The Vocal Mind

About The Vocal Mind

A spread of journal pages: contour lines on lined notebook paper in black and red ink, handwritten practice notes, annotated sheet music, a graphite drawing, a band of coloured pencil with notation, notes on Italian vowels, and a coloured graph-paper composition.

Vision

By integrating thoughtful journal reflections after rehearsals and progress recordings, I aim to study the nuances of opera singing and their intersections with neuroscience. This approach will not only allow opera singers but also people across various music interdisciplinary fields to develop more effective, personalized strategies for memorizing and interpreting specific pieces.

Seven Jing singing on stage in a pale blue gown, arms outstretched, in front of an orchestra's violin section.

Inspiration

From my earliest encounters with opera, I have been captivated by the remarkable ability of opera singers to perform complex musical pieces with such expressive, power, often leaving me speechless. After beginning vocal training at the age of 10, I studied techniques such as dynamic control, breath control, and articulation—an experience that ultimately sparked an interest in exploring the relationship of opera singing and its influence on memorization, emotional processing, and speech.

Seven Jing performing on stage in a red gown, holding a single red rose aloft and a bouquet of roses in the other hand.

About Me

My name is Seven Jing. I am a high school student in Hong Kong, with a dedicated four-year background in opera training. I am deeply passionate about opera and its intersections with cognitive science, prompting me to explore the mechanisms of music that connects with neuroscience.

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