Vocal Registers From Laryngeal Point

Abstract

Laryngeal muscles participate in the production process of each vocal register in a differentmanner and ratio. It thinks, that in extend of the deviation from the normal ratio of thisparticipation, the overloading symptoms will be increase. These fact create a necessity regardingto be well informed about the laryngeal contexts that product registers, both for voice therapistsand vocal pedagogues. The purpose of this paper is to review the literature on the voice registersthat lay stress on the laryngeal contexts/mechanisms in vocal production process

Keywords

• Laryngeal mechanisms,laryngeal context of vocal registers,physiology of vocalregisters,registers in singing,vocal registers

LARİNGEAL AÇIDAN VOKAL REGİSTERLER

Abstract

Laringeal kasların her bir vokal registerin üretim sürecine farklı şekil ve oranlarda katılımdabulunduğu ve bu katılım oranının normal değerlerin dışına çıktığı ölçüde sesteki aşırı yüklenmebelirtilerinin arttığı düşünülmektedir. Bu husus, registerlerin laringeal düzlemde ne tür koşullardaüretildiğine ilişkin bilgi sahibi olmayı hem ses terapisti, hem de ses eğitimcisi açısından birgerekliliğe dönüştürmektedir. Bu çalışmanın amacı insan sesi registerlerini oluşumlarındakaynaklık ettiği düşünülen laringeal koşullar açısından tanımlayan literatüre ilişkin genel birbilgi vermektir

Keywords

• Laringeal mekanizmalar,vokal registerlerin laringeal bağlamı,vokalregisterlerin fizyolojisi,şarkıcılıkta registerler,vokal registerler

References

1. Marek, DH. (2007) Singing: The first art. Scarecrow Press. Toronto
2. Ruotsalainen J, Sellman J, Lehto L, Verbeek J. Systematic review of the treatment of functional dysphonia and prevention of voice disorders. Otolaryngology-Head and Neck Surgery, 2008;138(5):557-565.
3. Stager S. The Role of the Supraglottic Area in Voice Production. Otolaryngol, (2011); S1:001. doi:10.4172/2161- 119X.S1-001.
4. Ziegler A, Gillespie AI, Verdolini K. Abbott. Behavioral treatment of voice disorders in teachers. Folia Phoniatrica et Logopaedica, 2010;62(1-2):9-23. doi: 10.1159/000239059.
5. McCabe DJ, Titze IR. Chant Therapy For Treating Vocal Fatigue Among Public School Teachers:A Preliminary Study. American Journal of Speech-Language Pathology, 2002;11(4):356-369.
6. Roy N, Gray SD, Simon M, Dov, H, Corbin-Lewis K, Stemple JC. An Evaluation of the Effects of Two Treatment Approaches for Teachers With Voice DisordersA Prospective Randomized Clinical Trial. Journal of Speech, Language, and Hearing Research, 2001:44(2):286-296.
7. Nayak J, Bhat PS, Acharya R, Aithal UV. Classification and analysis 2005;26(5):319-327.
8. Glaze LE. Treatment of voice hyperfunction in the pre- adolescent. Language, Speech, and Hearing services in schools, 1996;27(3):244-250.

9. Lee SH., Yeo JO, Choi JI, Jin HJ, Kim JP, Woo SH, Jin SM. Local steroid injection via the cricothyroid membrane in patients with a vocal nodule. Archives of Otolaryngology– Head & Neck Surgery, 2011;137(10):1011-1016.
10. Radford AP. The role of the two-register vocal theory in determining Francesco Benucci's influence on WA Mozart's Viennese operas. 2005. Doctoral Dissertation. University of Nebraska.
11. Stark J. Bel Canto: A History of Vocal Pedagogy. Toronto: University of Toronto Press, pp. 69, 1999.
12. Castellengo M. Manuel Garcia Jr: A clear-sighted observer of human voice production. Logopedics Phonatrics Vocology, 2005;30(3-4):163-170.
13. Marek DH. Singing: the first art. Scarecrow Press, pp.100, 2006.
14. Roubeau B, Nathalie H, Castellengo M. Laryngeal vibratory mechanisms: The notion of vocal register revisited. Journal of Voice, 2009;23(4):425-438.
15. Mörner M, Fransson F, Fant G. Voice register terminology and standard pitch. STL-QPSR. 1963;4:17-23.
16. Henrich N. Mirroring the voice from Garcia to the present day: Some insights into singing voice registers. Logopedics Phonatrics Vocology, 2006;31(1):3-14.
17. Sundberg J. Articulatory interpretation of the “singing formant”. The Journal of the Acoustical Society of America, 1974;55(4):838-844.
18. Reid CL.Vocal Mechanics. Journal of Singing, 1997:54(1):11- 18.
19. Miller R. Voice pedagogy: Registration. Journal of Singing, 2006;62(5):537-539.
20. Hollien H, Brown O, Weiss R. (1999). Another View of Vocal Mechanics. Journal of Singing, 1999;56(1):11-22.
21. Sundberg J, Margareta T. Describing different styles of singing: A comparison of a female singer's voice source in ''Classical'',''Pop'',''Jazz'' and ''Blues''. Logopedics Phonatrics Vocology, 2001;26(2):82-93.
22. Salomão GL. Relationship between perceived vocal registers and http://sprosig.isle.illinois.edu/sp2008/papers/id171.pdf (erişim tarihi: 2 mart 2010). parameters. 2008.
23. Marasek K. (1997). EGG and voice quality. Universität Stuttgart: http://www2.ims.uni-stuttgart.de/EGG/ (erişim tarihi: 06 Mayıs 2014).
24. Švec JG, Sundberg J, Hertegård S. Three registers in an untrained female singer analyzed by videokymography, strobolaryngoscopy and sound spectrography. The Journal of the Acoustical Society of America, 2008;123(1):347-353.
25. Sundberg J, Högset C. Voice source differences between falsetto and modal registers in counter tenors, tenors and baritones. Logopedics Phonatrics Vocology, 2001;26(1): 26- 36.
26. Bunch Dayme M. Dynamics of the Singing Voice. Fifth Edition Springer-Verlag/Wien. pp. 109, 2009.
27. Kochis-Jennings KA. Intrinsic Laryngeal Muscle Activity and Vocal Folds Aduction Patterns in Female Vocal registers:Chest, Chestmix, and Headmix. Unpublished Doctoral Dissertation. The University of Iowa. pp. 80, 2008.
28. Bateman LA. Soprano, style and voice quality: acoustic and laryngographic correlates. Dissertation.University of Victoria. pp. 9-17, 2003.
29. Gendrot C, Henrich N, Schade G, Muller F, Expert, R. Vocal folds vibratory patterns of laryngeal mechanism M0 as investigated with high speed cinematography and electroglottography. International Conference on Voice Physiology and Biomechanics, Marseille, France. 2004.
30. Russell CJ. An Examination of the Pitch Matching of Post- mutational Adolescent Males in the Normal and Falsetto Vocal Registers. Diss. University of Minnesota. Major: Music., pp. 29, 2006.
31. Miller R. (2008). Securing Bariton,Bass-Baritone and Bass Voices. Oxford university Press. pp. 141, 2008.
32. Yang C, Robb MP, Gilbert HR. Electroglottographic evaluation of gender and vowel effects during modal and vocal fry phonation. Journal of speech, language, and hearing research, 2002;45(5):821-829.
33. Blomgren M, Chen Y, Ng ML, Gilbert, HR. Acoustic, aerodynamic, physiologic, and perceptual properties of modal and vocal fry registers. The Journal of the Acoustical Society of America, 1998;103(5):2649-2658.
34. Castellengo M, Chuberre B, Henrich N. Is voix mixte, the vocal technique used to smoothe the transition across the two main laryngeal mechanisms, an independent mechanism? Proceedings of the International Symposium on Musical Acoustics, Nara, Japan. 2004.
35. Vennard WL. Singing: the mechanism and the technic. New York: Carl Fischer, pp. 66, 1967.
36. Burdick BE. A comparative study of registration in the soprano and tenor voices. Doctoral dissertation, University of Cincinnati. pp.107, 1993.
37. Barefield RC. The passaggio in tenor voice. D.M.A. University of Cincinnati. pp. 10, 1991.
38. Sundberg J. Chest vibrations in singers. STL-QPSR, 1979;20(1):49-64.
39. Reid C. The Free Voice: A Guide to Natural Singing. New York: The Joseph Patelson Music House Ldt, pp. 32, 1972.
40. Lamesch S, Expert R, Castellengo M, Henrich N, Chuberre B. Investigating voix mixte: A scientific challenge towards a renewed vocal pedagogy. In: K. Maimets-Volt, R. Parncutt, M. Marin & J. Ross (Eds.) Proceedings of the third Conference on Interdisciplinary Musicology CIM07, Tallinn, Estonia. 2007.
41. Sundberg J. The Science of the Singing Voice. Dekalb: Northern Illinois University Press. pp. 53-54, 1987.
42. Cathcart R. The Singing School of Manuel Garcia II. University of Victoria. pp. 53, 1999.
43. Lebowitz A, Baken RJ. Correlates of the Belt Voice: A Broader Examination. Journal of Voice, 2011; 25(2):159-165.
44. Saruhan Ş. Orta Anadolu Abdalları Ses İcracılığında Register ve Şarkıcı Formantı Bulguları. Yayınlanmamış Doktora Tezi. İstanbul Teknik Üniversitesi, İstanbul. 2012.
45. Saruhan Ş. Bir “meleksi’den hayali yaratık’a dönüş” hikâyesi: Kastratolar. Akademik Sosyal Araştırmalar Dergisi, 2014;2(1):561-572.
46. Saruhan Ş. Opera şarkıcılığında bir dönüm noktası: Do di Petto. Tarih Okulu Dergisi, 2014;7(XVII):371-389. Doi number: http://dx.doi.org/10.14225/Joh468.
47. Saruhan Ş. Kadın opera şarkıcılarında formant uyarlama tekniği örneğiyle, şarkıcılıkta tınının oluşum bağlamları. Uluslararası Sosyal Araştırmalar Dergisi, 2014;7(32):675- 689.
48. Saruhan Ş. Opera şarkıcılığında metinsel anlaşılırlık problemi ve nedenleri. The Journal of Academic Social Science Studies, 2014;27, number:http://dx.doi.org/10.9761/JASSS2411. I:553-573. Doi
49. Saruhan Ş. Opera-dışı vokal icra türlerinde bir akustik görüngü: konuşmacı/aktör formantı. The Journal of Academic Social Science Studies, 2014;29, Autumn III: 293-312. Doi number:http://dx.doi.org/10.9761/JASSS2548.
50. Saruhan Ş. Vokal Registerler Örneğiyle Türkiye’de Geleneksel Vokal İcra Türlerine Yönelik Araştırmalarda Nesnel Yöntemlerin Gerekliliği. Ertuğrul, A. (edt.) Düzce’de Tarih ve Kültür Sempozyumu Kitabı, Düzce Belediyesi Kültür Yayınları. pp. 294-306, 2014.
51. Saruhan Ş. Türkiye’de geleneksel şarkıcılık türleri araştırmalarında şarkıcı formantı parametresinin kullanımına yönelik bir öneri. Uluslararası Avrasya Sosyal Bilimler Dergisi, 2014;5(17):163-190.
52. Saruhan Ş, Parlak E. Orta Anadolu abdalları şarkıcılığında şarkıcı formantı bulguları. Porte Akademik, 2013;8:212-225.