THE SKILLS OF BODY CONTROL IN THE PROCESS OF BREATHING DURING STUDIES OF SINGING

Nowadaysvocal pedagogy is based on inherited pedagogical traditions, personalexperience and singing practice. Jean Callaghan's research on the work of vocalpedagogues in Australian universities claims that there is insufficientknowledge of physiologial and acoustical concepts during work with students,and in many cases misinformative in relation to various aspects of singing    (Callaghan, 1998).Theauthor, after observing voice lessons and conducting qualitative interviewswith vocal instructors at the Jāzeps Vītols Music Academy Opera Class in 2008,revealed similar problems – misconceptions of many physiological aspects ofsinging, including issues about a singer's posture. These concepts requirefurther study and research during vocal teaching, thus its topicality and thereason for this work.  Thevoice teacher must be very observant and pay special attention to the student'sposture. The breathing mechanism and any other physiological processes whichinfluence breathing are subject to risk if they are not taken intoconsideration as prerequisites of correct posture. The term prerequisites ofcorrect posture does not mean a specific, predetermined condition but ratherfree, self-confident, impulse control and awareness.Withimproved self-awareness one can optimize their physical movements. With properbreathing based on  J. Pilates'method, is meant breathing in motion with the body  (Robinson, Gordon, 2002).Observationof these prerequisites is very important during voice lessons, whereas thesinger's natural and attractive appearance is the result of many interrelatedsecondary factors. The acquisition of natural coordination is required to gainefficient use of muscles, freedom of movement and effortless production.Thesefactors can be taught not only by physical manipulation, but alsopsychologically, by fostering character building and confidence. (Chance, 2001;Dewey, 2005).InM. Feldenkrais' , I. Middendorf's, F. M. Alexander's techniques on the qualityuse of the body is dependent on mental processes.F.Alexander's technique terminology psycho-physical integrity and use of theself   are used as synonyms.Theterm – psycho-physcial integrity does not represent today's understanding of the psychi, but more from theperspective of the mental processes occurring prior to a response to movementor bodily impulses. (Dimon, 1999).Pedagogicalexperience shows that self-awareness in singing is not always objective.Improper use of the body are usually unconscious postural habits and thestudent may perceive them as normal. (Tinbergen, 1973).Toimprove posture or improve the use of the body, the teacher should pay moreattention to the pelvic area (lumbar region), chest area (toracle region) andneck area (cervical region).  Relaxation,mobilizing, stabilizing and activating excercises  focusing on breathing should be used duringsinging lessons. (Middendorf, 2007; Robinson, Gordon, 2002 Brennan, 2007;Alexander, Dewey, 2005; Щетинин, 2007).Pedagogicalexperience shows that during voice lessons comments regarding posture areconcerning slumped shoulders, protruding stomach, i.e. the teacher emphasizesseparate muscles of the body, those visible, and not the body as an integratedwhole.Byconsciously inhibiting direct responses one can change the usual way theyrespond to impulses, for example while breathing and singing.  Byinhibiting direct responses, it is possible to reevaluate further directionsand steps necessary to complete the next response or movement.  In order to complete a coordinated movement,it is always necessary to find the balance between stimulating impulses andinhibiting impulses (Nicholls, 2008). Just as I. Middendorf's breathing processdivides breathing functions as based on desire/necessity and breathing based onexperience, similarly,  F. Alexander'stechnque processes of doing and not doing whereby:  doing ,is an active process, whereas not doing is a result of a thought process whichoccurs by itself.  One must first learnhow to think and not do. Afterwards, one must learn to allow doing to occur asa result of thinking. (Middendorf, 2007; Macdonald, 1989).Duringvoice lessons, students require a very clear, active awareness, so that theyare able to complete these mental processes. During movement or prior to,preconceived notions are used in order to achieve an effective production. Theconnection between preconceived notions and real production promotes a satisfactoryoutcome during the singing process.KEYWORDS: voice lessons/the study of singing, use of body, mental preconceptions.