This presentation explores “vocal psychosomatics,” highlighting how a person’s singing and speaking voice timbre relates to their psychological state, including personality structure and past traumas. Additionally, it addresses methods for selecting songs in therapeutic sessions with children, emphasizing the “round song” technique to engage them effectively. The discussion extends to the unique phenomenon of singers like Vladimir Vysotsky, whose rough voices have inspired generations, raising questions about their impact in vocal therapy. Finally, it examines how significant songs affect elderly patients’ self-regulation and social health in music therapy.
Our presentation will consist of four parts covering issues of voice and song selection in music therapy.
The first report explores the challenges of selecting and composing songs in therapeutic sessions with children. The author introduces the “round (circular) song” method, a flexible approach that fosters engagement and adapts to the child’s interests and therapeutic goals. By organizing the session around toys and musical instruments, therapists can create a dynamic environment that encourages joint singing. The method allows for the modification of song content and duration to address specific therapeutic tasks, enhancing the overall effectiveness of the session.
In the next part of the presentation we’ll try to explain In music therapy with elderly individuals, significant songs often elicit “non-obvious” reactions that may go unnoticed by external observers. This presentation examines the impact of these songs on self-regulation and social health, drawing from Maria Pakosh’s work with the therapeutic playlist project “MusNii. Music Works.” It addresses the reasons behind selecting specific songs and their profound effects on participants, highlighting the importance of music in fostering emotional well-being and social connections among older adults.
Discussed further will be the phenomenon of Vysotsky’s hoarse voice: a case of mega group therapy spanning half a century. There are many cases when singers with rough and hoarse voices became idols of generations. They united and inspired people no less than their sweet-voiced colleagues. What are the possible reasons for this phenomenon? How can it be used in vocal therapy practice? Let’s talk about this using the example of Vladimir Vysotsky’s artistic work.
In the last part of the presentation, the author would like to discuss the phenomenon of “vocal psychosomatics,” specifically the relationship between the timbre of the singing and speaking voice, the method of phonation, and the psychological state of the client, including their personality structure, level of personal development, and past traumas through several generalized cases from practice.
All our reports, one way or another, answer the question: why do we choose these particular songs when working with clients?
CBMT Domains Addressed:
II-B-3, II-D-11, III-A-2, III-A-3, V-A-2
