|کد مقاله||کد نشریه||سال انتشار||مقاله انگلیسی||ترجمه فارسی||نسخه تمام متن|
|5124439||1378443||2017||11 صفحه PDF||ندارد||دانلود کنید|
SummarySeveral historical sources from the first half of the 19th century mention a distinct third register mechanism particular to tenor voices of that period. This so-called voce faringeaâoften described as an âintermediateâ registerâis a virtually forgotten historical singing practice used to extend the upper range of the voice, where the singer modifies falsetto, typically a weak and often feminine sound, into a more powerful, tenor-like vocal quality. Based on an evaluation of historical voice register theories, training strategies, and the sound ideals of the historical period, an informed discussion of that technique is developed. For this study, acoustic and electroglottographic signals for tones produced on the vowel /a/ by a professional tenor/countertenor in different vocal register mechanismsâvoce faringea, falsetto, chest register, and mezza voceâwere recorded using the VoceVista system. Analysis of the electroglottography (EGG) and audio data revealed specific characteristics of the voce faringea with regard to both the laryngeal mechanism and the sound spectrum, including high EGG contact quotient and low speed quotient values. EGG pulses were skewed significantly to the left and displayed a distinct knee shape during the de-contacting phase of the vocal folds, which consequently indicates a vibration with a clear mucosal wave. The long-term average spectrum and power spectrum exposed a considerable amplification and dislocation of F2 in the direction of high frequencies, thus boosting the third harmonic and showing a strong concentration of acoustic energy in the area of the singer's formant cluster.
Journal: Journal of Voice - Volume 31, Issue 2, March 2017, Pages 255.e13-255.e23