The Senses and Society

ISSN: 1745-8927 (Print) 1745-8935 (Online) Journal homepage: http://www.tandfonline.com/loi/rfss20

Voce in Libert Freed Voice: an Applied

Anthropology of the Voice

Ulrike Sowodniok

To cite this article: Ulrike Sowodniok (2016) Voce in Libert Freed Voice: an
Applied Anthropology of the Voice, The Senses and Society, 11:1, 50-59, DOI:
10.1080/17458927.2016.1162947

To link to this article: http://dx.doi.org/10.1080/17458927.2016.1162947

Published online: 01 Jun 2016.

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Voce in Libert
Freed Voice: an
Applied Anthropology
of the Voice
Ulrike Sowodniok
The Senses & Society DOI: 10.1080/17458927.2016.1162947

Ulrike Sowodniok is a singer and ABSTRACT Passaggio a Passage through the

voice anthropologist. Studies of
medicine, philosophy, Lichten-
Voice
berger applied physiology of the
voice, Slavic Belcanto, contempo-
an Approach to Applied Anthropology of the Voice
rary vocal interpretation and sound
studies. Various art works for voice
To consider the human voice in the field of sound
and sonic environment, research on anthropology means to open a passage between
sound of the voice and in the field of the outer and inner world of human perception. In
voice and movement, teaching and
performing internationally, various
this respect the voice is not placed as an outer
publications in the field of anthro- subject but as a filter through which we may
pology of the voice and the senses, acknowledge central issues in the field of sound
monograph, Stimmklang und
Freiheit zur auditiven Wissenschaft
anthropology in a very precise manner i.e., mimetic
des Krpers by transcript in April hearing, Weltoffenheit, auditive science of the
2013. body, performativity, strangeness in perceiving,
eurek@web.de
critique of the senses, etc.

KEYWORDS:voice anthropology, sound of the voice,

Lichtenberger applied physiology of the voice, auditive
science, critique of the senses
50
 Voce in Libert Freed Voice

The normal instinctive voice is both light and dark chia-

roscuro. This multicolored voice appears when mental
and physical conditions are right. It cannot be mechani-
cally produced nor objectively controlled ... It brings to the voice the
feeling of one register a single mechanism from top to bottom. It
can be opened or closed at will ... Finally the height and depth of
perpendicular vibration is the same for all tones. The voice changes
only its resonance, thereby causing the so-called registers.1
When we refer to vocal studies we do so because we have gained
practical experience with this subject; this is why we are not only
concerned with the voice but intensively through the voice as well.
On this subject I dedicated my first monography Stimmklang und
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Freiheit zur auditiven Wissenschaft des Krpers,2 i.e., Sound of

Voice and Freedom about Auditive Science of the Body, in 2013.
For over 20 years I have been working as a singer and vocalist in
the field of classical and experimental music. Combining the singing
and the speaking voice as a voice trainer, I have been working with
people from a wide range of genres like opera, jazz, pop music,
singing in the style of Bollywood, acting or dancing. Some of my
students use their voices as professional therapists in psychoanal-
ysis, psychology, speech therapy, art and music therapy. Currently,
dancers take a great interest in using their voice for their movement
in a sensory way, likewise orchestra musicians, such as solo oboists,
showing interest in learning from a neighboring discipline. Teaching
vocal practice in the field of all these disciplines means to be involved
in a wide range of methods with their very own definitions of what
the voice is. Thus, for me, it has become a very valuable advantage
of providing a frame for a great variety of practical experience in
my scientific approach to the anthropology of the voice. Above all,
we must admit that sensory awareness is centered on our somatic
practices today, as they have been developed after World War Two.
Due to restriction and prosecution during the Nazi regime in Ger-
many we can find a rather late development of this Zeitgeist. How-
ever, after the eighties we notice, in consequence, rising practices in
Germany which may also go along with a Californian way of mind.
Most of the founders of our modern somatic practices concerning
the voice, like Ilse Middendorf, Kristin Linklater and Gisela Rohmert
etc., were giving great emphasis on the practical side of their work,
this is why it is still very hard to find written material about how to
The Senses & Society

practise, especially any systematic theory explaining consequently

the structure of practice. Thus, writing about this subject is always
connected with a feeling of being a pioneer.
When we now include the voice into the field of sound studies
and sensory studies in general, we come to the conclusion that the
human voice performs a paramount function as regards orientation
towards any level of existence our species might have. To value this
general view on the voice we have to examine thoroughly the relation
51
 Ulrike Sowodniok

between somatics and semantics in the context of the embodied

senses and the sounding voice.

I. Mimetic Hearing3 and the Voice

Research on the voice in the methodology of an anthropology of
sound,4 as coined and developed by Holger Schulze after 2006,
needs to refer to our double historical situation as questioned in
the historical anthropology by Christoph Wulf et al. When we dis-
criminate historically, between the present qualities of the sounding
world and the qualities at the beginning of the digital revolution in the
1980ies or the Industrial Revolution more than one hundred years
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ago, we are able to detect the underlying mimetic processes being

the driving force for the development of culture. In terms of the World
Soundscape Project by Raymond Murray Schafer all human cultures
originally have their significant sonic environment. However, these
soundscapes have become more and more the same around the
globe by the dominance of the sounds of motor vehicles, in adapting
architecture and city planning in the leading industrial nations and in
many emerging countries. Keeping this kind of mimetic process in
mind, the term mimetic hearing, coined by Christoph Wulf, is a very
challenging subject to discuss. Still unborn, we are already listeners
of the surrounding world. The membranes and liquids of the body
are moved by the oscillation of sound. Do all the unborn humans,
worldwide, vibrate in the drones of our modern soundscapes? Can
we define the resonant body as a human body filled with the vibration
of the sonic occurrences around it? When we imagine the drones of
modern traffic systems, etc. there will not much discrimination be
left within our mimetic cultural process. Going on thinking like this
we are on the alert for hints aural architecture can give us concern-
ing the sonic consequences of our present way of life. However,
the unborn human being is not directly tuned by the soundscape.
Mimetic hearing saves our resonant body from being nave. The
unborn child is sheltered by a complex filter system that separates
it from the sound of the outer world. We listen to something and
someone else. Summing up shortly, we could reach the conclusion
that this might be even one of the main reasons why we have built
a world around us, unaware of its acoustic consequences. Keep-
ing this in mind we will refer to it later. Mimetic hearing, from the
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very beginning of our life, however, is determined by the body of

the pregnant mother. This includes not only the filtering qualities of
her womb but her behavior in response to the sonic world and, last
but not least, the sound of her voice. It was the French Audio-Psy-
cho-Phonologist Alfred A. Tomatis5 (19202001) who investigated
his mayor research on the hearing of the unborn. He describes how
in the early fetal development, the vestibular sense as the first sense,
meets the challenge to stay balanced in the liquid of the uterus in
relation to the inner and outer movement of the pregnant woman.
52
 Voce in Libert Freed Voice

Then the cochlear part of the ear develops and we start listening to
the high frequencies of the inside of the maternal body caused by
the streaming of the liquids and cellular processes pulsed by breath,
heart beat and intestinal peristaltic. Within this inner soundscape we
are modulated by the reactions of the mother to the outside world
and its sounds. Her motions and emotions towards perforating outer
sound will determine the acoustic qualities which will be led on to
our inner world and the way we will react towards them. The most
modifying quality within this symbiosis of mother and unborn child is
the sound of the maternal voice. Tomatis describes how the moth-
ers voice is transmitted by bone oscillation of the spine directly to
the ear of the unborn. The matrix of the maternal voice becomes
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the leading quality for the sensory development of the child. Sound,
in this respect, means all the delicate changes the voice has in its
unaware shiver and buzzing substance. Roland Barthes, in 1972,
coined the term le grain de la voix,6 i.e. the corn of the voice, for
this inherent quality of the voice`s sound. In this publication, I deal
with the voice from the perspective of research into the voice, in the
sense of le grain de la voix or sound of the voice as a substance.
On the second level this involves melody and rhythm of voice and
on the third language and its abstract meaning. Thus mimetic hear-
ing starts from Soma and develops into Sema. Unborn we are
prepared for the sound of our mother tongue which will be easiest
for us to learn when we are born. The somatic qualities of the voice
will establish the emotional bonding of mother and newborn child
and then, step by step, introduce the semantic level which we will
discuss in the following. In this way, Tomatis specifies Wulfs term of
the mimetic hearing as a leading cultural process by implementing
the sound of the human voice as a prime concern.

II. Freed Senses and the Voice

Recurring on Arnold Gehlen (19041976) we can read the term
Weltoffenheit,7 i.e. openness towards the world, in the context
of the conditio humana in Wulfs historical anthropology. Unlike the
animals, our senses are not bound to our instincts but freed in a
way that allows mimetic learning as a creative cultural process and
not only as copying from our ancestors. In comparison to our pet
dog we will definitely fail in hearing and smelling, etc. However, this
The Senses & Society

makes us open to the world at will. Considering the resonant human

body in this respect again, we can conclude that we are resonant
at will. The resonance of the somatic basis of our voice is caused
by mimetic hearing and further developments of learning processes
that we undergo. During the first year of our life the anthropologi-
cal extra-uterine early year we develop bipedalism and the larynx
starts to sink lower by changing from breast feeding to more and
more solid nutrition. Thus our arms are freed and the vocal chords
lying under the vestibular folds in the larynx are given more freedom
53
 Ulrike Sowodniok

to oscillate. By the lower position of the larynx the tractus vocalis is

built in the pharynx from the level of tongue and palate down to the
entrance of the larynx allowing the discrimination of vocal sound in
different vowels leading to the semantic level of language. The about
one inch length of the tractus vocalis cause a crossing of the inner
pathways for breath and nutrition, bringing up the danger of swal-
lowing particles into the lungs. We can see how important the devel-
opment for a distinct vocal ability must be for the conditio humana if
risks like this have been taken by evolution.
At present time our senses have collapsed into meaning and are
bound to it. Michel Serres mentions in his philosophical sensory
anthropology Les cinq Sens,8 i.e. The Five Senses, the domi-
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nance of speech and meaning over perception. He says that speak-

ing we forget that we speak. And to make this anthropological issue
complete we can add that speaking we also forget how we have
learned to speak. Thus our current mimetic process of language is
disconnected from the senses. The mimetic hearing is at the edge of
becoming void in our grown-up living. Mario Perniola, in this respect
writes about the consequences of the Berlusconi media society in
his book Del sentire,9 i.e. About Feeling. Through the present
totalitarianism of mass media in our western society there is always
a given perception preceeding our own perception, thus we are living
in a world of ready-felts. Instead of discovering the world with our
own senses we are caught in consuming instant perceptions. Con-
trary to this, we have to acknowledge sound as a substance in our
first year of life. This also adds to the vocal gains of the extra-uterine
early year. Like all other living things in the world we touch with our
fingers; the sound of the tongue also carries substantial information,
like rough or smooth, humid or dry, cold or warm, light or dark, solid
or dissolved, static or movable, etc. These qualities, in my opinion,
have to be excluded from metaphoric speaking about sound as they
contain the most basic information which we have about our sen-
sory world. We should keep them as direct criteria for sound quali-
ties or sound as a substance.10 In the same way we perceive the
sound of the voice or in Barthes words: le grain de la voix. G.B.
Lamperti calls it the chiaroscuro11 of the voice or the light in the
dark quality of the voice. And it is this inherent quality or texture of
the voice which can lead to a critique of the unbound human senses
evoking an auditive science of the body as a result.
The Senses & Society

III. Auditive Science of the Body

In the critical historical anthropology of Wulf12 it has become clear
that after the end of all normative anthropologies today, the body
itself is the key subject we need to define. However, this task has
been proven to be a difficult one. Wulf describes how the body, due
to its transgression at birth and death as corpus absconditum,13
is hard to be fully understood and defined. Michel de Certeau, in
54
 Voce in Libert Freed Voice

his book La fable mystique, mentioned the loss of the body at

the beginning of Christian society by the transubstantiation of the
body of Christ. Thus, in his opinion, our modern concept of sci-
ence, founded in the Christian cloisters of the thirteenth century, was
based there on the belief of the loss of the body as dogma for Chris-
tian religion and culture.
However following the characteristics of the voice there opens
a scientific pathway concerning an auditive science of the body.
In theatre and performance studies, voice could be proved to be
the leading element in contemporary theatre. Doris Kolesch,14 in her
detailed research describes how transgression and subversion of
the voice became stronger than the written word. By transgressing
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and subverting any given opus or deliberate meaning it performs the

bodily structures of its own resonance in an always changing occur-
rence. Thus a new epistemic paradigm could be defined and coined
as performativity by Erika Fischer-Lichte.15
Mimetic hearing and the "performativity" of the voice lead to an
auditive science of the body. Coming from the body of the ready-
felt perceptions we are striving for a critique of the senses beyond
the visual primary concern of our scientific tradition. The resonant
body is not nave but it is a highly developing cultural process. By
observing and practicing the relationship between voice and body
through the senses, we can define at least five stages of interrela-
tion between somatics and semantics. I call them Five Bodies,
defining the physical body of modern Natural Science as the starting
point. Like in French phenomenology I prefer to stay with corps
as one single term for body to emphasize a modern point of view
starting directly with the Soma as all the founders of the somatic
practices, like Moshe Feldenkrais, Ilse Middendorf, F.M. Alexander,
Elsa Gindler, Gisela Rohmert, etc. did. It seems there are too many
elements to be discussed about the German term of Leib; ele-
ments rather adapted to the history of German phenomenology than
being helpful in gaining a modern critical view of the anthropology of
sound with regard to the sounding human body.
The outer body as the first step in physiology is defined as natu-
ral science which dominates our perspective of the body in everyday
life concerning mass media, etc.. To understand more about the
physical connection of voice, body and senses we take a closer look
at the physiology of the senses. Following the early development of
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the vestibular and the aural sense balance and hearing in the first
weeks, until being completed in the second month of the fetus, we
must admit that it is the cooperation of both of them which we find
in the larynx as a perceptive organ itself. Kinesthetic sense of bodily
hearing is seated in the fascia, connective tissues and muscles. We
listen with our whole body underneath the skin. Training the resonant
body by voice practice means to touch the organs for vibration in the
connective tissue and the fascia like the Vater-Pacini-Corpuscles,
55

for example, in the same way as the muscular spindles inside the
 Ulrike Sowodniok

muscles themselves as organs for passive stretching. Both types

are highly represented in the larynx as the central organ of our kin-
esthetic sense. Today there is a strong emphasis on research on the
fascia containing many different organs for kinesthetic perception
and being the informative system of the muscles.
The larynx as a multimodal organ combines the functions of
breathing, shelter, stabilization and balance of the limbs in the mov-
ing body, holding the body upright and, last but not least, making
sounds, i.e. phonation. The ability of phonation underlies the rules of
the functions of the inner organs caused by the vegetative innerva-
tion of the larynx by the vagus nerve. Due to the evolutional function
of echolocation the larynx cooperates in a cybernetic circle with the
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ear. Thus the larynx is the center of kinesthetic hearing in the body.
Due to its embedding into the vegetative functions, coordinated in
the brain stem, the larynx is closely connected to the basic pool of
all senses there. There originates the quality of our sensual activity
conditions, our attentiveness and, in the same way, the inner bal-
ance of our larynx. On the next level, in the limbic system, we decide
about the value of this information and if we may become aware of
our sensual activity.
The next step I call inner body. This is where the perspec-
tives of objectivity and subjectivity melt into one perception, coined
as chair, i.e. meat by Maurice Merleau-Ponty.16 Chair is the
moment of being part of the world and observing it at the same
time. Wulf mentions in his historical anthropology that perception
always is responsive. Bernhard Waldenfels17 describes that the per-
ception of the voice is based on self-responsive hearing. In listen-
ing to my own voice, he points out, there is always an unresolved
part of strangeness included. There we can use the terms of Doris
Kolesch18 who mentions that the voice always prolongs the body
into the environment in Transgression and always makes the sub-
stantial condition of the body be heard, mostly against our delib-
erate intention, in an act of Subversion. Interestingly, we can find
analogue somatic qualities to the semantic terms of Transgression
and Subversion of the voice. The sense of the voice which is always
outgoing, spreading over the bodily shapes, connecting us in a con-
tinuous response with the surrounding world, was coined as Trans-
sensus by the German physician Volkmar Glaser.19 The analogue
term for the sense of the undergoing quality of our voice touch-
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ing the fascia and connective tissue under the skin was coined by
myself as Intersensus.20 The inclusion of this kind of physiological
knowledge into phenomenological research and practical training of
the voice is based on the Lichtenberger applied physiology of the
voice by the singer Gisela Rohmert21 (born 1932). The voice as a
primary aural function closely connected to the kinesthetic sense
provides an auditive approach to the realm of the senses and the
sensory body for us. The sound of the voice itself shows an acoustic
56

image of the resonant body in speaking, singing, etc.

 Voce in Libert Freed Voice

The empathic body is the following step based on attributes for

an auditive science of the body from the characteristics of the voice.
In cultural science we can define the voice as cause of kinesthetic
empathy between individuals which can be discussed by them on
the basis of intersubjectivity. In the anthropology of sound by Hol-
ger Schulze, the combination of these characteristics is coined as
"intercorporality".22 On a basis of an accuracy of sensation23 we
share experienced knowledge in voice therapy or artistic research
on somatic practices of the voice. Through the senses and the res-
onant response of the voice we gain knowledge of our bodies and
their sensual interrelation and that of the surrounding world. This
in-between is called chair du monde by Merleau-Ponty. On the
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basis of an empathetic reaction toward body and world we become

knowledgeable about the function of our senses, the sensual body
and its motions and emotions.
However, to enter the semantics of the body we have to take a
next step entering the strange body. We already mentioned the
self-responsive hearing coined by Bernhard Waldenfels. As a part
of his phenomenology of the strange,24 he describes the strange-
ness lying in the perception of our own voice. In this respect we
can define voice as a strong Alter Ego. Sound of the voice is the
in-between of Soma and Sema. The strangeness of the voice as
an Alter Ego opens the anthropological window to meaning. A free
voice on this level means a voice transmitting the characteristics of
presence, freedom, peace and love as the great human ideals. If the
sound of a voice has risen to this level it cannot be attached to any
physical technical mechanism. Sound of voice carries meaning on
the subtlest level and at the same time in the most fulfilled way. On
this stage, body and senses become transparent in carrying what is
beyond their physical reaches.
Furthermore, we enter the quality of no-body. This is the mys-
tical implication being part of any somatic practice. We are reach-
ing beyond the senses. Transgression and Subversion of the voice
have been fulfilled. The physical body in its transparence to the voice
shows that it is hosting its own transcendence. At this moment we
can come back to our definition at the beginning of this publication:
the voice performing a superior function of orientation.
Finally, we come to the conclusion that sound of the voice has
to be coined as a scientific term for the understanding of the rela-
The Senses & Society

tionship between body, senses and semantics in a modern criti-

cal, historical sense of anthropology. The terms of "performativity"
and "auditive science" show changes in epistemic paradigms seen
through the change of perspective of the voice. In my approach of
an applied anthropology of the voice, I consider it very important
to stress that the resonant body, as described in the five stages
of bodies, does not have a nave, vibrating physique but a learned
form of mimetic hearing. In the same way, starting with the Soma
57

and excluding the tradition of the term Leib in order to show a

 Ulrike Sowodniok

clear line of modern interrelationship, must always be in response

to our current situation. This means that our contemporary resonant
body always includes the functional use of technical apparatus and
media. To give an example for this: the voice of pop singer Bjrk has
a special sound quality which is shaped by media. Everyone taking
a close ear on the Bjrk Sound can hear a certain blurred quality in
it as a deliberate electronic effect. Due to this we will gain a percep-
tion of her body as a more virtual, medial one. In the understanding
of Wulf, media are performative. Thus our bodies are shifting by the
mimetic cultural processes they go through.
However, the position of the freed voice brings along a very
strong position of the body. This can be very helpful in the current
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discussion of the body in media studies. Do we understand the body

and its relations on a deeper level by using media or do we reduce
the bodily "performativity" by putting veils of digital filters over its
innate qualities?
An applied anthropology of the voice questions the cultivation
of voice, body and senses in a human evolution of everyday life.
Referring to the historic quotation of Lamperti at the beginning, we
can read between the lines about the ideal of the voice in the late
Belcanto Aera. However, he does not stay in the ready-felt sense of
his epoch as he follows the characteristics of the voice far beyond
this. Thus we may conclude that an applied anthropology of the
voice provides us with a helpful position for a critique of the senses
and the media.

Notes
1.G.B. Lamperti Vocal Wisdom enlarged Edition Maxims of
Giovanni Battista Lamperti, William Earl Brown/ Lillian Strongin
(eds.), New York 1931/1957; Original 1893; 139, 103.
2.Ulrike Sowodniok Stimmklang und Freiheit zur auditiven Wis-
senschaft des Krpers, Bielefeld 2013.
3.Christoph Wulf Das mimetische Ohr in Das Ohr, Paragrana
2, Christoph Wulf (ed.), Berlin 1993.
4.Schulze, Holger and Wulf, Christoph (2007, eds.): Klanganthro-
pologie: Performativitt Imagination Narration. Paragrana 16
(2007), H. 2, Berlin: Akademie Verlag.
5.Alfred A. Tomatis La Nuit utrine, Paris 1981.
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6.Roland Barthes Le Grain de la Voix in Musique en jeu, n.9,

Paris 1972.
7.Christoph Wulf Anthropologie Geschichte, Kultur, Philoso-
phie, Kln 2009: 69.
8.Michel Serres Les cinq Sens. Philosophie des corps mls,
Paris 1985.
9.Mario Perniola Del sentire, Turin 1991.
58
 Voce in Libert Freed Voice

10.Ulrike Sowodniok Von der Substanz des Hrens in Gespr.

Empfindung. Kleine Wahrnehmungen. Sound Studies Bd.3,
Holger Schulze (ed.), Bielefeld 2012.
11.See Quotation at the beginning of this text.
12.Christoph Wulf Anthropologie Geschichte, Kultur, Philoso-
phie, Kln 2009.
13.Christoph Wulf Der menschliche Krper. Vorlauf zum Tod
Rcklauf zur Geburt in Medien, Krper, Imagination,Par-
agrana Vol. 17, H.1, Mark Poster and Christoph Wulf (eds.),
Berlin 2008:107.
14.Doris Kolesch and Sybille Krmer (eds.) Stimme, Frankfurt
a.M. 2006.
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15.Erika Fischer-Lichte Performativitt. Eine Einfhrung, Bielefeld

2012.
16.Maurice Merleau-Ponty Le Visible et linvisible. Chiasmus,
Paris 1964.
17.Bernhard Waldenfels Stimme am Leitfaden des Leibes in
Medien/Stimmen Cornelia Epping-Jger/Erika Linz (eds.),
Kln 2003.
18.Doris Kolesch Artaud: Die berschreitung der Stimme in
Phonorama, Brigitte Felderer (ed.), Kln 2003.
19.Volkmar Glaser Das Lsungsprinzip in der natrlichen Bewe-
gung in 2.Kolloquium Praktische Musikphysiologie, Walter
Rohmert (ed.), Kln 1991.
20.Ulrike Sowodniok Funktionnaler Stimmklang ein Prozess mit
Nachhallligkeit in Funktionale Klnge, Sound Studies Vol. 2,
Georg Spehr (ed.), Bielefeld 2009.
21.In 1982 Gisela Rohmert and her husband the ergonomic
researcher Walter Rohmert (19292009) founded the Licht-
enberger Institute in the Odenwald a forest region in South-
ern Germany. The vocal training of the Lichtenberger method
is based on an ergonomic study at the Technical University
Darmstadt during the 1980ies.
22.Holger Schulze Berhrung. Touched by Sound in Open
Space Magazine, Red Hook/ New York: 2007.
23.Holger Schulze Wissensformen des Klangs Zum Erfahrung-
swissen einer historischen Anthropologie des Klangs in
Musiktheorie Zeitschrift fr Musikwissenschaft, Laaber
Verlag Laaber 2007: 34755.
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24.Bernhard Waldenfels Vielstimmigkeit der Rede. Studien zur

Phnomenologie des Fremden Vol. 4, Frankfurt a.M. 1999.
59