The inside

The idea for this project came from an artistic project where Sveen experimented with the laryngoscope, the instrument used to film the inside of the throat. This inspired her to continue exploring the different movements of the throat and what happens to the muscles when you sing. Sveen believes that the basis for good singing instruction lies in being able to recognise muscle use, the position of the larynx, jaw and airflow, both in terms of muscle memory and in visually observing how the diaphragm, throat, tongue and jaw operate within themselves and in conjunction with each other. In other words, the voice is a complex composition of muscles that should work together. And on top of everything is invisible!

Together with the team at Haukeland University Hospital, consisting of senior consultant Maria Vollsæter and Professor Ola Drange Røksund, Sveen organised five lab days for 10 vocal students at the Grieg Academy. The students was filmed/scoped and were able to see their own larynx and vocal cords in action.

On the first lab day, the students got to see and hear while Sveen herself was filmed. She then performed the same set of exercises that she had prepared for the students and also sang an aria with the laryngoscope on the inside. On the remaining lab days, the students were divided into groups of three and four students. All students were filmed/scoped and got to see their own larynx and vocal cords in action. In addition, they observed each other, and afterwards the students were sent their own film and wrote a reflection note based on it.

The students say that participating in the project has given them an increased understanding of the physical processes that occur when they sing, and contributed to increased awareness and understanding of learning processes. By getting a concrete picture of the actual movement and structures of the voice, the students have been given a unique opportunity to understand how the voice is built and how it works. Seeing a muscle in motion and feeling it at the same time has had a major impact on the students' understanding of the technical exercises.

«This project has been very useful and educational! The fact that I have now seen my own instrument has given me a greater understanding of how the voice works as an instrument and how it works with the rest of the body. By getting a concrete picture of how the vocal cords and the tailpiece work together, I can now work in a different way. This applies to both singing lessons and when I practice on my own.»

«Helped me to better visualise the balance between tension/relaxation when practising and the value of vocal exercises. Have felt less tension post-Haukeland. Disgusting to watch.»

«As I was filmed on two occasions, it was very exciting to see the change. It was very useful to see your own instrument and how the sound is created. But especially how the instrument had developed since the last time.»

«While it was happening, I was surprised at how little my larynx was working, knowing my technical difficulties. Still, it was reassuring to discover how large the tonsils are. It was really interesting to see where it tightened and stopped while I was singing, this was a unique experience. I learnt not to be afraid of my own voice, as you became so exposed during the visit. I realised that I could care less about how it sounded at the time, but rather focus on what was physically happening. I think I now have a better understanding of the psysical parts of the features I am used to think about when I practise.»

«I've always thought of the voice like a muscle that is stretched. Therefore, I used to imagine an exercise band. Now I imagine the vocal cords.»

«My biggest aha moment was how much the position of my jaw and head affects how open my throat is. If I held my head slightly down or my jaw slightly back, you could immediately see a big difference in the space in the throat.»

«I found it very exciting and fun to be able to see my own (and others') vocal cords.»

«I could clearly see that the larynx had become much calmer, and it was fun to literally see that it had become calmer.»

«I now find it easier to think that the tailgate should be together after I have now seen it. It's really fun to see that when you talk about stretching the voice, you can actually see that the vocal cords are in fact stretching. I understand better what I'm doing in the rehearsal room and in singing lessons.»

The use of laryngoscopy is the very core of the project. What Sveen saw and experienced together with the students through filming, opened up for professional discussions and observations that were continued in teaching and that have served as a reference for her in her subsequent work with the students.

As a singing teacher, Sveen says that she has gained a clearer picture of what the various technical exercises look like from the inside, which muscles they set in motion, what is activated and what is not in motion. One of her discoveries was that...

-The larynx can and must be active, but not uneasy. Legato challenges the muscles to stand still.

-Crying or a pathetic sound (mix of light and low voice) activates several structures in the throat while at the same time staying quite still.

«- Voiced consonants are a good exercise for training the tailgate. And this a new visual observation of exercises I've done and used for many years,» says Sveen, who has extensive experience as a singing teacher.

Hilde also says that she has made better connection with her own instrument and that she communicates better with the students. Together, they have developed a common technical language that colleagues do not necessarily understand, and she has also found that the students are more motivated for technical exercises:

«I find that technical exercises have gained a stronger focus in the students' self-practice. They show greater interest and understanding that studying singing is about building a voice, an instrument in addition to musical expression.»
(Hilde H. Sveen)

Usually, singers only have their vocal cords filmed if they are very ill or possibly voiceless, and then you only see a sick voice. This project has made it possible to visualise how a healthy voice works.

Laryngoscopy requires expensive equipment and must be performed by professionals. It has therefore been crucial for this project that Vollsæter and Røksund at Haukeland have given of their research time and opened up for a good collaboration. The project has resulted in a wide selection of material that can form the basis for further collaboration. In the future, Sveen, in collaboration with Haukeland, wants to continue investigating the larynx as an organ for singing and also for speech and breathing, and look at both normal functioning voices as well as voices with organic or functional disorders.

Sveen hopes that further development of the project will result in a film with the most basic technical exercises for use in singing lessons based on the film recordings that have already been made. She would then like to involve other singing teachers to expand the range of exercises and professional expertise.

«I believe that singing lessons are ready to utilise new methods that today's technology can give us access to. A film and a lap-top, that's all it takes to get 'on the inside' of the invisible instrument.»
(Hilde H. Sveen)