| Share page | Visit Us On FB |
|
136 TRAINING THE SINGING VOICE
fluxing. Wheder believes, from experimental studies, that the range of
the voice is governed by the length of the space in the frontal sinuses-IJ656J Bartholomew claims that the resonance value of the sinuses is practically nil. Because they are partially filled with semi-liquid they would be more likely to dampen and absorb than to amplify sounds. [39] White builds the ^maying thesis, in a scholarly three volume treatment, that vocal tone k generated in the sinuses rather than, as is commonly believed, in the larynx, [657, 658, 659] It is a lengthy rationalization, strongly opinionated and convincingly presented, but it cries out far experimental evidence to support its radical assertions. In a nontechnical discussion, Hill rather vaguely refers to the sinuses as tone building chambers. [272, p. 27] Schatz, a voice physician, claims that the sinuses are no longer regarded as resonators. [492] Passe, who writes extensively on vocal physiology, quotes the authority of Negus and Schaefler on the same opinion. [443, p. 62; also Negus 418, p. 440]
Nasal resonance. The nasal cavity is more or less fixed in its size, shape and total volume. During voice production in singing, strong vibratory sensations can be felt in the walls of the nasal cavity. This fact has led many singing teachers to the belief that the nose is "the sounding board of the voice.*' [Scott 502, p. $2] But there is a difference between singing a tone through the nose and feeling it vibrate in the nasal cavity-Hie former condition is extremely objectionable to singers. It k called mssaBiy, "Hie latter condition k highly desirable. It is called nasal resonance* Hie distinction hare is physiological, not acoustical. Singing through the nose comes from relaxing the velum or soft palate and thus opening the passage between the bad: of the oral cavity and the nasal cavity. Nasal resonance, on the other hand, is merely the effect of sound adduction into the walls of the nasal cavity and the bones of the skull and may tale place even when the velum is closed. [Orton 439, p. 98; Fory 194J
Kerethi Thorborg, noted prima donna, in an interview recommends a nose pinching test while singing a sustained tone, to guard against objectionable nasality. If the nostrils can be pinched and released intermittently without altering the quality of the tone the voice is being correctly resonated. [611] The use of a rubber tube from nostril to ear will likewise indicate to the singer just when the velum relaxes, causing objectionable nasality to occur, [Bartholomew 39] The use of syllables like rung when substituted for the words of a song will help to establish the sensation of nasal resonance. [NoveUo-Davies 430, p. 189] Dan Beddoe recommends the use of the sound of hung for inducing nasal resonance. [42] Wodeil suggests the use of m, n, and ng sounds. [680] |
||