IMAGERY IN TRAINING SINGERS
IMAGERY IN THE TRAINING OF SINGERS this document is the sole copyright of Nicola Harrison 2017. No part of this document may be used or reproduced in any form without prior permission of the author.
We use imagery in our teaching and if we find that it works, we continue to use it. Despite its widespread use in teaching singing, it has remained largely undefined and unexplored either scientifically or anatomically.
The Embodima project aims to explore the use of imagery in singing, ensure that, if used, it is anatomically effective, and hopefully bring singing teachers together to share findings, discoveries and experiences with each other.
What the Embodima project was set up to do:
- Look at widespread use of motor imagery in other disciplines – sport, medicine and music, when imagining an action is overtly physical, such as running, playing a violin, imagining movement in an affected limb.
- Try and understand the use of motor imagery in singers when the muscles are deep and not seen or felt.
- To assess which imagery is helpful, and which is anatomically misleading.
- To open the debate on this immense, unexplored subject.
The Embodima project has been set up to try to explore this process and to share these early explorations with colleagues and singing teachers in the hope of opening the debate, sharing ideas and working towards:
A. A better understanding of how imagery works in singers.
B. The evolution of a language of (safe, anatomically based) images such as are used in all other training/sporting disciplines that can grow from the shared experience of us all.
C. To offer educational days with a strong practical basis, from top experts in the field to further learning about brain, body and the effective use of motor imagery in singing teaching and performance.
D. To approach this fascinating subject with an open mind.
To share ideas, ask questions or express interest in future events, please use the contact form.