Phonétogramme par registre laryngé

Roubeau, Bernard; Castellengo, Michèle; Bodin, Patricia; Ragot, M

doi:10.1159/000080068

Cited by 19 publications

(5 citation statements)

References 19 publications

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“…These results corroborate those observed by Roubeau et al 5 The frequency range of the zone of overlap is larger than that of the modal (or chest) and falsetto registers observed by Colton and Hollien 22 and Schutte 23 (measured at one-sixth in both publications). We also observed that the upper and lower SPL limits of both mechanisms rose as frequency increased.…”

Section: Resultssupporting

confidence: 92%

Toward a More Informative Voice Range Profile: The Role of Laryngeal Vibratory Mechanisms on Vowels Dynamic Range

2012

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Section: Resultssupporting

confidence: 92%

Toward a More Informative Voice Range Profile: The Role of Laryngeal Vibratory Mechanisms on Vowels Dynamic Range

2012

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“…They are also common to male and female, who share similar laryngeal mechanism boundaries (see Figure 7). A characteristic of the human voice is that the frequency regions of the main mechanisms M1 and M2 can overlap over a precise frequency range (33), as shown in Figure 7: E3 (165 Hz) to F#4 (370 Hz) for male voices, and G3 (196 Hz) to G4 (392 Hz) for female voices. At those pitches, a speaker or singer can choose to phonate using either mechanism M1 measure open quotient: on the EGG signal, using a 35% threshold method, and on the DEGG signal, using the DECOM method (55).…”

Section: The Laryngeal Mechanismsmentioning

confidence: 99%

“…Average voice range profile (vocal intensity versus fundamental frequency) of male and female singers in mechanisms M1 and M2. Adapted from(33).…”

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confidence: 99%

Mirroring the voice from Garcia to the present day: Some insights into singing voice registers

Henrich¹

2006

Logopedics Phoniatrics Vocology

125

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Starting from Garcia's definition, the historical evolution of the notion of vocal registers from then until now is considered. Even though much research has been carried out on vocal registers since then, the notion of registers is still confused in the singing voice community, and defined in many different ways. While some authors consider a vocal register as a totally laryngeal event, others define it in terms of overall voice quality similarities. This confusion is reflected in the multiplicity of labellings, and it lies in the difficulty of identifying and specifying the mechanisms distinguished by these terms. The concept of laryngeal mechanism is then introduced, on the basis of laryngeal transition phenomena detected by means of electroglottography. It helps to specify at least the laryngeal nature of a given singing voice register. On this basis, the main physiological, acoustic, and perceptual characteristics of the most common singing voice registers are surveyed.

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“…14 which was very close to that of Mü ller. 15 The London memoir was published in France in 1861 with, in the first part, a note by P. Richard on 'l'invention du laryngoscope ou miroirs du larynx' (14).…”

Section: Confirmation By Laryngoscopic Observation: the Memoir Of 1855mentioning

confidence: 99%

Manuel Garcia Jr: A clear-sighted observer of human voice production

Castellengo

2005

Logopedics Phoniatrics Vocology

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Before Garcia, only a few notions of vocal production can be found in earlier singing treatises. In those days the authors wrote mainly upon the art of ornamentation and the rules of good language utterance. In the beginning of the 19th century, a radical change occurred with the development of scientific experiments. Several doctors or physicists drew up theories on human voice production, which were similar to those of sound production in woodwind instruments: flute, reed, or membranous lips. Yet, as the experiments on living human beings were impossible, the true nature of the vocal source remained under discussion. In addition, specific questions arose in regard to singing: Are the different registers produced by different vibrating sources or are they due to modifications of a single vibrating system? What are the reasons for a variation in loudness and in pitch, and how are the variations of voice timbre produced? Facing the contradictory opinions of the most famous scientists, Manuel Garcia Jr showed an astonishing insight as early as 1840, when he wrote his first 'Mémoire sur la voix humaine' presented to the Académie des Sciences de Paris. Being altogether an anatomist, a singer, and a great pedagogue, he could accurately observe the physiological phenomena of human voice in the right way. As the first user of the laryngoscope, he wrote a second paper presented at the Royal Society of London, in 1855, in which he confirmed his previous views. All along the different issues of his well-known singing method, we may see the lucidity and the improvements of Garcia's ideas. The only concession he made to the singers is related to the famous 'Fausset-tête' register, an unfortunate word that was bound to induce confusion later.

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Phonétogramme par registre laryngé

Cited by 19 publications

References 19 publications

Toward a More Informative Voice Range Profile: The Role of Laryngeal Vibratory Mechanisms on Vowels Dynamic Range

Toward a More Informative Voice Range Profile: The Role of Laryngeal Vibratory Mechanisms on Vowels Dynamic Range

Mirroring the voice from Garcia to the present day: Some insights into singing voice registers

Manuel Garcia Jr: A clear-sighted observer of human voice production

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