cogito

Let's start by looking at the importance of music, or rather sound, in our world and our lives. This seems to be an incredibly abstract topic, or at least one that you might like to work through in a flippant way. At this point, we should assume that singing requires a body, soul and spirit. One would rightly expect no contradiction here. If we were to expand these necessities to include other aspects, we would notice that these tend to fall into the realm of theory and are not in the foreground.

But man is also a “sound being”, consisting of rhythm, sound and melody. Musicologists, sound researchers, musicians and creative people have been working in this field for years. We make the rhythms and “sounds” of our body not only visible (ECG) but also audible. This allows us to learn a great deal about the voice and the human being, be it the speaking voice or the singing voice.

Singing lessons will finally change in the coming years. It is important to consider and understand the human being as a whole. The aim is no longer just to produce a powerful voice, but rather to help a person to find a “coherent” self.

quality

The demands on singing lessons have changed dramatically. Apart from the aspects described above, the teacher is required to provide the pupil with sufficient information at all levels. This requires a great deal of knowledge and a trained and experienced assessment of the circumstances. Openness and mutual trust are essential parts of a good foundation. Training the voice and getting to know and use one's instrument requires time and patience. It is essential to set goals and stages in such a way that motivation and enjoyment do not suffer.

The methods to be used should always be questioned and adapted by the teacher. The techniques on which singing is based are tried and tested, sustainable and gentle on the voice. There is not just one way to overcome an obstacle. The teacher is encouraged to take action and offer unconventional and creative solutions. However, everything must be based on a comprehensive knowledge of the function of the vocal apparatus and all the muscles and body regions involved. All the other aspects of a “free” voice should be taken into account and applied in an individual, adapted way in lessons.

there is no genus

For many years now, the first question has been where to sing. This is made up of personal interest and the so-called “market”, i.e. the question of where one's own voice could find a place. This gave rise to the “genres” or “subjects” of the voice. This unspeakable differentiation and categorization is an absolutely obstructive barrier, as in many cases it manifests a musical-aesthetic space that must then inevitably be satisfied.

It is important to explore the diversity and colorfulness of different styles and expressive possibilities and not to commit oneself. This restriction would also hinder the development of one's own creativity and should be avoided wherever possible. The true nature of music and vocal expression is not bound by these laws. As a teacher, one should endeavor to open up as wide a range of music as possible to the pupil, as well as to challenge and encourage interests.

Health and singing

It is very surprising how many people you meet who claim not to be able to sing. The stories behind them are usually similar. Situations at school or within the family often trigger insecurity and prevent us from exploring the voice without worrying. In addition to the fun and joy of singing, there is also a therapeutic facet. Many people are not aware of this aspect. It is therefore important to enable everyone who wants to do so to explore their voice and their instrument. Breaking down barriers and removing fear must be the first task of a singing teacher. It is tragic that such a beautiful thing is treated with so much unnecessary respect.

Of course, from an aesthetic point of view, a voice can be perceived as “beautiful” or “not beautiful”. However, this should not be the main criterion for assessment and work. The wellbeing of the student becomes more and more important. In order to optimize and understand singing processes, the voice should not be considered in isolation. The physical and mental condition must be taken into account in pedagogical considerations.

The impact of singing on our health is immense. It is quite practical to define two sub-areas here. On the one hand, mental and physical health and, on the other, the phenomena of the interaction between these two.

Apart from the positive physical effects that singing brings, it is very healing for many people to express their emotions in sound. Singing is an extremely creative process that offers many forms of expression.

Pupils and teachers

This relationship is something very special. I attach great importance to valuing people and building a relationship. Trust, forbearance and honesty are things that are particularly important to me.

I firmly believe that good progress requires a good and healthy basis, and that this can only be achieved together. I always have an open ear for many concerns and always learn from my students. Here, too, I try to respond to individual sensitivities and create a professional working environment.