The Singer's Psyche: a psychological approach to vocal performance training

The Singer’s Psyche: A psychological approach to vocal performance training describes the development of a vocal performance training system based on the observations of a vocal/performance coach who examined both students and tutor in her private practice over a six year period (2004-2009), with additional observations and data gathered through questionnaires. The starting point for the research was to examine the potential negative psychological reactions for both student and teacher in vocal performance training. The connection between singing and mental and physical well-being are well documented. This study aimed to go beyond the current understanding of the negative, psychological impacts of vocal performance training by creating a plain-speaking, respectful mutuality between student and teacher. Particular attention was paid to personal physical awareness, power differentiation and communication in the relationship. Within the vocal performance training system, a common language resource was created, promoting greater effectiveness and well-being for both parties. This thesis draws on and synthesises some of the voice, performance, psychotherapeutic and educational material already available. It combines this with additional evidence gathered during the research process to create a holistic approach to vocal performance training. It includes exploring transactional and body psychotherapeutic impact, learning styles and remit (in the sense of approach and skills-set requirement) differences across popular music, musical theatre and classical genres. Attention was given to some of the many reasons people sing, as it became apparent that these reasons have an impact on performance and performance development. The methodology was a mixed approach: qualitative research - action research and heuristic research. In Phase One the researcher took the role of both singing teacher and therapist (‘dual relationship’ work) with a cohort of vocal performance students. In Phase Two, two case studies were produced to illustrate and analyse ‘single relationship’ work, where the researcher took on just one role, as either psychotherapist or performance coach. Data from Phases One, Two and Three was collected and analysed. This in turn led to the development of two practical pilot programmes: The Singer’s Psyche psycho-education programme and The Singer’s Psyche Integrative Approach (Phase Four). The evidence presented indicates the value of these approaches in encouraging vocal and personal autonomy, consistent with well-being of both the singer and the teacher.