Harmonious Life,
Joyful Heart

– a blend of science and tradition for your voice and health

OUR wellness offerings

Our methods blend the wisdom and science of Eastern and Western traditions to help you find balance and harmony in your body, mind and spirit.  Each method offers a different way of looking at and healing yourself. introduces a unique and distinct perspective to projects. You can choose the method that suits you best, or combine them to create your own personalised Path.
All methods are gentle, natural and safe, and do not involve taking any drugs or supplements, so you can use them along with your existing wellness practices.

CLINICAL HYPNOTHERAPY

Clinical Hypnotherapy is a psychological therapy that uses hypnosis to access the deeper parts of your mind and change your behaviours, emotions and thoughts. It can help you relax your nervous system and activate the parasympathetic response, which promotes healing and balance in your body. It is a safe, effective and natural way to improve your health and wellbeing.

Animal Healing

Our Animal Healing uses Jin Shin energy healing to gently move stagnant energy through the animal’s body. There are no needles or similar invasive treatment, and no need for ingestion of medication, making it 100% complementary to every existing veterinary practice.

Animal Healing

Our Animal Healing uses Jin Shin energy healing to gently move stagnant energy through the animal’s body. There are no needles or similar invasive treatment, and no need for ingestion of medication, making it 100% complementary to every existing veterinary practice.

Your Voice is the Gateway to SELF

Our bodies hold the stories of our lives. Every emotion, experience, and memory we have is stored in our cells, tissues, and organs. Our bodies reflect who we are, where we come from, and what we have been through. But sometimes, we may feel disconnected from our true selves, and live according to what others expect of us. We may lose touch with our authentic voice, and the stories that we want to tell.

At our voice lessons, we help you reconnect with your true self, and express it with more clarity, confidence, and ease. We use holistic wellness practices, such as our proprietary NeuroVoice (TM) and JinShinVoice(TM), to help you activate your sensory awareness, neural pathways, energy flow, and emotional balance.

These practices can help you release any tension, trauma, or blockages that may be affecting your voice and your well-being. By singing with more freedom and joy, you can transform your voice and your life

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WELCOME TO VOCALOGY

Welcome to Vocalogy, sanctuary of sound and self-discovery, where we invite you to experience  a transformative approach to enhance your wellbeing.

At Vocalogy, we believe that your voice is not only a tool for communication, but also a reflection of your inner state and a source of healing, which is why we offer a range of services and programs that are rooted in both the ancient wisdom of Eastern culture and in modern approaches to nervous system regulation.

Whether you want to improve your vocal skills, overcome your fears, or simply relax and rejuvenate, we are here to be your guide in your adventure of vocal and inner harmony.

Our Values

Our Founder

GRACE NG EE WERN

Ms Ng is a renowned leader in the field of vocal and holistic wellness.

She has a unique background as a lawyer, a certified Somatic Voicework (TM) teacher, a Jin Shin Jyutsu (TM) healing practitioner and a trained Clinical Hypnotherapist. She uses her diverse skills and knowledge to create innovative and holistic solutions for individuals and organizations who want to improve their voice and health.

OUr JOurney

We are passionate about learning and growing with you to offer you a unique and memorable experience that you deserve.

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Media

A Global Spotlight

Our business has been featured various publications around the world. From Singapore to the UK and Australia, our fascinating approach has captured the attention of media outlets and audiences alike.

Stories

How we touched lives

Stories

How we touched lives

Our Logo: The 7 Petal Flower of Being

Harmony and Peace are two beautiful gifts that we can give to ourselves and others.
Harmony means living in sync with our true selves and with those around us, embracing our diversity and uniqueness.
Peace means feeling calm and serene in our hearts and minds, and spreading kindness and love to everyone and everything around us.
When we live in harmony, we practice non-violence, and we seek to understand and appreciate different perspectives.
When we live in peace, we create a safe and supportive environment for ourselves and other, where we can grow and  thrive.
Harmony and Peace are both vital for our happiness and health, as they nourish our souls and inspire us to be better.
The 7 petals of our logo represents 7 aspects of peace that we can cultivate when we are in harmony with ourselves and the world around us. They are:
Personal peace: This refers to the inner peace and serenity that one experiences when one’s thoughts, feelings, and actions are aligned with one’s values, goals, and aspirations. Inner peace can be achieved by cultivating self-awareness, self-compassion, mindfulness, gratitude, and optimism.
Interpersonal peace: This refers to the positive and respectful relationships that one has with others, based on mutual understanding, empathy, trust, and cooperation. Interpersonal peace can be achieved by practicing active listening, effective communication, conflict resolution, and forgiveness.
Social peace: This refers to the sense of belonging and contribution that one feels as a member of a larger community or society, based on shared norms, values, and goals. Social peace can be achieved by promoting diversity, inclusion, justice, and civic engagement.
Environmental peace: This refers to the sustainable and respectful interaction that one has with the natural world and its resources, based on awareness, appreciation, and stewardship. Environmental peace can be achieved by reducing waste, conserving energy, protecting biodiversity, and supporting green initiatives.
Artistic peace: This refers to the aesthetic and expressive quality that one creates or appreciates in a work of art or design, based on the use of elements such as color, line, shape, form, value, space, and texture. In Singing, artistic peace is obtained with we flow freely with the harmony, melody and rhythm rhythm of the music.
Spiritual harmony: This refers to the transcendent and meaningful connection that one has with oneself, others, nature, or a higher power or purpose, based on faith, hope, love, and wisdom. Spiritual harmony can be achieved by exploring one’s beliefs and values, engaging in rituals and practices, seeking guidance and inspiration, and expressing gratitude and compassion.
Holistic harmony: This refers to the integration and balance of all the aspects of harmony mentioned above into a coherent and fulfilling whole. Holistic harmony can be achieved by recognizing the interdependence and interrelatedness of all aspects of life and striving for optimal well-being in each domain.
Be Like The Lotus; Trust In The Light, Grow Through The The Dirt, Believe In New Beginnings.
Our logo is the 7 petal Flower of Being. Each petal represents one of the 7 chakras, the whole being a symbol of complete development of the human psyche- body, mind and spirit. The green color is that of Anahata- the heart chakra, conveying our wish of growing love of the Self, the Environment and the World.

Recent Articles

Your Posture, Your Life- a talk by Terence Chua

Your Posture, Your Life- a talk by Terence Chua

Talk by Chua Shengwei Terence at ‘Be the Change’ Voice Talk, 29 June 2014 organized by Vocalogy*. Transcribed by Grace Ng Ee Wern Good afternoon everyone, my name is Terence Chua and I’m a movement specialist. Unlike personal trainers who work on fitness and aesthetic body building, my work tends more towards general movement patterns. I trained with Ido Portal. He’s a movement specialist in the world of fitness. I refer to the book ‘Anatomy Trains’ by Thomas Myers in my work. In the ‘Anatomy Trains’ concept of the body, if we have pain in our shoulder, it doesn’t mean that the problem area is the shoulder or the muscles around the shoulder. The problem area can be somewhere further away from the shoulder. In the ‘Anatomy Trains’ concept of anatomy, the whole body itself doesn’t consist of just muscles. It’s just one single muscle that is being sectioned out into different segments so it’s all linked up. There are many different lines or meridians in the body. The bottom of the foot actually links up to the head and the top of the eyebrow. There is the superficial back line, superficial front line, deep front line, spiral line, lateral line and arm line. In just the arm line itself, you have the superficial front arm line, the superficial back arm line, the deep front arm line, the deep back arm line and spiral line. To clarify, these meridian lines are not the same as those referred to in Traditional Chinese Medicine. Of all these lines, I’m just going to pick one line that’s relevant to opening up the voice. That one line is the deep front line. It starts from the bottom of the foot, coming from the inside of the leg, up to the pubic symphysis and going up into the psoas. From there it goes into the thoraco-lumbar junction, into the diaphragm, by the front of the spine and also from the ribcage going up to the neck. It ends at the tongue. If I pull your tongue, I will get a reaction from the bottom of your foot because these parts of the body are linked together by the deep front line. To arrive at his conclusions about the body, Thomas Myers’ dissected cadavers himself. Instead of cutting the muscles the usual way, he turned the scalpel and sliced off from the tendon.It linked up to another part of muscle. He followed that and found that they all linked up in one continuous sheath all the way to the tongue. ‘Anatomy Trains’ contains photos of the cadavers and dissection. In ‘Anatomy Trains’, you can actually see a photos of a cadaveric dissection of a sheet of muscle from the bottom of the foot going all the way up to the tongue. How do all these meridians or lines help us in understanding posture, for example hunched posture (kyphosis) or sway back posture (lordosis); or hips that go into anterior tilt (buttocks sticking out) or posterior tilt (tailbone between legs)? In the case of an anterior pelvic tilt, the psoas and the hip flexors may be tight, pulling the hips down. There are many other reasons why the hips go into anterior pelvic tilt. I will just be dealing with the psoas region in this talk. The psoas is a hip flexor. It pulls the femur bone up. The psoas is also attached to spine at vertebrae T12 all the way to L5. A tight psoas gives you an anterior pelvic tilt which causes resultant compensatory tensions in the body as the body tries to balance itself. Amongst these compensatory tensions is tension in your diaphragm. If that tension is not being released, your diaphragm cannot function normally. It cannot expand or contract optimally when it is full of tension. In other words, the way that you stand affects the way that you breathe. In my practice, I release the psoas and the hip flexors to affect the diaphragm. The diaphragm as you know is hard to reach. That being said, I can reach in for the diaphragm but I don’t do it because most of the time, it’s too uncomfortable. I’ll work with the psoas instead. That affects the diaphragm which in turn improves the breath.   If you move up further, working with the arm line can open the chest to create a posture that is more upright instead of more hunched. The arm line and the functional line plays a part in terms of opening up the chest. Both of these lines have functions that are crossed because everything is linked up together.   Thomas Myers, the author of ‘Anatomy Trains’ was a student of Ida Rolf. His method comes from Rolfing. He’s also a manual therapist. Rolfing is a form of massage. He uses manual therapy to ease out the tension from the body itself. You can use your own strategy to open up the lines. For me, I use my hands to administer trigger point therapy to open up the body. I also use movement mobilizers, simple techniques like pushing the hips forward and lifting up the hands. The subtle movement of the hips is enough to create the movement that the hips need to open up and free up the tension. I use mobilizer movements a lot instead of stretching and holding a pose for several seconds. I think there’s still value in stretching but I prefer mobilizers because mobilizers work a little bit more in terms of fascia.   Fascia is the connective tissue between muscles. It’s the wrapping of muscles rather like wrapping paper around a Christmas present. Towards the end, you have your tendons or your ligaments depending on what’s connected and where it is connected. That is also called the fascia. Fascia contains water and collagen. I use mobilizers as a form of movement to target fascia because fascia works best if your whole movement is rhythmic, in regular timing and is subtle and slow. This

The Art of Taichi in Integrative Pedagogy- an Interview

The Art of Taichi in Integrative Pedagogy- an Interview

Master SimPernYiau is a taichi (太极) master of the Nam WahTaiji Gong/ Wu Tu Nan Taijigong lineage. He is also an experienced actor. He received his education in the performing arts at The Necessary Stage, NUS Theatre Studies Programme and Theatre Training and Research Programme (‘TTRP’).  TTRP was an inter-cultural theatre training school founded by the late great Singapore theatre doyen KuoPao Kun together with T. Sasitharan. He has also taught Taichi to dance students at NAFA and acting students at the Intercultural Theatre Institute (ITI). Visit his taichi studio at Wu Tu Nan Taichigong Singapore * Master Sim: SPY ** Grace Ng: GN GN: In your opinion, what are the elements of a holistic theatre training system? SPY:There are 2 elements- the first is an energy-based system of physical training. The second is training the voice concerning resonant spaces. GN: Why do you prefer an energy-based system of physical training like taichi say to one with that focusses a lot of the body? SPY: A system that emphasizes a great deal of physical work is not sustainable with age. As one’s body ages, the physicality of these systems becomes high maintenance, which is why you probably don’t see many older folk in acting class. A better system for older bodies would be one where the exercises promote the release of energy such as a system based on taichi or yoga. An energy-based system of training allows actors to access more energy even as the physical body ages. It also does not require actors to train tense muscular energy to acquire strength. GN: How can learn taichi benefit actors? SPY: Taichi is a conditioning and de-conditioning system. Although taichi movements come in formalized shapes such as those you see in the Taichi 24 short form or Taichi 108 long form, these forms are easily accessible and may be modified for performance training. Taichi also promotes mindful movement. A fundamental principle of taichi is jiejie guan chuan (节节贯穿) moving the chi (气: life energy) while linking up the segments of the body using the mind. Chi follows the mind. By directing chi flow through the parts of the body, not only do we encourage mindful movement, we also connect with these parts of the body at a deep level. I also like to use the Organs Relaxation exercise from Yang Shen Gong (养身功:exercises for maintaining health) when teaching actors. The Organs Relaxation exercise brings mental focus to the bladder, large intestine, small intestine, heart, lungs, pancreas, liver and gall bladder, stomach, spleen and kidneys. But not discretely. They affect each other. I tell my students that since emotions reside in the organs, they should observe the physical manifestations of emotions in their bodies and especially in their organs. As an additional benefit, the Organs Relaxation exercise may be used to release negative emotions stored in the organs to return the body to a neutral state. I also have my students do Chi Dong (气动) exercises. Chi Dong means to move the Chi through the energy meridiens of the body through physical vibrations while being mindful. The body has to be aligned with the mind practisingjiejie guan chuan. GN: You’ve talked about how you use Taichi in physical conditioning for the actor. How can Taichi training benefit the Voice? SPY: Sound is a vibration. Good vibrations need good resonating spaces. Taichi exercises open up spaces for the voice to resonate by giving the performer access to parts of the body that they may not have actively engaged in sound making. Taichi exercises can open spaces in the body from the superficial to the cellular level. The human voice is like a wind instrument. The quality of the reed alone does not dictate the quality of the sound. The quality of the sound depends on the body of the instrument. Similarly the quality of the Body determines the richness of the voice. For example in a play I did recently (‘Ten Thousand Tigers’ by Ho Tzu Nyen (2014)), I had to speak in a throaty voice for a long time. To ensure that my voice lasted for the run of the play, I tapped resonating spaces my body associated with the sound while I made it. This tapping technique is known as ‘pai da’ (拍打 : slapping and hitting) in Taichi Gong. Pai da is like hitting a drum. When you hit the drum, the sound resonates through the drum skin and body, which includes the empty spaces. The resonance is felt at many levels- the nervous system, muscular skeletal system and deep muscle levels. All of which we infuse with palpable energy – chi. Taichi also strengthens the voice because we breath from the Dan T’ien (丹田). The Dan T’ien is an energetic concept. It is an area of energy cultivation and consolidation. The most basic Dan Tian is located a few inches below the belly button. Doing Taichi strengthens the Dan T’ien even when no active work is done. Connecting to the Dan Tian rather than lungs makes speaking more powerful yet more effortless. GN: Why do you prefer to emphasize resonant spaces in voice training? SPY: A weaker voice doesn’t equate to lowered lung power. Sound is vibrations in space. The greater the energy used, the stronger the vibrations. However if the vibrations are stuck, you cannot get power and expressivity in the voice even if you use a lot of energy. Therefore as much as we emphasize sound production, we need to equally emphasize the freeing of space within the body to allow the sound to find its maximum potential. GN: What are your thoughts on the perceived dichotomy between Singing and Speech? SPY: I think that you really can’t divide up Speech & Singing, Dance and Acting. I think that the concept of placing each one in its own little box is actually very modern and of Western origin in the history of human performance. In the Western tradition, you have singing in Opera. In dance productions, the dancers move but do not sing. In stage plays, there is acting but no singing. Except for musical theatre. This division is reflected in costuming as well. Opera costumes are usually elaborate and heavy, hindering movement.

Listening with the Heart: Hearing the Person Behind the Voice

Listening with the Heart: Hearing the Person Behind the Voice

“I think, therefore I am.” René Descartes’ famous cogito has become one of the most recognisable statements in Western philosophy. It places thinking and consciousness at the centre of the question of human existence, and Descartes’ philosophy contributed significantly to the modern discussion of the relationship between mind and body. But when we teach a living, breathing human being to sing, is thinking enough? A voice is not an abstract object. It belongs to a person. That person arrives at the lesson carrying a body, a history, a nervous system, memories, expectations, relationships, habits, beliefs and hopes. All of these can influence how freely that person breathes, moves, speaks and sings. This is why I believe that good voice teaching requires more than a good ear. It requires listening with the heart. Beyond the Parts Modern voice training has benefited enormously from scientific understanding. We can study respiration, vocal-fold vibration, resonance, articulation and acoustics. We can examine movement in extraordinary detail. We can use anatomical knowledge to understand how the vocal mechanism works. All of this matters. But there is a danger when understanding the parts becomes a substitute for understanding the person. We can identify tension in a jaw. We can observe a raised shoulder. We can hear breathiness or instability in a tone. We can analyse pitch, resonance and articulation. But the question remains: Why is this happening in this person, at this moment? The same vocal symptom can arise from very different circumstances. A constricted sound might reflect a technical habit. It might accompany fatigue or illness. It might appear when someone feels anxious or watched. It might simply be the way that particular person has learned to coordinate their voice. The sound gives us information. It does not, by itself, give us the whole story. The Voice as Part of the Whole Person The voice is part of the body. The body is part of how we experience ourselves. And voice is one of the ways we make that inner experience audible to the world. This does not mean that every vocal difficulty has an emotional cause. Nor should a voice teacher attempt to diagnose psychological or medical conditions from a student’s voice. It means something simpler—and, to me, more profound: The voice cannot be completely separated from the person who produces it. A singer’s experience of their own body can affect how they sing. Their sense of safety can affect how freely they experiment. Their expectations can influence how they respond to difficulty. Their previous experiences of being heard—or silenced—can shape their relationship with their voice. Sometimes these influences are obvious. Sometimes they are not. The Voices We Learn to Suppress Many of us learn very early what kinds of sounds are welcomed. “Don’t be so loud.” “Speak properly.” “Good girls don’t shout.” “Boys don’t cry.” “Stop making that noise.” These messages may be delivered casually, lovingly or even jokingly. Yet repeated messages about how we should sound can become part of our relationship with our own voice. A child who learns that loudness is dangerous may become an adult who struggles to access vocal intensity. Someone who has repeatedly been criticised for their accent may become excessively self-conscious about speech. A singer who has been told that their natural sound is ugly may begin approaching every note with suspicion. None of this means that a particular childhood memory is necessarily the hidden cause of a vocal problem. Human behaviour is more complicated than that. But our histories matter. And a sensitive teacher leaves room for that history without pretending to know more than the student has actually revealed. When Technique Becomes Another Form of Criticism This is where voice teaching becomes particularly delicate. A student may arrive already believing: I’m doing this wrong. My voice isn’t good enough. I don’t have enough breath. I don’t sound like a real singer. If the teacher responds only with more correction, technical instruction can unintentionally reinforce the student’s existing sense of inadequacy. “Your jaw is tight.” “Your breath support is wrong.” “Your placement is incorrect.” Sometimes these observations are technically accurate. But accuracy without compassion is not necessarily good teaching. The teacher’s task is not to remove technical standards. It is to create an environment in which those standards can be explored without making the student feel that their worth depends upon achieving them. A technical correction should open a door, not close one. What Does It Mean to Listen with the Heart? Listening with the heart does not mean abandoning technique. It means allowing technique to serve the person rather than reducing the person to technique. It means listening to the sound while also noticing the human being producing it. It may mean asking: How are you today? What are you noticing in your body? What happens when you sing that phrase? Which songs feel natural to you? Which ones make you uncomfortable? What changes when you feel more at ease? Sometimes the answer is found in the voice. Sometimes it is found in the body. Sometimes it is found in what the student says. And sometimes, the most important information is what the student cannot yet put into words. The Body Speaks Too A teacher does not need to be a diagnostician to become an attentive observer. A student may arrive with unusually shallow breathing, a rigid posture, a clenched jaw, visible agitation or an unfamiliar change in vocal behaviour. These observations are not diagnoses. They are invitations to become curious. Perhaps the student is tired. Perhaps they are nervous about an upcoming audition. Perhaps something happened at school. Perhaps they are simply having a difficult day. We do not need to invent an explanation. We can simply notice. This is one of the great gifts of somatic awareness: learning to observe what is happening without immediately judging it or trying to force it to change. The Teacher’s Responsibility—and the Teacher’s Limits Voice teachers occupy a unique position. Students often reveal things through their

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