Análise da Configuração glótica e supraglótica e dados acústicos no canto do contratenor

Tiago Lima Bicalho Cruz; Mauricio Alves Loureiro

doi:10.35699/2317-6377.2020.25951

Authors

Tiago Lima Bicalho Cruz Federal University of Minas Gerais, Brazil https://orcid.org/0000-0002-8355-5436
Mauricio Alves Loureiro Federal University of Minas Gerais, Brazil https://orcid.org/0000-0002-2495-5915

DOI:

https://doi.org/10.35699/2317-6377.2020.25951

Keywords:

Countertenors, Voice, Singing, Laryngeal adjustments, Singer's form

Abstract

Singers perform different vocal adaptations to sing both lyrical and popular music. The mechanism M1 (modal register) is predominant, but a small portion uses the mechanism M2 (falsetto register). In the lyrical singing, it is the countertenor who makes this peculiar vocal emission. The present study analyzed through nasofiberscopic, glottic, and supraglottic adjustments performed by countertenors, as well as the presence and level of the singer’s formant. The tasks (two interval leaps - a minor sixth and a perfect fourth – and a crescendo in sustained note) were taken from an aria by Georg Friedrich Haendel. During the crescendo, a lowering of the larynx and pharyngeal widening were observed; pharyngeal constrictions and laryngeal elevation were observed in both leaps executions; no glottal chink or air leak were detected. Singer’s formant was identified on all subjects. Professional countertenors performed better than non-professional because they had a higher level of singer's formant and, supralaryngeal adjustments that favor vocal emission with less constrictions and a higher degree of larynx lowering, therefore compatible with better vocal emission.

Author Biographies

Tiago Lima Bicalho Cruz, Federal University of Minas Gerais, Brazil

Graduated in Speech Therapy and professional singer, specialized in the area of vocal therapy, he has a master's and is currently a PhD student in sonology. Research interests are: singing voice, acoustic signals, electroglotographic signals, vocal physiology and performance.
Mauricio Alves Loureiro, Federal University of Minas Gerais, Brazil

He has a degree in Aeronautical Engineering from ITA - Instituto Tecnológico de Aeronáutica (1976), Bachelor of Music, Clarinet qualification from Staatliche Hochschule für Musik Freiburg / Albert-Ludwigs Universität Freiburg, Germany (1983), Master of Music from the University of Iowa, USA (1989) and Doctor of Music from the University of Iowa (1991). He was Professor at the Instituto de Artes of UNESP - Universidade Estadual Paulista (1984-1992) and Assistant First Clarinet of OSESP - Orquestra Sinfônica do Estado de São Paulo. Currently he is Researcher level 1B of CNPq - National Council for Scientific and Technological Development, Professor at the School of Music at the Federal University of Minas Gerais and Director of IEAT - Institute for Advanced Transdisciplinary Studies at UFMG. He has experience in Music with emphasis on Sonology, working mainly on the following topics: musical performance, clarinet, musical acoustics and empirical analysis of musical performance.

References

Behlau, Mara, Azevedo, Renata, Madazio, Glaucya. 2001. “Anatomia da laringe e fisiologia da produção vocal”. In: Behlau, Mara. Voz o livro do especialista. v. 1: 01-51. Rio de Janeiro: Revinter.

Bloothooft, Gerrit, Plomp, Reinier. 1986. The sound level of the singer’s formant in professional singing. The Journal of the Acoustical Society of America, v. 79, n. 6, p. 2028-2033.

Bogg, Lois, Thorpe, William. 2000. Register change in the countertenor voice. Australian Voice, 6: 23-9.

Cleveland, T, Sundberg Johan. 1985. “Acoustic analysis of three male voices of different quality”. In: Proceedings of the Stockholm Music Acoustics Conference (SMAC 83). 46(1): 143-156, Stockholm, Sweden-Royal Swedish Academy of Music.

Cruz, Tiago, Gama, Ana Cristina, Hamayama, Eliana. 2004. Análise da extensão e tessitura vocal do contratenor. Revista CEFAC, 6 (4): 423-28.

Cruz, Tiago. 2006. Estudo dos Ajustes laríngeos e supralaríngeos no canto dos contratenores: Dados Fibronasolaringoscópicos, VideoRadioscópicos, Eletroglotográficos e Acústicos. 146 f. Dissertação de Mestrado em Música. Escola de Música. Belo Horizonte: Universidade Federal de Minas Gerais (UFMG).

Dinville, Claire. 1993. A Técnica da Voz Cantada. Tradução da 2a ed. Original, Rio de Janeiro: Enelivros.

Fant, Gunnar. 1970. Acoustic Theory of Speech Production. 2a ed. Paris: Mouton.

Gauffin, Jan, Sundberg, Johan. 1989. Spectral correlates of glottal voice source waveform characteristics. Journal of Speech, Language, and Hearing Research, 32: 556-565.

Giles, Peter. 1982. The countertenor. London: Frederick Muller.

Gottfried, Terry, Chew, Stephen. 1986. Intelligibility of vowels sung by a countertenor. The Journal of the Acoustical Society of America, 79(1): 124-30.

Henrich, Nathalie. 2001. Etude de la source glottique en voix parlée et chantée: modélisation et estimation, measures acoustiques et électroglottographiques, perception. Tese de Doutorado, Universidade Paris 6.

Hirano, Minoru, William Vennard, and John Ohala. 1974. "Regulation of register, pitch and intensity of voice." Folia phoniatrica et logopaedica 22.1: 1-20.

Hollien, Harry. 1974. On vocal registers. Journal of Phonetics. 2: 125-143.

Howard, David, Welch, Graham, Penrose, T. 2001. “Case study acoustic and voice source evidence for the existence of sub-registers in the countertenor voice”. Aichi University of Education, 127-131.

Izzo, Miguel. 1946. Noções Elementares de Música – 5a ed. São Paulo: Irmão Vitale.

Jander, Owen. “Contratenor”. 2001. In: Sadie S. The New Grove Dictionary of Music and Musicians. 2nd ed. v.6. 373-74. London: Macmillian Publishers Limited.

Kent, Raymond; Read, Charles. 1992. “Acoustic Theory of Speech Production”. In: The Acoustic Analysis of Speech. 13-40. San Diego, California: Singular Publishing Group, Inc.

Lindestad, Per-Åke, Södersten, Maria. 1988. Laryngeal and pharyngeal behavior in countertenor and baritone singing - a videofiberscopic study. Journal of Voice. 2: 132-9.

Mansion, Madeleine. 1948. El Estúdio Del Canto: técnica de la voz hablada y cantada: pedagogía: método práctico, ejercicios explicados. Buenos Aires: Ricordi Americana.

Monteiro, M. C. 1995. “Uma análise computadorizada espectrográfica dos formantes das vogais orais do Português Brasileiro falado em São Paulo” [monografia]. São Paulo: Universidade Federal de São Paulo.

Perelló, Jorge. 1975. Canto e Dicción. Barcelona: Editorial Cientifico-Medica.

Pinho, Sílvia, Pontes, Paulo. 2008. Músculos Intrínsecos da laringe e dinâmica vocal. Série *desvendando os segredos da voz. v. 1. Rio de Janeiro: Revinter.

Pinho, Sílvia. 1998. “Avaliação e Tratamento da Voz”. In: Fundamentos em Fonoaudiologia. 3-37. Rio de Janeiro: Guanabara Koogan.

Pinho, Sílvia. 2001. Tópicos em Voz. Rio de Janeiro: Guanabara Koogan.

Rothenberg, Martin. 1986. “Cosi fan tutte and what it means or nonlinear source-tract interaction in the soprano voice and some implications for the definition of vocal efficiency”. In: Vocal Fold Physiology: Laryngeal Function in Phonation and Respiration, 254-263, College Hill Press: San Diego.

Rothenberg, Martin. 1988. “Acoustic Reinforcement of Vocal Fold Vibratory Behavior in Singing”. In: Vocal Physiology: Voice Production, Mechanisms and Functions. 379-389, Raven Press: New York.

Roubeau, Bernard, Nathalie Henrich e Michèlle Castellengo. 2009. “Laryngeal Vibratory Mechanisms: The Notion of Vocal Register Revisited”. Journal of Voice, 23(4): 425-438.

Södersten, Maria, Lindestad, Per-Åke. 1987. Vocal fold vibrations in countertenor singing. Acta Phon Lat. 9: 19-22.

Sundberg, Johan, Högset, Carl. 2001. Voice source differences between falsetto and modal registers in counter tenors and baritones. Logopedics Phoniatrics Vocology. 26: 26-36.

Sundberg, Johan, Skoog, Jöorgen. 1997. Dependence of jaw opening on pitch and vowel in singers. Journal of Voice, 11(3): 301-306.

Sundberg, Johan. “Vocal Tract Ressonance”. 1991 In: Sataloff, Robert. Professional Voice: The Science and Art of Clinical Care. 49-68. New York: Raven Press Ltd.

Sundberg, Johan. 1974. Articulatory interpretation of the “singing formant”. The Journal of the Acoustical Society of America. 55(4): 838-44.

Sundberg, Johan. 1987. The Science of the Singing Voice. DeKalb, Illinois: North III. Univ. Press.

Sundberg, Johan. 2001. Level and Center Frequency of the Singer’s Formant. Journal of Voice, 15(2):176-86.

Sundberg, Johan. 2015. Ciência da Voz: Fatos sobre a Voz na Fala e no Canto. Tradução e revisão, Glaucia Laís Salomão. São Paulo: Editora da Universidade de São Paulo.

Teixeira, Sylvio Bueno. 1970. Estudos sobre a voz cantada. Campinas: A P Editora.

Titze, Ingo. 1994. Principles of Voice Production. Englewood Cliffs, New Jersey: Prentice Hall.

Titze, Ingo. 2004. A theoretical study of F0-F1 interaction with application to resonant speaking and singing voice. Journal of Voice, 18(3): 292-98.

Titze, Ingo. 2006. The F0-F1 crossover exercise. Journal of Singing, 62: 295-97.

Tom, Kenneth; Titze, Ingo. 2001. Vocal intensity in falsetto phonation of a countertenor: an analysis by synthesis approach. The Journal of the Acoustical Society of America, 110(3):1667-76.

Welch, Graham, MacCurtain, F. 1987. The falsetto voice: An investigation of male professional singers. Paper presented at the 16th Symposium on Care of the Professional Voice, June 1-5, New York, N.Y.

Welch, Graham, Sergeant, D, MacCurtain, F. 1988. Some physical characteristics of the male voice. Journal of Voice, 2: 151-63.

Wendler, J, et al. 1983. “Stroboglottometric and acoustic measures of natural voice registers”. In: Proceedings of the Stockholm Music Acoustics Conference, v 1, 333-40, Stockholm: Royal Swedish Academy of Music.

Analysis of the glottal and supraglottal configuration and acoustic data in countertenor singing

Authors

DOI:

Keywords:

Abstract

Author Biographies

References

Downloads

Published

Issue

Section

License

How to Cite

Similar Articles