alternative therapies that aim to promote healthy posture and reduce stress, like the Alexander technique and Feldenkrais, these methods do not address specific vocal health problems or voice production/technique.
In addition, there are performing arts medical associations and affiliated clinics such as the International Foundation for Performing Arts Medicine, which offer psychotherapy, NLP and arts therapies to name a few. However, there are few organizations, clinics or individual professionals/specialists within the performance arts medical field that are aware of the numerous physical, mental and emotional benefits that flower essence therapy can offer performing artists, and in particular singers. In summary, this study aims to shed light on this new field of discovery, in order to provide performing arts health care specialists, arts therapists working within universities/ conservatoires, and vocalists with an alternative form of vocal health treatment based on current research undertaken in 2006.
Method
The method stage involved recommendations by Marion Leigh, so as to establish the specific needs and requirements of the sample group of singers in order to select which particular essence(s) would be of most general benefit. The combination essence ‘Voice Confidence’ showed immediate relevance, as Marion Leigh prescribes it to patients who are seeking creative expression, motivation, strength, power and most importantly confidence for speaking or singing in public. The investigative approach taken in order to build a substantial scientific study began by forming a sample group of ten volunteer participants, six of
whom were singing students at tertiary music institutions/conservatoires (most of them were also engaged in professional level singing work) and four were music graduates working as professional vocalists.
Once participants agreed to the terms outlined above, they were provided with a non-identifiable essence with a blank label, dosage instructions for use and a questionnaire to answer on completion of the prescribed course. The sample group was directed to take the flower essence fifteen to thirty minutes before a vocal practice or performance, once a day for seven days in a row. Participants were asked to keep a note of daily changes throughout the duration of the study, and invited to record any additional benefits or secondary gains experienced. They were also asked to comment on whether they would take this particular essence again in the future and explain the reasons for their answer. This questionnaire was the primary data model used to carry out this study and collect final results.
It is important to note that the dosage
prescriptions used in this study did not follow the usual instructions for chronic problems, which is three times a day for a period of two weeks, because the aim of this study was to determine whether this particular essence could work on an acute level by providing almost instant results. The reason, the author’s personal experience as a professional vocalist, gave insight into the way in which a singer would most commonly use such an essence, for example immediately before a concert or studio recording session to calm nerves, focus the mind, or promote relaxed breathing. For all this, it is important to note that the aim of this study was to identify instant benefits as a result of an acute dose, rather than chronic problems.
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