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When Singing Becomes Knowing: Developing Self-Knowledge Through Vocal Pedagogy

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When Singing Becomes Knowing: Developing Self-Knowledge Through Vocal Pedagogy WHEN SINGING BECOMES KNOWING: DEVELOPING SELF-KNOWLEDGE THROUGH VOCAL PEDAGOGY by Marie Anderson A thesis submitted to the Faculty of Education In conformity with the requirements for the degree of Master of Education Queen’s University Kingston, Ontario, Canada June, 2009 Copyright © Marie Anderson, 2009 Abstract The purpose of this research was to explore vocal pedagogy that places development of self-knowledge at the center of the investigation. I looked at the personal growth that occurred as a result of the distinctive qualities inherent in singing lessons that included spiritual practices. The goal for unity of body, mind, and spirit in performance bears a close resemblance to the basic meditative practices of mastery through repetition, intense listening, and deep connective breathing that have been used for thousands of years in all mystical traditions. The singing studio is a place where self-discovery can be encouraged and held with respect. This exploration examined vocal pedagogy as a means to finding one’s personal voice. Little literature exists on voice and self-knowledge, and a search for relevant sources revealed that there appears to be no professional training available in the area of voice and self- knowledge, although many people appear to be developing their own strategies for this purpose. My own experience and practice as a voice teacher with a strong spiritual identity, places me as someone who may benefit from further information about voice and self-development. The study consisted of two phases. Phase one consisted of interviews with three educators who use singing lessons as a tool for development of self-knowledge. The findings of these interviews informed phase two, which was a series of ten singing lessons given to one female adult student who had requested a type of singing study that would promote self-knowledge. The lessons used both traditional vocal techniques and spiritual practices. I discovered that the use of spiritual practice combined with traditional vocal technique deepened the experience of the lessons and enhanced every aspect of my traditional vocal pedagogy. Research that involved the researcher and the process of research so intimately allowed a pedagogy to emerge that is responsive, deliberately non-linear, in which curriculum is shaped dialogically by both student and teacher in an intimate evolving relationship. ii Acknowledgements It has been a gift to return to school after so many years and I have many people to thank. My advisor, Katharine Smithrim has guided my ideas and writing with inspiration, clarity, wisdom, and humour. Research meetings on the dock, in her kitchen, or with tea and cookies in her office; intense learning was offered always with an air of grace. My committee member, Bill Egnatoff provided a different perspective to my ideas, helping me to order my thoughts and name the pedagogy that emerged in this research. Like blue and orange on the colour wheel, Katharine and Bill’s guidance complimented this work. They presented me with two vivid models of the educator and the artist. Their standard of excellence, generosity, integrity, patience, and kindness permeates all aspects of their lives. I would like to thank my dear friends Derrick Cunningham, Starr and Dugald MacDonald, Joanna Weirsma, and Andy Rush for advice. They have all helped me on this journey. Thank you to Wendy Lewela Perkins, Victoria Moon Joyce, and Ann Patteson whose conversations helped me to shape my ideas for this study. Thank you to Rachael who joined me in learning throughout the ten lessons. Through the years Mark Sirett has offered support, guidance, and friendship. His help as I entered the Master’s program was crucial and for that I will be forever grateful. In my first year of study Beth Sirett opened her home and provided much laughter and conversation. Finally I thank all of my family; through joyous times and challenging times they have offered much love and learning. My exceptional children Kate and Conor are my life teachers. iii Table of Contents Abstract ..................................................................................................................................................... ii! Acknowledgements .................................................................................................................................. iii! Table of Contents ......................................................................................................................................iv! CHAPTER ONE: INTRODUCTION AND CONTEXT...........................................................................1! Body, Mind, Spirit, Voice ......................................................................................................................1! Singing Lesson One: The Story Begins .................................................................................................1! Singing Lesson Nine: Almost Finished..................................................................................................4! Purpose of the Research .........................................................................................................................7! An Earlier Story: The Artist Within Us All ...........................................................................................7! Context ...................................................................................................................................................9! Engaging the Emotions: Speaking With Our Own Voice..................................................................9! Repertoire As a Tool for Transformation.....................................................................................13! Self-Expression ............................................................................................................................14! Spirituality and Singing....................................................................................................................15! Body, Mind, Spirit, and Voice .....................................................................................................15! The Arts and Symbols..................................................................................................................16! Connecting To The Sacred...........................................................................................................17! Spirituality and Learning: Embodied Knowledge........................................................................18! Story: Lisa Teaches ..................................................................................................................20! The Numinous: Wonder and Awe................................................................................................21! Story: Greece, 2004..................................................................................................................21! Openness and Vulnerability .............................................................................................................22! The Experience of Vulnerability..................................................................................................23! Story: Standing In The Presence ..............................................................................................24! Trust: Opening The Channels ......................................................................................................27! Connecting Spiritually Through Music............................................................................................28! Summary: Self-Knowledge..............................................................................................................28! CHAPTER TWO: RESEARCH AND PRACTICE ................................................................................31! Research Design...................................................................................................................................31! Phase One: Four Perspectives ..........................................................................................................31! Ann Patteson ................................................................................................................................32! Wendy Lewela Perkins.................................................................................................................33! iv Victoria Moon Joyce ....................................................................................................................33! My perspective .............................................................................................................................34! Phase Two: The Ten Lessons...........................................................................................................37! A Singing Lesson .........................................................................................................................37! The Student Appears ....................................................................................................................40! Meet Rachael................................................................................................................................40! The Singing Lesson: Art as Experience .......................................................................................44! Recording the Sessions.................................................................................................................45!
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