Those topics that I am presenting are tools used directly on fragile voices or for higher artistic purposes.

Last year I presented at the Symposium the rational underlying this pioneering of the general musculoskeletal system contributions to voice quality and voice production, it is yet into advanced biomechanics; in elite training practice it exists since I developed my practice and with identical procedures since 15/20 years. We got to the functionality of mobile segments and the stabiliser role of the neck and lumbar segment – containing the abs. So we changed from mobility/releasing of those two stable segments into anti rotary and movement regulators strategies while developing the three planes of motion of the mobile joints as to a model called joint by joint – Gray Cook and Michael Boyle. At PEVoC14 2022 I presented the sense, studies, dysfunctional biomechanics of these joints 👉🏻 consequences in voice yet established muscular contributions, so to show the at now proven interactions – you find it on YouTube or below in this page.
So last year here at the Voice Foundation Symposium 2023 I went deeper on the interactions – below in this page you have the link to the three abstracts presented.
This year I started showing the practical and outcomes of this work and interactions. It distance itself from usual body work practices for the mechanism based and specificity of the strategy and basis. It has since 15 years congruent and predictable adaptations and voice characteristics effects, the timings are the same as for physical therapies or training soft tissues adaptations. I will publish the two posters shortly, so come back to see them. For now you find the links to listen what you eventually saw in the posters or in the oral presentation on the unilateral training.
In the oral presentation The Unilateral Training in the Voice Studio – sorry- I had to be very technical and the short times did not permit me to better clarify in less specific terms the concept and how to of the proceeding. I am sorry, but not that much, it is for me a priority to show the not generic but absolutely kinesiologic basis of this, and how it is yet kinesiological and biomechanical a direction into the model that in the field we did not connect into its voice implications.

It was a pleasure and a honour to be at the Symposium again as a presenter and did my best to open this important discussion on very precise terms.

So here it is this 2024, as second time in a row, three abstracts presenter at the Voice Foundation Symposium 2024.
This year topics in the photos.
I am presenting on mechanism based/oriented way because it is how my practice is oriented since 15 years, still it is a practice and born to give options and healthy/effective career or voices to my clients. My work is the cross bridging of advanced functional biomechanics findings into the context of voice and their specific relevance to serve voice production and artistic voice, both spontaneous and technical.


Here, in the first three link some emblematic cases on refractory treatments or refractory training voices. In the videos description you find the link to some entire sessions so to see a bit of the work done and strategies applied.

The Unilateral Training in the Voice Studio the last two slides from the oral presentation – Resources and contact; my inexperience made me missing – give me singers and voices to work with, or something to sing… am not a presenter at core

In the below link those tools in artistic training. Unilateral training and word production pharynx constrictors training in artistic opera voice. The not clear point in the field now is how adaptations occur, in what timing and way. As all musculoskeletal system trainings you find first the real state of the system and then the gains by the training: in vocal terms you find all the not trained parts appearing at the same time of some better qualities, then in some months – at least six and usually nine- you definitely have the evolution of all the system in its possibilities of dynamics, extension, colour, stability, easiness, quality of the tone, expressive capacity, feeling of true voice to the singer or individual. The complete adaptations take longer and we talk about 2-3 years. It is not a long time for a singers’s life and career, and it is in line with all the finding in the field of musculoskeletal disciplines/treatments. I respect the singer desire to not present with the sound she had before our lessons, but you will hear from the six months mark and the successive evolution.

The abstracts for the Voice Foundation 52nd 2023 Symposium 👇🏻👇🏻

I am very open and actively looking for team collaborations, testing the model I am thinking and hypothesis about the way of interactions, as said many times it is a field not existent at now proving to be ready the times to open it. Let’s cross bridge and add this part of vocal system into basic science of voice.

Vocal system is into the body and into specific segments of the body, it uses muscles and structures having multiple functions, you know better than me probably on those, today we focus on the respiratory and vocal and postural functions with a joint to joint approach, and the questions are HOW THEY correlate in PRECISE terms? In here I would open a path, I hope, to more sophisticated thoughts and directions of researching and getting specific in WHAT HOW WHY WHEN of those correlations, and IF as an effect on the vocal system or a direct contribution SO to be the vocal system thought in a less narrow way. (I anticipate that I look at posture and overall all body as the environment in which the vocal system can operate and develop, we know it happens also the other way around, but I remain focused on this direction in here).
Lucia Cossu at PEVoC14 – from JOINTS AND VOICE: DOES VOICE PRODUCTION REACTS TO JOINTS DYSFUNCTIONALITY FAR FROM VOCAL TRACT? SOME CASES AND AN HYPOTHESIS on YouTube 👉🏻👉🏻 link

Cheers to all, see you next year or in other voice occasions. Good voice to all!