The internal vibration of your body, springing out of the sound column, feeds your singing, which is next amplified by your instrument.
Being concentrated on the source of your internal song eliminates unnecessary tensions and fosters the link with your musical intent : you feel like filling up the space with your voice.
The body literally vibrates with song and harmony. (…) The act of singing permits us to open a dialog with space so that we become flooded by its vibrations and merge with it, acoustically speaking.
The interactions between the singer’s physical body and the acoustic environment create a proprioceptive image of the body, and they structure a sensory-motor experience of the surrounding space in a perpetual dialog.
A professional singer with a great technique causes us to breathe fully, our pharynx opens, our larynx moves without tightening. The articulation is supple, passing from one syllable to another without breaking the melodic line, without losing intensity, and we are transported.
Teaching voice relies on subjective sensations that can only be described in words. (…) We have to make our sensations conscious so that they can be reproduced at will and associated to the corresponding muscular response.
Singing requires mastery over yourself to attain maximum sound output with minimum muscular effort.
Your sensations will be confined to the organs involved in singing. It sends acoustic stimulation to every part of the body, encouraging it to adopt certain postures. It helps to straighten the trunk, for instance, which helps it to resist the pull of gravity, thus increasing the charging effect on the brain.
When singing is well executed, it triggers a wealth of internal sensations that make the body into a vibrating instrument.
Alfred Tomatis, The Ear And The Voice
(translated by Roberta Prada and Pierre Sollier)