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CONCEPTS OF PRONATION |
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ments would be helpful to the teaching profession, especially with reference to the intricate process of vocal tone production.
Discussions of phonation are further complicated by the numerous ramifications existing in related areas. The study of the physical structures of the larynx and their functions belong in physiology. Tonal analysis is an acoustical subject. Singing as a form of self-expression demands psychological treatment. Breathing, facial expression, posture, tongue, lip and jaw movements, and the functions of the ear are all related activities. Conceivably, even the sense of vision enters into the estimating of distance for vocal projection. Obviously, then, phonation integrates with many other bodily functions and such interrelationships as these, existing between various departments of vocal theory, seem to preclude the setting up of independent hierarchies of teaching procedure for each of the several components of singing. Indeed, in its pedagogical implications, no part of this study may be considered entirely independently of all its other parts.
In order to strengthen this concept of wholeness of the vocal processes, and to provide a simplified, not-too-technical reorientation for the teacher of singing, the following resume of the phonatory function is presented. This represents an interpretative digest of foregoing theoretical and methodological materials pertaining to this subject. Except when otherwise indicated, page numbers refer to Negus* book which is listed as item No. 418 in the Bibliography.
THEORETICAL CONSIDERATIONS
Mechanical aspects of phonation. In its simplest mechanical aspects, the larynx is a transformer of energy. Its valve-like action at the glottis converts thoracis breath pressure into acoustical energy, which is then propagated into the surrounding atmosphere as voice. Phonation employs at least five mechanical factors: 1) a reservoir of breath energy (lungs); 2) a directional valve that releases the expiring breath stream upwards (breathing muscles and trachea); 3) another valve that partially resists the air pressure and thus focuses its potential energy at a given point (the vocal cords or glottis); 4) a channel for the conduction, projection and propagation of newly converted acoustical energy or vocal tone into the outer atmosphere (the resonators); 5) a means of renewing and leading off depleted and unused portions of the energizing agent (breathing passages in the throat, nose and mouth). Negus reminds us that breath is not vocal substance. It is merely the mechanical force used to activate the vocal vibrator and it apparently ceases to play an |
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