THURMAN WELCH
bodymind & voice
bodymind & voice: foundations of voice education
foundations of voice education
“ ...only full-voiced, free-singing bluebirds”
(Book IV, Chapter 1)
A REVISED EDITION Co-editors Leon Thurman EdD Graham Welch PhD
1 P U B L I S H E R S The VoiceCare Network n National Center for Voice & Speech Fairview Voice Center n Centre for Advanced Studies in Music Education
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1 6/9/08
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A
REVISED EDITION
bodymind & voice: foundations of
voice education
" ...only full-voiced, free-singing bluebirds" (Book IV, Chapter 1)
Co-editors
Leon Thurman EdD Graham Welch PhD
Publishers The VoiceCare Network National Center for Voice & Speech Fairview Voice Center Centre for Advanced Studies in Music Education
bodymind & voice: foundations of voice education A
REVISED
EDITION
Co-editors Leon Thurman, Ed.D. Founder, Development Director, The VoiceCare Network ■ Specialist Voice Educator, Fairview Voice Center
Fairview-University Medical Center ■ Minneapolis, Minnesota, USA
Graham Welch, Ph.D. Directorof Educational Research ■ Director, Centre for Advanced Studies in Music Education ■ University of Surrey Roehampton London, United Kingdom
Publication Editor Julie Ostrem, B.S., M.B.A. Continuing Education Coordinator ■ National Center for Voice and Speech The University of Iowa ■ Iowa City, Iowa USA
Publishers The VoiceCare Network, Axel Theimer, D.M.A., Executive Director, Music Department, St. John's University Collegeville, Minnesota, 56321 USA, 320/363-3374,320/363-2504 FAX, atheimer@csbsju.edu National Center for Voice & Speech, Ingo Titze, Ph.D., Director, 330 Speech and Hearing Center, The University of Iowa Iowa City, Iowa, 52242 USA, 319/335-6600,319/335-8851 FAX, webmaster@ncvs.org Fairview Voice Center, Leon Thurman, Ed.D., Specialist Voice Educator; Carol Klitzke, CCC/SLP, Speech Pathologist, Fairview-University Medical Center 2450 Riverside Avenue, Minneapolis, Minnesota, 55454 USA, 612/672-7910, 612/672-2189 FAX, lthurmal@fairview.org
Centre for Advanced Studies in Music Education; Professor Graham Welch, Ph.D., Director; Froebel College, University of Surrey Roehampton, Roehampton Lane, London SW15 4HT, United Kingdom, +44-181/392-3020, +44-181/392-3031 FAX, g.welch@roehampton.ac.uk
Publication Information Library of Congress Cataloging-in-Publication Data: Bodymind and voice: Foundations of voice education [edited by] Leon Thurman, Graham Welch
pp. 860 Includes bibliographical references and index
1. Voice education-Singing and speaking. 2. Voice-Anatomy, function, acoustics, morphology. 3. Singers/speakers-Health and voice protection. 4. Neuropsychobiology of learning.
I. Thurman, Leon Ed.D., II. Welch, Graham, Ph.D. Revised Edition Copyright© 2000 by The VoiceCare Network®, the National Center for Voice and Speech, Fairview Voice Center, Centre for Advanced Studies in Music Education and the contributing authors. Original Edition Copyright © 1997
ISBN:
0-87414-123-0
Printed in the United States of America.
This book, including all parts thereof, is legally protected by copyright. Any use, exploitation or commercialization outside the narrow limits set by copyright legislation, without the publishers' and authors' consents, is illegal and liable to prosecution. No part of this book may be translated, reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the VoiceCare Network, National Center for Voice and Speech, and the contributing authors.
Publication Support Julie Stark, A.A., Production Editor, Doug Montequin, B.A., M.S., Science Reviewer, National Center for Voice & Speech Andrew Hackett, Assistant to the Editors, The Voice Care Network
contributing authors ■
Robert Bastian, M.D. Associate Professor of Otolaryngology, Stritch School of Medicine, Loyola University Medical Center, Chicago, Illinois
■
John Cooksey, Ed.D. Professor of Choral Music, School of Music, University of Utah, Salt Lake City, Utah
■
Mary Ann Emanuele, M.D. Department of Endocrinology, Loyola University Medical Center, Chicago, Illinois
■
Darrel Feakes, M.S., CCC/A Senior Audiologist, Minnesota Ear, Head & Neck Clinic, Minneapolis, Minnesota
■
Patricia Feit, M.A. Director of Vocal/Choral Music, Elk River Public Schools, Elk River, Minnesota
■
Lynne Gackle, Ph.D. Adjunct Professor of Choral Music Education, Director, Gulf Coast Youth Choirs, Inc., Tampa, Florida
■
Elizabeth Grambsch, M.A. Early Childhood Music Education Specialist, University of St. Thomas Conservatory of Music, St. Paul, Minnesota
■
Elizabeth Grefsheim, B.A. Co-Director, Son-Sheim Music School, Spring Lake Park, Minnesota
■
Norman Hogikyan, M.D. Director, Vocal Health Center, Department of Otolaryngology, University of Michigan Medical Center, Ann Arbor, Michigan
■
Carol Klitzke, M.A., CCC/SLP Speech Pathologist/Voice Specialist, Fairview Voice Center, Fairview-University Medical Center, Minneapolis, Minnesota
■
Anna Langness, Ph.D. Music Specialist, Bear Creek Elementary School, Boulder, Colorado
■
Van Lawrence, M.D. (deceased) Senior Otolaryngologist, MacGregor Medical Clinic, Houston Texas
■
John Leman, Ed.D. Professor of Choral Music (retired), College-Conservatory of Music, University of Cincinnati, Cincinnati, Ohio
■
Alice Pryor, M.Ed. Director, Texas Center for the Alexander Technique, Austin, Texas
■
Axel Theimer, D.M.A. Professor of Voice and Choral Music, Music Department, St. John's University, Collegeville, Minnesota
■
Leon Thurman, Ed.D. Specialist Voice Educator, Fairview Voice Center, Fairview-University Medical Center, Minneapolis, Minnesota
■
Mary Tobin, M.D. Division of Allergy and Immunology, Loyola University Medical Center, Chicago Illinois
■
Graham Welch, Ph.D. Director of Educational Research, Centre for Advanced Studies in Music Education, Froebel Institute College, University of Surrey Roehampton, London, United Kingdom
Hi
dedication Leon and Graham Gratefully Dedicate Bodymind and Voice: Foundations of Voice Education to Our Parents...
Marie Campbell Thurman and Virgil Thurman Joyce Welch and George Welch ...and to Our Primary Mentors in Education, Voice, and Voice Health Oren Brown Faculty of Voice, Juilliard School, New York (Retired)
Van Lawrence (Deceased) Senior Otolaryngologist, MacGregor Medical Clinic, Houston, Texas Charles Leonhard Professor Emeritus of Music Education, University of Illinois
Charles Nelson Professor Emeritus of Voice and Choral Music, Abilene Christian University, Abilene, Texas Robert Shaw (Deceased) Conductor Laureate, Atlanta Symphony Orchestra, Atlanta Symphony Orchestra Chorus
Charles Cleall Her Majesty's Inspector for Music (Retired) Stephen Rhys Lecturer in Music Composition, Royal Academy of Music, London (Retired)
Edmund Semmons (Deceased) Head of Music, Sir Walter St. John's School, London Desmond Sergeant Head of Music and Music Education, Roehampton Institute, London (Retired)
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table of contents Contributing Authors................................................................................................................................................................... iii Dedication.................................................................................................................................................................................... iv Preface...........................................................................................................................................................................................ix Reading this Huge Book: Suggestions andOrientations................................................................................................. x Fore-words: Sunsets, Elephants, Vocal Self-Expression, and Lifelong Learning........................................................................ xi Leon Thurman, Graham Welch
Volume 1 Book I: Bodyminds, Learning, and Self-Expression
The Big Picture............................................................................................................................................................................... 1
Chapter 1 A Brief Context about How We Know What We Know, and Do What We Do.................................................. 7 Leon Thurman Chapter 2 The Astounding Capacities of Human Bodyminds............................................................................................... 18 Leon Thurman Chapter 3 The Human Nervous System.................................................................................................................................. 27 Leon Thurman Chapter 4 The Human Endocrine System................................................................................................................................61 Leon Thurman
Chapter 5 The Human Immune System.................................................................................................................................. 68 Leon Thurman
Chapter 6 Human Sensory Experiences................................................................................................................................... 75 Leon Thurman Chapter 7 Internal Processing of Life Experiences and Behaviorial Expression................................................................. 86 Leon Thurman Chapter 8 Bodyminds, Human Selves and Communicative Human Interaction............................................................. 134 Leon Thurman
Chapter 9 Human-Compatible Learning............................................................................................................................... 188 Leon Thurman
Volume 2_____________________________________________________________________________________ Book II: How Voices are Made and How They are ’Played’ in Skilled Singing and Speaking The Big Picture.......................................................................................................................................................................... 303 v
Chapter 1 What Sounds Are Made Of................................................................................................................................... 307 Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim Chapter 2 What Resonance Is................................................................................................................................................. 316 Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim Chapter 3 What Vocal Sounds are Made Of..........................................................................................................................321 Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim Chapter 4 The Most Fundamental Voice Skill....................................................................................................................... 326 Leon Thurman, Alice Pryor, Axel Theimer, Elizabeth Grefsheim, Patricia Feit, Graham Welch Chapter 5 Creating Breathflow for Skilled Speaking and Singing...................................................................................... 339 Leon Thurman, Axel Theimer, Graham Welch, Elizabeth Grefsheim, Patricia Feit Chapter 6 What Your Larynx Is Made Of.............................................................................................................................. 356 Leon Thurman, Graham Welch, Axel Theimer, Patricia Feit, Elizabeth Grefsheim
Chapter 7 What Your Larynx Does When Vocal Sounds Are Created............................................................................... 367 Leon Thurman, Graham Welch, Axel Theimer, Patricia Feit, Elizabeth Grefsheim Chapter 8 How Pitches Are Sustained and Changed in Singing and Speaking................................................................ 382 Leon Thurman, Graham Welch, Axel Theimer, Elizabeth Grefsheim, Patricia Feit Chapter 9 How Sound Volumes Are Sustained and Changed in Speaking and Singing................................................. 394 Leon Thurman, Graham Welch, Axel Theimer, Elizabeth Grefsheim, Patricia Feit Chapter 10 How Your Larynx Contributes to Basic Voice Qualities................................................................................... 409 Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim Chapter 11 The Voice Qualities that Are Referred to as 'Vocal Registers'.......................................................................... 421 Leon Thurman, Graham Welch, Axel Theimer, Elizabeth Grefsheim, Patricia Feit Chapter 12 How Your Vocal Tract Contributes to Basic Voice Qualities........................................................................... 449 Graham Welch, Leon Thurman, Axel Theimer, Elizabeth Grefsheim, Patricia Feit
Chapter 13 Vocal Tract Shaping and the Voice Qualities that Are Referred to as Vowels'............................................ 470 Graham Welch, Leon Thurman, Axel Theimer, Elizabeth Grefsheim, Patricia Feit Chapter 14 Consonant Clarity Without Vocal Interference................................................................................................. 484 Leon Thurman, Axel Theimer, Patricia Feit, Elizabeth Grefsheim, Graham Welch Chapter 15 Vocal Efficiency and Vocal Conditioning in Expressive Speaking and Singing........................................... 492 Leon Thurman, Carol Klitzke, Axel Theimer, Graham Welch, Elizabeth Grefsheim, Patricia Feit
Chapter 16 Singing Various Musical Genres with Stylistic Authenticity: Vocal Efficiency, Vocal Conditioning, and Voice Qualities................................................................... 515 Leon Thurman, Graham Welch, Axel Theimer, Patricia Feit, Elizabeth Grefsheim
Volume 3 Book III: Health and Voice Protection
The Big Picture........................................................................................................................................................................... 523 vi
Chapter 1 Limitations to Vocal Ability from Use-Related Injury or Atrophy................................................................... 527 Robert Bastian, Leon Thurman, Carol Klitzke Chapter 2 How Vocal Abilities Can Be Limited by Immune System Reactions to "Invaders"........................................538 Leon Thurman, Mary Tobin, Carol Klitzke
Chapter 3 How Vocal Abilities Can Be Limited by Non-Infectious Diseases and Disorders of the Respiratory and Digestive Systems....................................................................... 546 Norman Hogikyan, Leon Thurman, Carol Klitzke Chapter 4 How Vocal Abilities Can Be Limited by Endocrine System Diseases and Disorders..................................... 556 Leon Thurman, Mary Ann Emanuele, Carol Klitzke
Chapter 5 How Vocal Abilities Can Be Limited by Diseases and Disorders of the Auditory System............................ 564 Norman Hogikyan, Darrel Feakes, Leon Thurman, Elizabeth Grambsch Chapter 6 How Vocal Abilities Can Be Limited by Diseases and Disorders of the Central Nervous and Musculoskeletal Systems................................................................................ 573 Norman Hogikyan, Leon Thurman, Carol Klitzke
Chapter 7 How Vocal Abilities Can Be Limited by Anatomical Abnormalities and Bodily Injuries.............................582 Norman Hogikyan, Leon Thurman, Carol Klitzke Chapter 8 Neuropsychobiological Interferences with Vocal Abilities............................................................................... 586 Leon Thurman, Carol Klitzke Chapter 9 Diagnosis and Medical Treatment of Diseases and Disorders that Affect Voice............................................. 598 Norman Hogikyan, Leon Thurman, Carol Klitzke
Chapter 10 Medications and the Voice.................................................................................................................................. 613 Norman Hogikyan, Carol Klitzke, Leon Thurman Chapter 11 Vocal Fold and Laryngeal Surgery...................................................................................................................... 620 Robert Bastian, Carol Klitzke, Leon Thurman Chapter 12 Sermon on Hydration (or "The Evils of Dry")................................................................................................... 632 Van Lawrence
Chapter 13 How Vocal Abilities Can Be Enhanced by Nutrition and Body Movement................................................. 637 Leon Thurman, Carol Klitzke
Chapter 14 Cornerstones of Voice Protection........................................................................................................................ 646 Leon Thurman, Carol Klitzke, Norman Hogikyan
Book IV: Lifespan Voice Development
The Big Picture........................................................................................................................................................................... 657
Chapter 1 Foundations for Human Self-Expression During Prenate, Infant, and Early Childhood Development........................................................................................................... 660 Leon Thurman, Elizabeth Gramsch Chapter 2 Highlights of Physical Growth and Function of Voices from Pre-Birth to Age 21.......................................... 696 Leon Thurman, Carol Klitzke
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Chapter 3 The Developing Voice...........................................................................................................................................704 Graham Welch Chapter 4 Voice Transformation in Male Adolescents..........................................................................................................718 John Cooksey Chapter 5 Understanding Voice Transformation in Female Adolescents..........................................................................739 Lynne Gackle Chapter 6 Vitality, Health, and Vocal Self-Expression in Older Adults.............................................................................. 745 Graham Welch, Leon Thurman
Book V: A Brief Menu of Practical Voice Education Methods
The Big Picture.......................................................................................................................................................................... 759
Chapter 1 The Alexander Technique: Brief History and a Personal Perspective............................................................. 760 Alice Pryor Chapter 2 Learning Speaking Skills That Are Expressive and Vocally Efficient.............................................................. 765 Leon Thurman, Carol Klitzke Chapter 3 Classifying Voices for Singing: Assigning Choral Parts and Solo Literature Without Limiting Vocal Ability........................................................................................ 772 Leon Thurman, Axel Theimer, Elizabeth Grefsheim, Patricia Feit Chapter 4 Vocally Safe "Belted" Singing Skills for Children, Adolescents, and Adults................................................... 783 Leon Thurman, Patricia Feit
Chapter 5 Design and Use of Voice Skill 'Pathfinders' for 'Target Practice,' Vocal Conditioning, and Vocal Warmup and Cooldown........................................................................................................... 786 Leon Thurman, Axel Theimer, Carol Klitzke, Elizabeth Grefsheim, Patricia Feit Chapter 6 Helping Children's Voices Develop in General Music Education................................................................... 803 Anna Peter Langness
Chapter 7
Female Adolescent Transforming Voices: Voice Classification, Voice Skill Development, and Music Literature Selection...................................................................... 814 Lynne Gackle
Chapter 8
Male Adolescent Transforming Voices: Voice Classification, Voice Skill Development, and Music Literature Selection...................................................................... 821 John Cooksey
Chapter 9 Redesigning Traditional Conducting Patterns to Enhance Vocal Efficiency and Expressive Choral Singing................................................................................................................... 842 John Leman After-words: Science-Based, Futurist Megatrends - Voice Education in the Year 2100................................................... 848 Leon Thurman
Appendix 1: Brief Biographies of Contributing Authors....................................................................................................... 850 Appendix 2: Brief Descriptions of Publishing Organizations............................................................................................... 856 Index........................................................................................................................................................................................ 861 viii
preface t has given me personal pleasure to help sponsor the production of Bodymind and Voice. As director of the National
I
Center for Voice and Speech, an organization supported by the National Institutes of Health, I have been given a mandate to make research in the area of voice and speech more accessible to the consumer. But who is the primary consumer of information about voice? Professional vocal artists always come to mind first, but they are a small percentage of those who either make a living with their voices or rely on their voices for avocational and recreational endeavors. The many teachers, salespeople, choral singers, and story tellers of our country (and the world) are given far too little information about how that little sound source in the throat works. Even less is given to them about how to protect, preserve, and train this instrument for optimal usage. Bodymind and Voice is a significant step
toward correcting this problem. Scientists and physicians could argue about some of the terminologies, analogies, and
metaphors used in this text, but little argument could be made about the interest of the authors to communicate effectively—to speak in the language of the consumer. Even less argument could be made about the passion the authors display as educators. They are more than lecturers and presenters; they nurture and teach. The love for their audiences and their students rings out. To some their book may be the first and final reading about voice, but I hope that for most it will be the beginning of an adventure into the science and art of vocal communication. Ingo R. Titze, Ph.D. September 1997, May 2000
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reading this huge book! Suggestions and orientations ■
Begin by reading any chapter in the book that attracts your interest
If there is background information that you need for a more complete understanding, you will be referred to the chapter(s) in the book where that information is located, and you may find information in the references.
■
The "Forewords to This Book" is not written in a conventional way Begin with it? It is intended to express the core substance or feeling of this book. The book's editors also express a sense
of where Bodymind and Voice "came from" and what's in it.
■ In Book I, you may wish to begin by reading Chapter 9 first.
Its presentation of "real-world" human-compatible learning practices is based on neuropsychobiological documentation from the first eight chapters in Book I. ■ Bodymind and Voice can be thought of as a kind of turn-of-the-century encyclopedia of human-compatible learning and of vocal self-expression in speech and vocal music. Most any curiosity about human voices and human learning is addressed somewhere herein. When a wonderment or question or a difference of opinion arises in your everyday experience, check the table of contents or the index for where relevant information can be found.
■ In Bodymind and Voice, concepts and actions about human learning are founded in the neuropsychobiological sciences, and concepts and actions about vocal self-expression are founded in the voice, speech, and voice medicine sciences. In so many ways, we believe that the benefits of optimal empathic human relatedness, constructive compe tence, self-reliant autonomy, and exquisite self-expression have been withheld from many human beings. How? Assumptions about "reality", that were once logical and "right", have pointed many people (includ ing ourselves) toward limitations rather than optimal benefit. Many long-held assumptions about the nature of human learning and vocal self-expression are now being questioned or have been shown to be incomplete,
inaccurate, or invalid. In conceiving, writing, and editing this book, we have done the best we can to set aside our own familiar patterns of thinking, feeling, and acting about human learning and about how human beings express themselves
well in speech and song. We undertook a delicious adventure: to look preponderantly into the accumulated perspectives of the relevant sciences in order to learn "what actually happens", from big pictures to finer details, and to present documented evidence for alternative ways of "looking at" human learning, speaking, and singing. We believe that, even though the scientific method is carried out by fallible human beings, it is still the best
means we human beings have of finding out what is "real", or what is more completely "real", in our world of human experiences. That knowledge can help us point ourselves toward perceptions, conceptions, and actions that
are emotionally satisfying and optimally beneficial to us and to our fellow human beings. ■ x
See the "Big Picture" at the beginning of each book for information about content.
fore-words to this book sunsets, elephants, vocal self-expression and lifelong learning Leon Thurman, Graham Welch
This book is too big." "It covers way too much. It's way too complicated-
just look at that table of contents'' "If this book is just a rehashing of what's already been written about voices, why should I go to the expense of buying it and the trouble of reading it?"
pretty sure that much of this book is not a rehash of what has already been written in books about voice skill learn
ing, but again, that's for you to decide. Most of all, we hope to communicate some of the passion that all of the book's contributing authors feel about human beings and vocal self-expression. Along the way,
you just publish five different books? Maybe I don't want
we hope to introduce you to what we believe to be some of the book's unique perspectives.
to know about the effects of endocrine disorders on voices or about bodyminds, whatever that is."
First Wonderings
"A book divided into five different books?! Why didn't
We admit it. The book is big. And some of its parts
are more complicated than some people may ever be ready for. But we wonder if, maybe, some science-based detail about voices or bodyminds may open a door that leads to: 'Aha!!" "Hmmmmmm. So if that's what happens, then maybe if I...." "Ms Music, I really like to sing. It makes me feel like I'm flying" Well, you'll have to judge for yourself about the book, but in the rest of these Fore-Words, we would like to make the case for this book's bigness, its sometime complicated ness, and why it is five books rolled into one. Our intent is that you can begin reading it with any chapter that strikes your interest, and that if you need additional background
to fully understand what you are interested in, you will be pointed to where you need to go. And by the way, we're
The choral conductor was a first-rate musician. His life-mis sion was to serve music by getting singers to make the music of master composers come alive, being true to their vision of how the music was to be performed. He detested recruiting singers for his choirs, but he had to. There was about a 35% turnover in membership every year. He attributed the turnover to a lack of self-discipline by the singers. His singers called him "Old Eagle Ear". He always heard when they made a mistake or did something wrong, and he always pointed it out. He let them know that perfection was the goal in every piece of music they performed. He was the master interpreter and the corrector of their mistakes. On a few occasions, a singer or two asked him, "You always tell us when we do something wrong. Do we ever do anything right?" A well known singing teacher taught private lessons to an 18year-old male singer in that choir. She taught in much the same way
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as the conductor. She said to him once, "Adam, you have a very nice voice, hut it will never be a solo-quality voice." At age 22, Adam learned that he did have a solo-quality voice, and at age 29, he learned that the strong fear he felt at the prospect of singing for others was closely related to his earlier choir and voice lesson experiences.
And thus it was so. Those boys loved to sing so much, that they-with help from their parents-were not going to be stopped by common customs or curriculum policies. They had mastered expressive singing skills and in their six years of music classes, they had learned that music and skilled, expressive singing were fascinating and filled with MMMMMMMMMMMMM experiences.
Linda Mack, Ed.D., Professor of Choral Music at Lewis & Clark College, Durango, Colorado, once started a community chorus of people
who "knew" that they could not sing. As part of her doctoral disserta tion (1979), she interviewed the members of that choir. An 86-yearold man told her: "As a child, I loved to sing. I sang all the time. One day the music teacher at school had us all sing for her by ourselves, and she divided us up into two groups-the bluebirds and the crows. "I was a crow. "Well, I grew up on a farm, and I knew what crows sounded like. I haven't sung since. "But I guess that before I die, I want to learn how to sing."
She taught grades K through 6 for a public school in Minne sota. The first group of 6th grade children that had been her students since their kindergarten year were preparing to audition for the junior high school choir director. During the next school year, they wanted to sing in either the 7th and 8th grade concert choir or the girl's choir. Every single one of her sixth grade students auditioned. When the choir lists were announced, 23 boys were not placed in the concert choir. They were turned away from any singing experi ences at the junior high school. The reasons? (1) The choir director had never had that kind of male turnout for the auditions; (2) the select concert choir had to have a balance of SATB voices and most of these boys were unchanged-too many sopranos who cannot sing in the tenor pitch range; (3) only the best singers could be selected for the best choir; and (4) there was no boy's choir because in previous years, there had never been enough boys who were interested. The story does not end there. Those boys wanted to sing so much, that they asked their par ents to help them be in a choir. Several parents met with the junior high school principal. They pointed out that their sons had been turned away from membership in the concert choir. The girls who had not been selected for the concert choir were placed in the girl's choir. There was no boy's choir, so they urged the principal to create one for the 23 sons of taxpayers who voted in school board elections.
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Physicians change the anatomy the biochemistry the physiology, and the health of people. 50 DO TEACHERS. Physicians have to know rather clearly and in great detail what it is they are changing and how the changes will
affect life processes. They must be intimately familiar with
how their work changes the human nervous, endocrine, immune, digestive-metabolic, and musculoskeletal systems, among others. Does the work of teachers really change the anatomy, the biochemistry, the physiology, and the health of people? Does the education of teachers include a detailed knowl edge of how the nervous, endocrine, immune, metabolic, and musculoskeletal systems of human beings are changed by teaching-learning experiences? When we human beings interact with people, places,
things, and events in our lives, we say that we have percep tions, emotions, cognitions, and memories, and we say we have learned and behaved, and have been in and out of health. When those psychological processes change in us, we say that we are changed, do we not? The evidence is in. There is no question about it. Change in what we call physical, psychological, and health processes are brought into existence by changes in: 1. nervous system anatomy, physiology, and biochem istry; 2. endocrine system biochemistry and glandular anatomy; 3. immune system cellular processes and biochemis try;
4. digestive and metabolic anatomy and biochemis try; and 5. neuromusculoskeletal anatomy, biochemistry, and physiology.