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Osteopathy and Singing: Menopause and Loss of High Vocal Range, History of M.

M. was 50 when we started working together. She was preparing for a concert season and had developed vocal disturbances due to a lack of good and sound technique, and ultimately suffered from a loss of high vocal range, diagnosed due to menopause. She was an already acclaimed artist with a long career, she used to have a beautiful voice color in the middle and chest register. However, this color did not remain as she moved up and through the upper register. Her voice was starting to get screeching with a heavy load of tension at the base of her tongue. All this was accompanied by an unusual high position of the larynx. What was once the best part of her voice and the easiest to use had become difficult and torn.

Her vocal coach contacted me because she had heard about my work on the voice and immediately after our interview she started applying / u / exercises with open throat space behind, in the meantime planning osteopathic treatments that I promptly performed working on the reduction of glottic and subglottic respiratory pressure at rest and in vocalization. Over the course of 3-4 weeks M. began to find her SI and DO of her high from a functional point of view, just like before menopause.

It took almost 8 months before M. was able to sustain these notes with a full voice. Once the register was recovered, more praetorian load from the high notes was automatically removed. The vocal coach and I worked in a team on different repertoires from the usual one in order to make her work in terrains where she had not structured habits and osteopathically controlled herself every time the vocal tract followed its own physiological mechanism, neutralizing as it went. further dysfunctional patterns occurred in other districts such as the cervical, shoulder and diaphragmatic-visceral areas.

At the end of this we took back her repertoire to implement the performance. Another important work was the restoration of the position of the tongue in the high range. The tip of the tongue tended to move back and forth, completely distorting her singing in a higher range. With the help of the speech therapist, French nasal sounds (which M she already knew and did not find it difficult to pronounce) were included in the upper range to be able to actively work on the position of the tongue. By then associating MET and FU techniques on the lingual body and floor of the tongue, always verifying the position of the jaw, hyoid and other structures connected to them directly or fascially, the tongue began to release and function correctly.

At the end of the ninth month of the restoration process of the function M. had fully recovered the vocalization dynamics.

After 7 years M. she is able to produce correctly and sustain the high DO, requiring only periodic monitoring.

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