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International Journal of Movement Education and Sports Sciences (IJMESS)
Annual Refereed & Peer Reviewed Journal Vol. VII No. 1 January-December 2019
Online ISSN 2321-7200 Print ISSN 2348-5604
A UGC Approved & Notified Journal
14
Copyright 2013 Dabas Educational Welfare Society (DEWS)
Benefits of Yoga Pranayama, Asana, and Meditation Techniques for
Classically Trained Singers
*Chandan Singh **Dr. T. Onima Reddy ***Dr. Vikram Singh
*Research Scholar, Department of Physical Education, BHU., Varanasi, U.P. India.
**Supervisor, Associate Professor, Dept. of Physical Education, BHU., Varanasi, U.P.
**Mentor, Associate Professor, Dept. of Physical Education, BHU., Varanasi, U.P.
(Received 15 January 2019- Accepted & Published 10 February 2019)
Abstract
Objective: The purpose of this study is to examine and explore Hatha Yoga and how it relates to
a practice consisting of singer-friendly yoga postures, how these postures may benefit the
singer’s mental and physical health, and how these techniques relate to designated research.
The study also investigates yogic breathing techniques and how these exercises relate to selected
research. Lastly, the paper examines how the voice student and professional singer may alleviate
anxiety by introducing a practice of daily yogic mediation of mudra and mantra techniques, and
how voice teachers may better understand and assist their students with stage performance
anxiety.
Keyword: yoga, Pranayama, meditation and singer.
INTRODUCTION
Singers and singing teachers contend with numerous distracting difficulties. Professional
opera singers face demanding travel, rehearsal and performance schedules all compounded by
financial, health and social considerations. These common characteristics of the profession may
prove detrimental to the singer and his or her vocal health. Similar to the professional singer,
vocal performance majors attending college might have comparable conflicts and anxieties on a
daily basis including: managing a curriculum of required classes, maintaining a grade the late
American baritone Robert Merrill, Grammy Award-winning singer Beyoncé Knowles, and
Professor, Carol Webber at Eastman School of Music have all benefited from their yoga practice.
This paper first identifies and explores Hatha Yoga and how it relates to a practice consisting of
singer-friendly physical exercises encompassing basic asanas, spinelengthening, and chest-
opening asanas. The document considers how these asanas may aid the singer’s physical, vocal
and mental health, and examines how these exercises relate to research in vocal pedagogy.
Secondly, the study investigates three breathing exercises: Ujjayi pranayama, Nadi Sodhana and
Kapalabhati and how these breathing techniques relate to pedagogical research. In addition to the
asana and pranayama exercises listed, the research examines the use of daily mediation in the
form of yogic mudra and mantr meditation. Such meditation might relieve persistent anxiety and
be useful to the voice point average, providing time for productive practice, attending rehearsals
for performances and financial stress. Lastly, the voice teacher may encounter numerous
complications relating to singers’ demanding issues, everyday college stress and possible
performance anxiety. Yogi and Professor of Voice.
International Journal of Movement Education and Sports Sciences (IJMESS)
Annual Refereed & Peer Reviewed Journal Vol. VII No. 1 January-December 2019
Online ISSN 2321-7200 Print ISSN 2348-5604
A UGC Approved & Notified Journal
15
Copyright 2013 Dabas Educational Welfare Society (DEWS)
History HathaYyoga
The term yoga is derived from the Sanskrit root yuj, meaning to bind or yoke. The exact
dates of the inception of yoga are uncertain, but researchers believe the practice originated in
India around 3000 B.C. Early archaeological evidence is found in stone seals that depict yoga
poses dating to this time period. Scholars believe that the roots of yoga existed long before, and
have traced its origins back to Stone Age Shamanism. Both of these ancient cultures advocated
similar beliefs that were thought to better the lives of individuals and strengthen a sense of
community. Yoga is better understood when broken down into four historical periods. First, the
Vedic Period during which The Vedas, the oldest scriptures of Hindu, were written. The time of
this period is uncertain yet philological and linguistic documentation indicates that The Vedas
were composed between 1700 and 1100 B.C. The end of the period occurred in 500 B.C. The
Vedas are considered to be the oldest teachings of yoga, known as Vedic Yoga. People sought to
live in total harmony with nature and their immediate families during the Vedic Period. The
second period is the Pre-Classical Period, introducing both The Upanishads and the Bhaghavhad
Gita The writings of The Yoga Sutras introduced the third period known as the Classical Period.
Patanjali, 10 estimated to have lived between 400 B.C. and 200 A.D., composed The Sutras in
150 B.C.
Patanjali compiled in a systematic way, the art and science of Yoga in the Yoga Sutras.
The name Patanjali is a surname, and is the name of a lineage and school of teachers, students,
and sages, rather than being only one person. Sutra rules in Sanskrit literature. Yama
commandments. Niyama self-control. Pratyahara preparing the mind for meditation.Dharana the
concentration of the mind. Dhyana positive thinking or meditation. Samadhi the end result where
one reaches super-consciousness.
The term Hatha originates from the Sanskrit word hatha. When broken into two syllables,
ha (sun) and tha (moon) refers to physical yoga. The ha refers to the hot energy of sun while the
tha refers to the cooling energy of the moon. Hatha Yoga, also known as forceful yoga, shares a
similar concept with Kundalini and TantraYoga. Desikachar suggests that nadi are located
The Power of Pranayama Techniques
Bellur Krishnamachar Sundararaja Iyengar is considered one of the world’s most
respected yoga instructors. He states that pranayama, the fourth limb in the Eight Limbs of Yoga,
is best defined as the science of breath. When broken into two words, prana is defined as breath,
vitality, wind, energy or respiration. Ayama relates to having expansion or length. Pranayama
may then be translated as the extension of breath and its control. The three stages of such control
are puraka rechaka and retention. Singers may find it arduous to sing particular phrases because
of the great length of certain vocal lines. These expansive phrases might have to be sung while
moving frantically on stage. The singer’s heart rate may rise and cause the singer to have an
insufficient amount of breath. For example, in Act Four of the opera La Bohème, the male
characters might have choreography that involves running around the stage. The character of
Lucia in the opera Lucia di Lammermoor may find her “Mad Scene” in Act Three physically and
mentally fatiguing. In Sweeney Todd: The Demon Barber of Fleet Street, the performer singing
the title role might have difficulty balancing his breath with the physical effort exerted during the
intense staging. All of these roles and many more require performing exhausting vocal lines
during active staging while maintaining healthy respiration. Pranayama may be practiced on a
International Journal of Movement Education and Sports Sciences (IJMESS)
Annual Refereed & Peer Reviewed Journal Vol. VII No. 1 January-December 2019
Online ISSN 2321-7200 Print ISSN 2348-5604
A UGC Approved & Notified Journal
16
Copyright 2013 Dabas Educational Welfare Society (DEWS)
daily basis so the singer might witness physical and mental benefits. The act of breathing in
performance may be involuntary rather than a conscious action and, technically helpful or not,
possibly become a habitualized response for many singers as they vocally mature. Singers may
know how to breathe for singing and still not breathe appropriately on stage. Through the study
of pranayama and with conscious attention to their breathing, singers can benefit by becoming
more aware of their breathing habits and improve their performance
Nadi Sodhana
Defined as alternating nostril breathing, may prove advantageous for singers and
teachers. Iyengar defines the term nadi50 as a passageway similar to a vein or artery in the body.
The term Sodhana refers to the purifying of the nadi. The two words can be defined as the
cleansing of the nerves. Iyengar suggests that nerve blockage is similar to an obstructed water
pipe. Blocked nerves result in a lack of vital blood flow and prana energy.
Nadi Sodhana may prove beneficial for calming the mind and respiration. Singers and teachers
contend with hectic schedules that tire the mind. Performance psychologist Alma Thomas works
with singers on overcoming a host of mental distractions. In the book, Power Performance for
Singers, she collaborates with voice teacher
Kapalabhati
The third breathing technique singers may find helpful is Kapalabhati. When broken into
two words, Kapala refers to the skull and Bhati translates as light. In Western culture it is known
as Skull Shining Breath or Breath of Fire. Iyengar’s book, Light on Pranayama, describes the
technique of Kapalabhati as consisting of aslow inhalation and quick exhalation. The exercise
consists of repeated exhilarating exhalations. Iyengar and Lister’s suggestions for Kapalabhati
Sit comfortably with a block under the buttocks, as in Ujjayi. Exhale all air out of the lungs and
inhale through the nose. Contract the abdomen inwards four to eight times in rapid succession
with a partial exhalation on each contraction, similar to doing a staccato exercise. The singer
may exhale in a succession of hissing sounds. (The image of blowing out candles on a birthday
cake.). Take a few deep and slow breaths, using Ujjayi. This allows the lungs and diaphragm to
rest before repeating another round. Keep the chest and shoulders still and bring focus to the
abdominal muscles.68 Singers who experience high amounts of adrenalin levels before a
performance may not want to practice this technique because it can create a feeling of
exhilaration. In contrast, singers who are feeling sluggish could find this technique invigorating.
Iyengar strongly suggests that students exercise care and remain aware of their bodies, and stop
the exercise immediately if there is any stress on the lungs or diaphragm.
The Power of Asana for Healthy Body Alignment
T.K.V. Desikachar defines the term asana as posture. The third limb in the Eight Limbs
of Yoga, the word asana derived from the Sanskrit root as, which means to stay, to be, to sit and
to be established in a particular position. In the commentary of the Yoga Sutras, Sri Swami
Satchidananda (1914-2002), defines asana as a “steady and comfortable posture.”Iyengar
suggests that the practice of asana focuses on every muscle, nerve and gland. He states that a
stretched and elastic body protects the student from fatigue and comforts the nervous system.
The Yogi also suggests that asana is a gateway for training and purifying the mind. 85 Singers
and teachers may find benefits of asana to include: stronger body alignment, improved
respiration, greater body awareness, relief of stress, and better focus. Iyengar states: Many actors,
International Journal of Movement Education and Sports Sciences (IJMESS)
Annual Refereed & Peer Reviewed Journal Vol. VII No. 1 January-December 2019
Online ISSN 2321-7200 Print ISSN 2348-5604
A UGC Approved & Notified Journal
17
Copyright 2013 Dabas Educational Welfare Society (DEWS)
acrobats, dancers and musicians possess superb physiques and have great control over the body,
but they lack control over the mind, the intellect and the Self...they often put the body above all
else. Though the yogi does not underrate the body, one does not think merely of its perfection
but the senses, mind, intellect and soul.
Objectives
The purpose of this study is to examine and explore Hatha Yoga and how it relates to a
practice consisting of singer-friendly yoga postures, how these postures may benefit the singer’s
mental and physical health, and how these techniques relate to designated research. The research
suggests that a daily practice of Hatha Yoga can be beneficial to the singer’s body and voice, and
minimize performance anxiety.
The study also investigates yogic breathing techniques and how these exercises relate to
selected research. Lastly, the paper examines how the voice student and professional singer may
alleviate anxiety by introducing a practice of daily yogic mediation of mudra and mantra
techniques, and how voice teachers may better understand and assist their students with stage
performance anxiety.
Conclusion
Voice students, professional singers, and teachers face numerous obstacles in their
studies and teachings. The research that has been chosen for this document derives from
professional voice pedagogues, sport psychologists, yoga teachers, and from my own experience
having passed a 200-hour, Hatha Yoga Teacher Training Program. The research suggests that a
daily practice of Hatha Yoga can be beneficial to the singer’s body and voice, and minimize
performance anxiety. Hatha Yoga may also benefit voice teachers by incorporating these
techniques during voice instruction. Singers should always check with their health care physician
before beginning any yoga practice. In my personal experience, a routine doctor visit for sinusitis
resulted with me having been diagnosed with hypertension. I was prescribed extremely powerful
medications that can cause damage to the kidneys and the liver. I knew I needed to be
responsible and bring my blood pressure down, but the thought of taking numerous medications
was unacceptable. Although my blood pressure has decreased, I continue to focus on my body,
and visit my doctor in combating this chronic medical condition. My yoga practice has played an
integral part in keeping my hypertension from worsening. The practice of pranayama, mantra,
and mudra has also assisted me in overcoming my performance anxieties. Since being introduced
to Emmons and Thomas’s research for this document, I have begun to feel more confident with
the memorization of text. I have battled with memory issues for years. Their suggestions have
allowed me to feel more comfortable on stage and reduced my stage fright.
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Performance for Singers: Transcending the Barriers. New York: Oxford University Press, Inc.,
1998.
International Journal of Movement Education and Sports Sciences (IJMESS)
Annual Refereed & Peer Reviewed Journal Vol. VII No. 1 January-December 2019
Online ISSN 2321-7200 Print ISSN 2348-5604
A UGC Approved & Notified Journal
18
Copyright 2013 Dabas Educational Welfare Society (DEWS)
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