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Resonance

Resonance. The voice is an instrument which the artist must learn to use with suppleness and sureness, as if it were a limb. Sarah Bernhardt Speech is the voice of the heart. Chinese Proverb. RE-SOUND.

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Resonance

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  1. Resonance The voice is an instrument which the artist must learn to use with suppleness and sureness, as if it were a limb. Sarah Bernhardt Speech is the voice of the heart. Chinese Proverb

  2. RE-SOUND • Resonant means literally to sound again. This implies that there is a sound to resound. In voice this sound is phonation created at the larynx through the oscillating vocal folds. • Resonance is the “…quality or state of being resonant.” and the “…ringing quality of an instrument or voice.” [Encarta World English Dictionary]. What about resonance creates this “ringing quality” in the voice? In order to answer that question we need to examine sound.

  3. SOUND • Sound is defined by Daniloff, Shuckers and Feth as “…a disturbance travelling through an elastic medium” elastic meaning having an ability to vibrate. • Sound can be subdivided into simple and complextones.

  4. SIMPLE SOUND • Simple tones consist of one frequency, or cycles of vibration per second. documents.wolfram.com/.../SimpleSound.html

  5. SIMPLE SOUND home.iprimus.com.au A simple sound consists of one wave herbergeronline.asu.edu/dan521/images/dig1.gif

  6. COMPLEX SOUNDS • The second type of sound is called a complex tone. It is the sum of multiple simple tones/waves.

  7. COMPLEX SOUNDS spot.colorado.edu/~jonesdc/EMUS1832/complex-wave.jpg

  8. SOUND • Sound can also be periodic, having a repeatable wave pattern, like a note on a piano; • And aperiodic, having a non-repeating wave pattern, like a metal plate hitting the floor

  9. PERIODIC WAVE (REPEATING) csis.ul.ie/staff/CiaranCasey/CS5631_Sound_synth/Wk2_Lec2_files/image002.jpg

  10. APERIODIC WAVE (NON-REPEATING) sccs.swarthmore.edu/users/05/jiwon/e12/cleanCannon.jpg

  11. RESONANCE • All sound resonates. Place a vibrating tuning fork against the body of a violin and the violin will resonate that note. When the violin is sung into, several notes will be resounded. Which begs the question, what is about the nature of a violin that allows resonance?

  12. RESONANCE • As stated above resonance is reaction to sound; that is, a resonator does not initiate the sound but responds to it. Sound is vibration and vibration is energy. • Anything that can vibrate, vibrates at natural frequencies; when the energies of an initial sound match the object’s natural frequencies, the object’s material vibrates in sympathy. • In addition, if the object contains a cavity of air, that air will vibrate at frequencies based on its size and shape. This air filled cavity is known as an acoustic resonator.

  13. When we feel the vibrations of the violin tactilely, we are feeling the resonant quality of its material, its natural frequencies, but what we hear is the acoustic resonant quality of the air vibrating inside it, its acoustic resonator.

  14. Vocal Tract • The vocal tract has material (tissue) and air filled cavities, (pharyngeal, oral and nasal) that resonate. • These resonators are excited into vibration by phonation. So voice is a product of the larynx (source) resonated by the vocal tract (transfer function).

  15. Vocal Tract and Phonation Phonation is a complex tone, it is made up of a fundamental frequency or Fo (the number of times the folds open and close per second-CPS) and harmonic multiples of the Fo (two times the Fo, three times, four times etc.) that fall in intensity (volume) in an inverse relationship as the harmonics rise in frequency (pitch); or as the pitch rises the volume falls. columbia.edu/itc/psychology/rmk/T1/VTract.GIF

  16. Picture a seesaw; one seat is pitch the other volume, when one seat is up the other is down. Now picture a whole row of see-saws where the first see-saw’s (Fo) pitch seat is on the ground, and the last one, its volume seat on the ground; in-between, the pitch seats rise and the volume seats lower in evenly spaced steps like a set of stairs. • Resonators bend the volume seats louder. They don’t affect pitch, but amplify it by adding their vibration to the source vibration. If the resonator amplified all notes equally the shape would change in volume equally for each seesaw. But resonators do not uniformly resound all vibration; they do so only near their natural frequencies. In this playground picture, the pitch sides remain the same, but the volume sides rise selectively only when they match or are near the natural frequencies. So the vocal tract bends the seesaws of harmonics louder.

  17. FORMANTS • The human vocal tract is an open-ended tube, and the resonant qualities of a tube can be predicted if its size is known. • Daniloff, Shuckers and Firth write, that depending on the length of the tube “…energies build in the tube at certain select resonant frequencies of vibration” [pg. 15, 1980] and they further state that if you know the length of the open-ended tube you can predict these frequencies. • These natural frequencies in voice are termed formants. • Where the materials and cavities of the vocal tract amplify the frequencies of phonation are the formants

  18. FORMANTS • Bunch cites Ladefoged’s definition of formants as: • The peaks in the spectrum of vowels correspond to the basic frequencies of the vibration of air in the vocal tract. The region of the spectrum in which the frequency corresponds are relatively large and known as formants. The formants of a sound are those aspects of it which are directly dependant on the shape of the vocal tract, and are largely responsible for the characteristic quality…it is the presence of formants that enables us to recognize the different vowels which are associated with the different positions of the vocal organ. [Dynamics of the Singing Voice, pg.15, 1997]

  19. FORMANTS • Formants change with and depend on different articulatory settings. Because the vocal tract is different in each of us and able to change shape, the formants are ever shifting. Longer tubes resonate at lower frequencies and the opposite is true, different configurations, resulting tensions and shapes create constrictions that change energies.

  20. Phonation Frequencies for /i:/ Male Fo 136 cps INTENSITY (VOLUME) 40th overtone 5440 cps FREQUENCY (PITCH)

  21. Fundamental Frequency Plus Vocal Tract for /i:/ (vocal transfer) Male Fo 136 F2 2290 F1 270 F3 3010 INTENSITY (VOLUME) FREQUENCY (PITCH)

  22. Vocal Tract and Resonance • The dynamic character of the vocal tract allows potentially infinite degrees of shape. In addition, the material that defines and shapes the vocal tract has an affect on the vibration. The relationship between the resonant material and the air filled acoustic resonator it surrounds is intimate. Going back to the analogy of the violin, its material, wood, imparts a quality to its acoustic resonator. If the violin was made of mink, the sound would be perceived as less sharp, there would be less “ringing quality”. The reason for this is that the mink absorbs sound-the wood reflects it. This is called damping.

  23. Vocal Tract and Resonance When the material’s sympathetic range is narrow like wood, the sound tends to be perceived as bright and sustaining, if wide like mink, the sound will be hollow, build and die quickly. The more finely tuned the material surrounding the cavity, the more desirable the quality of sound it produces.

  24. RESONATORS • The outcomes of resonance training have been succinctly termed by Clifford Turner in Voice & Speech in the Theatre: • In training the resonator our initial aims are: • 1. Expansion of the cavities in order to impart full sonority to the note. • 2. The achievement of balanced resonation, so that no one cavity predominates to the detriment of the total effect. • 3. Perfection of the shapes which mould the tone and give it particular character in the form of the vowels. [pg.27]

  25. The Vocal Tract: Variable resonators and sound source Includes all of the air passages above the larynx – from the glottis to the lips and has three main air filled cavities (acoustic resonators) • Oral • Pharyngeal • Nasal Musical Instruments - The remarkable thing about the human resonator is that it can change shape

  26. Pharynx • Posterior part of the vocal tract is formed by a tube of muscles known as the pharynx • Muscles divide into three groups: • Inferior constrictor muscles • Middle constrictor muscles • Superior constrictor muscles • Constriction of these muscles narrows the pharyngeal cavity • Relaxation widens it! • Parts of the pharynx behind the oral, nasal and laryngeal cavities are called: • Nasopharynx • Oropharynx • Laryngopharynx

  27. levelfive.com/.../pharynx.html

  28. Pharyngeal Muscles • Thin muscles that wrap around the sides and back wall of the pharynx: • Superior Constrictor Muscle • Most complex and the weakest • Wraps around the upper pharynx, almost reaching the base of the skull • Middle Constrictor Muscle • Overlapped by the Inferior constrictor, it attaches to the horns of the hyoid bone • Inferior Constrictor Muscle • Lowest and strongest • Arises from both sides of the Thyroid cartilage

  29. The superior, middle and inferior constrictors rest within one another like flower pots. dentistry.ouhsc.edu/intranet-web/Courses/DH3342/images/lat_pharcon.JPG med.mun.ca/anatomyts/head/hnl2b.htm

  30. Nasal Cavity • Functions in speech only as a resonator. • Resonance • Too much (Hyper-Rhino or Hyper-Nasal) • Too little (Hypo-Rhino or Hypo-Nasal) training.seer.cancer.gov/module_anatomy/images/illu_nose_nasal_cavities.jpg

  31. Oral Cavity • Soft Palate – Velum • Elevators • Depressors • Tensors • Jaw • Hard Palate • Tongue /training.seer.cancer.gov/ss_module06_head_neck/images/illu02_lo_cavity.jpg

  32. Soft Palate (Velum) • Flexible muscular flap forms the hard palate • Muscles determine the velum’s position and thereby how voice escapes and sounds • Depressors (open the airway to the nose) • Elevators (close the airway to the nose) • Tensors (stretch the Velum)

  33. 1. Tensor Palati • 2. Levator Palati • 3. Palatoglossus • 4. Palatopharyngeus • 5. Superior Constrictor yorku.ca/earmstro/journey/images/palat1.gif

  34. Oral Cavity • Hard Palate • Bounces sound • Jaw/Tongue/Lips • Shape the Oral Cavity • Changes the Formants

  35. Vibration • When we come on to voice we vibrate • Body-the materials of our body vibrate in sympathy to phonation (natural frequencies) • Bones/muscles/cartilages/membranes • Air-the materials of our body surround air-filled cavities that also vibrate (acoustic resonators) • Pharynx/mouth/nose • The relationship between the two is a dance of body and breath.

  36. All beauty, resonance, integrity,Exist by deprivation or logicOf strange position. John Ashbery

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