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Teaching singing is basically an oral work.
a work based on melodies, and pieces of melodies.
and the listening to ones own melodies.
Singing is the tool that connects us with a very essential function of our body, our brain.
It accesses the unconscious.
And it transforms a physical tension into a flow of vibration, into sound.
Singing and work on the voice is an emotional dialogue with oneself,
and the teacher,
The teacher guides this dialogue.
Sometimes in a very challenging way.
The flexibility that this living communication between a teacher and a student has
cannot be replaced by a book.



The voicework is like a story that I have been trying to tell and refining for a while now...
one thing is the knowledge about the subject,
the other thing is how this information comes across
to someone who has not spent many years dealing with the inner motions that lead to sound,
these inner spaces that form the sound and volume and the qualities of resonance and vibration.

The human voice is a living instrument
and what interests me are the presences and absences
of physical functions and vibrations that connect and focus into an expression.
And how any expression reflects these presences and absences of physicality,
a physicality which again reflects the mentality of a person...

To understand these connections one must dare and learn to feel one‘s own functions and listen to one‘ s voice and feel how it feels in order to recognize differences...
That makes it so hard for some to perceive information in that field.. what i am trying to find is an access as easy as possible into the body.. into the experience, into a process of awareness.. The complexity comes through the acceptance of simplicity
as simplicity comes when complexity is being understood, no?

I have developed a certain dramaturgie,
a certain sequence of how i approach the topic voice together with my students.
It is like telling a story, as I said, and of course I do vary in my story according to the person in front of me.
But now you are not sitting here with me in the same room -  and because we meet in this virtual room of the written space i will go with my experience and my imagination of how it may feel to start thinking about the voice from the beginning.

To write about the voice is a bit like writing about eating food.
It means to bring the sensual experiences of the body :
the oral experience of smelling, tasting and swollowing, - the sensation of listening -
the experience of the accoustic space around me
and the felt and experienced inner spaces and sensations,
their physical and psychic dimensions-  into the written realm,
into an explicable mode.

The voice does not function in a linear way.
But rather in a spacial way,
which is, according to our capacity to imagine space, at least 3 -dimensional.
As we all grew up with a linear logic
and as writing creates itself a linearity, a linear sequence of information,
one has to bring simultaneous/synchronous movements into a context that appears chronological..
Our brains, I guess, have constructed this chronology and linearity in order to make information more accessible for the consciousness..

It seems to me that our conscious mind
which is bound from our  definitions/semantics and habits, ... and the methods and acceptances of our memory about what is clear and real and understandable and how we define ourselves as a person-
is a turtle,
is working in a totally different speed, in a much much slower speed,
compared to our capacity to perceive , to access and to send out information.

So this isn‘ t merely an act of storytelling but also an act of translation..a translation that serves the purpose to be acceptable for the linear-oriented mindfilter and to become spacial within,within you again...

For more specific information go to the lectures