In 1979, at the Institute of Ergonomics of the Technical University of Darmstadt (Federal Republic of Germany), extensive research was conducted on the singers' physical and psychical engagement during an artistic performance.
As a result, the urgent necessity to put to point a new vocal pedagogy emerged.
Its aim is the optimization of the resources employed by the artist to obtain the maximum effect with the minimal physical effort.

In such a context, was founded the "Lichtenberger Institut für Gesang und Instrumentalspiel" (Germany) under the direction of Gisela Rohmert, as a place where teachers as well as students can conduct their research in close collaboration with the Darmstad University. And later in Italy the Istituto Mod.A.I® (Italy) directed by Marco Farinella.
Still now the Istituto Mod.A.I® keeps the base research in close collaboration with the Lichtembergh Institute.

To begin with remarkable attention was placed on the physical conditions in which the singer produces sound through the application of technical body like the Method Feldenkrais, the Technique Alexander, the Yoga, the Martial Limbs, the Technique Skull, the Shiatzu, the Bioenergetics, the Kinesiology varied and many others. In a later phase the attention was shifted to consider the acoustic characteristics of the vocal sound in order to stress the parameters that allow for the maximum level of performance with the least energetic consumption.
In this perspective the focus was on analyzing the role of the brilliance in the sound.

This led to discover the presence of two new "forming of the singer” beyond that already known in the academic world.
The research therefore saw a decisive turning point that allowed to begin to comprehend the multiplex connections between sound, body, psyche and sensory organs. The acoustic study, furthermore, brought to light the important relationships among the basic parameters (fundamental sound, vocal, brilliance and vibrato), whose accurate blend enhances the performance quality by allowing emotions to be communicated and attributing to the sound itself a considerable therapeutic ability.

From the beginning the experimentation has addressed also to the musicians and interesting analogies have been discovered between the larynx physiology and the instrumental practice. In light of such amazing affinities between vocal and instrumental sound therefore musicians find themselves involved in the process of self-regulation of the sound that makes the resources' optimization possible by the feedback of its parameters on the artistic performance.