Jazz / Pop Singing at the Crossroads of Movement and Musical elements (copy) by Daniela Fanelli

Research question - How can focusing on the connection between body movements and the key musical elements of rhythm, lyrics/mood, pitch and dynamics positively affect the expressiveness and vocal freedom of jazz / pop vocalists? When considering the attributes of captivating performances, jazz and pop singers often tend to underutilize their bodies on stage. This observation prompted a deeper examination of the interplay between body awareness, singing, and movements, resulting in the question “How can focusing on the connection between body movements and the key musical elements of rhythm, lyrics/mood, pitch and dynamics positively affect the expressiveness and vocal freedom of jazz / pop vocalists?” The research aims to address this question through a series of investigative stages. Firstly, the analysis of my 2023 end-of-year performance revealed a clear correlation between gestures, expressiveness and the four musical elements mentioned. Further research supported this finding and led to the development of movement-focused singing exercises, whereby vocalists sing while consciously engaging their bodies in alignment with each key musical element individually. This methodology underwent testing with six vocalists, yielding valuable empirical data. The data shows that this set of exercises can be a helpful, holistic tool in increasing expressiveness, enhancing awareness and improving embodiment while singing, as I have also experienced for myself. By sharing this research, I hope to encourage all musicians to deepen their connection with themselves, their instrument, and the audience through movement and body awareness.

Part 1 - Identify Key Musical Elements

To attempt to clarify the interplay between expressiveness, vocal freedom and movements, I undertook an analysis of the movements made during a performance and identified they correlated to these four key musical elements: rhythm, pitch, lyrics/mood, and dynamics. To validate and delve deeper into these findings, I sought input from specialists: Martine Straesser (Speech Therapist), Annika Weisman (Alexander Technique professor), Erik Willems (Stage presentation professor), and Manon Heijne (Vocal Technique professor). In the next page, you will find a discussion of the insights from these interviews and a comprehensive exploration of Part 1 - Identify Key Musical Elements

Part 2 - Formulate the Model

Building upon the insights from Part 1 of the methodology, I carried out preliminary testing on myself, a student, and Yvonne Smeets. We practiced singing whilst inviting our body to move in response to each of the four different musical elements (rhythm, pitch, lyrics/mood, and dynamics) separately. Through these insights, I established individual testing guidelines. To read these guidelines, please see Part 2 - Formulate and Test the Model

The methodology comprises three main parts:

C. Overview of Methodology

go to Part 1- Identify Key Musical Elements ⇒

Part 3 - Test the Model

I then carried out testing on six volunteers using the testing guidelines established in Part 2 and collected data on the experiences of the participants. For further details on the outcomes of this part of the methodology, please see Part 3 - Test the Model.

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