vocal intelligence workbook - amazon s3 is no personal change without vocal change and, likewise,...

Vocal Intelligence Workbook

Learn the secrets of being a more influential communicator and persuasive presenter

presence, influence and vocal intelligence

Dr Louise Mahler DirectorPhd M.App.Sc B.Econ B.Must +61 419 720 754e [email protected] louisemahler.com


2presence, influence and vocal intelligence

Vocal IntelligenceContents

Part I: Vocal Intelligence 4The Rules ................................................................................................................................................................5

Who is Dr Louise Mahler ...................................................................................................................................6

What is Vocal Intelligence ............................................................................................................................... 7

The Vocal Intelligence Process ...................................................................................................................... 7

10 Vocal Intelligence Principles .....................................................................................................................8

Vocal History Questions ....................................................................................................................................9

Voice and Body Profile ..................................................................................................................................... 11

Ancient Beginnings ...........................................................................................................................................12

Song as a precursor to speech ....................................................................................................................13

Benefits .................................................................................................................................................................14

Part II: The Body ................................................................... 15Natural Breathing ..............................................................................................................................................16

Breath Action ...................................................................................................................................................... 17

Louise’s Signature Breath Exercise (Kapalbhati) .........................................................................................................................................................18

Rest Position ........................................................................................................................................................19

Eyes ........................................................................................................................................................................20

What About Blinking? ......................................................................................................................................21

Gestures................................................................................................................................................................23

Part III: The Voice .................................................................. 24Basic Vocal Anatomy .......................................................................................................................................25

Vocal Fold Conditions ......................................................................................................................................26

Jaw .........................................................................................................................................................................27

Vocal Health ........................................................................................................................................................29

Laryngeal Postures ...........................................................................................................................................29

False Vocal Folds ............................................................................................................................................. 30

Onset ..................................................................................................................................................................... 30

Tongue .................................................................................................................................................................. 30


Copyright

This document has copyright to The Art of Business. All rights reserved.

If you wish to use these notes for other than private study, contact Dr Louise Mahler 0419 720 754. Subject to certain conditions, we may be able to provide you with the leaders guide, background notes and overhead transparencies through a copyright release fee or through a royalty’s agreement. No part of this publication may be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without such relevant prior arrangement and without the written permission of Louise Mahler. Unauthorised copying of the material may be subject to legal action.

Tongue Twisters from A –Z ............................................................................................................................31

Accents From V.Panayiotou 2004 ...............................................................................................................32

Part IV: The Mind ...................................................................34Emotional Intelligence ................................................................................................................................... 35

Part V: Applying vocal intelligence to presentation ......39Presentations ..................................................................................................................................................... 40

Researching .........................................................................................................................................................41

Audience Analysis .............................................................................................................................................42

Presentation Structure ................................................................................................................................... 43

Writing .................................................................................................................................................................. 44

Starting a Presentation ...................................................................................................................................45

Creative Ideas .................................................................................................................................................... 46

Objectives/Message ........................................................................................................................................ 46

Audience Participation and NLP ...................................................................................................................47

State Change ..................................................................................................................................................... 49

Working with Props and Powerpoint ......................................................................................................... 50

Anchoring .............................................................................................................................................................51

Movement ............................................................................................................................................................52

Energy ................................................................................................................................................................... 53

Rehearsal ............................................................................................................................................................ 54

Part VI: Applying vocal intelligence elsewhere ..............55Giving Feedback ............................................................................................................................................... 56

Handling Difficult Situations .........................................................................................................................57

Part VII: Summary ................................................................58Reading Ideas .................................................................................................................................................... 60

Part I: Vocal Intelligence

What do leaders practice that gives them that charsmatic edge?



The RulesThere are no rules! Voice and presence is a voyage of discovery through experimentation.

Vocal Intelligence and Presentation

Dr Louise Mahler © 5

The Rules

There are no rules.

Voice and presence is a voyage of discovery through experimentation.


Dr Louise Mahler PhD, M.AppSc., B.Econ., B.Mus., Grad Dip Mus., L.Mus.A. Master Practitioner NLP

Dr. Louise Mahler is the originator of Vocal Intelligence, a specialised understanding of the mind-body-voice connection. Louise developed the concept and strategies behind Vocal Intelligence in her ground breaking, award winning PhD research. As is a translator between the creative world of the performance arts and the world of business, Louise has identified a ‘missing’ piece in organisational and personal development: voice as a thermometer of change.

Louise began her journey into the voice in her years as an international opera soloist. After performing as a soloist with the Vienna State Opera, Louise moved into the corporate realm, where she quickly rose through the ranks of management. Sensing that there was more to her journey and that there was a way for her to combine her knowledge about voice from the arts and her experiences in the corporate world, Louise embarked on a multidisciplinary PhD to research her passion. The results are in the remarkable depth of her topic, Vocal Intelligence.

Today Louise is a highly sought after keynote speaker, corporate trainer, and executive coach. Her signature style is fun and candid, full of high doses of humour, reflection, energy and passion. Participants can’t help but get involved in Louise’s workshops and presentations; conservative corporate audiences find themselves doing things they never thought they would and come out bigger people through the experience.

Who is Dr Louise Mahler

Participants across the world find Louise’s work transformative in the way they relate to others, and how they relate to and feel within themselves. She has unlocked the minds, bodies and voices of hundreds of Australians and then gone on to develop them as leaders, speakers, teachers or every day people with passion and humour. Her sessions will change your life.

ExECuTIVEcoaching

ExECuTIVEmentoring

kEynoTEspeaking

onLInEtraining

workShoPSretreats


What is Vocal IntelligenceVocal Intelligence is a multidisciplinary field that focuses on our breath, laryngeal and physical postures and the impact these have on our ability to influence, relate, communicate and lead.

Our ability to appropriately express empathy, authority, clarity, confidence and leadership all tinge on the congruence our voice has with our whole being and the message we wish to convey. Tragically, so many people think they are ‘stuck’ with the voice they have; they hate their sound; or they have never even considered the impact of their current - usually unconscious - vocal strategies. People don’t realise that voice is a choice.

We can develop, expand, adjust and improve the way we use our voice as an expression of self. And remarkably, when we do, not only do we increase our influence and effectiveness, but we become more authentic in who we are and how we relate to others. Confidence rises. Relationships improve. People listen to us more. We feel better.

Most people, work places and even training organisations ignore voice altogether. A select few see it as a manipulable tool for persuasive communication alone. In truth, the voice is a much richer and more powerful indicator and tool of influence and leadership; it is a tool for leaders of the future.

The Vocal Intelligence Process

Awareness

Through education and awareness you can understand how the mind, body and voice work in various situations and analysis specific individual patterns or what I call, Strategies for Sound.

Technique is what I describe as the tailored exercises and process you go through as an individual to achieve your goals

Performance is all about the three Ps. Practice, practice and practice. The trick is to practice the right things.


10 Vocal Intelligence Principles

1. Each person is born with a perfect vocal instrument

2. It gives you an enormous range and flexibility of sound possibility

3. All people can sing

4. There are no bad sounds

5. There are unhealthy sounds

6. Voice is released, not taught

7. We can release it at any age

8. Vocal dynamics echo psychodynamics

9. The mind is reflected in voice through the body

10. There is no personal change without vocal change and, likewise, there is no vocal change without personal change


Vocal History Questions

Change What external feedback have you had?What drives you internally for change? What stories do you have around not making change? eg. Stories about unchangeable aspects of your voice – weak/ ugly

Any physical or vocal injury?

Family voice Describe your mother’s/father’s voices Voices of other notable vocal relatives)

Are there overall family vocal traits? Eg nasal, loudWas there music around the house as a child? What type?

Voice as a child Did you enjoy singing?Were you involved in performances?Where you in a choir?Music lessons?

Voice as an adult Voice or music training or performance?Presentation experiences? Meeting experiences?


Any specific critical incidents? When was it? How old were you? What time of day was it? Where were you? What was the set-up of the space? Who was there? Who were the key players? What were you doing What happened? What did you see, hear, do? How did you feel? Did anything change after that event?

Vocal beliefs Do you have a good voice?Can you sing? If no, what is your story around that?Is it that you are too old, never had a voice, once had a virus?How do you experience voice? (Visually – you make pictures of sound, Auditory – your hear sound, Kinaesthetically – you feel your sound)Where do you feel your sound?

Experiences of good sound? Where were you when you had a good experience of sound? What happened?What did you see/hear/feel?

What happens to your voice when you get nervous?

How does your voice become affected?What happens to you physically?What images do you see?Is this always the same?What do you do about it?

How would you like your voice to sound?

Is there a person in mind you would like to imitate?What is it that you like about their voice?


Voice and Body Profile

Breath When you ‘take’ a breath in, where do you see it in your body?

Physical block Is the lower back flat or sway? Is the upper back flat at hunched? Is the head straight or tilted - backwards or forwards?

Rest position (the position you go to when listening)

Feet position? Width apart and feet direction

Knees locked? Pelvis position? Upper back tightened? Head position?

(Draw your habitual rest position here)


‘Voice is one of the oldest areas of study’ (von Leden 1982), where singing was not considered separately from speech and both together were considered from the perspectives of physiological and psychological connection.

Reflecting the psychological connection of voice, Moses (1954) notes that the word personality is believed to have derived from the Latin ‘persona,’ originally meaning the mouthpiece of the mask used by actors (per sona: the sound of the voice passes through), as the person was considered by the ancient Greeks to be represented by sound. That sound, inextricably linked with the person, passed through the hole at the mouth of the mask to reach its audience.

Again turning to the origins of language, the term psyche was derived from an older Greek term, psychein, which meant ‘to breathe’ or ‘to blow’ (Abram 1996, p. 113), an act inextricably linked with making sound.

Ancient BeginningsThat indefinable connection with self and reflection of personality has seen voice depicted as a ‘mirror of the soul’ and a ‘repository of ancient wisdom’ (von Leden 1982), something which was recognised up until medieval times and is depicted as a concept of eloquence, as seen in the figure below, a painting by Raphael, in which there is no eye contact between the speaker and his listeners, the voice alone revealing the true connection.

While western culture has distanced itself from voice, in other cultures, voice has retained its holistic connections and was often elevated to a spiritual level, with a belief in its magical dimensions. The ancient cultures reflected in North American Native traditions suggest that ‘inhabiting the full body, the long body, with the voice, may be one of the great soul challenges of adult life’ (Whyte 1994, p. 127).

The intertwining of holistic elements, of the physical and psychological perspectives, were thus inherent in the early understanding of voice and, in some cultures, a deep, all-encompassing and critical life force was recognised, as it still is in singing today. I believe much of this was lost in western culture at the birth of the classical-singing training tradition.

Figure 1: raphael Painting (von Leden 1982) (from Panconcelli-Calzia G. 3000 Jahre Stimmforschung. Marburg, Germany: nG Elwert Verlag; 1961)



Ancient Beginnings

‘Voice is one of the oldest areas of study’ (von Leden 1982), where singing was not considered separately from speech and both together were considered from the perspectives of physiological and psychological connection.

Reflecting the psychological connection of voice, Moses (1954) notes that the word personality is believed to have derived from the Latin ‘persona,’ originally meaning the mouthpiece of the mask used by actors (per sona: the sound of the voice passes through), as the person was considered by the ancient Greeks to be represented by sound. That sound, inextricably linked with the person, passed through the hole at the mouth of the mask to reach its audience.

Again turning to the origins of language, the term psyche was derived from an older Greek term, psychein, which meant ‘to breathe’ or ‘to blow’ (Abram 1996, p. 113), an act inextricably linked with making sound.

That indefinable connection with self and reflection of personality has seen voice depicted as a ‘mirror of the soul’ and a ‘repository of ancient wisdom’ (von Leden 1982), something which was recognised up until medieval times and is depicted as a concept of eloquence, as seen in the figure below, a painting by Raphael, in which there is no eye contact between the speaker and his listeners, the voice alone revealing the true connection.

Figure 1: Raphael Painting (von Leden 1982)

(from Panconcelli-‐Calzia G. 3000 Jahre Stimmforschung. Marburg, Germany: NG Elwert Verlag; 1961)

While western culture has distanced itself from voice, in other cultures, voice has retained its holistic connections and was often elevated to a spiritual level, with a belief in its magical dimensions. The ancient cultures reflected in North American Native traditions suggest that ‘inhabiting the full body, the long body, with the voice, may be one of the great soul challenges of adult life’ (Whyte 1994, p. 127).

The intertwining of holistic elements, of the physical and psychological perspectives, were thus inherent in the early understanding of voice and, in some cultures, a deep, all-‐encompassing and critical life force was recognised, as it still is in singing today. I believe much of this was lost in western culture at the birth of the classical-‐singing training tradition.


Song as a precursor to speechReturning voice to its inception, Davis (1998, p. 13) points out that ‘singing leaves few fossil records’, making us rely on our feelings about voice, my view being that song was a precursor to speech. Jespersen (1922) thought that humans may have ‘sung out their feelings long before they were able to speak their thoughts’ and Darwin (1964) himself proposed, ‘May not some unusually wise ape-like animal have begun to use … emotional outcries intentionally and so have taken the first step towards the development of true speech?’ It appears to many that, from the earliest times, ‘sounds – not words – were the interpreter of human thoughts and emotions’ (Hiley 2003b).

Carl Jung (1952, pp. par 12-5) observed that ‘language was originally a system of emotive and imitative sounds, which express terror, fear, anger, love, sounds which imitate the noises of the leaves; the rushing and gurgling waters, the rolling of thunder, the roaring of the wind, the cry of the animal world’, a finding that is reflected in the ‘click’ languages of central-southern Africa, where clicking sounds as opposed to vowel formation are believed to be an echo of the tongues of the ancients (Wade 2003).

Moreover, Fernald et al’s (1989) research with very young children showed that ‘the intonation patterns, prosodic composition, melodies and pitch contours which parents use to communicate non-verbally to their infant are the same in languages which, in all other respects, are entirely different in phonetic and annunciate form – such as Japanese, German, Italian and English’ (Jung 1952par 12-14).

The key and interesting suggestion here is that an underlying universal language, deeply connected to emotion, which resembles a wide spectrum of vocal sound and is devoid of the constraints of a language imposed on the voice at a later stage is at work. The challenge with voice from this perspective is a complicated intertwining of the psychological and physical, which lends itself more to unlearning, rather than learning, as in adult life we re-approach the gifts of our born perfection.

‘Thus language, in its origin and essence, is simply a system of signs and symbols that denote real occurrences of their echo. In the human soul … the most abstract system of philosophy is, in its method and purpose, nothing more than an ingenious combination of natural sounds’ (Hiley 2003a), sounds

that convey their meaning through tone, a kind of spontaneous song.

As language developed, however, we began defining ourselves through words and expression through ‘mere’ sound declined. As oral traditions eroded, in our culture at least, ‘voice was silenced and the principle of a living, permeable boundary, essential to storytelling became as impermeable as the substance the stories were written on. This process worked over and over to further create the ‘cognitive mind’ ~ with homo sapiens as a ‘knowing being’. … It increased the distance between people and their emotions and decreased the tonal range of acoustic qualities into a ‘mono tonal system of words’ (Hiley 2003a).

Hiley (2003a) suggests that the dominance of the visual developed alongside the dominance of patriarchy; it was associated with yang energy, the sun and with masculinity. The auditory was associated with yin energy, the moon and femininity. There was a growing suspicion of voice, borne out particularly in the intimation of danger in poetry, and in darkness and the feminine (Zondervan 1994).

I was drawn to the miracle attributed to Christ and reported in the words of the Apostle Mark (Mark 7:32 34)

Then they brought to him one who was deaf and had an impediment in speech and they begged him to put his hand on him.

And he took him aside from the multitudes and put his finger in his ear and he spat and touched his tongue.

Then, looking up to heaven, he sighed and said to him “Ephphatha,” that is “Be opened”; immediately his tongue was loosed and he spoke plainly.

(von Leden 1982, p. 21)

This story reflects the notion that we are continually attempting to return to some state of openness with which we are all born, an openness that may be partially caused by the imposition of language impoverished in vocal tone. Unfortunately, when it comes to re-opening the throat to attain our born perfection, most of us do not have the opportunity of miracles.


BenefitsVoice is a highly rewarding study. One may think that one is learning about voice, but you are learning far more. There are personal lessons of your own psychological makeup, reaction to tension, personal beliefs, education and far deeper.

Possible practical benefits include:

• Breatheasily

• Combatnerves

• Permanentlyresolvehabitualposturalproblemssuchasbackandneckpain

• Removenasalityandunwantedqualitiesfromthevoice

• Discovervocalpower

• Extendvocalrange

• Gainconfidenceandself-knowledge

• Workwithvoiceasathermometerofpersonalchange

• Workeffectivelywithvoiceinpresentation,meetingsandemotionalsituations

• Understandtheauthenticself

Learn the secrets of ‘getting heard’ and becoming a more influential communicator.


Part II: The body


Natural Breathing

natural vs habitual patternsThroughout a person’s growing process, many factors superimpose idiosyncrasies into speech and articulation patterns which interfere with the free functioning of the vocal cords and with free breathing. Therefore, what we perceive as natural is, in fact, usually habitual.

Position of the lungs and diaphragmThe parts hang suspended within the thorax attached by the root to the heart and trachea. Basically the outline fits inside the thoracic cage - the base following the conformation of the dome of the diaphragm

Louise Mahler [email protected] www.louisemahler.com.au 0419 720 754

Natural Breathing

Natural vs habitual patterns Throughout a person’s growing process, many factors superimpose idiosyncrasies into speech and articulation patterns which interfere with the free functioning of the vocal cords and with free breathing. Therefore, what we perceive as natural is, in fact, usually habitual.

Position of the lungs and diaphragm The parts hang suspended within the thorax attached by the root to the heart and trachea. Basically the outline fits inside the thoracic cage -‐ the base following the conformation of the dome of the diaphragm.


Natural Breathing

Natural vs habitual patterns Throughout a person’s growing process, many factors superimpose idiosyncrasies into speech and articulation patterns which interfere with the free functioning of the vocal cords and with free breathing. Therefore, what we perceive as natural is, in fact, usually habitual.

Position of the lungs and diaphragm The parts hang suspended within the thorax attached by the root to the heart and trachea. Basically the outline fits inside the thoracic cage -‐ the base following the conformation of the dome of the diaphragm.


Although the lungs are the primary organ of respiration they exert no force themselves. Their movement depends totally on the pressures exerted on them by the surrounding musculature. Inhalation occurs when the air pressure within the lungs is made less than the atmospheric pressure outside the body (15lbs per square inch). Once the pleural space within the thorax is increased, the air will rush in.

Picture of lungs breathingThis is a dog that died naturally. For veterinary students to learn about respiratory physiology, the dead dog’s thorax (fancy word for chest!) was cut open to show the lungs. The dog was connected to a ventilator - a machine which artificially “breathes” for the dog. This is what your lungs look like as you breathe in and out. Warning – not for the squeamish!

Diaphragm in actionThis is an animation of the diaphragm in action

Diaphragmatic breathingThis is a video of a man showing clearly which parts of the body move with diaphragmatic breathing

Breath Action

relaxing Breath exerciseThis is the audio of an exercise to follow

kapalbhatiThis is a demonstration of a yogi performing a kapalbhati breath

click for live link referencehttp://www.youtube.com/watch?v=RmMcqnXqrvA&playnext_from=TL&videos=R_bsm-DD-zk

click for live link referencehttp://www.youtube.com/watch?v=hp-gCvW8PRY&playnext_from=TL&videos=NDserdDDaKQ

click for live link referencehttp://www.youtube.com/watch?v=_TUZiiMy1iI&playnext_from=TL&videos=tdo14OCsDhQ

click for live link referencehttp://www.youtube.com/watch?v=NxCkQDDWzww&feature=related

click for live link referencehttp://www.youtube.com/watch?v=bF8qRBvgXKU&playnext_from=TL&videos=JQbnauevdVY


Louise’s Signature Breath Exercise (Kapalbhati)

why this exercise?• Toworkwithabreathexercisethatisusefulforstressfulsituations

• Toactivelycombatnerves

• Tosetupthevocalprocess

• Massageorgansofthebody

• Scramblethebrainfromoldbreathingpatterns

• Bepro-activeaboutbreath

notes and things to watch• Nochestmovement

• Lotsofmovementinstomacharea

• Noheadmovement

• Keepfacerelaxed

In yoga, the Kapalbhati is a forceful exhalation while contracting your abdominal muscles, purging the system of all negatively – physical or mental disturbance. Inhalation takes place as passive recoil. It is said to overcome stress, negativity, depression, stimulate digestion, circulation, heart, burn toxins, purify blood, prevent disease.

Practice under the supervision of a teacher if you suffer from heart disease, high blood pressure or hernia.

Breathe out

Drop

1. Stomach goes in2. No (little) chest movement3. You ‘get breathed’ as opposed to ‘taking’ a breath4. No (little) chest movement5. The stomach ‘drops’ out - fast


Having a rest position reminds me of ‘bar’ in the game of ‘chasey’ played by children. It is the position you go to that has several benefits:

• Itlooksliketherolefromtheaudience’sperspective

• Inthebusinessposition,itmeansyoucanbreathandspeak

There are different rest positions for different situations and roles

Classic business rest position• Feetapartandparallel

• Kneesbent

• Pelvisunder(flatlowerback)

• Upperbackreleased

• Headonstraight

Add• Nodding

• Blinking

Rest Position


Rest Position


• It looks like the role from the audience’s perspective

• In the business position, it means you can breath and speak


Classic business rest position • Feet apart and parallel

• Knees bent

• Pelvis under (flat lower back)

• Upper back released

• Head on straight

Add • Nodding

• Blinking


Rest Position






• Knees bent




Add • Nodding

• Blinking


Rest Position






• Knees bent




Add • Nodding

• Blinking


Rest Position






• Knees bent




Add • Nodding

• Blinking


Eyes

So where to look?here are some ideas for working with eye contact

• Lookattheaudience(notintoyourlearningpreferencearea)

• Connectwithonepersonforonethought

• Moveyoureyesatrandombetweenthepeopleintheroom

• Considerthepoliticsoftheroom(whoarethedecisionmakers. Give them extra time.

• Iftheroomislarge,divideitbyperspective

• Ifyouneedtolookelsewhere,lookatathingeg.Apen



Eyes

So where to look? Here are some ideas for working with eye contact

• Look at the audience (not into your learning preference area)

• Connect with one person for one thought

• Move your eyes at random between the people in the room

• Consider the politics of the room (who are the decision makers. Give them extra time.

• If the room is large, divide it by perspective

• If you need to look elsewhere, look at a thing eg a pen


Raising blinking rates to your awareness is really awkward, but possible. The problem

for most people is that when they become nervous they stop blinking altogether, just

like they stop breathing . . . and moving.

Here are some interesting comments about blinking that come from the world of

animation.

The primary function of blinking is to keep the cornea lubricated with tear fluid,

and also to clear dust from the eye. It might stand to reason that normal blinks are

triggered by dryness or dustiness, thereby affecting the baseline blink rate. That

doesn’t happen. There’s an internal oscillator that triggers blinks, usually before

the eye has a chance to dry out under normal conditions. This oscillator doesn’t

significantly adjust for environment. We blink at a fairly constant rate, regardless

of whether we’re in a humid, dust-free Turkish bath (where we physiologically need

fewer blinks) or walking around the desert (assuming there’s no driving wind blowing

sand into the eyes).

However, when we do something that requires concentration, our blink rate drops

dramatically, to 3-4 times per minute. The more difficult the task, the less we blink.

It doesn’t have to be a visual task — carefully attending to sounds or music likewise

lowers the blink rate. Typically, there is a short burst of several rapid blinks just before

anticipated difficulty, then a greatly reduced blink-rate during the task. The reduced

blinking during sustained attention is why long bouts of animating at the computer

can dry out the cornea and eventually damage the eye — so take frequent short

breaks!

What About Blinking?

remember the blink rate for ‘carefully attending’ is four blinks per minute


Michael CaineDid you know that actors think very strongly about how often they blink. Michael Caine talks about the fact that when he wants to be strong he does not blink and that blinking often is weakening for a character.

The Bold and The BeautifulLikewise if you watch any of the actors of The Bold and the Beautiful or other soap operas you will find that they blink rarely(for intensity) and punctuate scenes with blinks.

click for live link referencehttp://www.youtube.com/watch?v=ddUbsWnEVXM&feature=PlayList&p=F1CDC6D11D7B5D9E&playnext=1&index=9


GesturesTime lineFuture: grabbing the future up and out ...................................................................................

past: throwing the past behind .....................................................................................................

present: you are in it (hands down) ...........................................................................................

Lessons from the last: in a suitcase at your side.............................................................

Learning preferenceVisual: up high ......................................................................................................................................

auditory: into the ears ......................................................................................................................

kinaesthetic: into the lower body ..............................................................................................

SizesLarge: ................................................................ arms stretched long

Medium: ........................................................... arms curved

Small: ............................................................... arms tight

numbersUp above shoulder


Gestures

Timeline Future : grabbing the future up and out....................................................................................

Past: throwing the past behind..............................................................................................

Present: you are in it (hands down) ............................................................................................

Lessons from the last : in a suitcase at your side...............................................................................................

Learning preference Visual: up high ..........................................................................................................................

Auditory: into the ears .................................................................................................................

Kinaesthetic: into the lower body ......................................................................................................

Sizes Large: ............................... arms stretched long

Medium: .......................... arms curved

Small: ............................... arms tight

Numbers Up above shou

the ability to persuade can never be underestimated


Part III: The Voice


The larynx, or voice box, is an organ in the neck that plays a crucial role in speech and breathing. The larynx is the point at which the aero-digestive tract splits into two separate pathways: the inspired air travels through the trachea, or windpipe, into the lungs, and the food enters the oesophagus and passes into the stomach. Because of its location, the larynx has three important functions: control of the airflow during breathing, protection of the airway, production of sound for speech.

The framework of the larynx is made up of the thyroid cartilage. The anterior portion of the thyroid cartilage can be easily felt in thin necks as the “Adam’s apple”.

In the centre of the larynx lie the vocal folds (also known as the vocal cords). The vocal folds are one of the most important parts of the larynx, as they play a key role in all three functions mentioned above.

Basic Vocal Anatomy


The Voice

The larynx, or voice box, is an organ in the neck that plays a crucial role in speech and breathing. The larynx is the point at which the aero-‐digestive tract splits into two separate pathways: the inspired air travels through the trachea, or windpipe, into the lungs, and the food enters the oesophagus and passes into the stomach. Because of its location, the larynx has three important functions: control of the airflow during breathing, protection of the airway, production of sound for speech.

The framework of the larynx is made up of the thyroid cartilage. The anterior portion of the thyroid cartilage can be easily felt in thin necks as the "Adam's apple".

In the centre of the larynx lie the vocal folds (also known as the vocal cords). The vocal folds are one of the most important parts of the larynx, as they play a key role in all three functions mentioned above. The vocal folds are made of muscles covered by a thin layer called mucosa. There is a right and left fold, forming a "V" when viewed from above. At the rear portion of each vocal fold is a small structure made of cartilage called the arytenoid. Many small muscles are attached to the arytenoids. These muscles pull the arytenoids apart from each other during breathing, thereby opening the airway. During speech the arytenoids and therefore the vocal folds are brought close together. As the air passes by the vocal folds in this position, they open and close very quickly. The rapid pulsation of air passing through the vocal folds produces a sound that is then modified by the remainder of the vocal tract to produce speech.

False Vocal Folds

The False Vocal Folds (or Vestibular Folds) are the fleshy mounds that sit just above the vocal folds. They can be open or closed and are involved naturally in constriction during swallowing, straining or coughing.

Constricted False folds constrict vocal tone.

Retracted False folds are the best for voice. This state allows full and free vocal expression.

To retract the false vocal folds you activate the muscles under the eyes. The easiest way to do this is to smile!

vocal folds

mouth

larynx

naso-‐parynx

The vocal folds are made of muscles covered by a thin layer called mucosa. There is a right and left fold, forming a “V” when viewed from above. At the rear portion of each vocal fold is a small structure made of cartilage called the arytenoid. Many small muscles are attached to the arytenoids.

These muscles pull the arytenoids apart from each other during breathing, thereby opening the airway. During speech the arytenoids and therefore the vocal folds are brought close together. As the air passes by the vocal folds in this position, they open and close very quickly. The rapid pulsation of air passing through the vocal folds produces a sound that is then modified by the remainder of the vocal tract to produce speech.


Vocal Fold Conditions

university of Pittsburgh Voice Centre - health and Medical Information



Vocal Fold Conditions University of Pittsburgh Voice Centre - Health and Medical Information

http://www.upmc.edu/upmcvoice/multimedia.htm

Normal

Reinke’s Edema

Nodules





Normal

Reinke’s Edema

Nodules





Normal

Reinke’s Edema

Nodules





Normal

Reinke’s Edema

Nodules

normal reinke’s Edema

nodules




Jaw

50% of the brains messages flow through the tempomandibular joint

The idea is to get the jaw open and exercise the tongue (instead of the jaw)

Being pedantic, there are a couple of things to say:

• You never ‘hold’ the jaw open. It is just open in a relaxed position from the back joint (ie opens back, not down) and you check it with the 2-‐finger trick.

• Yes, you are training the tongue to do the work. The further the mouth is open, the more the tongue has to work, but in the end it can only do so much!!!!

MANDIBULAR JOINT NEURALGIA (COSTEN'S SYNDROME), MILTON R. BEYERS, M.D.; SAMUEL TEICH, M.D. AMA Arch Intern Med. 1952;90(3):389-‐391.

MANDIBULAR joint neuralgia (Costen's syndrome), first reported by Costen in 1934,1 is accepted by otorhinolaryngologists and members of the dental profession as a definite clinical entity. It should be considered in every differential diagnosis of recurring

facial pain. Nevertheless, the literature usually perused by the internist contains very few references to this syndrome of vertex and occipital pain, otalgia, glossodynia, and pain about the nose and eyes associated with disturbed temporomandibular joint



Jaw

50% of the brains messages flow through the tempomandibular joint



• You never ‘hold’ the jaw open. It is just open in a relaxed position from the back joint (ie opens back, not down) and you check it with the 2-‐finger trick.

• Yes, you are training the tongue to do the work. The further the mouth is open, the more the tongue has to work, but in the end it can only do so much!!!!

MANDIBULAR JOINT NEURALGIA (COSTEN'S SYNDROME), MILTON R. BEYERS, M.D.; SAMUEL TEICH, M.D. AMA Arch Intern Med. 1952;90(3):389-‐391.

MANDIBULAR joint neuralgia (Costen's syndrome), first reported by Costen in 1934,1 is accepted by otorhinolaryngologists and members of the dental profession as a definite clinical entity. It should be considered in every differential diagnosis of recurring

facial pain. Nevertheless, the literature usually perused by the internist contains very few references to this syndrome of vertex and occipital pain, otalgia, glossodynia, and pain about the nose and eyes associated with disturbed temporomandibular joint

Jaw



• Younever‘hold’thejawopen.Itisjustopeninarelaxedpositionfromthebackjoint (ie opens back, not down) and you check it with the two-finger trick.

• Yes,youaretrainingthetonguetodothework.Thefurtherthemouthisopen,the more the tongue has to work, but in the end it can only do so much.

50% of the brains messages flow throught the tempomandlbular joint


Mandibular joint neuralgia (CoSTEn’S SynDroME), MILTon r. BEyErS, M.D.; SAMuEL TEICh, M.D. AMA Arch Intern Med. 1952;90(3):389-391.

Mandibular joint neuralgia (Costen’s syndrome), first reported by Costen in 1934,1 is accepted by otorhinolaryngologists and members of the dental profession as a definite clinical entity. It should be considered in every differential diagnosis of recurring facial pain. Nevertheless, the literature usually perused by the internist contains very few references to this syndrome of vertex and occipital pain, otalgia, glossodynia, and pain about the nose and eyes associated with disturbed temporomandibular joint function.

The pathology is either malocclusion from any cause or destructive changes of one or both mandibular joints. The resultant abnormal pressure in the mandibular fossa causes partial or complete closure of the internal auditory canal, accounting for the “stuffy deaf” sensation so common to the syndrome.

Costen’s syndrome is the term applied to a symptom-complex described by J. B. Costen in 1934.1 The symptoms can be summarized as follows:

1. Otological symptoms: loss of hearing, stuffiness in the ears, and tinnitus aurium.

2. Head and neck pain: pain in and about the ears, headaches in the vertex and occipital regions, and pain typical of “sinus disease.”

3. Miscellaneous symptoms: vertigo, tenderness of the temporomandibular joint to palpation, burning sensations in the tongue and throat, and a metallic taste.

Costen claimed 1-6 that the symptoms forming his syndrome were produced by over closure of the mandible and that “opening the bite” would clear up these symptoms.

otolaryngology, head and neck Surgery Volume 70, no. 3 September 1959



function.

The pathology is either malocclusion from any cause or destructive changes of one or both mandibular joints. The resultant abnormal pressure in the mandibular fossa causes partial or complete closure of the internal auditory canal, accounting for the "stuffy deaf" sensation so common to the syndrome.

Costen's syndrome is the term applied to a symptom-‐complex described by J. B. Costen in 1934.1 The symptoms can be summarized as follows:

1. Otological symptoms: loss of hearing, stuffiness in the ears, and tinnitus aurium. 2. Head and neck pain: pain in and about the ears, headaches in the vertex and

occipital regions, and pain typical of "sinus disease." 3. Miscellaneous symptoms: vertigo, tenderness of the temporomandibular joint to

palpation, burning sensations in the tongue and throat, and a metallic taste.

Costen claimed1-‐6 that the symptoms forming his syndrome were produced by overclosure of the mandible and that "opening the bite" would clear up these symptoms.

Otolaryngology, Head and Neck Surgery Volume 70, No. 3 September 1959

Open your mouth!


Vocal HealthThe professional voice user will devote their total life to voice, which is not a 40 hour job. It requires nurturing 24 hours a day, 7 days a week.

• Avoidspeakingwhenill

• Avoidalcohol

• Getamplesleep

• Stayinsmoke-freeenvironments

• Drinkatleast2litresofwaterperdaytokeepthebody(throat)hydrated

• Avoidtemperaturechanges

• Don’tyell

• Don’twhisper

• Avoidingnoisyenvironmentsoverwhichyouhavetobeheard

• Avoidglottalattack

• Workonfitness,breathingandposture

• Understandthevoice

• Usetechniquestokeepstressoutofthethroat

• Don’tclearyourthroat-swallowinstead

For more on vocal issues you may find these sites helpful:

ANATS Australian National Association of Teachers of Singing www.anats.org.au

VASTA Voice and Speech Trainers Association website www.vasta.org

British Voice Association www.british-voice-association.com

Laryngeal PosturesOne of my areas of research was to complete the training programs of Jo Estill. who founded Estill Voice Training™ in 1988 by asking the simple question, “How am I doing this?”

Jo provides the answer by turning the complex study of vocal production into a manageable set of structures and voice qualities. Her system, Estill Voice Training™ (also known as Estill Voice Craft™), simplifies the learning process by breaking the voice down into its working parts - the actual structures that make the voice work. Using EVT’s Figures for Voice, a series of vocal exercises, students learn to control each structure independently and then combine the structures to create different voice qualities.


The False Vocal Folds (or Vestibular Folds) are the fleshy mounds that sit just above the vocal folds. They can be open or closed and are involved naturally in constriction during swallowing, straining or coughing.

Constricted false folds constrict vocal tone. Retracted false folds are the best for voice. This state allows full and free vocal expression. To retract the false vocal folds you activate the muscles under the eyes. The easiest way to do this is to smile

OnsetThe relationship between the breath and the tone is called the Onset. You can have three possible onsets:

• GlottalOnset-thevocalfoldsbeginvibratingbeforethebreatharrives,givingahard vocal attack.

• AspirateOnset-thebreathpassesthroughthevocalfoldsbeforetheybegintovibrate, giving a breathy sound.

• SimultaneousOnset-breathandvibrationoccuratthevocalfoldsatthesametime giving a balanced tone.

Tongue Vocal Intelligence and Presentation


Tongue

Tongue Twisters • Red letter, yellow letter

• Ten, eleven benevolent elephants

• The big, black-‐backed bumblebee

• Selfish shellfish

• Unique New York

What a to-‐do to die today at a minute or two to two,

a thing distinctly hard to say but harder still to do.

for they'll beat a tattoo at a quarter to two:

a rat-‐ta tat-‐tat ta tat-‐tat ta to-‐to.

and the dragon will come when he hears the drum

at a minute or two to two today, at a minute or two to two

Tongue Twisters• Red letter, yellow letter

• Ten,elevenbenevolentelephants

• Thebig,black-backedbumblebee

• Selfishshellfish

what a to-do to die today at a minute or two to two,

a thing distinctly hard to say but harder still to do.

for they’ll beat a tattoo at a quarter to two:

a rat-ta tat-tat ta tat-tat ta to-to.

and the dragon will come when he hears the drum

at a minute or two to two today, at a minute or two to two

False Vocal Folds


Tongue Twisters from A –Z

A – Around the rugged rocks the ragged rascal ran.

B – Big black bug bit a big black bear and the big black bear bled black blood.

C – Can I cook a proper cup of coffee in a copper coffee pot?

D – Don’t doubt the doorbell, but differ with the doorknob.

E – Eight gray geese in a green field grazing.

F – Fine white vinegar with veal.

G – Grab the groundhog from the glazed grass.

H – High roller, low roller, lower roller.

I – Inexplicably mimicking him hiccupping.

J – Jingle jungle jangle joker.

K – Knit kilts for nasty cold nights.

L – Lucy likes light literature.

M – Monkeys make monopoly monotonous.

N – The Next nest will not necessarily be next to nothing.

O – Octopi occupy a porcupine’s mind.

P – Peter Prangle, the prickly pear picker, picked three perfectly prickly pears.

Q – Queen Catherine wakes the cat, and the cat quietly cries.

R – Rubber Baby Buggy Bumpers!

S – Some shun sunshine. Do you shun sunshine?

T – Three thick thistle sticks.

U – Unique New York, Unique New York, Unique New York.

V – Venti, Grande, Tall - Very Grand Words for Large, Medium, Small.

W – Will’s wetsuit is round and wet and rough and wide and ready to go on a watery ride.

X – Xylophones exist or so existentialists insist.

Y – Yoda met a Yeti on the Plains of Serengeti.

Z – Zoologists illogically love to read astrology.


Sociolinguists argue that all varieties of a language are equally good. All speakers automatically adapt/accommodate to their communication partners and code switching occurs with bilingual speakers. A person’s accent is part of their identity and personality and global communication encourages variety and difference.

Perceptions and Attitudes• Languageproficiencyislinkedtoeducationallevelandsocialstatus

• Superiorityisequatedwithhowelaboratethelanguageisandhow‘standard’the accent sounds

• Accentisamarkerofprestigeandintelligence

• Accentcanresultinsocialandeconomicdisadvantageduetonegativebeliefs associated with accents (eg. Hawaiian newsreader)

There is widespread belief that:• non-standard forms of English are inferior

• Accentisamarkerofclass,gender,ethnicity

• Negativejudgmentsaremadeaboutaperson’sidentity

• Accentcanbeahandicapincertainsettings/contexts

• Therearesocialandeconomicimplications

reasons for accent modification• Yourcurrentaccentinterfereswithcommunication (listener effort; social consequences)

• Youfeelthereisanegativeperceptionofyoubecauseofyouraccent (personalconsequences)

• Youraccentisanobstacletoyoursuccessintheworkplace

• Youaremotivatedtomakechanges

Changing L1• ThepatternsinL1maybetotallydifferenttotheaccentyouaimtoachieve

• Thesepatternsaredifficulttochangeastheyhavebecomeautomated (unconscious level)

• Needtoreplaceonesystemofruleswithanothersochangewillbeslow

Learning L2• Aimistoincreasethespeaker’slinguisticrepertoire

• Learna2ndaccentjustasyouwouldlearnasecondlanguage

• Involveslearningthesoundsystemaswellasthelinguisticsystem

• Personcancodeswitchdependingoncontext

Functional repertoire• Speakerlearnsaspecificlistofwords,sentencesandphrasesthatarecontext specific (presentations, information giving)

• Meetstheneedsofthelistener(e.g.Callcentres)

• Communicationsuccessisachievedinpreselectedsettings

• Easierforthespeakertolearn

Accents From V.Panayiotou 2004


what is taught• Thesoundsystem

• Thesyntacticsystem

• Thesuprasegmentalsystem

• Thesemanticsystem

The suprasegmental system• Referstorhythm,stress,pitchandrate

• Meaningisconveyedthroughthissysteme.g.;‘Content,present,abstract, reject, produce’

• RhythminEnglishis‘stress-timed’(not‘syllable-timed’),i.e.Equaltimebetweeneach stress in an utterance

• ImposingL1rhythmonL2resultsinanaccent

Stress and rhythm• Wordstressoccursononesyllableinaword

• Sentencestress/accentoccursoncontent/keywordsinasentence

• Keywordscarrythemeaning

• Structurewordsmakethesentencegrammatical

eg. “ Our staff meeting is scheduled for Monday”

“The client agreed to the terms of the contract

The sound system• Theuniquesetofsoundsofalanguage;consonants,vowelsanddiphthongs (not letters)

• Phonemes(sounds)maybethesamebuttheirphoneticrealisationmaydifferform one language to another (e.g. /t/ and /d/ are alveolar for English and dental for French)

• Distinguishingfeatures,suchasvowellength,canbesubtle(e.g../i/versus/ee/)

• Soundcombinationscanvarygreatly(e.g..Complexclustersabsentin Chinese, Japanese)

The syntactic system• Thegrammaticalrulesofthelanguage

• Wordorder,partsofspeech(noun,verb,conjunction…),number(plural/singular)and gender (“I intended to have written”)

• Incorrectusagemayreduceintelligibilityand/orresultinmiscommunication (inaccurate messages)

Semantics• Thelexicalknowledgeofthelanguage

• Linkedtoeducationalandsocialstatus

• Perceptionoflevelofintelligence

• Incorrectuseofwordsaffectsintendedmeaninge.g..“Hedidnotexceptthegift”

are these techniques god given or can you change them?


Part IV: The Mind



Voice and the brain

Vocal researchers, having assumed ‘that vocalization during human speech and song was something that depends on different brain regions and pathways’ (Davis, Pamela 1998, p. 15), recently found scientific evidence to support that notion. Adding to the scientific wisdom of a higher brain (cerebral cortex) responsible for control, we can now add a very primitive and unconscious part of our brain which controls our emotions and is responsible for the unconscious sounds that we make (Davis, Pamela 1998, p. 15).

So, scientific research, as it stands, tells us that vocal tone is under both conscious and involuntary control and it is intriguing that different parts of the brain seem responsible for the same set of muscles and may work together or separately on those muscles at any time.

Figure 1: Dual brain systems

(Holstege & Ehling 1996, p. 154)

Depicting this phenomenon visually, the photos above show a patient with a small infraction of the area of the brain associated with conscious control of the facial muscles. On the left, the patient has been asked to smile and her response is to show her teeth on one side, unable to consciously manipulate the oral muscles on her right side (conscious control). In the picture on the right she reacts genuinely to a joke, to which the complete face responds (unconscious reaction).

A similar duality of conscious and unconscious controls is also present for voice and Holstege (1996) used this illustration as an example of his hypothesis that there are at least two nervous systems – a voluntary motor system and an emotional motor system.

voluntary motor system emotional motor system

voice

All of this certainly suggests that voice is a multi-‐layered intricate web, not just linked to conscious learning alone, but to a significant level of unconscious activity and orientation.

Holstege & Ehling 1996, p. 154

Emotional IntelligenceVoice and the brainThe mind has historically led to few connections in vocal scientific research until recently. Although the connection seems obvious, experiments designed to connect emotion and voice failed to do so, but within the last decade there has been an attempt to re-unite them.

Vocal researchers, having assumed ‘that vocalization during human speech and song was something that depends on different brain regions and pathways’ (Davis, Pamela 1998, p. 15), recently found scientific evidence to support that notion. Adding to the scientific wisdom of a higher brain (cerebral cortex) responsible for control, we can now add a very primitive and unconscious part of our brain which controls our emotions and is responsible for the unconscious sounds that we make (Davis, Pamela 1998, p. 15).

This area, identified as the Periaqueductal Grey (PAG), is thought to be responsible for fight and flight responses and now accepted as the source of vocalisation in animals and human emotional utterances (Davis, Pamela 1998). Also, on the basis of PAG recordings, Larson (1991) and Bandler et al (1996) proposed that the PAG may play a critical role in song and pitch variation in speech, doing this through its links to the sensory input from the respiratory system and the larynx (Davis, PJ, Zhang & Bandler 1993).

So, scientific research, as it stands, tells us that vocal tone is under both conscious and involuntary control and it is intriguing that different parts of the brain seem responsible for the same set of muscles and may work together or separately on those muscles at any time.

Depicting this phenomenon visually, the photos above show a patient with a small infraction of the area of the brain associated with conscious control of the facial muscles. On the left, the patient has been asked to smile and her response is to show her teeth on one side, unable to consciously manipulate the oral muscles on her right side (conscious control). In the picture on the right she reacts genuinely to a joke, to which the complete face responds (unconscious reaction).

A similar duality of conscious and unconscious controls is also present for voice and Holstege (1996) used this illustration as an example of his hypothesis that there are at least two nervous systems – a voluntary motor system and an emotional motor system.

All of this certainly suggests that voice is a multilayered intricate web, not just linked to conscious learning alone, but to a significant level of unconscious activity and orientation.

voice

Voluntary motor system Emotional motor system


Emotional IntelligenceGiven that I have defined Vocal Intelligence as the mobilisation and expression of energy and personal presence through engagement with voice, I was interested to explore the possible relationship between, what I term, Vocal Intelligence and another concept which deals with duality, Emotional Intelligence (Salovey & Mayer 1989-90). As a consequence of that exploration, my current research has been strongly influenced by the resultant framework, providing a useful model for understanding.

While Emotional Intelligence speaks of the duality of the rational and emotional brain, there has been no connection in the literature with voice. While the vocal literature speaks of vocalisation as not just the larynx making sound, but sound ‘activated by the brain; connected to emotional expression and to will’ (Davis 1998, p. 15), there has been no connection to Emotional Intelligence.

I could see that the model of dual areas of the brain, generalised as the rational and emotional, could have possible meanings for voice, understanding that these two parts ‘operate in tight harmony for the most part, intertwining their very different ways of knowing to guide us through the world’ (Goleman 1996, p. 9) and recognising that the emotional brain ‘has a mind of its own, one which can hold views quite independently of our rational mind’ (Goleman 1999, p. 20).

In short, the reasons for viewing the concept of Emotional Intelligence in this study are three: that emotional intelligence offers a framework which may be useful to describe vocal intelligence; that the current work on emotional intelligence adds to my thinking about vocal intelligence; and, rather than shining its light under a bushel, that vocal intelligence can reveal itself as a helpful complement to emotional intelligence.

Clearly, there were many varied approaches to what has become known as emotional intelligence and some controversy as to its boundaries of definition. The reason for this, according to McCrae (2000, p. 264), was the original article by the originators of the term ‘emotional intelligence,’ Peter Salovey and Jack Mayer (1989-90), within which they ‘argued boldly and creatively for broader notions of intelligence’. This theoretical license granted to the construct, he claims, ‘was promptly exploited by Goleman and others, who in effect argued that any beneficial non-cognitive trait might be constructed as emotional intelligence’ and it is argued that a limitation of Goleman’s use of the term ‘is that he attempts to capture almost everything

but IQ’ (Hedlund & Sternberg 2000, p. 147). Highlighting these differences, Mayer, Salovey and Caruso (2000) shed light on the variety of models available in summary of emotional intelligence and personality tests, using ‘ability’, ‘self-report’ and ‘informant’ approaches to measurement.

In my interpretivist approach, I did not want to become involved in what was an argument within the positivist paradigm. Instead, despite a variety of languages, approaches and categories, it is accepted that, overall, emotional intelligence has evolved as an all-consuming concept of intelligences, which recognises the link to emotion and may be defined as ‘the ability to sense, understand and effectively apply the power and acumen of emotions as a source of human energy, information, possibility, connection and influence’ (Cooper & Sawaf 1997, p. xiii). For this research, simply, notions of intelligence – whether intellectual, emotional or vocal – imply a capacity to generate, evaluate and select among options.

My area of interest for the model of dualityMy area of connection with Vocal and Emotional Intelligence relates to the discussion of duality and the fact that Emotional Intelligence involves not only the astute use of emotion (Cooper & Sawaf 1997; Goleman 1996; Salovey & Mayer 1989-90), but also the simultaneous use of cognition (Mayer, Caruso & Salovey 2000) and how that occurs.

My interest in the relationship between Emotional Intelligence and Vocal Intelligence is, therefore most strongly interested in the least ‘mixed’ of the various Emotional Intelligence alternatives, excluding personality, motivation and relationship skills proposed by some models.

Considering Goleman Despite Goleman’s model holding some irrelevancies for me, I turned my attention to his work, because of his ability to tell a story and make the story accessible. Goleman is quite simply responsible for the mainstream appeal of emotional intelligence, because he makes the work so accessible and this was clearly appealing from my perspective.

I recognise that there is some controversy and that ‘to equate Emotional Intelligence with neurological properties of brain systems is conceptually naïve and of little use in explaining empirical data on human emotional function’ (Matthews, Zeidner & Moshe 2000, p. 538); on the other hand, it was exactly that naivety that was appealing to me as a reduction – but not simplification - of what may be of enormous complexity.


Goleman’s modelIn conceptualising the intelligences, Goleman depicts two minds – emotional and rational - and describes how ‘in many or most moments these minds are exquisitely coordinated; feelings are essential to thought, thought to feeling’ (1996, p. 9). Although they may work mostly together, it is Goleman’s contention that often they don’t; ‘This emotional mind works in an unfamiliar non-linear fashion for many. It has a ‘mind’ of its own, one which can hold views quite independently of our rational mind’.

It is the interplay and patterns of the amygdale and the neo-cortex, which Goleman describes as being at the heart of emotional intelligence and which are so intriguing to Vocal Intelligence, because it describes a model for two parts working together. To explain the interplay between the amygdale and neo-cortex, Goleman (1996, p. 16) tells how:

‘the amygdala scans every perception with the questions: is this something I hate? That hurts me? Something I fear?’ If yes, ‘like a neural tripwire a message of crisis is telegraphed. It is like an alarm company whose operators stand ready to send out emergency calls to the fire department, police and neighbour. It triggers the excretion of the body’s fight-or-flight hormones, mobilizes the centres for movement, and activates the cardiovascular system, the muscles and the gut. They also signal the secretion of emergency dollops of the hormone norepinephrine to heighten the reactivity of key brain areas, including those that make the senses more alert, in effect setting the brain on edge. They also speed heart rate, halt unnecessary movement, raise blood pressure, slow breathing. Simultaneously, cortical memory systems are shuffled to retrieve any knowledge relevant to the emergency at hand, taking precedence over other strands of thought’.

neural hijacking – when emotional overrides rationalWhen the two brains become thus de-synchronised, - termed ‘neural hijacking’ by Goleman – the central limbic system proclaims an emergency and recruits the rest of the brain to an emergency situation (See Goleman 1996 Chapter 2). This is, apparently, done before the neo-cortex can understand the situation or take appropriate action and the hallmark of such a hijack is that, once the moment passes, those possessed have the sense of not knowing what came over them. It is a neural takeover that originates in the amygdale (from the Greek word for almond), a centre in the limbic brain.

This ‘neural hijacking’ was a term I could use in my model for trying to understand and work with the effects of traumatic stress on the voice. Goleman’s

concept is a wonderful description, which provides a framework for the catatonic vocal states experienced by the research participants, Pat and Greg amongst others.

Pat and Greg, at different times, both experienced physical responses associated with many emotional responses, including fear, anger, love, disgust and sadness. For the fearful situation, for instance, ‘blood goes to the large skeletal muscles, such as the legs, making it easier to flee – and making the face blanch as blood is shunted away from it (creating the feeling that the blood runs cold). At the same time, the body freezes, if only for a moment, perhaps allowing time to gauge whether hiding might be a better reaction. Circuits in the brain’s emotional centres trigger a flood of hormones that put the body on general alert, making it edgy and ready for action, and attention fixates on the threat at hand, the better to evaluate what response to make’. (Goleman 1996, p. 6)

This is, of course, the response many people experience when asked to sing and feeling their body jam and feel immobile and the voice becoming tight and stifled, often unable to work at all.

Working with song, which I believe incorporates the full vocal connection, I could engage with the emotion of fear directly. I could talk to participants about love and hate and jealousy and rage, but there was no way I could penetrate the comfort level that fitted so neatly around their organisational persona. By singing, we could often access emotion head-on through fear, actively engage and make inroads with the hope that there were tentacles stretching beyond.

Alexythemia – when rational overrides emotionalIf, on the other hand, Goleman tells us, the proposed incident is not one to incite panic, the brain may work at a strong functional level in terms of logical thought. ‘However, at the same time … it is possible to exude a grey neutrality’ (1999, p. 9). For that deadened approach, the key-off switch for emotion seems to be the left pre-frontal lobe, which is left inactive. The left pre-frontal lobe seems to be part of a neural circuit that can switch off, or at least dampen down, all but the strongest negative surges of emotion. As the brain region responsible for working memory, the removal of this part of the brain, known as the pre-frontal lobotomy, was thought to be a surgical ‘cure’ for mental illness in the 1940s. Frontal lobotomy allowed the patients to learn but to be dulled emotionally.

Alexithymia is a form of mental malfunction (from the Greek a- for lack, lexis for word and thymos for emotion), coined by Harvard psychiatrist, Peter Sifneos, in 1972. The term is used for people who do


‘feel’, they just don’t know they feel and are especially unable to put those feelings into words.

They remain passive to the blockage of emotion under minor stress, causing an effective blindness (Goleman 1996), which could otherwise only be surgically imposed by a frontal lobotomy, or in its form of mental disorder, Alexithymia. “Alexithymia” was a term I could use in my approach to signify the effect of chronic stress on the voice, which was evident in a monotone speech pattern, with a lack of inflection, little pitch variation and mumbling.

out of sync and disorganised larynxGoleman says that, at times, the two above mentioned brain parts choose a combination of neural pathways that are not suitable alternatives and which may induce a confused ‘out of sync’ association with emotions and thought. In this case the person may have a feeling of intense sadness, but display a different emotion, such as laughter. Useful concepts of Emotional Intelligence for Vocal Intelligence

Speed, memory and strength In reducing this phenomenon to more simple terms, Goleman offered the idea that, when comparing the two brain parts, they vary in speed, memory and strength.

SpeedLeDoux’s (1986) work reveals how the architecture of the brain gives the amygdale (emotional brain) a privileged position. Whereas normally sensory signs travel from the ear or eye to the thalamus and then to the amygdale, and a second signal from the thalamus is routed to the neo-cortex, there is a small bundle of neurons that lead directly to the amygdale, a short-cut root which is used in emergencies.

MemoryAs we saw, Goleman tells us that the storehouse of emotional memory is the amygdale and the storehouse of the facts surrounding that situation is the hippocampus, providing the brain with two memory systems, one for ordinary facts and one for emotionally charged ones. These two can act completely independently and the amygdale also stores some emotional reactions and emotional memories without any conscious, cognitive participation at all.

‘The amygdala can house memories and response repertoires that we enact without realising why we

do so because the shortcut from the thalamus to amygdala completely bypasses the neocortex. This bypass allows the amygdala to be a repository for emotional impressions and memories that we have never known about in full awareness’ … ‘In the first few milliseconds of our perceiving something we not only unconsciously comprehend what it is, but decide whether we like it or not’ (1996, p. 20).

Our emotions, therefore, can have a mind of their own, one which can hold views quite independently of our rational mind. These feelings prior to thought are what LeDoux calls precognitive emotion. In this way, emotional memories can be faulty guides to the present. The message the amygdale sends is sometimes, if not often, out-of-date. It commands that we react to the present in ways that were imprinted long ago.

StrengthThe emotional part of the brain, neuroscience tells us, also learns differently from the rational brain, with a method to make emotional memories register with special potency. ‘Under stress, a nerve from the brain triggers the body to make norepinephrine and epinephrine. These hormones activate the vagus nerve which signals back into the amygdala as the main site of reference. They then activate neurons within the amygdala to signal other brain regions to strengthen memory for what is happening, thereby catering for added strength’ (Goleman 1996, p. 20).

In other words, under stress, the unconscious memory of Pat’s teacher telling him he was “out” or Greg’s colleague asking for the sandwiches, was having an effect to this day on their performance. In certain situations, the unconscious memory was quickly activated and, having enormous strength, it blocked the ability of the rational brain.

AlexythemiaThe obvious vocal symptom of an “out of sync” brain is a “disorganised larynx” (Estill 1997) and, consequently, an out of tune voice.

how interesting do you need to be to keep your audiences’s attention?


Part V: Applying Vocal Intelligence to Presentation


PresentationsDefinitionA presentation is:

• tailoredforeachaudience

• researched

• organised

• usesassistance

• differenteverytime



Presentations

Definition

A presentation is:

• tailored for each audience

• researched

• organised

• uses assistance

• different every time

Process

RESEARCHING

WRITING

PERFORMING

REVIEWING

REHEARSING

are these techniques god given or can you change them?


Researching



Researching

WRITING

REHEARSING

STRUCTURE

AUDIENCE ANALYSIS

OBJECTIVES

CONTENT

ENERGY FLOW

VOICE

MOVEMENT

AIDS

GESTURES

CREATIVE IDEAS

AUDIENCE PARTICPATION

EYES

AUDIENCE ENGAGEME

NT

REHEARSAL

QUESTIONS


Audience Analysis• Whatdotheyknow?

• Whatdotheyneedtoknow

• Whatdotheywant?

• Learningpreference

• Motivationalpreference

• Whatisthepoliticalstructure?

Motivational profile• Towardspositiveorawayfromnegative?

• Interestedinselforothers?

• Datadrivenorgutreactions?

• Past,presentorfutureorientation?

• Likethingsthesameordifferent?

other considerations

..............................................................................................................................................................................................

..............................................................................................................................................................................................

..............................................................................................................................................................................................

how often do men think of sex?Neuropsychiatrist Dr. Louann Brizendine, author of ‘The Female Brain,’ writes in her book that men think about sex every 52 seconds, while women tend to think of it just once a day.

Other research varied: According to researchers at the Kinsey Institute for Other Research in Sex, Gender and Reproduction at Indiana University, 54 percent of men think about sex several times a day, compared with just 19 percent of women.

Whatever the figure, how interesting do you need to be to keep your audience’s attention?


Presentation Structure Vocal Intelligence and Presentation


Presentation Structure INTRODUCTION

What When How Why Where

CREATIVE

MESSAGE

AGENDA

Body 1 Body 2 Body 3

BODY 3

BODY 2

BODY 1

SUMMARY

Key points of Body 1,2,3

CLOSE

Repeat message

Next action

TELL “EM

WHAT YO

U ARE

GOING TO TELL

EM

TELL “EM

TELL “EM

WHAT YO

U

TOLD

EM


Writing

Time Structure Content Props/slides Introduction

Creative

Message

Agenda

Body 1

Body 2

Body 3

Summary

Close


Starting a Presentation Vocal Intelligence and Presentation


Starting a Presentation

Breathe out

Walk

Stop and turn

Rest position

Move

Move

Gesture

Move

Introduction

• Who

• What

• When

Creative

Message

Agenda


Creative IdeasPurposeThe purpose of the creative idea is to capture attention in preparation for your message.

Examples• Joke

• Story

• Mime

• Analogy

• Quote

• Fairytale

• Oddvoiceuse

• Question

• Controversialstatement

• Anactivity

CriteriaMust link to the message.

FurtherLink your creative idea throughout the presentation

Objectives/MessageThe objective must be able to get your audience to:• dosomething–buy,takeanactionetc

• thinksomething–acceptacourseofaction,makeadecision

It must be:• practical

• attainable

Note: A presentation is never an ‘information dump’.


Audience Participation and NLPThe co-founders of Neuro-Linguistic Programming, Richard Bandler and linguist John Grinder, claimed it would be instrumental in “finding ways to help people have better, fuller and richer lives”.

They coined the title to denote their belief in a connection between neurological processes (‘neuro’), language (‘linguistic’) and behavioral patterns that have been learned through experience (‘programming’) and that can be organized to achieve specific goals in life

The systematic use of accessing cues enables you to:• rapidlyestablishandmaintainrapport

• gainaccesstohighqualityinformationandresources

• motivateothers

• makegrouppresentationsappealingtotheparticipants

Accessing Cures• Predicate

• Eyemovements

• Gestures

• Breathingchanges

• Voicetonalityandtempo

• Posture

• Muscletone

Your Lead accessing system: .......................................................................................

Predicates

Visual Auditory kinaesthetic

• I can see it now

• what a bright idea

• That looks good

• I just go blank

•Ican’tpicturemyselfdoingthat

•Thatsoundsright

•Doesitringabell

•Everythingsuddenlyclicked

•Somethingtellsmethe time is right

•Icangraspitnow

•Wehaveasolidhandleonit

•Walkmethroughit

•Ineedtogetintouchwithit

I feel like I am reaching for an answer


nLP Submodalitiesroger Ellerton Phd, ISP, CMC, renewal Technologies Inc. Modalities and Submodalities

We have five basic senses: visual, auditory, kinaesthetic, olfactory and gustatory. In NLP, these are referred to as representational systems or modalities. For each of these modalities, we can have finer distinctions. We could describe a picture as being black and white or colour, or it could also be bright or dim. Sounds could be loud or soft, or coming from a particular direction. Feelings could be in different parts of the body or have different temperatures. Smells could be pleasant or offensive, strong or light. Taste could be sweet or bitter or strong or mild.

These finer distinctions are called submodalities and define the qualities of our internal representations. Generally, we work with only three modalities -- visual, auditory and kinaesthetic. However, you be working with a client on an issue where the olfactory or gustatory submodalities play a major role e.g. a food issue or someone who is a chef.

People have known about and worked with submodalities for centuries. For example, Aristotle referred to qualities of the senses, but did not use the term submodalities.

Some of the more common submodalities are:

Visual Auditory Kinaesthetic

Black & white or Colour near or Far Bright or Dim Location Size of Picture Associated / Dissociated Focused or Defocused Framed or unbounded Movie or Still If a Movie-Fast/normal/Slow 3 Dimensional or Flat

Loud or Soft near or Far Internal or External Location Stereo or Mono Fast or Slow high or Low Pitch Verbal or Tonal rhythm Clarity Pauses

Strong or weak Large Area or Small Area weight: heavy or Light Location Texture: Smooth or rough Constant or Intermittent Temperature: hot or Cold Size Shape Pressure Vibration


State Change• Definepoorstate

• Definepeakstate

• Gotopoorstate–breakpatterntopeakstate

• Anchorpeakstateinthatenvironment

POOR PEAKEye direction or focus

head position

Breath

Jaw tension

Lower back

upper back

knees

Feet

Placement of voice

Sound of voice to you

Centre of gravity

Blinking

Associated/ DissociatedFacial Expression


Working with Props and PowerpointTouch Turn Talk

touch Draw attention to the item ..........................................................................................................

turn Turn body back to the audience ................................................................................................

talk Begin to speak ..................................................................................................................................

PowerPointcommon mistakes

Death by Powerpoint .................................................................................................................................................

> 5 words/line .................................................................................................................................................................

> 5 lines/slide ................................................................................................................................................................

For examples of modern slide work, go to Professional presentations www.presentationstudio.com.au


AnchoringAnchoring refers to ‘a stimulus which triggers a specific physiological or emotional state or bahaviour’. It gives us the ability to access desired feelings at lightning speed which we can utilise to help us achieve the outcomes we desire.

Sometimes we create anchors involuntarily. For example, if you think of your favourite teacher’s name from school, or the smell of a certain food or perhaps a photo on holiday or a song you heard, you may find you get a whole host of emotions instantly. These can empower or disempower, motivate or demotivate. Throughout our lives, we often spend a lot of time reacting unconsciously to the effects of anchors.

When creating an anchor you ‘touch’ them in a unique and specific way which can be repeated.

Anchoring in presentationHaving built the energy in your MC’s introduction you run on turn and face your audience in a certain central spot that reinforces yourself as the carrier of an important message. This positions is sometimes known as the ‘teacher’ position.

This point can be reinforced at key points such as the expression of the message and strengthened through strong congruent gesturing to match the message.

Four keys to successful anchoringThe Intensity of the experience

The Timing of the anchor

The Uniqueness of the Anchor

The Replication of the stimulus

The Number of times it is repeated

note: do not muddy this spot by walking over it, or stopping on it during irrelevent parts of the presentation.


MovementMovement is a brilliant way to attract attention and anchor certain messages, such as yourself as an expert (teacher position) or as a facilitator (facilitator position).

• up/down

• side to side

• Forwards/backwards


Movement

Movement is a brilliant way to attract attention and anchor certain messages, such as yourself as an expert (teacher position) or as a facilitator (facilitator position).

X

X

X

X

X

X

X X X

• Up/down

• Side to side

• Forwards/Backwards

Teacher

Extended facilitator

Partnering

Facilitator

Coaching


Energy


Energy

Energy is not either high or low throughout. It moves. Like any performance, the energy of a presentation begins high and ends high. The message is the highest point. It then drops and builds again to the end.

Ways to increase energy:

Visual: PowerPoint + .................................................................................................................

...................................................................................................................................................

Auditory: Music, Vocal Variation, Clapping + ...........................................................................

...................................................................................................................................................

Kinaesthetic: Movement, Models + ..........................................................................................

...................................................................................................................................................

Energy is not either high or low throughout. It moves. Like any performance, the energy of a presentation begins high and ends high. The message is the highest point. It then drops and builds again to the end.

ways to increase energy

Visual: PowerPoint, .............................................................................................................................................

...................................................................................................................................................................

Auditory:Music, Vocal Variation, Clapping, ........................................................................................................

...................................................................................................................................................................

kinaesthetic:Movement, Models ................................................................................................................................

...................................................................................................................................................................


Rehearsal

Tips for choreography:• Drawonfingers

• Writemovementsontoyourtextastheydointhetheatre(seediagrambelow)

• Placepropswhereyouwouldliketomove

• Usedifferentmediumfordifferentpartsofthepresentationiewhiteboard,

butchers paper, PowerPoint, Models

• Useanacronym


Rehearsal

Tips for choreography:

• Draw on fingers

• Write movements onto your text as they do in the theatre (see diagram below)

• Place props where you would like to move

• Use different medium for different parts of the presentation ie whiteboard, butchers paper, PowerPoint, Models

• Use an acronym

...................................................................................................................................................

...................................................................................................................................................

...................................................................................................................................................

the impact we have on our ability to influence, relate, communicate and lead.


Part VI: Applying Vocal Intelligence Elsewhere


Giving FeedbackDescribe situation

“When ............................................................................................................................

........................................................................................................................................

........................................................................................................................................

Express feeling

“I feel ...............................................................................................................................

.........................................................................................................................................

.........................................................................................................................................

Give a reason

“Because ..........................................................................................................................

..........................................................................................................................................

..........................................................................................................................................

offer alternative behaviour“I would prefer ..................................................................................................................

...........................................................................................................................................

...........................................................................................................................................


Handling Difficult Situations


Handling Difficult Situations

become more authentic in who we are and how we relate to others.


Part VII: Summary


Vocal Intelligence warm-ups

Questionnaire

• Whatisyournewrestposition?

• Whathabitualpostureswillyoubeworkingtoavoid?

• Whichbreathexerciseworksbestforyoutoregainyour diaphragmatic breath?

Technique

• Wheredoyoufeelyoursound?

• Areyouavisual,auditoryorkinaestheticpreference?

• Whathappenstoyourbreathunderstress?

• Wheredoyouhabituallygoforpower?

• Isthereispsychologicalunderpinningyoucanfindforthisreaction?

• Howcanyouusegesturestofreeyourbodyandguideyoursound

• Whichgestureswillyoubeworkingtoavoid?

• Howcanyouincorporatemovementinface-to-faceinteractionfreeyourbodyand gain strength?

• Kapalbhatibreathsforoneminute

• Addtheword“hi”

• Addpitchvariations

• Walk

• Tongueexercise–lelilieloloulolololah

• Blowairthroughyourlipsfor5seconds

• Humthesound‘ng’feelingthesoundinyoursinusarea

• Say‘mum’usingtwang

• Swingyourarmswidely

• Gotorestposition

• Startagain


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