Singing in the Brain Presentation

Singing is one of the most complex human behaviors: it requires the predictive coordination of over 100 muscles to facilitate both musical and linguistic expression. Research on the neurobiological underpinnings of vocalization is growing at a rapid pace. Scientists from varied disciplines contribute to this field, elucidating the process from such diverse angles as evolutionary biology, molecular biology, genetics, neuroscience, and psychology. This research has opened window that can enlighten singers of all genres. The brain utilizes past experiences to generate an optimal motor pathway for each vocalization. Influences are derived from a looped brain-body-environment continuum and serve as the foundation for vocalization and artistic expression.

Most singers approach their instruments with direct technical approaches. Play is a way for singers to both expand their motor prediction algorithms and target specific motor challenges without judgement. It is liberating to vocally explore and not worry about right and wrong. Allowing for modularity and flexibility engages the whole in addition to the parts, and can involve things beyond emotion and character: imagery, movement, imagination, and improvisation are all welcome. The premise is we ALL are, in fact, scientists in the human experience. Like the baby in the crib, we can explore our external world through play and create our own inner constructs to make sense of what is happening around us and inside of us as humans and singers. It is actually the way we are wired to sing.

It is essential that singers, pedagogues, and voice scientists capitalize on this wealth of data in neuroscience and evolution to fully understand our instruments. An integrative view of how and why we sing can refine the art of voice pedagogy, demystify long held myths, and yield greater vocal efficiency, making singers better faster.

Heidi Moss Erickson received a dual biology and voice degree at Oberlin College, where she worked in the voice lab of Richard Miller. Her more than 20 year performing career spans both opera and concert repertoire, with a focus on new music. Her scientific achievements include a landmark paper in Cell. In 2007 she came down with a rare CNVII nerve injury which resurrected her passion for how the brain controls the voice. Her courses and lectures have been featured both nationally and internationally at conferences and universities. Her many published writings link neuroscience with vocal pedagogy and she uses these ideas in vocal pedagogy and rehabilitation.