public school settings simply because

teachers do not need to physically touch students to develop their body map. In
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today’s public school system, teacher/student contact is a very dangerous legal area,

and body mapping sidesteps this issue.

To obtain a correct body map we need to hone and tap into our senses.

Heather J. Buchanan, Director of Choral Activities at John J. Cali School of Music at

Montclair State University states that

…students of Body Mapping are trained to use and coordinate four of the six

senses: visual (sight), aural (sound), tactile (touch), and kinesthetic

(movement). The common absence of kinesthesia in the training of the senses

accounts for much of the ignorance of the relationship of this sense to the

others, in particular the kinesthetic-aural connection, which is paramount for

musicians. (Buchanan & Mehaffey, 2007, p. 115)

The kinesthetic sense is vital in how we move, perform, sing, and map the body and

must be developed when working towards a correct body map.

Posture. The most important body map needed is the skeletal structure and

spine for proper balance and alignment/posture. In order to create a free vocal

mechanism while singing, the body must have proper alignment with regard to the

skeleton, joints, and muscles needed to sing (Miller, 1996). Most habitual posture is

constructed in a way that creates excess tension from muscles that are not needed.

These troublesome habits directly affect one’s ability to sing efficiently. For example,

if the skull is not balanced on the top of the spine correctly, tension has instantly
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been created in the neck muscles which directly affects the larynx, vocal folds, and

other parts of the body (Miller, 1996).

The spine. The body is centered around the spine which is considered to be the

core of the body. Similar to an apple, the lumbar vertebrae of the spine supports the

weight of the upper body and is aligned towards the middle of the body due to the

natural curvature of the spine (Buchanan & Mehaffey, 2007). A common incorrect

mapping of the spine occurs due to the simple statement of ‚please sit/stand up

straight.‛ The spine is not straight, it is curved. If it was straight you would have a

broken back. The spine’s two most important bodily functions are bearing weight

and distributing weight. When breathing, the spine will gather during inhalation to

support the displacement of organs, and lengthen during exhalation which can give

a strong sense and awareness of support (Buchanan & Mehaffey, 2007).

The diagram at the right (see Figure 1), cited with permission from

GIA Publications for the book, The Structures and Movement of Breathing

(see Appendix A), by Barbara Conable, is a great visual of how our

skeletal structure appears when it is properly aligned. Notice the six major

joints which are perfectly aligned when the body is balanced: 1) balance of

the skull on the spine [atlas-occiputal joint], 2) balance of arm structure at

shoulder, 3) lumbar of the spine, 4) balance at the hip joint, 5) balance at

the knee joint, and 6) balance of ankle joint to foot. These six joints are
Figure 1.
frequently mis-mapped. Vocalist Janice Chapman discusses in her book, Singing and
 Body Mapping & Vocal Technique - 9
Teaching Singing, how muscular efficiency will not be achieved due to the fact that

‚the muscles which allow for this efficiency are all attached to other structures

which in themselves are affected by the basic posture of the singer (Chapman, 2006,

p. 24). The skeletal map will make or break the rest of the potential progress in the

body map of any musician.

Breathing.

Once a correct map of skeletal alignment is obtained, we must map the

breathing process. As infants, breathing is uninhibited with freedom and ease of

movement. As we mature, most people breathe in a way which inhibits this natural

freedom of movement that we once knew. ‚Healthy breathing depends on the free

movement of the ribs and the spine‛ (Free & Ramsay, 2004, p. 135). The breathing

process must function in unison where each specific group functions in it’s own way

to compliment the other.

During inhalation, the intercostals muscles inside the ribs contract and move

the ribs upward and outward. Simultaneously, the diaphragm contracts and

displaces the viscera downward creating more space in the upper body for the lungs

to fill. The diaphragm separates the respiratory and digestive systems, and it’s

movement creates a natural vacuum allowing air to rush into the lungs via the nose

or mouth and down the trachea. The abdominals must relax during inhalation to

allow space for the viscera to be repositioned. This entire process should happen

naturally and ideally all at once. Developing a kinesthetic sense of the movements in
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the ribs, mouth/nose, trachea, back, lungs, and abdominals is an essential

component to freeing the vocal mechanism (Conable, 2000). Patrick Macdonald also

states that ‚if you allow your ribs to move, as Nature intended, you will breathe

properly. What you have to learn is to let them move. Let is the operative word‛

(De Alcantara, 1997, p. 97). Breathing should not be something we ‚do,‛ it should

naturally happen on it’s own (De Alcantara, 1997).

Vocal technique.

The vocal mechanism is a complex area of the body, and for a vocalist it can

be confusing or even scary to discuss. Many small and refined muscles come into

play when we sing, and for many students, or ourselves, these muscles often do too

much to compensate for other needed muscles that are not properly engaged. We

can investigate the vocal mechanism once proper body alignment and the breathing

process have been mapped.

Barbara Lister-Sink, an accomplished pianist states that ‚technique is the

absolute foundation upon which our music-making rests. Lacking that essential

foundation, one risks losing the ability to make music freely and to serve humanity

effectively‛ (Lister-Sink, 2005, p. 19). In regards to vocal technique, Kenneth Miller

suggests that:

…your proper objective is to sing with a free tone, rather than to try

immediately to produce a beautiful tone. To make the production of a

beautiful tone your first objective is to put your primary emphasis in the
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wrong place. It will result, too often, in trying to sing with tension and an

unnatural sound, and such a lack of freedom will not allow you to refine your

singing enough as you continue your study. (Miller, 1983, p. 32)

He also continues to state that ‚any conscious attempt to control the action of your

vocal bands will only lead to constriction of your throat muscles, which will cause

you to sing less freely‛ (Miller, 1983, p. 33). To place this in another context, it would

be equivalent to lifting a heavy barbell from the floor using only your smaller arm

muscles when you should be using your bigger leg and lower back muscles. Too

much tension in the muscles of and around the larynx is deadly in terms of vocal

health and freedom. So how do we know when the laryngeal muscles and vocal

folds are free?

The previous mentioned kinesthetic-aural relationship is key when working

with the vocal folds. A vocalist, with proper awareness, can feel sensations in and

around their larynx as well as hear the changes in their vocal timbre and tone (Miller

1996). For many, it may seem easier to audibly detect a difference in tone than

detecting a difference in the feel of the instrument. Richard Miller also suggests that

we can see more of the instrument than most of us think, and we need to rely on the

kinesthetic, aural, and visual senses to work towards freeing one’s voice (Miller,

1996). Watching for small habitual movements in the facial and neck muscles can be

very telling. Gaining conscious control over these movements will be very

rewarding and helpful in freeing the voice.

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Rhetoric.

Language and terminology are extremely important when teaching students,

especially body mapping. Think back to your first kiss; remember the sensations and

feelings, and verbally describe the experience. Would your use of words be the same

as mine? Would they even be the same of your significant other, spouse, or the

person with whom you shared this kiss? More often than not, no one would describe

these sensations using exactly the same language.

However, when teaching we often use terminology in a manner that is too

strict and/or too general in it’s meaning. It is important when dealing with students

to let them describe, in their own terms, what they are feeling or sensing. Their

description may not coincide with yours, but it may describe the desired task or

sensation. Their terminology will make more sense in their mind. If we teachers

attempt to ‘correct’ their language, then confusion and mis-mapping may occur.

On the other hand, think about the term ‘relax’ and how many times we have

asked students to relax; too many to count for many teachers. Jane Ruby Heirich,

author of Voice and the Alexander Technique, states that people tend to relate the term

‘relax’ with a collapse of tall and aligned posture. She also suggests that using terms

like ‚release‛ or ‚soften‛ may be helpful in freeing up tension while still

maintaining good balance and alignment (Heirich, 2005). People who are

perfectionists or clear cut may use a more set or rigid vocabulary. This may cause
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inefficient use of the body which in turn creates excess muscle tension (Thurman &

Welch, 2000). The terms and words we choose to use are extremely important to the

success of body mapping.

Tools for application. The following ideas are methods, exercises, and tools that

can be used to assist the teaching of body mapping. Some people new to their

kinesthetic sense may not be able to feel or sense much at all (Free & Ramsey, 2004).

One of the most effective and simple exercises we can do to cultivate this sense is

constructive rest. Jane Heirich also refers to this position as the ‚Alexander Lie-

Down‛ position and explains that:

…supine means lying on one’s back, face looking upward at the ceiling, with

legs stretched out. Semi-supine implies that we are not completely supine,

and Alexander suggested bent knees in order to release the lower back onto

the supporting surface. The Lie-Down exercise is found to be a very effective

resting position, yet it is more than merely restful. Not only does it give us an

opportunity to undo the excess habitual tension of our daily lives, but it also

has the profound effect of reorganizing the head, neck, and spine. Therefore

it is restorative and ‘constructive’ as well as restful. (Heirich, 2005, p. 49)

While in this position it is also recommended to place one to two inches of books

under the head or skull to promote the healthy curvature of the spine (Heirich,

2005). In my personal teachings I have had choirs lying in a carpeted hallway, the

lobby of an auditorium, or even on a stage to let them experience constructive rest.

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While in my undergraduate studies at Central Michigan University, I learned

to use body mapping techniques through private vocal lessons. The following

techniques have been applied in my own teaching of students and private voice

students.

Constructive rest. In supine or semi-supine position, people can really map the

body in many different ways. One technique is to try and sense all of the muscles by

slowly becoming aware of the feet and mentally working up the body to your head.

This position is a great way to kinesthetically explore movement during the

breathing process. It may be easier to feel the expansion of the ribs and lower back

while lying in supine or semi-supine position. This simple exercise can be very

powerful for purposes of mapping.

Personal observations. Personal observations are helpful and powerful;

Alexander himself learned this way. Having students meticulously watch

themselves sing can create awareness of unwanted tensions that they may not be

able to feel, but can see. Mirrors are very helpful; full length for whole body

awareness and even small hanging mirrors for closer facial and laryngeal

observations.

Aerobic balls. Using aerobic balls of 65 -75 cm are very effective ways to help

students map the body. Lying draped over the ball on their stomach (so the lumbar

and thorax are supported by the ball) they may begin to sense a few things: 1) the

movement associated with breathing; 2) the lengthening and gathering of the spine
 Body Mapping & Vocal Technique - 15
during breathing; and the releasing of tension in the shoulders, back, and neck.

Students can also drape themselves on their back in the same manner to feel the

openness of the shoulders and rib cage. Overall, a great tool for mapping.

Balance devices. Devices that promote balance and work on the physical core

of the body are also useful to body mapping. Utilizing balance or wobble boards

and/or a small trampoline will help a student immediately become aware of their

bodily alignment and movement. Standing and balancing on a device of this nature

causes the body to properly align in order to stand free and tall. Singing from a

balance device can quickly relieve unnecessary tension throughout the whole body,

and immediately improve freedom in the voice.

Conclusion. To put it simply, ‚body awareness is essential to good singing‛

(Conable, 2000). Vocal technique should be taught in respect to the body as a whole,

since the entire body is a singer’s instrument. Body Mapping is a method that can

accomplish the teaching needed to provide healthy vocal technique. Through

awareness exercises, understanding the use and power of terminology, correct maps

of the body, spine, breathing process and vocal mechanism, and continually striving

towards efficient movement, students can become artistic, healthy musicians and

human beings.

Method

To test the validity of Body Mapping and its effect on a classroom setting, a

case study was developed to be completed in a four-week time span. This

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exploratory study was completed during a portion of each class period by all high

school choral students. The four-week plan was presented in a consecutive manner

always referring to previous lessons while weaving new information into the

student’s prior conception. A detailed outline, with defined terms, can be found on

page 17 of this paper. The students, upon conclusion of the study, completed a

survey to gain insight on the effectiveness of these techniques from their

perspective, (see Appendix B).

In addition to the four-week exploratory study, audio samples were recorded

to see if there was any audible difference in the voice after the techniques were

explored. Although 77 choral students participated in the study, twenty (20) high

school choral students were chosen at random (see Appendix C) and documented

through audio files before, during, and after the Body Mapping study.

Information Packet. All 77 students received a packet including written and

visual information regarding alignment, breathing, pharynxes, joints, and muscle

movement. Permission was granted by GIA Publishing (see Appendix D) to place

pages from Barbara Conable’s book entitled The Structures and Movements of

Breathing into the packet to be used during the study. The students used this packet

(see Appendix E) as a reference throughout the four-week study. Class time was

given allowing the students to individually work on their personal body maps while

referring to the diagrams and information found in the packet. This was a
 Body Mapping & Vocal Technique - 17
supplemental guide to help aid the students during the physical exploration of the

body mapping process and techniques being taught.

Four-Week Plan.

Below is the four-week case study with definitions directly following (see

Table 1). The student’s study of body mapping was completed in the following

manner and timeline:

Table 1. Detailed description of the four week case study.

Week 1 2 3 4
A) Skeletal Map: 6 Breathing Map: ribs, A) Alignment A) Alignment
points & Jaw Joint diaphragm, lungs, B) Breathing Map B) Breathing Map
Monday B) Stability Balls etc… C) Onsets: map C) Onsets: map
senses senses

A) Skeletal Review A) Alignment: Hip A) Resonance & A) Alignment

B) Map the Tongue: B) Breathing Map Placement B) Breathing Map
Tuesday Thumb Trick C) Onsets : map B) Mirrors C) Feel the Floor
senses C) Wobble Trainers D) Wobble Trainers

A) Map Review A) Wobble Trainers A) Alignment A) Mirrors

B) Map Pharynxes B) Onsets B) Breathing Map B) Wobble Trainers
Wednesday C) Mirrors C) Feel the Floor

A) Constructive Rest A) Constructive Rest A) Constructive Rest A) Resonance &

B) Stability Balls B) Stability Balls B) Stability Balls Placement
Thursday C) Onsets C) Onsets B) Wobble Trainers

Week in Review Week in Review A) Week in Review Total Package

B) Wobble Trainers
Friday
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 Skeletal Map: this process helps map one’s skeletal structure with proper

alignment of six major joints from one’s ankles to one’s head.

 Map of the Tongue & Jaw: using the above mentioned book, students explore

the size shape and movement of their tongue and jaw while referencing

images in their information packet. Paying close attention to senses of the jaw

and tongue will help in proper function and efficient use while singing.

 Constructive Rest: this process involves lying on one’s back and allowing one’s

muscles to relax which helps the spine and skeleton to align itself. One must

constantly be aware of senses around the body and joints of the skeleton. This

may be done in supine or semi-supine position.

 Stability Balls: also known as aerobic or exercise balls, one drapes themself

over the ball letting the ball support the upper body while staying contacted

to the floor with his/her knees. When done on one’s stomach, the spine is

allowed to lengthen and back muscles relax. This is also a great way to feel

and sense the movements in the ribs and lumbar of uninhibited breathing.

When performed on one’s back, this allows the thoracic cavity to open

allowing the arm structure to align in a more natural and open position.

 Breathing Map: correctly mapping the movement of the ribs, abdominals,

diaphragm, and viscera helps to free the breathing process allowing one to

breathe with efficiency like one did as an infant.

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 Wobble Trainers: standing on balance trainers works the core of the body and

forces one to find a place of alignment to stand. This also engages the whole

body which is a must for truly healthy and efficient phonation.

 Onsets: sensing all movement during the start of phonation is key freeing

one’s voice. Care must be taken to establish a clear map of one’s skeleton and

spine as well as the breathing process to ensure proper onset.

 Mirrors: mirrors allow students to use their visual sense as an aid to gain a

better kinesthetic sense. When used in body mapping exploration one may

gain a correct body map sooner.

 Resonance & Placement: mapping of the laryngeal, oro, and nasal pharynx are

essential to freeing one’s vocal tone and flexibility.

 Feel the Floor: like to wobble trainers, this exercise awakens the nerve endings

on the bottom of the foot allowing the rest of one’s body to stay engaged

while singing.

During this time, the method was presented in a cumulative way, always

reviewing previous lessons. Great care was taken not to verbally label sensations or

kinesthetic experiences the students were having during the process. People have

different descriptions of what they may be feeling, however, different does not mean

they are feeling anything incorrectly. The body may be working efficiently and free

while one’s description may not make sense to another. Verbal labels were used

sparingly if at all.
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Recordings.

The 20 students recorded for the study are all at different levels both vocally,

musically, and developmentally. The group consisted of both male and female

vocalists ranging from freshman to high school seniors. Some students still

struggled to match basic pitch, while others struggled greatly with self-confidence.

However, the Body Mapping process did help some students begin to break down

these barriers which can be heard from the audio recordings.

The twenty students were chosen at random to keep the collected data

unbiased. All enrolled names were placed on equal sized pieces of paper and placed

in a stocking cap. Twenty names were then pulled which led to the list of volunteers

for this case study which resulted in 6 men and 14 women. The complete list of

singers can be found in Appendix C including the student’s name, grade, and

gender.

The recordings were completed at three times during the study. All

recordings were completed with an M-Audio Microtrack II digital recorder. The

male students were asked to sing, by themselves, a D major scale in solfege followed

by a short melody entitled ‚Lift Your Voices‛ in the key of F major. The female

students were asked to sing individually an F major scale in solfege followed by

‚Lift Your Voices‛ in the same key. The initial recording (A) was completed before

the study began which gave a base of comparison before body mapping techniques

were introduced. The second recording (B) was completed in the same manner after
 Body Mapping & Vocal Technique - 21
the second week, or half-way through the study. The third and final recording (C)

was completed at the conclusion of the four weeks incorporating all the techniques

presented during the process.

Survey. The survey concluding the case study for all 77 students was

developed using a website entitled Survey Monkey (www.surveymonkey.com). A

ten question survey was created and completed online by the students during a class

period (see Appendix B). The survey was designed in a way that no questions could

be skipped before completion. The answers were also designed so students had to

make a choice whether they agreed or disagreed with the given question. They did

not have an option of being undecided or neutral on any given topic. The questions

were developed in this manner to try and obtain the most honest opinion of the

students involved.

Results

The theory that body mapping can improve vocal technique in a choral

setting seemed to ring true upon conclusion of the study. All recordings did not

display a significant change in vocal timbre or freedom, however some of them did.

The survey was very conclusive that most students felt Body Mapping helped free

the voice and establish healthy vocal technique.

Recordings. The audio files as a whole did not give much conclusive evidence

that the techniques improved overall singing. Out of the 20 singers only 7 students

displayed some significant audible progress with their voice. Only one of those
 Body Mapping & Vocal Technique - 22
seven success stories really had a drastic change from their initial and final

recording. However, none of the recorded students digressed throughout the

recording process, which is a positive.

Body Mapping Survey. The survey was created to get feedback from all

students who participated in the case study. Overall, the survey displayed that the

majority of students found Body Mapping to be a positive when applied to the voice

The complete survey results are listed below (see Table 2).

Table 2. Student survey results.

 Body Mapping & Vocal Technique - 23

Discussion

The purpose of this project was to tackle the issue of teaching healthy vocal

technique in a choral setting to a mass group of students. It was believed that by

teaching Body Mapping techniques one could promote healthy phonation without

delving too far into anatomical jargon. Body Mapping has been proven successful

through the case study, audio recordings, and student survey. One hundred percent

of students surveyed agreed that Body Mapping helped improve their overall vocal

technique. Body Mapping is a worthwhile and successful method to help teach the

voice to choirs as well as soloists.

The four-week process was great to observe. Students worked through the

concepts and material in their own minds and seemed to arrive at similar

conclusions of it’s worth and importance. Once they were presented with the
 Body Mapping & Vocal Technique - 24
general ideas, it was up to them to kinesthetically play around with their own

perceptions of movement and space. There was a great deal of information being

processed and learning taking place on an individual and personal level. As an

educator, it was enjoyable watching the ‘light bulb’ or ‘a-ha’ moments happen

throughout the process.

The recordings did show some improvement, but not as much as was hoped.

It was believed that through audio, one could really hear a drastic difference from

the beginning of the process to the end. A few students showed noticeable

improvement, however most did not. Perhaps a longer time frame for the whole

study would have given the students more time to tap into their body’s kinesthetic

senses. It was also difficult to determine how many people were taking the concepts

seriously and attempting to apply them to their singing. It would be very easy to

refute a concept just based on senses alone, because some concepts make you feel

weird or funny. Most people are not accustomed to getting out of their comfort zone

and furthermore, may not enjoy the different senses.

The recordings may have been skewed simply because many people have a

fear of solo singing. Knowing this common fear, it could be terrifying for students to

sing alone and be recorded with possible confidence and nerve issues. Self-

confidence and nerves will always play a part in solo singing no matter how much

support or praise a student receives. This simple human element may have played a

huge role in the quality of the recordings.

 Body Mapping & Vocal Technique - 25
The survey, at the conclusion of the case study was very telling. The students

were instructed before the survey to answer honestly in attempt to prevent data

from being skewed. The collected data seems viable especially since they could not

answer neutrally. If a similar case study was to be duplicated, one may want to

include more than ten questions. Questions of more detailed information relating to

the Body Mapping process may have been beneficial.

The study as a whole showed promise and success when implemented in the

classroom. It should be noted that these techniques are effective when they are

taught as a continuing process. The four week case study is simply a snap shot of

what ideally should be taught throughout an entire school year or one’s choral

career to be truly successful. The Body Mapping process will not be as effective if it’s

explored during a limited span of time as was done in this case study.

Due to the success of the study and collected data it is hoped that these Body

Mapping concepts will be presented at the Michigan Music Educators Conference in

2010 held in Grand Rapids, Michigan.

 Body Mapping & Vocal Technique - 26
References

Buchanan, H.J. (2005). On the voice: An introduction to body mapping: Enhancing

musical performance through somatic pedagogy. Choral Journal, 45(7), 95-101.

Buchanan, H.J. & Mehaffey, M.W. (Eds.). (2007). Teaching music through performance

in choir: Volume 2. Chicago, IL: GIA Publications.

Body Mapping. (2004). Retrieved June 25, 2008, from

http://www.bodymap.org/bodymapping.html

Chapman, J.L. (2006) Singing and teaching singing: A holistic approach to classical voice.

San Diego, CA: Plural Publishing, Inc.

Conable, B. (2000). The structures and movement of breathing: A primer for choirs and

choruses. Chicago, IL: GIA Publications, Inc.

Conable, B. & Conable, W. (1995). How to learn the Alexander technique: A manual for

students (Third Ed.). Portland, OR: Andover Press.

De Alcantara, P. (1997). Indirect procedures: A musician’s guide to the Alexander

technique. Great Britain: Clarendon Press.

Free, J., & Ramsay, N. (2004). Holistic bodywork for performers: A practical guide. Great

Britain: The Crowood Press.

Gelb, M.J. (1994). Body learning (Second ed.). New York: Henry Holt and Company,

LLC.

Heirich, J.R. (2005). Voice and the Alexander technique: Active explorations for speaking

and singing. Berkeley, CA: Mornum Time Press.

 Body Mapping & Vocal Technique - 27
Lister-Sink, B. (2005). Essential skills for promoting a lifelong love of music and

music making: Developing the fundamental skill: Healthful, injury-

preventive technique. American Music Teacher, 54(5), 18-23. Retrieved July 9,

2008, from the International Index to Music Periodicals.

Miller, R. (1996). On the art of singing. New York, NY: Oxford University Press.

Thurman, L. & Welch, G. (Ed.). (2000). Bodymind & voice: Foundations of voice

education: A revised edition (Vol. 3). United States of America: The Voice Care

Network.

Williamon, A. (2004). Musical excellence: Strategies and techniques to enhance

performance. Great Britain: Oxford University Press.

 Body Mapping & Vocal Technique - 28
Additional References

Barrett, C.E. (2006). What every musician needs to know about the body: Plan for

incorporating body mapping in music instruction. American String Teacher,

56(4), 34-37. Retrieved June 28, 2008, from the International Index to Music

Periodicals.

Conable, B. (2000). What every musician needs to know about the body: The practical

application of body mapping to making music (Rev. ed.). Portland, OR: Andover

Press.

Dayme, M.B. (2006). An argument for whole body and holistic approaches to

research and singing. Journal of Singing – The Official Journal of the National

Association of Teachers of Singing, 63(1), 59-64. Retrieved June 28, 2008, from the

International Index to Music Periodicals.

Gray, H. (1995). Gray’s anatomy (Rev. ed.). China: Barnes and Noble, Inc.

Jones, F.P. (1979). Body awareness in action. New York, NY: Schocken Books.

Jordan, J. (2005). The choral warm-up: Method, procedures, planning, and core vocal

exercises. Chicago, IL: GIA Publications.

Keenze, M. (2005). Voice pedagogy: Teaching breathing. Journal of Singing – The

Official Journal of the National Association of Teachers of Singing, 61(4), 371-377.

Retrieved June 28, 2008, from the International Index to Music Periodicals.

Miller, K.E. (1983). Principles of singing. Englewood Cliffs, NJ: Prentice-Hall, Inc.
 Body Mapping & Vocal Technique - 29
Miller, R. (2004). Solutions for singers: Tools for performers and teachers. New York, NY:

Oxford University Press.

Nelson, S.H. & Blades-Zeller, E. (2002). Singing with your whole self: The Feldenkrais

method and voice. Lanham, MD: Scarecrow Press Inc.

Nesmith, D. (2001). How body mapping and the Alexander technique will improve

your playing. International Musician, 99(6), 11.

Salaman, E. (1999). Unlocking your voice: Freedom to sing (2nd Ed.). London: Kahn &

Averill.

Schiotz, A. (1970). The singer and his art. New York, NY: Harper & Row Pub.

Stevens, C. (1994). Alexander technique. London: Macdonald and Co.

Ware, C. (1998). Basics of vocal pedagogy: The foundations and process of singing. United

States of America: McGraw-Hill.

 Body Mapping & Vocal Technique - 30
Appendix A – Permission to use Barbara Conable’s skeletal diagram

Hi Benjamin,
Thank you for your contacting GIA Publications, Inc. You may use the diagram free of charge for
your project as long as proper citations are included (which we know you will do). If your work is
ever published, you would need to contact us again to obtain additional permission. Please let me
know if you have any further questions. Have a good day.

Sincerely,

Nicole Zak
GIA Publications, Inc.
phone: 800-442-1358 ext. 33
fax: 708-496-3828
nicolez@giamusic.com
custserv@giamusic.com

On Jul 20, 2008, at 10:20 PM, brodgers80@yahoo.com wrote:

> To Whom it may concern;

> My name is Benjamin Rodgers and I am currently working towards a Master's of Music Education
at VanderCook College of Music in Chicago, Illinois. A research project is required to complete the
graduate program which is why I am writing you today.
> My project deals with the Body Mapping technique and how it can be taught in a choral setting to
facilitate healthy vocal technique. In my research I have come across the book entitled THE
STRUCTURES AND MOVEMENT OF BREATHING by Barbara Conable which is published by GIA.
On page 15 there is a fantastic skeletal diagram showing the major points of balance and I would like
to include this picture and reference it in my master's paper and project. I am asking permission, via
a written letter from GIA, to use this picture from your publication. It would be very beneficial to my
study and paper.
> Thank you for your time and consideration. I look forward to hearing from you. You can reach
me either via email or telephone if questions should arise.
>
> Sincerely,
>
> Benjamin Rodgers
 Body Mapping & Vocal Technique - 31

Appendix B – Student Survey Questions

1. Constructive rest is effective to freeing up the voice?

2. The stability ball helps to allow the spine and back muscles to relax and

align?

3. Mapping the jaw movement helped release muscle tension in and around the

vocal folds?

4. ‚Feeling the floor‛ and the use of wobble trainers helped to free the voice

and allow it to work properly?

5. Become kinesthetically aware of the breathing process and onsets of tone

were beneficial in freeing up your voice?

6. Watching yourself sing in a mirror was beneficial to finding alignment and

releasing unwanted muscle tension?

7. Mapping the resonance spaces (pharynxes) located in the head helped free up

the voice?

8. Mapping the movements of the tongue was beneficial in freeing tension

around the vocal folds?

9. Being aware of the 6 points of posture helps to free up the voice?

10. Overall, Body Mapping has improved your vocal technique and helped free

your voice?
 Body Mapping & Vocal Technique - 32

Appendix C – Random Choral Students for Recording Purposes

Last Name First Name Grade Gender

Bogner Brandon 10 Male

Bonter Anna 12 Female

Cain Jaime 9 Male

Domanski Sara 10 Female

Dulyea Stephanie 11 Female

Ingell Kayla 10 Female
Islas Christina 12 Female

Ives Randall 12 Male

Jensen Courtney 10 Female
Jensen Chelsea 10 Female

Lang Jayne 9 Female

Pascoe Samual 11 Male
Pocsi Molly 11 Female
Pocsi Stephanie 12 Female

Powell Taylor 11 Male

Prim Kristopher 9 Male

Rau Julia 11 Female

Stromquist Heather 9 Female

Williams Myranda 9 Female

Zimmerman Lindsay 12 Female

 Body Mapping & Vocal Technique - 33
Appendix D – GIA Permission for Informational Student Packet

Dear Benjamin,

Thank you for your email. For the educational research and purpose described in this email thread,
gratis permission is granted to reprint the pages from Barbara Conable's book as indicated below.
GIA stipulates that the © information and "Used by permission" be included in the credits of your
work. Best wishes on your project, and let me know if you have any questions.

Regards,
Sabina L. Lilly
Assistant Editor/Permissions

GIA Publications, Inc.

7404 S. Mason Ave.
Chicago, IL 60638
phone: 708-496-3858 x12
fax: 708-496-3828
sabinal@giamusic.com

Begin forwarded message:

From: GIA Customer Service <custserv@giamusic.com>
Date: April 20, 2009 9:12:19 AM CDT
To: Sabina L. Lilly <sabinal@giamusic.com>
Subject: Fwd: VanderCook Master's Project - Benjamin Rodgers

Begin forwarded message:

From: Benjamin Rodgers <brodgers80@yahoo.com>
Date: April 19, 2009 8:42:52 PM CDT
To: custserv@giamusic.com
Subject: VanderCook Master's Project - Benjamin Rodgers

Good Day,
My name is Benjamin Rodgers, and I am currently the choral director in Grant, MI. I am also
currently working on my masters in music education from VanderCook College of Music. I am
completing a case study on how teaching Body Mapping techniques can improve the overall vocal
technique of a choral ensemble.
Through this case study, I would like to copy some pages from the book entitled "The Structures
and Movement of Breathing" by Barbara Conable. With your permission, I would like to use the
following pages to assist my choral students during my case study for VanderCook. They are pages:
15, 18, 19, 40 & 41.
I would also like to include the pages as an appendix in my final paper which will be printed and
bound in VanderCook's library with all other projects of the 2009 Graduate class. Please let me know
if you will allow me to use these pages at your earlier convenience. Thanks for your time, and have a
great day!

Sincerely,

Benjamin Rodgers
Grant Vocal Music
 Body Mapping & Vocal Technique - 34

Appendix E – Information Packet used with permission from GIA Publishing

Body Mapping & Vocal Technique - 35
Body Mapping & Vocal Technique - 36
Body Mapping & Vocal Technique - 37
Body Mapping & Vocal Technique - 38
Body Mapping & Vocal Technique - 39