In Schola Vocalis you learn with the Lichtenberg Method to explore and better understand the voice instrument so as to be able to use it in a healthy manner when singing and speaking. Exploration of the voice has a practical and a theoretical aspect:
Practical exploration happens through sensory perception during the singing of a sound. The capacity to perceive the sound via the senses (listening, feeling, …) is incrementally intensified and refined. This is necessary because the voice organ is by nature a subtle organ and therefore requires a refined control that can only happen via an – equally refined – sensory perception. That way you prevent or solve voice problems; you can also achieve greater comfort during singing, even if previously you were never aware of having had any voice problems (prevention of voice problems).
Theoretical exploration often follows after a practical experience, but can also come before or even during singing, without forcing the acquired experience into a rational straitjacket. The theoretical interpretation may consist of: elements of acoustics, the anatomy (construction) and physiology (functioning) of the voice instrument. Theory is necessary to clear up any “blind spots” and thus helps to realize a more aware, more efficient contact with your own voice instrument. The voice instrument is, after all, invisible and therefore very different from other musical instruments. It is therefore necessary to learn to read the “inner map” of the instrument, and on interesting sound components, in order to reach a high degree of efficiency.
The approach within Schola Vocalis is thus characterized by the interaction of practice and theory.
The cornerstone of both practice and theory is the mechanism of self-regulation. We know the self-regulation of organs such as the stomach, the heart, the intestines, … which, so to speak, have an intelligence of their own and so regulate themselves without our voluntary intervention. With the Lichtenberg method we try to give self-regulation in the larynx the best possible chance, because even the larynx is largely endowed with that sort of autonomous intelligence. However, it is not always a simple matter of course to allow the larynx to regulate itself, since it is also partially under our voluntary control and, therefore, can be manipulated (e.g.: deliberately straining a high or a low larynx position). Such manipulations are avoided as far as possible in Schola Vocalis; quite the contrary, we try to allow the larynx to self-regulate as far as possible via stimulations. This autonomous self-regulation is, in fact, much more refined/more subtle and more respectful of the construction and functioning of the larynx. In other words: healthier than when we try to control the larynx by our own conscious effort. The rule is: the more fragile the voice, the more it is important to learn to allow self-regulation to create as little pressure and stress as possible.
It therefore typifies Schola Vocalis that no seperate techniques are offered that are added on to the existing use of voice. Quite the contrary, your own voice potential is steadily mined and incrementally eased into full bloom, always setting out from the generally unknown principle of self-regulation.