Vertical laryngeal position—Research findings and their relationship to singing
1987; Elsevier BV; Volume: 1; Issue: 3 Linguagem: Inglês
10.1016/s0892-1997(87)80003-6
ISSN1873-4588
AutoresThomas Shipp, Leslie W. Guinn, Johan Sundberg, Ingo R. Titze,
Tópico(s)Voice and Speech Disorders
ResumoThomas Shipp: Our panelists will make a few statements, exchange some information and then we will open the discussion to the audience. Professor Sundberg. Johan Sundberg: Larynx height is a fascinating aspect of singing, in a physiological sense, and I would like to add a few comments. One is that I think that most speakers have the habit of raising their larynx with pitch, so that is the starting point for any voice training as far as I know. Larynx height has an acoustical effect on the voice organ, in that it shortens the resonance cavity in the pharynx, and this affects all format frequencies. If you change the format frequency, which you do by raising the larynx, then you change the voice timbre. I have a concern in regards to your findings that glissando was affiliated with larynx rises in professional singers. That would mean that when they sang glissando they would accept a change in voice timbre with pitch, and I don't think that is necessarily esthetically a great thing to do. I think that timbre should change, not for pitch reasons, but for expressive reasons. I would like to raise the question if you think that the effect of the glissando and larynx height was due to the fact that the glissando is a rather lovely practiced thing in singing music. My next point is that the larynx height has an acoust ical effect not only on the resonance chambers of the outer voice organ but also on the source itself. I have always thought that as larynx lowering is associated with inhaling, and inhaling is associated with glottal widening, then there is probably an abductory component in the larynx low-
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