Project Proposal Vocal performance demands the use of the whole body (Khare-Asher, 2015), however, training has not been widely supplemented with physical exercise (PE) (Lawrence, 2022) due to the different perceptions about bodily ‘tension’ that PE can cause (Doscher, 1993; Lawther, 1977). As a consequence of these unsubstantiated claims (Smeltzer, 2017:2; Zarabi, 2013), this research will focus on the feelings surrounding the incorporation of physical exercise in the voice studio from students’ and teachers’ perspectives to acquire a qualitative scope. I am a classically trained vocal coach working with a variety of ages, capabilities and genres, while simultaneously undertaking a personal training certification. I aim to meld both training practices by understanding how exercise can benefit the voice and eventually incorporating physical exercise to enhance the performance of vocal athletes (VA). Research will bring awareness of the varying PE used in voice instruction and their impact on the voice. I will utilise current voice students and voice colleagues representing diversity in age, vocal and physical ability, genre and teaching styles to achieve a multifaceted analysis. This data is intended to impact my understanding of how to best integrate PE to equip VA with movement to positively influence performance. By gaining prior experience and knowledge, I will obtain qualitative, subjective data around PE in the voice studio. I intend to deconstruct tension claims and substantiate that PE in vocal settings can be beneficial. This will curate future quantitative research investigating if and how systematic, vocal focused PE can be employed to enhance performance. With this knowledge and further research, I intend to impact voice instruction to equip VA with knowledge of how to best train their bodies to maintain physical well being, vocal longevity and marketability (Chandler, 2022). My constructivist paradigm, balance focused axiology, relativist ontology, and subjective epistemology focus will formulate my qualitative, action research (AR). Methods of literature review, questionnaires, semi-structured one-on-one interviews and a research journal will provide a practical and ethical framework for my research and data collection (Harris & Brown, 2010). Following data generation I will use In Vivo, Concept and Holistic coding in order to create data themes to analyse and organise my data (Saldaña, 2016). Once research procedures are relayed and consent is received, the distinct sample questionnaires will be administered. Questionnaires will be virtual using Surveymonkey and questions will pertain to exercise and vocal backgrounds, genres taught, teaching styles, and awareness of bias and research. When questionnaires are completed, participant interviews will be scheduled. I will evaluate the individual’s questionnaire responses to curate customised interview questions to steer my investigation and mitigate potential risk (Dearnley, 2005). Discussion within the interviews will include describing or contriving physically demanding performance scenarios and if and how they have utilised exercise to amplify performance. To augment my research, I will perform a literature review and maintain a research journal to ground my thoughts, propel theories, reflect and preserve ethical protocols. Ethics Ethical implications of qualitative research revolve around the integrity of the researcher rather than participant wellbeing (Merriam & Tisdell, 2016). However, speaking on health related subjects may provoke uncomfortable thoughts about one’s body image or overall health. To mitigate these ethical risks (Creswell, 2014), I will reiterate that participation is voluntary, refrain from questions pertaining to weight, body image, health statistics or related health triggers, and provide contact information for professional support. There is no physical risk to the participants since no physical exercises will be involved. Insider research (IR), as described by Winter (2020), is a fine line the active researcher must balance to ensure ethical validity. She suggests diminishing bias by using reflexivity and reflection to deconstruct the practitioner's role within the research. I have already incorporated Schön’s (1983) reflection -in and -on method and Ghaye’s (2011) strength-based reflective framework to plan and theorise data. I will actuate my research with these reflective foundations within my research journal while mitigating IR and participant risk to achieve research integrity, ethical data and purposeful outcomes. Outcomes I aim to achieve a better understanding of the origins of the experienced bias surrounding PE and voice training. I am eager to discern discrepancies and I believe the samples’ diversity will provide several views for a multi-dimensional analysis. This will substantiate my research to ultimately proliferate understanding on the benefits exercise and voice integration offers to VA among field professionals. I hope to ameliorate my teaching to better equip my VA with tools to help them succeed in the dynamic voice industry (Chandler, 2022). Overall, I anticipate this data to be a qualitative foundation to further quantitatively research the effects of balanced PE and voice training. Report Preconceptions and Opinions of Exercise Inclusion in Voice Settings: Do Stances of Students Differ from Those of Teachers? Introduction: Exercise, from its principles to its practice, is a debated and relatively new focus in voice instruction (LeBorgne & Rosenberg, 2018; 2019; Schneider, Dennehy & Saxon, 1997). Despite voice therapy using exercise science principles (ESP) for decades (LeBorgne & Rosenberg, 2018; Naito & Niimi, 2000; Yamaguchi et al, 1993; Orlikoff, 2008; Stathopulos & Dunchan, 2006), vocal pedagogues’ and teachers’ opinions remain split as to what ESP and physical exercise (PE) practices should be incorporated (LeBorgne & Rosenberg, 2019) and very few opinions “are supported by evidence-based medicine or cite any…sources'' (Smeltzer, 2017, p. 2; Zarabi, 2013). Singing and performing are physical acts that require the understanding of the full body instrument (Ohrenstein, 2000; 2003; Lawrence, 2022; Novak, 2015; Willis, 2015; Friedlander, 2018; Adrian & Clarke, 2008; Ragan, 2020; Malde, Allen & Zeller, 2020), however it is not universally accepted due to the ‘tension’ exercise can cause the body and instrument (Doscher, 1993; Lawther, 1977). It is apparent that within the traditional and generational teaching of the classical genre (Ohrenstein, 2000; Sandgren, 2005; Willis, 2015; LeBorgne & Rosenberg, 2019; Ragan, 2020), opinions of exercise incorporation are not scientifically based (Smeltzer, 2017; Zarabi, 2013) and must be examined to understand and foster the connection between the voice and the body within the studio (Lawrence, 2022; Novak, 2015; Ohrenstein, 2000). This research aims to explore the thoughts and experiences surrounding exercise and the voice from both voice students and teachers to gain understanding of the multiple opinions pertaining to PE within the voice field. With this qualitative knowledge and future quantitative projects, I hope to find if and how individualised, regimented PE can enhance performance and lifestyles of VA. I strive to scientifically inform and reinforce my teaching methods, rather than cyclically repeating the teaching patterns I experienced. I expect this outcome to be most apparent in the knowledge influx through literature review and my reflection based research journal. Literature Review: Exercise and its levels of use, from ESP to PE, are debated in the vocal field (LeBorgne & Rosenberg, 2018; 2019; Schneider, Dennehy & Saxon, 1997). ESP and motor learning principles (MLP) have been a tool for speech-language pathologists (SLP) and voice therapists (VT) in rehabilitation scenarios since the 1800s (Stathopoulos & Dunchan, 2006), yet voice coaches only began using exercise science and physiology principles over the past thirty years to enhance vocal learning (Lawrence, 2022; Nix & Helding 2017; Ohrenstein, 2000; 2003; Johnson & Sandage, 2021; Sandage & Pascoe, 2010). Incorporating PE to enhance performance has been noted due to the arduous nature of performance and the importance of performers’ physical and vocal longevity (Chandler, 2022). Fundamentally, singing “requires a combination of muscular strength and coordination of multiple body systems'' (LeBorgne & Rosenberg, 2018:89) and can be classified as a physical activity. However, research surrounding the impact of PE on the larynx is limited due to the intrinsic location and small size of the musculature (LeBorgne & Rosenberg, 2019). This review will examine the varying extents of ESP and PE used in voice instruction and will discuss key studies to investigate how PE affects the voice. The major connection between ESP and the voice is motor learning via skill acquisition (SA) and has been widely accepted for the past 30 years (Ragan, 2020; Lawrence, 2022; Schneider, Dennehy & Saxon, 1997; Ohrenstein, 2000; 2003). Chandler notes that athletics and singing use the same MLP to “coordinate, strengthen and build stamina and longevity” (2022:337) of performers. However, “there is still a lack of evidence for applying [MLP] to training programs for [healthy] singers'' (Sandage & Pascoe, 2010:84) The pedagogues utilising ESP “applied to vocal athletes [notice ESP] optimise a strong, stable vocal mechanism that is balanced and efficient” (LeBorgne & Rosenberg, 2018:88). ESP of overload, specific adaptations to imposed demand (SAID), and reversibility are used in exercise and voice instruction to upregulate musculature. Overload is defined by the frequency, intensity and time necessary to adapt muscular tissues (Schneider, Dennehy, & Saxon, 1996; Sataloff, Petterson & Westgaard, 2004; Sandage & Pascoe, 2010; Saxon & Berry, 2009; Stathopoulos & Dunchan, 2006; Nix & Helding, 2017; LeBorgne & Rosenberg, 2018; 2019; Sandage & Hoch, 2018; Lawrence, 2022). “Translation of strength and endurance into the voice involves the overload principle” (LeBorgne & Rosenberg, 2019:497) but, unfortunately, unlike limb muscles, overload intensity is not understood or quantified in terms of vocal load (stress) and demand (capacity) (Johnson & Sandage, 2021). Sataloff, Sandage & Hoch (2018) note that vocal demand is contingent on the intensity and duration of energy expenditure. SAID refers to the action necessary to achieve a certain outcome in relation to the demand (LeBorgne & Rosenberg, 2018; 2019; Stemple, 2005; Sandage & Pascoe, 2010; Sataloff, Sandage & Hoch, 2018; Johnson & Sandage, 2021). Similar to overload, SAID is difficult to incorporate in vocal settings because the muscles of the voice mechanism are hard to isolate (Johnson & Sandage, 2021). Teaching and learning vocal technique has been related to MLP and SA due to the muscular nature of singing (Nix & Helding, 2017; LeBorgne & Rosenberg, 2018; 2019; Chandler, 2022; Lawrence, 2022; Peterson & Westgaard, 2004; Johnson & Sandage, 2021). SA, through vocal warm-ups and cool-downs, is the most accepted MLP that voice professionals have adapted from ESP (Sataloff, Sandage & Hoch, 2018; McHenry & Evans, 2015; Cunningham & Gravy, 2017; Ragan, 2020). Sataloff, Sandage & Hoch (2018) note that SA via warm-up is not a recent development in the voice field, but the categorization within ESP and muscle training allows intel on how best to train stamina and longevity to avoid injury. Inversely, reversibility reveals that a certain level of intensity and frequency must be maintained to prevent detraining of the upregulated muscles (Petterson & Westgaard, 2004; Johnson & Sandage, 2021; LeBorgne & Rosenberg, 2018; 2019; Nix & Helding, 2017). The common phrase “use it or lose it” (Lawrence, 2022) portrays how skills and muscle regulation, vocally and muscularly, can be lost quickly if not used and how the process of re-upregulating muscles is a lengthy process (Sataloff, Sandage, & Hoch, 2018; Sandage & Pascoe, 2010). Recently pedagogues have been incorporating physical warm-up into voice instruction in order to increase blood flow, coordinate the body, prevent injury and promote recovery (Sataloff, Sandage & Hoch, 2018). Since the laryngeal musculature has similarities to the musculoskeletal structure (Sandage & Pascoe, 2010), most assume that the effects of physical warm-ups on the larynx are congruent, without scientific evidence (Sataloff, Sandage & Hoch, 2018). The differences between muscle fibre composition are starting to be explored to provide insight on how ESP and PE can be safely and sustainably integrated into voice instruction (Sataloff, Sandage & Hoch, 2018; Johnson & Sandage, 2021; Sandage & Pascoe, 2010; LeBorgne & Rosenberg, 2018; 2019; Lawrence, 2022; Hoh, 2005; Stathopulos & Dunchan, 2006; Tellis, Rosen, Thekdi & Sciote, 2004). McHenry & Evans (2015) study on the impact of aerobic warm-up and cool-down exercises on the voice to avoid injury and benefit voice production. They concluded that PE did not have any negative effects on the voice and it allowed performers to keep up with the demands of the industry, maintain physical fitness, and improve stamina. “Looking back in [classical music] history, it will show that changes and development have taken place, although some values…have prevailed…it is evident that muscle and artistic values have largely sustained over time” (Sandgren, 2005:10-12). Ohrenstein (2000) mentions that tension comes about due to the generational teaching practices and aspects of classical singing. The idea that “muscular tension…[is] not appropriate for either singing or speaking” (Doscher, 1993:1) is now challenged by Innovative voice professionals have the opinion that PE integration enhances both performance and the wellbeing of the singers (LeBorgne & Rosenberg, 2019; Friedlander, 2018; Malde, Allen & Zeller, 2020; Lawrence, 2022; Chandler, 2022; Pettersen & Westgaard, 2004; McHenry & Evans, 2015; Rohrer, 2018; Sandgren, 2005; Ohrenstein, 2000; Willis, 2015; Ragan, 2020). Since most voice teachers come from classical training (Willis, 2015; Ohrenstein, 2000), the traditional opinions are still prevalent. It is vital for teachers to experience other teaching genres and styles in order to inform their practice and allow for an influx of new pedagogical tools for field advancement and performance enhancement (Ragan, 2020; Ohrenstein, 2000). Recently, voice professionals have been contemplating ‘tension’ (LeBorgne & Rosenberg, 2019; Malde, Allen & Zeller 2020). Tension is “a physiological state of muscle fibres, which can vary in the degree to which they are contracted and tight or longer and relaxed” (Shewell, 2009:13), which is integral to skeletomuscular structure. LeBorgne and Rosenberg note that “the integrity of a structure stems from the network of interwoven tensile forces (the skeletomuscular framework) and is directly impacted by the balance of the tensional forces imposed upon it (movement)” (2019:29). Without tension, humans would be a blob without structure or movement capabilities. This idea of tensegrity, the tension and integrity of a structure (LeBorgne & Rosenberg, 2019; Malde, Allen & Zeller, 2020), shows an equilibrium of tension and balance that is essential in voice training. Although this is a “challenging…[and] dynamic…endeavour” (LeBorgne & Rosenberg, 2019:29) it allows the singer to harness their full body as their instrument. If the body and voice are not balanced with tensegrity, the sound and body will become rigid, which is counterproductive to expressive performance (Adrian & Clarke, 2008). Vocal techniques of kinesthetic awareness, body mapping, coordination and Alexander Technique are based on these balanced tensegrity (Malde, Allen & Zeller 2020). It is commonly perceived that bodily tension can lock up the voice (Chandler, 2022), but a major factor to consider is what relieves tension. Many pedagogues now believe that movement is the biggest antidote to muscle tension (Ohrenstein, 2000, Sataloff, 2006; LeBorgne & Rosenberg, 2019; Malde, Allen & Zeller, 2020; Friedlander, 2020; Chandler, 2022) rather than being a cause (Dauscher, 1993; Lawther, 1977). Roher (2018) and Sataloff (2006) notice that poor physical fitness and core strength can lead to muscular tension, and can increase injury potential and limit vocal abilities. This shows that focusing on PE and movement can enhance the voice, reduce injury and release tension. Examples range from Alexander technique where exercises highlight the awareness of bodily tension in hopes of balancing postural alignment (LeBorgne & Rosenberg, 2019; Benninger, Murray & Johns, 2016). Yoga has been studied and the breathing, alignment and coordination involved has been shown to reduce both anxiety and tension (Jahn, 2013; Su et. al, 2010; Riordan, 2021) and Mayo Clinic (2014) proved how core stability focused PE reduced tension (Brandfonbrener, 2000; Ohlendorf et. al, 2017). Lawrence notes that performance can…be restricted from “lack of mobility, misalignment, weakness, and tension” (2022:44). Overall, Benninger, Murray & Johns (2016) reiterates that the physical wellness of a performer directly impacts the balance of tension within the body (Roher, 2018), therefore, it should be recommended to use PE to enhance the voice and its instrumental, symbiotic relationship to the body. This reciprocality is vital to understanding how to sustainably and ethically incorporate PE into voice instruction. My AR will scratch the surface on how to best foster said relationship in future research to clarify the effects PE has on vocal structures. Methodology: A researchers' chosen methodological approaches are directly correlated to their axiology, ontology, and epistemology (Gray, 2004) thus affecting research processes and data. Axiologically, research foundations and methodologies must be framed around the researcher’s values, while considering ethical restraints (Killam, 2013). Personally, I advocate for balance and openness within my studio through holistic teaching methods. I believe this balance and open communication will positively mould my research since I already connect with my participants on a personal, subjective level. Balance is a driving force in this research to understand how to integrate exercise and the voice and aid in navigating the fine lines of insider research to derive ethical data. Ontologically, I align with relativistic ideals that multiple realities and constructs exist (Killam, 2013; Crossan, 2003) within the vocal and exercise fields. I infer that through this research and literature review, I will gain a better understanding of how these varying realities shape the way voice pedagogues and teachers approach exercise in voice scenarios. A constructive paradigm celebrates the subjective and individual aspects of my voice practice and I believe it will pair well with my research endeavours. If ethically implemented, constructive research paradigms capture genuine qualitative data on the art of singing (Winter, 2020). My context as a practitioner will allow me to readily interpret, analyse and synthesise the qualitative data from my questionnaires and interviews with a lens of experience, thus adding to the validity of my results (Roll, 2015). My axiological, ontological and paradigm viewpoints shape my epistemological stance (Killam, 2013), which directly affects how I, the researcher, connect with and acquire knowledge (Steup & Neta, 2020). Since I already have a professional relationship with all of my participants, being an epistemologically objective researcher is not possible. I must use subjective, interactional methods in order to gain the qualitative data (Guba & Lincoln, 2005; Merthens, 2010; Killam, 2013). This will allow for authentic communication about the participants' experience with performance and exercise to yield functional data. Overall my balance driven axiology, relativistic ontology and subjective epistemology link well with qualitative research, which is why I have chosen to look at individuals’ experiences, including my own, to build theories through inductive reasoning (Merriam & Tisdell, 2015). Qualitative research is categorised by lengthy and unclear research foundation processes, so it is advised that the researcher spend quality time designing the project to maintain reliability and meet ethical standards (Bell & Waters, 2018). Action research (AR) will allow me to research real world scenarios and allow for dynamic understanding of the thoughts and feelings surrounding the voice and exercise (Costley, Elliott & Gibbs, 2012; Descombe, 2003; Bell & Waters, 2018). This will refine my teaching as I aim to uncover if and how PE inclusion can be an enhancement method for vocal performance. I will use observation and reflection to structure my research while actively participating and engaging with my sample participants for data collection. I believe that AR will allow me to personally and professionally grow, refine my teaching and positively use my insider knowledge to propel findings (Descombe, 2003). Seven students from my voice studio and four teachers from my network of colleagues will constitute the research samples. Both samples will be consenting individuals varied in age, voice experience, exercise experience, and genres sung and taught, as I aim for a variegated analysis. This research was reviewed by the Voice Study Centre and the University of Wales Trinity St. David to ensure all risk and ethical considerations were contemplated and mitigated. Since the origination of this research is personally motivated and being conducted by an insider practitioner, a research reflective journal will be necessary to maintain ethical standards and validity (Winters, 2020). Using Schön’s reflection -in and reflection -on principles (1983) I will organise my research plan, thoughts and theories. Through prior experience, I have noticed my personal reflection can be negatively focused rather than constructive. I will use Ghaye and Ghaye et. al’s (2008, 2011) strength-based reflective strategy framework in order to focus my journal reflections in a more positive light in hopes of propelling my research (Winter, 2020). In AR, literature review is a significant force to formulate and structure research around a specific question before data collection (Bennett, 2004). Seen above are various delineations of ESP and PE used in multiple voice professions and their accompanying research, benefits and, or stigmas. Gaining this knowledge will allow me to understand the multiple realities surrounding ESP and PE in vocal fields to strategically compose ethical questionnaire prompts. Data collection from samples will begin with questionnaires unique to each. Questions in each survey will address various voice and exercise aspects. Vocally, questions pertaining to genres sung and taught, performance experience and teaching styles. Questions of exercise involvement and if they have noticed a positive or negative impact on their instrument and performance. Following these, questions melding vocal and exercise will gauge the participants idea of and experience with physically demanding performances, inquire if they use physical activity in their teaching and learning and obtain the participants connotative definition of the term “vocal athlete,” most popularly coined by LeBorgne and Rosenberg (2018; 2019). Questionnaire responses also give the opportunity to mould interview questions to gain more insight (Dearnley, 2005). Semi-structured one-on-one interviews will take place with each participant following questionnaire responses. Interview questions will be tailored to the individual and will be rendered from the questionnaire responses and the semi-structured characteristic will allow me to keep the conversation flowing via personalised questions and mitigate participant risk concerns (Dearnley, 2005). I expect that information provided in AR based interviews will propel research with new theories and literature to discover. I anticipate qualitative In Vivo, analytical and holistic coding methods will be used. Initially, using the language of participants' responses, I will discern patterns and similarities. This coding procedure is action oriented (Saldaña, 2016) noticing cause and effect. From there, imposed meaning and value will be derived from the similarities and differences between participants and samples using a combination of analytical and holistic coding methods. This will allow the findings and research outcomes to be focused and succinct while still obtaining full scope investigation (Saldaña, 2016). These coding methods align with AR and my holistic axiology, relativist ontology, and subjective epistemology, which will allow for a multi-dimensional and ethical analysis. Niche research within one’s field is a complex privilege (Bonner & Tollhurst, 2002). The ethical validity of qualitative research is largely concerned with the integrity of the practitioner (Merriam & Tisdell, 2016). Berg (2001) and Babbie (1983) note that all researchers believe themselves to be ethical and an insider researcher must be aware of this to mitigate bias. Insider research is a practitioner who is actively engrossed by the process (Winter, 2020). Not only is this research personally motivated, but I am the practitioner who also has a professional relationship with all participants involved, which leads to ethical concerns including anonymity and being a partial during AR. This may cause participants to placate responses depending on what I might want to hear, thus creating biassed data (Mercer, 2007). I will alleviate this by using students' responses to the questionnaire when creating interview prompts. Before data collection begins, an information and consent form will be given to each prospective participant. In order to maintain ethical standards, I will be forthright about participant risks and research procedures. The form will introduce the study’s purpose, procedures, duration, and risk mitigations. Importantly, this document will note voluntary participation with accessible termination and include a final section for participants to sign or withdraw consent. Finally, I will provide information for support pathways for the participants to contact if unwanted emotions arise from the research procedures (Creswell, 2014). Risks to the participant are serious concerns while taking on qualitative research and must be mitigated through research planning and practitioner reflection (Winter, 2020). Throughout my study there are no physical risks to the participants since there will not be any exercises or movement being used. However, speaking about exercise may bring up uncomfortable thoughts and feelings about one’s body, body image or health and speaking about previous experiences with vocal performance may bring up similar thoughts and feelings. In hopes of mitigating these emotional risks, I will use specific information the participants give in the questionnaires to frame the subjective and personalised interview questions (Dearnley, 2005). The fact that their participation is completely voluntary and they can terminate participation at any time without consequences will be discussed throughout research procedures to maintain transparency and consent throughout. Throughout research, I will use a “process of ‘reflexivity’...[to] deconstruct [my] position within the research (Winter, 2020) in order to control bias and influence. I believe my prior research of Schön (1983) and Ghaye (2011) will equip me to anticipate and mitigate ethical matters pertaining to insider research. In closing, adhering to and reflecting on these inside researcher protocols and risk mitigations will allow for useful and valid data to be derived. Findings: As proved in the questionnaire (SQ2, TQ2), all subjects had varying vocal and teaching experience both in genre and quantity of performance. Also, although varying in intensity and length, each subject noted prior exercise experience (SQ3-4,TQ3-4). This data allows for a multi-dimensional qualitative breadth that was then coded. To begin data analysis, coding processes of In Vivo and a combination of Analytical and Holistic coding methods were used to discover relevant language, notice similarities and differences, and indicate substance of all data collected. The In Vivo coding was conducted individually within each research method, whereas I found the analytical and holistic coding of data as a whole to be most beneficial. Three main themes appeared throughout the coding processes: experienced bias of physical fitness and the voice, the need for physical fitness, and the lack of understanding of how to incorporate physical fitness. All of these themes prove that more research is necessary and there is a niche need for vocal preventative, or support systems similar to athletics, to reinforce the longevity, wellbeing and performance of the bodily instrument. 1) Experienced Bias: A driving force that motivated this research was the bias around PE causing bodily and vocal tension that I confronted throughout my classical instruction as noted in my journal entry. My intention was to explore if students and teachers have experienced similar stigmas, myths or biases around the subject in order to begin to understand the basis of the claims and prove if and how PE can be beneficial for VA. From the questionnaire, a majority of participants did not know or were unsure about any stigmas, myths, or bias around voice and PE (SQ5, TQ8). 14.3% of SP answered yes, 57% indicated no, and 28.6% responded maybe, where 25% of TPs disclosed yes and 75% reported no. I was shocked by these results, because after reflecting on my prior experience, bias around physical exercise was rampant in my classical instruction. In the following question on the TP questionnaire, 50% of teachers divulged having experienced some sort of bias (TPQ9) relating to dance training and the abdominal muscles (TP3) and various opinions surrounding body position and movement of choral singers (TP4). I believe that there might have been a miscommunication on TQ8 to lead to this incongruent data. Interestingly, during TP1’s interview they recalled their transition from musical theatre and dance training to more classical styles as being difficult to relearn abdominal breathing patterns and posture. The discussion of this throughout the interview made TP1 notice they had unknowingly experienced stigma around physical exercise and the voice, which cleared up the misinformation from TQ8. TP1 was surprised at how much more whole body movement was needed for classical singing, and expounded on the rib and back expansion for bouncy and freedom of the sound as well as the connection to the lower body to ground the sound. Throughout SP2’s interview, they mentioned that athletics and physically demanding voice performance are comparable “fitness wise.” Regrettably, that idea is not scientifically understood and accepted at this time. A major stereotype that SP1 and SP7 noticed was how non-singers, or novice singers, do not understand or realise how physical the acts of singing and performing are SP1. Within TP3’s interview they discussed how the classical genre traditionally showcases static performers, however, that does not translate well to the necessary body engagement. To meet demands of style, performance and industry requirements, it is vital for a performer to have a deep understanding of the symbiotic relationship between the voice and body instrument. This understanding is hindered by bias and lack of support. Unfortunately, unlike athletes, there are not many professions in order to foster this relationship for vocalists to enhance performance and longevity. 2) Need for PE: In accordance with a majority of the literature review above, all participants described singing and performing as a physical endeavour that uses the entire body (SP3). All SP and TP were able to recall physically demanding performance experiences, and further, all participants were able to notice how fitness positively impacts their voice and performance. TP3 goes on to say that vocally, singing from your whole body is safer, rather than just singing from the vocal mechanism or larynx. This is because the body is ready to take on work and can efficiently perform (TP2). Participants described that having an understanding of the physical instrument and PE allowed for better coordination (SP3, TP2), simpler (SP7) and healthier vocalisation (SP4), and increased stamina (TP1, TP3), which leads to less vocal load (SP7) and easier (TP1, TP2) performance. SP7 goes into further depth on the coordination of the legs, back, stomach, core, head, and arms is necessary to sing, along with the mental demand. Without this coordination and understanding of the body, the singing suffers (SP3). SP’s also noticed heightened coachability (SP1), confidence (SP2), control (SP5, SP7), posture (SP5), flexibility and agility (SP6, SP7), and relaxation and buoyancy (SP6) in both the voice and the body due to their experience with and understanding of physical exercise. Every SP noticed a better connection to their breath as a result of their physical fitness, highlighted by breath support, stamina and endurance. They were able to recall feeling the sensations of this breath connection and also notice tonal effects in the intensity and stability of the sound and how it eased vocal strain especially at register boundaries (SP4). Overarching ideas from all participants questionnaire and interview responses is that singing from the entire body, rather than just the vocal mechanism, allows for vocal ease (SP7), flexibility, and stamina (SP1, SP2, SP6, SP7), due to less vocal load (SP7). All of these aspects influence vocal health (SP4), longevity and physical health (SP). It was made clear in the literature review that tension from PE is a heavily debated topic in the voice field. This factor was one of the motivational forces in this research design as seen in my research journal. When asked during interviews if SP’s noticed any tension during demanding performance, surprisingly 57% answered yes (SP1, SP2, SP3, SP6). However, when asked to localise that tension, all 4 SP’s noticed mostly vocal, laryngeal or breath, tension rather than bodily. SP3 further explained that of the tension they felt, about 25% of it was bodily due to shoulder bracing while breathing to meet dancing requirements especially to maintain energy at the end of performances. Interestingly, TP2 and TP3 noticed how readily movement relieves tensions both in their practice and for their students. TP3 explains that movement opens up the body and sound which fosters a connection to the body rather than being static. They elucidate that within the whole body vocal instrument it is unnatural and unsafe to harbour tension through static rigidity (TP3) and that movement and bodily awareness is the answer. This leads to the conclusion that PE is necessary but both SP and TP do not know how to incorporate or recommend it. As stated previously 100% of the TP reported using kinesthetic movement, exercise, or gesture of some kind to enhance the performance of their voice or their students’ voices, yet all in different, and mostly uncited methods (TQ5). TP’s recommended a positive relationship with the voice via advocacy, appreciation and attention, individualised practice routines, support systems for additional health, and health aspects of hydration and nutrition to encourage and instruct vocal athletes to be physically and vocally healthy (TQ16). This was further shown in the interviews, yet only 50% of TP’s had previously suggested physical activity to students to improve overall health and foster stamina for students to meet performance goals (TP2, TP4). The other 50% of teachers propose hydration, sleep, nutrition and proper voice use along with semi-occluded vocal tract exercises (SOVT). As a result of this project and the knowledge and awareness they gained, these TP’s decided they will begin to motivate students to partake in general exercise to improve health and vocal stamina (TP1, TP3). Performance, especially with the vocal body instrument, requires a massive amount of energy and stamina (TP2). In order to properly develop this energy and stamina, a performer must be aware of and nurture their physical health (Chandler, 2022), which can be done through PE, movement and bodily awareness. However, since this idea is newly being accepted into the voice field, not many voice teachers are equipped with evidence based physical training guidelines to professionally and safely prescribe movement to students. 3) No understanding of PE incorporation: Throughout the questionnaires and interviews it became apparent that a majority of my subjects had a deep understanding of how PE has aided their vocal instrument, performance, and teaching, but a lack of knowledge of why and how to incorporate it. This is echoed in my own experience and recently in my research journal. Interestingly enough, when asked in the questionnaire (TQ11), 100% of TP’s were unaware of any literature regarding physical exercise or exercise science and their role in voice instruction. Throughout the TP interviews it became apparent that some had received training with components mentioning the body and movement, which focused on postural alignment and kinesthetic awareness. TP1 mentioned the anchoring support of Estil training, where stabilising and balancing larger body structures allows for flexible strength and readiness in the voice. TP3, who had completed the Vocal First Aid course recalled the idea of motion being the remedy for tension, but could not recall if and, or how the training recommended the use of movement. Other than those instances, all of the movement TP’s used during instruction has been experiential and trial and error rather than evidence based. A goal of this research is to positively influence my, and hopefully other teachers, instruction methods to understand how to best train VA. As seen in both the questionnaires and interviews, TP’s noted using movement in instruction during warm-up (TP1, TP2, TP3, TP4), and occasionally cool-down practices, bodily alignment and awareness exercises (TP1, TP2, TP3, TP4), relaxation techniques (T2), body map rewiring (TP2, TP3), and skill acquisition (TP2, TP4) purposes. TP1 elucidates that the body awareness and alignment techniques involving movement allows students to rid their bodies of static rigidity and distracts them from overthinking, which in turn, loosens up the sound as well as their bodies. Skill acquisition in the vocal context allows students to establish sustainable techniques when vocal mechanical muscles are coordinated well (Sataloff, Sandage & Hoch, 2018), similar to that of athletic warm-up for the skeletal-limb muscles. All TP reported using warm-up practices for students to understand the voice and develop the muscles to become available and autonomous (TP4). TP’s themselves reported using movements in their vocalisation in order to free up the sound (TP1), reinvigorate sensitivity and balance (TP2), and enhance stamina and breath management (TP4). TP2 even regrets not having an exercise routine sooner to strengthen their instrument and voice, along with mental stress catharsis. From SP interview data, it was compelling to notice that there was a lack of physical warm-up reported outside of their lessons with me. SP’s reported that physical warm-ups were minimal or the SP’s responsibility to complete. Guided warm-ups from vocal influences were majority vocal and the physical element was running through the dance, stunts, or show completely cold (SP1, SP2, SP7) to get the blood moving. SP3 noted that an indepth physical warm-up and cool-down, that they completed on their own, allowed them to bounce back sooner after demanding performances. The warm-up they’ve devised (SP3) includes vocal components of steaming, hydrating and vocal warm-up exercises, as well as mobility and PE of stretching, jumping, and yoga. When asked during interviews about cool-down practices most SP’s were taken aback. For a majority, SP’s only hydrated, tried to control breath and relaxed immediately after performance (SP1:P, SP2:P, SP4:P, SP5:P, SP6:P). Those three components are very important for both vocal and physical health, however, it does not allow the body to gradually return to homeostasis (CITE). Vocal cool-down with SOVT exercises, for example humming (SP3:P) or lip trills (SP7:P), and physical cool-down of gentle movement, yoga or stretching, and breath relaxation are necessary in order for the bodily instrument to restore neutral homeostasis (Chandler, 2022). Similar to athletics, cool-down practices have been noted to help the recovery process, prevent injury and even provide greater ease to singing (Sataloff, Sandage & Hoch, 2018). Many SP’s are involved, or have been, in productions where dancing is inevitable, such as show-choirs and musicals (SQ2). However, during interviews, SP’s noticed that directors and choreographers especially, expected a level of physical fitness, or worse commented on body size or weight (SP3:P), without recommending fitness or exercise to foster the physicality and stamina properly (SP4, SP6). The reality of the voice and body being used simultaneously through dancing and vocal performance simultaneously is not new, however outside of the performance context, most vocal and dance instruction remain separate (Lightfoot & Morton, 2014). Although it is vital to understand and cultivate the techniques of both practices individually (SP3), SP3 and SP4 believe there is not enough incorporation of the two, outside of individual practice time, for the progression of endurance and stamina to become natural and autonomous, while maintaining technique throughout. The physical and vocal demand of simultaneously dancing, interacting with the audience while on stage, strumming, acting, etcetera is rigorous, and the missing piece may be the inclusion of individualised physical exercise regimens for VA to nurture their performance paths. Questionnaire responses relating to SP and TP’s definition of “vocal athlete” (LeBorgne & Rosenberg, 2018; 2019) were varying and intriguing (SQ15-16, TQ13). 85% of SP’s had not heard the term “vocal athlete” (SQ16) but were asked to give their personal connotations. The feedback ranged from notions of vocal fold strength, training practices and professional singers of any kind. Although not incorrect, the responses were widespread. TP (Q13) responses were more on target, describing VA as vocalists who invest in vocal fitness by regularly training the muscles at an athletic level to develop stamina and agility and vocalists who use the whole body to share and support the vocal load. A general comprehension of VA is paramount, especially for students to understand the training necessary to perform at the highest athletic level. The fact that a majority of TP's advocated for and employed holistic teaching styles was very clear throughout both questionnaires and interviews (TP1, TP2, TP3). This is mirrored in my personal axiology, and research purpose. Since performance is a whole body experience, TP’s (TP1:P, TP2:P, TP3:P) encourage students to evaluate, positively associate, and advocate for their instrument. This empowers sustainable technique for easier (TP1), more efficient (TP2) and safer (TP3) singing. TP1 and TP2 report as staying “in your lane and understanding when to refer” (TP2). Singers and teachers must know a full team of professionals to support the voice and also understand individual vocal limits. Unfortunately, other than vocal coaches, there are no professions to support and maintain the voice. Most voice professionals focus on disordered and injured voices rather than proactively preventing injury (LeBorgne & Rosenberg, 2019). It is also vital for singers to advocate for and protect their own instrument, as oftentimes they are the ones who know the most about it (TP2) through practice and awareness of sensations and tonal changes. In summary, all TP and SP’s surveyed noticed an impact from and need for PE in regards to the voice. Regrettably, no participants knew exactly how to actively incorporate the two training practices. One of the paramount objectives within teaching is to equip singers with the knowledge of their bodily instrument (Friedlander, 2018). It is the intent of this research to exemplify the benefits of PE incorporation within the voice studio and call for voice focused fitness professionals to morally and safely implement it. Summary: All of these themes warrant new research on the larynx during and after various forms of exercise in order to better understand and scientifically prove if and how PE and exercise principles affect the musculature of the voice. This will help relate how training the body translates to the laryngeal muscles. Furthermore, new preventative voice professions should be assembled to better support vocalists to prevent injury and avoid rehabilitation needs from SLP or laryngologist (SP3). Throughout SP and TP interviews, participants noticed that there were not as many prehabilitation professionals for the voice as there are for athletics (SP2). Other than vocal coaches, all other vocal influences that voice users see often, like choral and theatre directors (SP1, SP2), agents, administration (SP3, SP7) and choreographers (SP1, SP2), either have limited vocal knowledge or agendas that are not solely focused on the individual voice of the performer. In general there is a lack of supportive care for vocal athletes, most of the professions other than voice coaches whose sole purpose is to encourage sustainable technique to prevent injury rather than rehabilitate disordered or injured voices. SP’s noted that other than their voice teacher, no vocal influences mentioned physical fitness or gave suggestions to strengthen and upregulate the body to the performance demands (SP4, SP6). Vocalists and performing vocalists, especially, require a lot of attention and care to their full body instrument and vocal mechanism (Friedlander, 2018), and this care or an understanding of the demands of vocalists are not commonly understood by exercise professionals (Karageorghis, 2016). In my search, only two reputable fitness professionals with an understanding of vocal genres and requirements emerged. The Musical Athlete and Built For the Stage are exercise professionals to support vocalists and implement exercise to enhance performance, similar to cooperative professions surrounding athletics. In order to reach and support more artists and broader style ranges, more research must be done on the laryngeal effects of various physical exertion and more performance centred exercise professions need to be developed. Discussion: It is clear that when individually balanced exercise is incorporated in voice instruction it benefits performance and performers general health. In a time where performance is so physically and industrially demanding, performers must “use [their] bodies as both instruments and athletes” to ensure marketability and versatility (Chandler, 2022:337). By understanding and being in control of our bodies, singers have “more balance, flexibility, movement of breath” by actively “balancing bodily tensions” (Clark, 2002:29-30, 235) through movement, which creates a structure that is ready to take on work. Therefore, VA can use ESP and EP to coach their bodies to respond to tensions through movement rather than static rigidity. Ragan (2020), Friedlander (2018) and Chandler (2022) provide cautions to vocalists on PE. Unfortunately, due to the fact that most exercise professionals do not have an understanding of the voice (Karageorghis, 2016), the pressure to advocate for and understand vocal health falls on the vocalist. For example, if a VA were to seek out an exercise professional, the trainer, or even the vocalist, may not understand how to execute PE while maintaining vocal health standards. Chandler (2022) goes into depth on how singers must modify training to avoid laryngeal tension, grunting, extended glottal closure and vocal fold bowing. The Valsalva manoeuvre is a phenomenon in PE where the exhale is held to create a higher subglottal pressure and higher intra-abdominal pressure to brace the core and protect the spine (Hackett & Chow, 2013). Within the exercise world, this is deemed safe and customary, however it creates laryngeal tension and holds breath patterns which vocalists should evade to avoid injury. This is another example of why it is necessary to have exercise professionals who are equipped to help vocalists navigate PE to enhance voice training. An unforeseen outcome surfaced when I noticed that many exercise professionals, coaches, athletes struggle from a plethora of voice disorders from vocal misuse (Hamdan, Sataloff & Hawkshaw, 2021). Future communication and cooperation between the voice and exercise fields may not only address PE needs for VA, but can also prevent and rehabilitate vocal injuries prevalent in the exercise profession. With this additional possible outcome included, I believe future research of how PE affects the voice is bright and fruitful. Conclusion It is vital that the investigation of ESP and PE continue. This research’s findings suggest stereotypes surrounding the physicality of singing and the idea of movement creating bodily and voice tension, and body-image biases are still widespread. This data not only validated my experience, but opened my eyes to other stigmas across various genres. Despite the bais, it was clear from data rendered that there is a need and a place for ESP and PE in the voice studio, if used in a professionally and ethically balanced manner. Nowadays, VA must be able to understand, use, advocate and coach their bodily instrument to achieve performance success. The tactics of ESP and movement encompassed vocally focused PE educate VA on how to use their bodies to the highest level, to then perform with vocal ease, health and longevity. Unfortunately, since the inclusion is so innovative, many exercise professionals are unaware of vocal and performance techniques, and therefore cannot fully or sustainably advise vocalists. Additionally, from findings it was apparent that TPs did not understand how to best incorporate movement or if and what physical exercise to encourage students to partake in. Many movements TPs utilised were from their own experience, trial and error or from courses focused on structural alignment. All TPs illuminated that referring was most ethical, due to knowledge and certification limitations, however, in the case of PE, there are hardly any professionals to refer students to. It is vital for pedagogues, voice teachers and exercise professionals to understand how to properly implement and individually fine tune PE for vocal athletes to enhance performance, vocal longevity and physical wellbeing of VA to allow them to perform at the highest level and meet industry demands. This research calls teachers and pedagogues to break out of the cyclical, traditional patterns to begin breaking down bias within voice teaching. Knowledge of ESP and PE can benefit teachers and students by providing an instruction method that allows a symbiotic relationship between the voice and body to be cultivated. Since vocal performance, of all genres, is physically demanding, I suspect this understanding and coachability of the body will be an invaluable addition to VA performance techniques. Further, more extensive and quantitative research must be carried out in order to understand how various PE forms affect the intrinsic and compact laryngeal musculature. Research may acknowledge questions pertaining to vocal load can be quantified or to what limits laryngeal muscle fibre compositions can be similarized to skeletal-limb muscle functions. Lastly, data rendered within this study exhibits how it is imperative that preventative, support professions, similar to those of athletes, are developed for vocalists. Compared to athletics, it is obvious that the voice field is a majority rehabilitation effort rather than prehabilitation. In conclusion, in the voice industry, ESP and PE understanding and inclusion, from vocalist, teachers and exercise professional standpoints, are essential to continue supporting vocal athlete health, magnifying performance, and vocal life-span.