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University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 An Alternative Approach to the Singer's Breath: Method and Workshop Bradley S. Williard University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.017 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Williard, Bradley S., "An Alternative Approach to the Singer's Breath: Method and Workshop" (2016). Theses and Dissertations--Music. 76. https://uknowledge.uky.edu/music_etds/76 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Bradley S. Williard, Student Dr. Everett McCorvey, Major Professor Dr. Michael Baker, Director of Graduate Studies AN ALTERNATIVE APPROACH TO THE SINGER’S BREATH: METHOD AND WORKSHOP DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Bradley Stephen Williard Asheville, North Carolina Director: Everett McCorvey, DMA, Director of Opera and Endowed Chair of Opera Studies Lexington, KY 2016 Copyright © Bradley Stephen Williard ABSTRACT OF DISSERTATION AN ALTERNATIVE APPROACH TO THE SINGER’S BREATH: METHOD AND WORKSHOP This research endeavors to stretch the boundaries of vocal training, a field defined by its century-old techniques and teachings, to include the cultivation of a relationship with the breath, body, and Self. The paper reviews the contributions of Ilse Middendorf and Carl Stough’s work with the breath and body and outlines a new method, Unlock Your Breath (UYB) – Performance Breathwork, which integrates the greatest strengths of those methods. UYB Performance Breathwork teaches the singer’s breath as a way towards deeper embodiment of Self (mind-body-voice relationship), while creating a stronger breath-body-voice connection with minimum effort and maximum efficiency. This research demonstrates the efficacy of the UYB method through a workshop delivered in a university setting to study participants consisting of thirty-six vocal performance degree-pursuing students and three voice faculty members at the University of North Carolina School of the Arts. The study used both quantitative and qualitative research methods consisting of a pre- and post-workshop questionnaire completed by each study participant and interviews with voice faculty. Results of the study demonstrate three major obstacles that keep singers from connecting to their breath and body, and discovering their authentic voice: (1) absence of relationship with Self; (2) lack of self-worth; and (3) fear of vulnerability. The data also show that participation in the workshop significantly improved participants’ self- confidence, self-awareness, body and breathing knowledge, and self-rating of vocal skill, while decreasing participants’ concerns around others’ perceptions of them. The data support an understanding of the breath as the connecting force between the body, mind, and voice, and concludes that the voice is merely a reflection and manifestation of our current state-of-being, meaning our present relationship with the breath, body, and mind. These results suggest that the UYB Performance Breathwork method may be used to expand teaching of artistic human voice production. Using a breathing method that is grounded in somatic awareness resulted in student attainment of a much deeper intrapersonal relationship, while allowing for discovery of an authentic understanding of how the individual’s breath and body works in coordination with their voice. KEYWORDS: Singer’s Breath, Breathing, Breathwork, Sensory and Somatic Awareness, Voice, Body Bradley Stephen Williard December 1, 2016 Date AN ALTERNATIVE APPROACH TO THE SINGER’S BREATH: METHOD AND WORKSHOP By Bradley Stephen Williard Dr. Everett McCorvey Director of Dissertation Dr. Michael Baker Director of Graduate Studies December 1, 2016 ACKNOWLEDGMENTS When I decided to pursue a Doctor of Musical Arts, I had no idea of the emotional, physical and inner journey that was in front of me. As I reflect on the past decade and where I am as a person and scholar, I am in awe of having been given the opportunities to face those challenges and to expand my knowledge and Self. There were many difficult moments where I questioned if I had the resources or strength needed to finish. What I have come to learn is that the doctorate represents something much greater than myself; it represents a force and presence that has consistently expanded my conscious awareness, broken down my internal walls of self-doubt and sabotage, and has left me filled with humbleness and gratitude. I would like to express my deepest gratitude to my committee members, all of whom I respect and value. I would like to thank: my Committee Chair, Dr. Everett McCorvey for taking a chance on me and believing that I had something to offer University of Kentucky; Professor Cynthia Lawrence for guiding me through the hard times; Dr. Lance Brunner for sharing my passion and inspiring me to dive deeper into the world of breath and inner listening; and Dr. Joseph Stemple for his guidance and ability to see me and my capabilities. I would also like to thank Dr. Ruth Baer for her generosity of time and heartfelt contribution as the outside examiner. My exploration of breath and my coming into relationship with Self would not have transpired without the gifts and direction of John Norris in Berlin. John’s teachings offered me a mirror to see where I was not connected to my breath and body as a singer, and it was John that led me to my time at the Middendorf Institute in Berlin. I would like to thank my Middendorf teachers Michael Maar and Hiltrud Lampe, who taught me that iii the breath is the seed of who we truly are, and its roots are dependent on how we water and care for that seed. My time at the Middendorf Institute prepared me well for coming into relationship with my Breathing Coordination teacher Lynn Martin. I am humbled to have had the honor to study under Lynn, and my life has been blessed by her generosity of knowledge, skill and love for the breath and body. She taught me to believe in my gifts and to believe that what I had to offer the world of breathing was valuable and greatly needed. I would like to thank my Breathing Coordination colleague and friend Robin De Haas, for his dedication and continued contributions to the field of breathing. I would like to thank Dr. Marilyn Taylor, Voice Department Chair at the University North Carolina School of the Arts, for allowing me to conduct my research at the university. I am grateful for her guidance throughout my singing journey and her conviction that my work will help change lives and voices. I would like to thank my grandmother, who passed away in 2013, for her spiritual guidance and for always believing in my ability to do great things in my life. I am grateful to my parents for the many prayers and support during my academic career. I have learned throughout the doctorate that the value of friendship comes from learning how to choose friends of value. One of those friends is my spiritual sister Christin Marie Hill, who has blessed my life with her presence, love and support. During the times I doubted myself, she was there to reflect the light back onto the path and to remind me that the degree was not about the degree, but about finding the places inside myself that needed to awaken. I would like to thank my beautiful and amazing partner Hunter Flournoy for his gift of knowing and intuitive guidance, love and support. His coming into my life has iv brought such profound joy and light, which is reflected in every word I write. I am deeply grateful for the hours, days and weeks he spent hearing me talk about the dissertation, and for his generosity of time reading and offering such heartfelt feedback on my writing.

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