Martin Kučera

Martin Kučera, M.D.
Specialization: ENT surgeon and phoniatrics-audiology.
Workplace: Previous job – ENT Clinic of the University Hospital in Hradec Kralove, current job – private medical practice. An associate of Musical Acoustic Research Center (HAMU) in Prague, currently working as a lecturer of master studies of music therapy at Palacký University Olomouc. In theory and practice, focused on the holistic approaches to rehabilitation and treatment of voice, speech, hearing and swallowing disorders. These approaches also include the use of musical instruments as rehabilitation aids (directive therapy techniques). For these issues he organizes courses.

Authorship: Co-author of the monograph Phoniatry – voice, Standards of care for voice disorders of the Association of Clinical Speech Therapists of the Czech Republic. He is the author of some rehabilitation techniques: the technique of physiological muscular flexion in the rehabilitation of the oro-pharyngeal-laryngeal area, or the technique of playing the overblown flute “koncovka” in the rehabilitation. He has founded the Institute for Research and Treatment of Communication Disorders, Ltd. The main purpose of this institute is a dissemination of multiple therapeutic procedures and multidisciplinary approaches to treatment of communication disorders.


The workshop is divided into a theoretical part (a theoretical background and a technique of playing the flute) and a practical part (basic practical training, testing of individual rehabilitation procedures). A flute for practical training will be provided for all participants.

The overtone/overblown flute – „koncovka“: Ancient musical instrument of European pastoralists living in the Carpathian arch. It is so called open flute without holes. The pitch of the tone varies with the intensity of exhalation and covering the bottom part of the flute. The stronger the exhalation, the higher and louder the tone. (A gentle exhalation creates a low and quiet tone, a strong exhalation creates a high and loud tone)

The technique of directive musical therapy: The therapeutic procedure is clearly defined by the therapist in advance, has a clear direction, structure and boundaries. The therapist determines both the musical element and the instrument which is used.

The proper practice / playing the instrument triggers and leads the whole therapeutic process. Posture, breathing, voice, speech and hearing are integrated sensory and motor functions. For its function (movement, voice, articulation, etc.), the body needs a natural “working” muscle tension. Our posture enables playing the overblown flute. The tension of the postural muscles determines breathing (coordination, dynamics). The dynamics of breathing determines the tension of the larynx, pharynx, palate, tongue, lips and mimic muscles.

Indirect Rehabilitation Technique: By precisely defined playing the flute, a pacient rehabilitates selected motor / movement functions unconsciously.

Basic setsofrehabilitation: (Note: Commabetweenthephrase (forexample: taaaa, taaaaa) is a place forinhalation, a dash (ta-ta-ta) isaninterruptionwithoutinhalation. Printed in boldletters – higher and louder tone, printed in normalletters – lower and quieter tone)

1. End open – individuallong tones(taaaaaaaaaaaaaaaaaaaa, taaaaaaaaaaaaaaaaa)

2. End closed – individualtones (teeeeeeeeeeeeeeeeeeeee, teeeeeeeeeeeeeeeeeeeeeeeeee)

3. Alternateopening and closing on identicalexhalation (taaaaaaaaaaaa-teeeeeeeeeeeee)

4. Gradualincrease and decrease(bound and unbound)(taaaaaaaaaaaaaaaa, ta-ta-ta-ta-tata)

5. Long tone withlower start (taaaaaaaaaaaaaaaaaaaaaaaa)

6. Long tone with offset end (taaaaaaaaaaa-ta)

7. Individualtones staccato / intermittently(ta-ta-ta-ta-ta, ta-ta-ta-ta-ta-ta,)

8. Mimickingthewords / phrases

9. Mimickingdisfluency

10. Dynamics ofexhalationsounds

11. Mimickingplayingoftheother person (intensity, pitch, duration, phrase)

12. Playing in a group (anindividualis part of a group, anindividualagainsta group, small and largegroups)

Levelsofcommunicationdisabilities and a possibleimprovement by playingtheoverblownflute

(Note: Numbers in bracketsrefer to the use ofthefluteaccording to the basic rhbset 1-12)

  • Perception– capturingthesignal(11,12)

– keepingthesignal(11,8)

– filteringthesignal (12)

  • Processing – integrationwithothersignals(12)

– creatingattitude/emotion (12)

– preparinganunconscious and consciousreaction(12)

  • Expression (always a motor activity / formula)

  – posture, gesture / facialexpression(1-7)

                          – speech– breath and voice (respirationphonation) (1-7)

-phonetics and phonology (7,8,11,12)

                                                    – pragmaticleveloflanguage (11,12)

                                                    – motorspeech / articulation (1-8)

– metalinguisticlevel| (1-8,10,11)

  • Socialfield and interaction(11, 12)
  • Experiencingjoy and success(1-12)