Very Happy to announce: three abstracts on three I have submitted have been accepted at next The Voice Foundation 52nd Annual Symposium in Philadelphia May 31- June 4 2023 https://voicefoundation.org/symp/
It will be a great 12 months as first time presenting my work both at PEVoC14 and at the Voice Foundation. Very grateful, honoured, profoundly happy and I cherish to get to Philadelphia and meet all the amazing authors and researchers in there.
Thank you all who have supported me in this time of developing and researching, to all my students amateurs or professionals who have inspired me with our proficuous work, it is an amazing news for voice innovation and biomechanics at artistic service to be present in the major Symposium on Voice and at a prestigious international Conference as PEVoC during the same 12 months; and I am honoured to be the bridge to implement it into artistic voice and singing.
Here the presentation (the two workshops will not be published) at Pan-European Voice Conference PEVoC14 on the central topic of how body’s joints far from vocal tract are directly implied into voice production and development. Does posture relate to voice? Yes but the how is the conundrum and I am opening since some years a path toward a rationale unifying all the practices with what science and research says about the subject and how to implement it in vocal practices for vocal health, voice development and training, career and artistic research and achievements, for amateurs. For confidentiality reasons the two one hour long workshops will not be published but I will publish some practices and exercises. At the end in the video you find my notes, this is just a path toward a model of voice including the interrelations of overall body (big box) on vocal system (small box into the big box). It does not pretend to be complete or correct in all its sides, just a useful work model that has helped in more than ten years my practice and students and general population and voice teachers and singers and that has a solid scientific background and confirmation. Enjoy.
JOINTS AND VOICE: DOES VOICE PRODUCTION REACTS TO JOINTS DYSFUNCTIONALITY FAR FROM VOCAL TRACT? SOME CASES AND AN HYPOTHESIS Copyright all rights reserved Lucia Cossu 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 know it is more precise the more restricted a system is, but if we get specific we can expand). I think of it as a big box and a smaller box, being the smaller the vocal one, the smaller is into the bigger, they are independent in some ways, share some parts and even something more tricky as the cervical segment, as we will see what this can mean in the joint by joint approach. (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).
From static alignment and managing the breath air to compensate for a not naturally gifted voice to a dynamic alignment and an hypothesis on how asymmetries, defensive stiffnesses and joints dysfunctionality or underdevelopement can be directly worked and change directly voice production. Many methods exist to help body connection, relaxation of defensive veto, help alignement. They are useful and sometimes fundamental, what lacks is a systematic and rationale on the precise mechanism related to voice production, and if there is one. This is a presentation with some examples of work on Sacroiliac joint and transversus abdominis, examples that present a discontinuity in voice production, some with medical control of it and a couple with the level of performance achieved. I make an hypothesis of this specific relation using the joint by joint approach of M. Boyle and G. Cook, the functional findings on SI joint of G. Cook and B. Contreras, some insights from C. Weingroff and the fascia system as a suggestion of a worth field to research. I use their work because in physical therapies and athletes training the literature and research is vast and rich; the body is one and the biological rules and muscles kinetics do not change, then the joint by joint approach can give insight on how joints are reciprocally related. The defensive system will be presented as a blocking and braking system, sometimes a veto system and sometimes a decelarating and expressive system, and it is presented with an hypothesis of its muscular structure and gestures with strategies to manage it with positions and exercises. C. Weingroff says citing Dostal, Soderberg and Andrews ‘the hip musculature changes dramatically through various range of motion and some muscles can reverse their function depending on the positioning’, so no surprise that if a muscle reverse role in the SI tract the expiratories will be affected and they will affect the diaphagm etc. Here some links for a general view of the examples, in the presentation clips not publicly disclosed of the exercises will be presented. https://youtube.be/CLcL_buf9tc https://luciacossu.com/2016/09/13/cos… https:/youtu.be/OUH9sXqKjRw
Lucia Cossu Voice teacher online/in person Rue Charles Morren 9 – 4000 Liège BELGIUM TVA: BE0723776188 Mail: email@example.com
Very happy to announce. Three abstracts on three submitted have been accepted and I will be presenting them at 14th Pan-European Voice Conference PEVoC14 in August in Tallin. I will present on some topics which are at the centre of my practice, cossumethod and ideas; there will be some of them and an hypothesis on some biomechanics of our instrument. Very excited and pleased, also happy to go and to encounter the other participants and our hosts from Tallin Academy of Music, University and Estonian Society of Otorhinolaryngology.
Wish me luck, it is my first time (also first time ever I submitted abstract) Will it be so different than singing Bach or teaching? Very pleased, see you there if you come.
Thoracic segment and vocal tract can present some blocks into a fundamental function for singers. This is an exercise that can unblock a physiological movement, used more consistently it helps developing the high sternum preaching of many (from Tetrazzini to Seth Riggs and many others). You can do it then forget about while singing or use it and sing with it. Try it and if you want you can ask about in my Thursday ask me session in my stories. .
The Cossu method is a way to manipulate directly voice production from the body and not just from vocal tract and air. It is an amazing and at today new tool to obtain a voice in difficult objectives situations and conditions. It has had results confirmed by voice production and abilities, careers with a clear discontinuity from before it, confirmed in medical objectives exams and cases. . . . I am a voice teacher specialised in technique and solutions for professional singers and future professionals. I use italian Belcanto and Cossu method, a way to manipulate directly voice production from the body and not just from vocal tract and air. It is an amazing and at today new tool to obtain a voice in difficult objectives situations and conditions. It has had results confirmed by voice production and abilities, careers with a clear discontinuity from before it, confirmed in medical objectives exams and cases. I come from a soloist career in classical music interrupted by a long septicaemia. I had results also in vocal issues of organic and functional origin under medical control, called by their doctors or speech therapists, here some of them https://luciacossu.com/cossu-method-program
Training the voice is a complex work of opposite forces, and it does not work with the simple opposition of opposite muscles. We can think in a more complete and refined way putting the opposition on the functions so to work in some parts or in all the muscular chains and obtain not by luck all the different possibilities of voices and not strain or remain with a too limited voice.
If you are a boxeur or a sprinter will you train just in a relaxed and smooth way, as for example doing only Tai Chi? Relaxation can be useful and even fantastic as Tai Chi, but it is one of the tools possible and useful in voice training and it does not serve all the required purposes for professionals and performances or certain styles. Music and repertoire are made of different rhythms and accents and strenghts and if we do not train the system voice in a rational and precise way to be the perfect image of the music we are going to perform we will have a problem. Of course how to do that and from where and by what passages develop strengths and speeds requires great care and wisdom as in every training, but the answer always smooth and legato and relaxed is not the answer correct.
What nice to talk with a former student who has an interesting view on our work and my method from his medical job; and so nice that not only he is smart as he was but his band will get back rehearsing. Thank you Alex, still pleased of having had you between my students.
My first two talks on some fundamental questions of vocale technique, often not so clear in students and singers and not clearly explained through their effects and consequencies so that they remain scary and refused in the first step. Often they are related as the fact that when you cover the sounds you will have in your sound not the effect of copertura but the disclosure of the state of your sustain and appoggio. I mean that not covered sounds have a different kind of pressure from the effective and true sustain (a true sustain always have a copertura effect), so you cover and the vocal folds do not respond anymore to the excess of pressure not correct. You will immediately hear how much the correct and true sustain is developed and the really good news is that with copertura it is safe and not tricky to develop the effective and true sustain. So if you refuse covering you will probably never develop a real and effective sustain, and this just because you were scared by the sound after copertura that was just the first step of the process and not the arriving point of the process. Many things in vocal technique present this two step process, I will try to clarify some of those for you on Istagram in my IGTV.
And the first is on copertura. 🙂
A little talk with the great italian singer Eleonora Bianchini and why a professional like her, ranked 4th italian jazz singer, a stable duo with Enzo Pietropaoli, great career, winner of a merit scholarship at Berklee College, came having lessons with me. What did she found in our work, why it was important to her. Enjoy!