Issue link: http://saihq.uberflip.com/i/1310932
FALL 2020 35 PAN PIPES SIGMA ALPHA IOTA ANNUAL AWARDS 2 0 2 0 Minnesota. St. John's is set in the rolling green hills near Lake Sagatagan. The University's peaceful campus, greens, gardens, and buildings were a wonderful place to refresh, learn, and reflect. The learning atmosphere was just as idyllic thanks to the instructors. They created a safe space to explore, experience, and be encouraged. I am normally a quiet student; and even I was willing to ask questions, receive feedback, and volunteer. In an atmosphere of "no wrong questions", no one was afraid to speak up. I've never been in a group like that before, and it was amazing! In a short 53 hours of coursework, we covered a wide range of topics: vocal anatomy, the science of sound, vocal health issues, the changing voice (boys and girls), the aging voice, conducting, how to listen, warmups, repertoire, and The Lightner Method TM . I also came away with three large textbooks that cover these topics in depth and I can refer to in the future. I'll focus on a few highlights here. One scientific highlight of the week was the opportunity to see a video of a scoped vocal patient. Static drawings in textbooks have always been difficult for me to relate to. I had never seen the vocal folds at work. The human body is truly amazing and this active example will stay in my memory. A movement or physical highlight was starting each day with The Lightner Method TM . This was part of the foundation of efficient and effortless singing. There we explored the BodyMind, or full system, as we engaged in exercises (physical and intellectual) to explore a system in balance. There were so many educational highlights, but the prominent one for me was exposure to a new teaching philosophy. I was asked to consider a change in my approach to singing and teaching. Could I find a way to engage students in the learning process that would allow them to own their experience? The Voice Care Network provided no "list of tricks" that work for everyone; no "cheat sheet". Their process challenged me to understand vocal anatomy at a higher level, thoughtfully listen to what has been sung, observe a singer's BodyMind, and then react to those sounds with insightful questions. This course provided a framework to use physical and vocal activities to engage the student in a thoughtful exploration of the experience of singing. This guided exploration can allow the student to own an experience and ultimately a decision on how to sing. Instead of simply telling a singer, "you're tense, loosen up" (which can cause immediate tension), we engaged in exercises. And to make it even better, the instructors brought local students to participate in the course. The opportunity to immediately place these ideas into action gave the course further depth and memorable meaning. I am working to apply a few focused ideas from 53 hours of intensive learning. In my teaching, I would like to apply this thoughtful method of questioning. Personally, I have two goals: regularly condition my voice and learn a new piece of music. To learn new music is to be a student; and I would like to be the student in this new method. The BodyMind and Voice Course was a wonderful experience. I learned new things about our wonderful organization, myself, and singing. Thank you, SAI Philanthropies, I am grateful for your support! —Lindsay Platt, Fort Wayne Alumnae Chapter For future course information, visit: www.voicecarenetwork.org