What professionals say about JMoss…
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"Jeremy is bringing awareness to an area in voice training that has been largely overlooked. He will no doubt be regarded as a pioneer in our field."
Kerrie Obert, Speech Language Pathologist, Voice Researcher
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"Profound, fresh, provocative, visionary...I envy your students."
Charlie Gilbert, author of “SAVI The Singing Actor.”
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"Fascia is a key concept that all of us in the singing world need to know more about and to understand, and there's no better person to give you insights into this than Jeremy!"
John Henny, host of “The Intelligent Vocalist” podcast.
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"Jeremy is really putting his own spin on [biotensegrity] without compromising the science in any way, but rather, completely illuminating it."
Susan Lowell de Solórzano, author of “Everything Moves: How Biotensegrity Informs Human Movement.”
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"The work you do is really on the money. Yes, many people want a quick fix, but what you do is the truth."
David Friedman, Broadway/Disney Composer & Conductor
I’ve always been a thirsty learner.
I spent years learning about the voice and teaching, and eventually widened my net and watched my studies spiral outwards to yoga and the body, where I discovered that even standing on one leg could create a vocal shift - and the results could be completely different on the other leg!
A previous mentor encouraged me to pursue the training to become a Guide Certified Feldenkrais Practitioner - so I did! After three amazing segments (out of eight), my training was put on pause because of a change in employment, and then COVID, so I sought out other opportunities!
Right before a big 300 hour training with Jules Mitchell, author of “The Biomechanics of Yoga,” I took a 3 month course in biotensegrity that connected me to a community or researchers, scholars, anatomists, clinicians, and innovators that I had no idea I would fangirl over in not too much time. I didn’t know at the time that I was in a zoom room of highly respected thought leaders in several fields. Biotensegrity is the study of living things through the laws of nature, and I fell head over heels for it, even though I knew I was barely scratching the surface of understanding. It resonated so deeply. It made my experiences of life make more sense.
Little did I know how much biotensegrity and biomechanics do not go together. In the yoga training that followed I learned all about fascia and all things biomechanics, which compares our body to manmade machines of the 1600s. Some of these facts have been helpful to know, but after learning about biotensegrity biomechanics felt very regressive and too reductive course of study.
Though it wasn’t apparent how all of this would come into voice teaching, things tend to emerge with enough time and curiosity. Bringing fascia techniques as well as ideas inspired by elements from biotensegrity into voice training has changed the way my students get past their sticky inhibiting habits in a way that enhances their awareness and connection to themself easily and without thought or effort. It restores the feedback loops between body and mind, sound and body, mind and sound.
