Physiological and Therapeutic Considerations of Singing
May 01, 2019 03:51PM
● By Sarah Evans
In 1925, Dr. Eugene Kolisko came to know Valborg Werbeck-Svardstrom’s Uncovering the Voice school of singing. He was amazed to find that this process for singing and its practical exercises were in accordance with Rudolf Steiner’s threefoldness of the human organization. This gave him the key to how human artistic activity can be understood on a physiological basis.
Kolisko found Werbeck-Svardstrom’s singing method to be created from a purely artistic sensibility, and yet it was in complete harmony with the physiological facts he had come to recognize as correct. He then strove to live this method by taking private lessons, classes and observing numerous other students.
Kolisko discovered that in this school, singing is regarded as coming from the entire human being and not produced from single physical organs, it lives in every human being and can only be prevented from appearing by physical hindrances. Therefore, this kind of singing not only has artistic forces, but also therapeutic. He confirmed again and again that if artistic capabilities were cultivated in the right way, ideas of inferiority (leading to illnesses) and atrophy of all kinds are healed.
Through his own research, practice and treatments, Kolisko found that the singing exercises had a healing effect on respiratory and throat disorders. Werbeck-Svardstrom had already noticed changes in her many years of teaching, and together they developed a kind of “curative singing”. They achieved satisfactory results with asthma, stuttering, language learning difficulties and poor hearing in children, as well as disturbances in the throat, pharynx and nasal cavities.
The School for Speech in Song, established by Sarah Evans, is inspired by Frau Werbeck’s School of Uncovering the Voice and shares the exercises for our healing and joy. Connect at 520-661-6666 or [email protected].