Those who are not singer, an actor, an announcer or a teacher, often do not think about the enormous importance of his voice for a person. Moreover, when they hear a recording of their own voice, many people exclaim: "How unpleasant my voice is!" In fact, it only seems so, your own voice must be judged by the perception of you by the people around you. For example, when you are talking on the phone with a person whom you have never seen, but who already recognizes you by voice.
If during conversation with you, he treats you kindly and with great respect, this indicates that your sound is pleasant. But there are people about whom they say: "It would be better if he did not open his mouth!". These are the owners of a monotonous and boring voice. It is very difficult for them to establish contacts with people, others do not want to communicate and be friends with them. As a rule, such a voice belongs to insecure people who have various psychological problems.
Voice is our calling card. Today, for representatives of many professions - businessmen, bankers, politicians, actors, showmen and managers - it is the most important tool for successful career advancement. Each person's voice is unique, like their fingerprints. By voice we recognize relatives, relatives, friends and acquaintances. By the sound of the voice, we evaluate a person and can form the first idea of \u200b\u200bhis character.
Loud and high voice associated with vigor and youth, it is usually characteristic of a person in his youth. If a person at an honorable age has a voice like that of a young person, then he is perceived by others as a sign of immaturity and falsehood. People with such a voice are rarely appointed to leadership positions. Moreover, according to experts from the Institute of Psychology, the higher the voice of a person, the less chance of success he has. A loud, long-sounding voice causes irritation and discomfort in others, reduces the degree of trust and respect for its owner.
Harsh, loud and screaming voice characterized by nervous and irritable people who are often prone to outbursts of anger and aggression. The deepest feeling of love can arouse in us a low velvety voice, regardless of whether we know this person by sight or have never seen it. Such a voice is associated with success, intelligence and self-sufficiency. But there are also physiological reasons why we love people with a low chest voice rich in intonations, and the owners of a monotonous sounding thin voice simply annoy us.
The fact is that voice men are formed and changed under the influence of hormones - androgens, and in women - estrogen hormones. The amount of these hormones in the body determines what the timbre of the voice will be - low or high. A low voice is a sign of an increased content of male hormones in the blood, which is typical for people with a high temperament. Therefore, having heard a low voice, we subconsciously read the interlocutor's genetic code and we perceive him as a temperamental and authoritative person.
If on genetic level you got a not very pleasant voice, then you should not be upset. You just need to learn how to skillfully use your own and correctly build your speech so that the sound apparatus becomes a powerful psychological weapon that acts on the subconscious of those around you. Ancient orators were well aware of the need to professionally manage their voice. So, one of the most famous ancient Greek orators
Demosthenes after his first speech, he greatly disappointed his listeners with his slurred speech. However, despite this, he was not afraid of difficulties, and for many months he trained his voice. Demosthenes' subsequent performances before the public were simply brilliant, captivating the crowd with a confident-sounding voice, well-crafted speech and persuasive intonation. But to change the voice does not mean - to start speaking in an overly sweet thin breathy voice, pretending to be a "fluffy cat". Women who have a squeaky childish voice give the impression of a deceitful and changeable nature, which greatly repels men.
In addition to the content of hormones in blood, the sound of the voice is affected by the structure of the vocal cords, the characteristics of breathing and the psychological mood. Often a quiet voice indicates a person's low self-esteem, his self-doubt. People with a quiet and sad voice think that no one is interested in their thoughts. But deep down they are aggressive and vengeful. After all, a quiet voice is only a means that they use to make people listen to them.
Information transmitted confident and a loud voice, it is assimilated by us better. That is why, during TV commercials, the sound on our TVs becomes half a decibel louder. Train your vocal apparatus, set the optimal "volume level" of your voice, learn to clearly formulate your thought and present it clearly. And it is best to learn how to control your voice and speech by reading the works of the unsurpassed genius of oratory Cicero.
classical interpretation.
Loudness is one of the basic properties of sound; magnitude auditory sensations, which arises in a person when perceiving sound vibrations, an idea of the power of sound.
The loudness depends on the range of oscillatory movements (amplitude), on the frequency of the sound (with the same strength, sounds of different frequencies are perceived as unequal in volume, and the sounds of the middle register seem to be the loudest), on the distance to the sound source.
In musical practice, the ratios of loudness levels are indicated using dynamic shades (see "Dynamics").
Stereotypical delusion.
In order to sing loudly, you need to have a strong voice.
Our addition.
Loudness, as a quantity in physics, is denoted by units of a relative scale (decibels), showing how much the sound heard at the moment is felt by the ear "more powerful" than the sound at the threshold of hearing.
So, for example, 60 decibels is a sound that has 60 times the sound energy of what we hardly hear, but not 60 times more than complete silence.
The auditory organs of a person are arranged like a "spring", so the pressure on them is so strong sound leveled by their ability to resist a strong, energetic sound wave. The “restructuring” of the auditory system for perceiving sound power takes some time, so a person can be “stunned” by sharply increasing the volume in a short time. The opposite effect - when you stay in an environment with a high sound volume for a long time, your hearing does not immediately return to the “normal”. Often, quickly leaving the hall with deafening music, we can not immediately (a fraction of a second or even a few seconds) “hear” a sound that is within the usual speech volume.
In vocals, the loudness of the sound (for the listener, since the power of the voice is more important for the singer) is created in different ways.
The first of them - amplitude - the creation of more subligamentous pressure. This method is achieved by increasing the exhalation, increasing the work of the muscles responsible for its creation.
Provided that the vocal folds are able to hold the increased pressure, the strength of the sound (and, as a result, its volume) increases. However, taking into account the reflex resistance from the false vocal cords and (as will be shown below) the absence of frequency tuning of the voice spectrum, this method is used in speech and does not lead to a serious increase in volume, since the burst of the sound wave is quickly extinguished in the atmosphere.
Example: the “loud” roar of a sergeant will be heard only by his unit, after ten meters the energy of the sound wave will sharply decline.
Given the Fletcher-Manson law, human hearing is most sensitive to certain frequencies in the audible range a (in the region of frequencies 1-4 kHz). If we take into account that the total range of audible acoustic frequencies is 20 Hz - 20 kHz, then the region of the most vivid sensation of loudness is located significantly below its middle.
This is believed to be related to genetic factors coming from the depths of History - in this range there were "dangerous" and "signal" sounds that were necessary ancient man(and its ancestors) - a component of the “voice” of predators or prey, the “voice” of an infant, a source of emotional information when speech, as an information system, has not yet been formed.
Modern acoustics determines that the reason for the existence of the region of maximum hearing sensitivity is the structure and size of the human auditory canal. Acoustic resonance occurs in it at frequencies coinciding with the frequencies of the high formant.
Voice disorders − this is the absence or disorder of phonation due to pathological changes in the vocal apparatus. There are two main terms for voice pathology: aphonia (Latin a - negative particle and Greek phone - sound, voice) - complete absence of voice and dysphonia − partial violation of pitch, strength and timbre.At aphonia the patient speaks in a whisper of varying volume and intelligibility. If, when trying to phonate, a loud sound appears on the cough, this indicates the possibility of a quick recovery of the voice.
Dysphonia manifested in a change in the pitch, strength and timbre of the voice.
However, these terms indicate only the degree of manifestation of the defect. Behind them are quite definite and very diverse changes in the voice-forming organs - the larynx, extension tube, bronchi, lungs and systems that affect their function (endocrine, nervous, etc.).
There are many definitions for the characterization of dysphonia: the voice is weak, forced, noisy, shrill, rough, hoarse, hoarse, strangled, throaty, choking, trembling, intermittent, deaf, closed, nasal, monotonous, etc.
At the heart of each of the above shades of voice is a certain mechanism that is not characteristic of the normal sound of the voice, the understanding of which can help correct the defect.
^ Weak voice may depend either on the weakness of the respiratory apparatus, or on insufficiently energetic closing of the vocal folds (hypokinesia). The latter most often occurs with paresis of the larynx. If the closing is slow, delayed, air leaks before speech begins - the voice sounds aspirated.
^ Forced, harsh sound indicates excessive tension (hyperkinesia) of the vocal folds. If the voltage drops to low tones, the voice sounds loud, if to high, a shrill voice is heard.
^ Strangled throat sound occurs when the larynx is compressed by the external muscles (which may be associated with the rise of the larynx, the root of the tongue) or the muscles of the shoulder girdle (when the lungs are overfilled with air), which is sometimes accompanied by the overlapping of the vocal folds.
^ Intermittent, trembling sound indicates a violation of the smoothness of the sound, the causes of which may be hyperkinesis, convulsions in the muscles of the larynx or respiratory muscles.
^ choking voice usually happens when you try to speak while inhaling, that is, with discoordination of breathing and voice formation, which is observed with excitement, haste, and also with takhilalia (a fast pace of speech).
^ Closed sound heard in speech with compressed, inactive articulation, especially of the lips and jaws.
white sound is the result of a permanent, sedentary smile on the face of the speaker.
^ Hoarse voice sounds with irritation and swelling of both the entire larynx and the vocal folds themselves, and even only with the accumulation of mucus in the larynx. At the same time, the closure of the vocal folds is incomplete, loose, part of the air breaks through them. A hoarse voice is also observed during the mutation period.
^ False voice It is formed when the false (vestibular) vocal folds vibrate. At the same time, the voice sounds rough, hoarse, reminiscent of croaking.
in height - monotonous, trembling, modulated, low or falsetto;
in terms of timbre - hoarse, rough, guttural-sharp, deaf, with a "metallic tint", "croaking", squeaky, nasalized (with a nasal tinge), diplophony;
in strength - a whisper, weak, fading (quickly reaching a whisper), too loud.
stenosis (narrowing) of the larynx after diphtheria, wounds, burns of the larynx. These diseases lead to deformation of the larynx and vocal folds and, consequently, to the limitation of their mobility.
Singers most often develop vocal cord nodules. V. A. Feldman-Zagoryanskaya (1951) believed that the term "singers' nodules" is often used to name various kinds of limited small-sized formations that occur at the edges of the true vocal folds in voice-speech professions. Singers' knots can appear acutely in singers (mainly beginners) with little endurance of the vocal apparatus and are associated with overloading it, with singing in a sick state, or with singing with an incorrect technique of voice formation. In some cases, these formations with complete voice rest within 1-2 days may disappear, and the edges of the folds become even; in others, they can last longer - sometimes for 2-3 weeks. Such patients need to consult a phoniatrist.
Complaints of patients who have a tendency to form nodules of the vocal folds are as follows: the voice gets tired with prolonged use, hoarseness appears after singing, as well as a feeling of sputum on the folds. Often the piano fails, the voice sounds better on the form, after singing hoarseness is formed. The latter circumstance makes the patient constantly cough. Hoarseness occurs because, due to a mechanical obstruction, there is an incomplete closing of the vocal folds, due to which air leaks, creating a friction noise that joins the sound. To obtain a purer sound, a significant tension of the folds during phonation is necessary, which causes rapid fatigue of the vocal apparatus. However, after vocal rest, the lost qualities return and the voice sounds good until the next overload causes the formation of false nodules again.
The presence of a nodule sometimes forces the patient to change the correct mechanism of voice formation and adapt to the conditions that have been created, which can lead to a state of stable skills in the long term, which in the future, after the removal of the nodule, will inhibit the restoration of voice function. In some cases, these edematous formations were removed due to the fact that frequent relapses almost made it impossible for patients to sing. However, later it turned out that such operations did not prevent
Among chronic diseases of the pharynx and oral cavity, chronic pharyngitis and tonsillitis are the most common in voice professions. Chronic pharyngitis in them very often causes the following complaints: the alleged presence of a foreign body in the throat, causing the need for constant coughing and expectoration. This need is more pronounced in the morning and is sometimes accompanied by nausea. Sometimes patients complain of dryness in the throat, perspiration and scratching in it. In some cases, patients feel the presence of a foreign body in the throat, causing a reflex cough, which leads to rapid voice fatigue.
Such complaints significantly limit the possibilities of professional use of the voice apparatus, and sometimes exclude the latter.
In order to prevent the occurrence and development of pharyngitis, any person who devotes himself to church service must comply with hygiene requirements that ensure a healthy condition of the mucous membrane of the respiratory tract, including the pharynx and oral cavity (do not drink strong drinks, milk from the refrigerator, do not drink hot, cold, irritating, spicy food, etc.).
In acute tonsillitis and exacerbation of chronic tonsillitis, singing is impossible until a complete cure.
Church ministers often develop diseases that should be considered professional, since their appearance is associated with the conditions of church services, with overload of the vocal apparatus in one form or another (forcing, giving voice on a solid attack of sound, singing in excess of tessitura, hasty introduction of unprepared singers in the church choir, etc.), as well as with psychogenic factors.
Forms of manifestation and severity of occupational diseases are different, so it is advisable to divide them into three degrees.
The first degree is a voice disorder without visible changes in the vocal apparatus, which manifests itself only in the subjective sensations of the patient. In such cases, the patient complains of fatigue, some tension when using the voice, partial loss of voice, and sometimes the appearance of detonation. After complete voice rest for 2-3 days, this condition disappears if the voice disorders were associated with a temporary overload of the vocal apparatus.
Rice. 23. Paralysis of the left recurrent nerve:
A - when inhaling; b - paresis of the posterior cricoarytenoid muscle;
c - during phonation.
The second degree of voice disorder is expressed in the fact that, in addition to subjective complaints, when examining the larynx, there is insufficient work of the glottic closures, mainly due to myopathic paresis of the vocal muscles (Fig. 23), which explains the apparent lethargy of the edges of the vocal folds or both, or one of them.
With unilateral paresis, the edge of the diseased fold has a crescent shape. Stroboscopic examination reveals a lack of synchrony of oscillations between the vocal folds, the oscillations of the diseased fold are more delayed.
The so-called “fatigue catarrh” also belongs to the second degree, in which there is a pinking of the true folds and the arytenoid region, a noticeable expansion of the vessels on the surface of the true folds and hyperfunction of the false ones, which during phonation often overlap the true ones, taking their original position during breathing. "Fatigue Catarrh" is persistent and affects the brightness of the sound, as well as the character of the timbre. The reasons for its occurrence are systematic
forcing and incorrect manner of extracting sounds (deficiencies in the technique of voice leading). At the same time, in addition to drug treatment, phonopedic classes are recommended.
The third degree is prolonged and significant voice disorders. The cause of such diseases is an incorrect assessment of their condition by the singer. Trying to adapt to the existing conditions in order to be able to work somehow, the vocalist changes the manner of sound production, which later becomes habitual. This adaptive mechanism is difficult to change even if the vocal apparatus recovers, and the voice function in such cases remains defective for a long time. The group of such patients includes those who have significant changes in the vocal folds (marginal edema, lethargy of the folds, insufficiency of closure of the glottis, violations of the vibrations of the vocal folds). The same group of diseases also includes hemorrhages that usually occur on one of the vocal folds, which can appear suddenly with a sharp note, more often in the upper register, as well as with a solid sound attack, accompanied by a strong air pressure. The cause of hemorrhage can also be a cry or a sharp cough.
Hemorrhage may be partial or over the entire surface of the vocal folds. The voice function is severely impaired. On stroboscopic examination, there is almost complete immobility or sharply slowed down oscillations of the vocal fold. With such diseases, drug treatment and phonopedic classes are indicated.
The history of the study of the occurrence of dysphonia
In persons of speech professions
According to the Spanish phoniatrist J. Perello, as early as 1600, medical literature called dysphonia a disease of preachers.
At the end of the 19th century, attempts began to scientifically study the mechanisms of voice formation and substantiate the methodology for educating and re-educating speech and singing voices. In Germany, this is Gutzmann, in Czechoslovakia Seeman and Sovak, in France - Tarneaud, in the USA Berry and Eidenson.
N. Gutzmann (1873) considered the occurrence of phonic paralysis during mild phonation, when both vocal folds make very weak movements towards the midline. With strong phonation, the movements of the vocal folds towards the middle are more or less strong, but these movements barely produce a complete closure of the glottis. The author did not note the absolute immobility of the vocal folds as a result of incorrect voice leading.
th. Flatau (1899) considered that the misuse of the voice produced purely mechanical damage to the vocal folds.
H.Krause (1898) connects voice loss with diseases of the larynx or a violation of its innervation. Indicates that violations of voice leading may be independent of the degenerative process of the muscles of the neck or the endings of motor nerves with continuous or sudden forcing of the voice.
M. S. Erbstein (1915) associates voice disorders in priests and preachers with prolonged inflammatory processes in the larynx, overwork of the voice, or with the pressure of painful processes on the recurrent nerve that innervates the larynx.
E. N. Malyutin (1924) attached great importance form of the hard palate as an important component of the resonator. He believed that a huge number of diseases of the vocal apparatus in beginners depend on the anatomical structure of this apparatus, which is not at all adapted to the methodology that the singing teacher offers to this subject. The timbre and quality of the voice, in his opinion, depend not only on the type of breathing and the quality of the extension pipe, but also on the nature of the work of the vocal folds. E. N. Malyutin also noted uneven tension of the vocal folds in many people: during phonation, the left vocal fold tenses less than the right one, and
on the contrary, in left-handers, the left vocal fold in most cases tenses more vigorously than the right one. The scientist explains this phenomenon either by the difference in the anatomical location of the right and left recurrent nerves that innervate the muscles of the larynx, or by the greater development of the left hemisphere of the brain.
I. I. Levidov (1926-1938) pointed out that functional diseases of the larynx are the result of a poor vocal school and are based on a drop in the tone of the vocal folds.
F. F. Zasedatelev (1935) saw the causes of occupational diseases in singers in the wrong setting of the voice. I paid a lot of attention to proper breathing. He believed that proper, economical breathing is the main thing for good sound. The enumeration of breathing causes tension in the vocal apparatus, hyperemia of the mucous membrane of the larynx, and later on, paresis of the vocal folds. Lack of breath leads to detonation of sound and weakening of the anterior laryngeal muscle.
L. D. Rabotnov (1929-1932) believed that all therapeutic measures for the treatment of voice-speech professions provide only a temporary improvement. The main thing is to change the technique of voice formation. He paid great attention to the observation of breathing. He put forward a hypothesis about the essential role of the smooth muscles of the bronchi and the entire lung tissue in the process of phonation. He pointed out that this provision is of decisive importance for the methodology of vocal teaching.
V. S. Kantorovich (1955) emphasizes the role of resonators in the function of voice leading. Resonators that have a constant volume amplify the same sounds. Resonators with movable walls amplify various harmonic overtones of compound sounds that can quickly alternate in the larynx. All resonators in total amplify the main sound and the overtones included in its composition.
J. Perello (1962-1968) describes voice disorders with incorrect voice leading.
According to D. D. Daskalov, A. G. Atanasov (1962), Mitrinovich-Modzheevskaya (1965), L. S. Kovalevskaya (1976), in violation of the thyroid function, difficulties arise during the process of speech formation and voice disorders due to swelling of the mucous membrane of the oral cavity, tongue, larynx; incorrect placement of melodic, dynamic, rhythmic stresses, stretching of vowels or acceleration of the tempo of speech.
O. V. Pravdina (1963) points to the role of mental trauma: strong emotions that affect breathing and voice formation and can serve as causes of neurotic voice disorders. O. V. Pravdina also believes that the incorrect use of the voice, once or repeatedly occurring, is fixed in the form of a pathological conditioned reflex, fixation of incorrect mechanisms, which will be
serve as the basis for functional voice disorders. These disorders, in her opinion, are expressed in the discoordination of the speech mechanism: the muscles necessary for the performance of work are inactive or function weakly or incorrectly. Then other muscles come to their aid, the participation of which in this case does not help, but hinders.
Peripheral functional
Violations
Peripheral functional disorders include aphonia, phonasthenia, hypo- and hypertonic dysphonias.
There are several types of functional aphonias:
paretic aphonia, which is characterized by a sudden loss of voice. With this violation, functional sagging of the muscles of the larynx is observed;
spastic aphonia, which is characterized by a sharp overstrain of the entire vocal apparatus;
paretic-spastic aphonia, expressed in increased activity of false folds and reduced activity of true folds, and vice versa.
Phasthenia- violations of the function of voice formation without visible organic changes in the vocal apparatus. In this case, rapid fatigue and interruption of the sound of the voice are observed. The strength, pitch of the voice may change (high sounds do not sound), a change in the timbre of the voice (hoarseness). All these phenomena are transitory.
This violation is of a professional nature and develops in persons of speech professions. Phasthenia manifests itself in violation of the coordination of breathing and phonation, the inability to control the voice - to strengthen and weaken the sound, the appearance of detonation and a number of subjective sensations. Acute forms may be accompanied by aphonia.
It is quite difficult to determine phonasthenia, especially in the initial stage. When the patient complains of significant voice disorders in the larynx, there may often be no changes, so they say about the symptoms of this disease that they can be heard rather than seen. When listening to such patients, various voice defects are revealed: detonation, lack of piano, thinning, sound breakdowns, etc.
With laryngoscopy, an oval, longitudinal or triangular gap is noted between the vocal folds (Fig. 24).
Violation of the function of the cricoid muscle of the larynx is manifested in the weakening of the tension of the edges of the vocal folds (lethargy).
The resulting insufficiency of closing the vocal folds causes a disorder of voice formation, since an involuntary leakage of air occurs through the resulting gap, which makes it impossible for the singer to regulate breathing while singing.
Doctors' observations show that functional diseases of the vocal apparatus may depend on the actions of both external and internal causes. Various factors play a role here, primarily overloading the vocal apparatus.
It should be said that in the prevention of occupational diseases, the natural endurance and adaptability of the body, in particular the vocal apparatus, is of great importance. So, for example, some can sing in various conditions, sometimes even in the presence of noticeable organic changes (for example, a knot in the folds); in others, under the same conditions, or sometimes even under better ones, a voice disorder quickly sets in.
A - paresis of the thyroid-scary muscle; b - paresis of the transverse arytenoid muscle; c - combined paresis of the thyroid and transverse muscles.
A. Mitrinovic-Modrzeevska classifies phonasthenia as a motor neurosis and considers it to be a congenital coordination disorder. She qualifies similar disorders that occur as a result of overstrain and fatigue of the vocal apparatus as false phonasthenia and clearly distinguishes it from congenital. Domestic authors do not adhere to such a division.
^ Hypotonic dysphonia (aphonia, or lack of voice) due, as a rule, to bilateral myopathic paresis, i.e., paresis internal muscles of the larynx(Fig. 24). In this case, periodically there is a lack of closure of the vocal folds (hypokinesis). They occur with certain infections (flu, diphtheria, etc.), as well as with a strong voice strain. The muscles that narrow the vocal folds suffer. With functional disorders of the internal muscles of the larynx, damage affects one muscle, more often one pair of muscles (since almost all of them are paired).
At hypotension the vocal folds do not close completely at the time of phonation, a gap remains between them, the shape of which depends on which pair of muscles is affected. Pathology of the voice can manifest itself from mild hoarseness to aphonia with symptoms of voice fatigue, tension and pain in the muscles of the neck, neck and chest.
The voice with this pathology is weak, quiet, drying up. The sound of the voice is constantly changing in strength. There are no voice modulations, pitch changes are not available. Detonation and tremolation phenomena are observed. Breathing is superficial, rapid. Exhalation is short and weak. Rapid exhaustion of the force of expiration during speech.
^ Hypertonic (spastic) voice disorders are associated with an increase in the tone of the laryngeal muscles, with a predominance of tonic spasm at the time of phonation. In this case, the vocal folds are bridged. The causes of their occurrence are not fully understood, but spastic dysphonia and aphonia develop in individuals who force their voice.
The voice with this violation is rough, often hoarse, "squeezed". There are no arbitrary voice modulations. Breathing is superficial, chaotic, there is no coordination: frequent inhalation, short, convulsive exhalation. The clavicular type of breathing prevails. If the voltage drops to low tones, the voice sounds loud, but if to high tones, a shrill voice is heard.
When the larynx is compressed by the external muscles or the muscles of the shoulder girdle (when the lungs are overfilled with air), a compressed throat sound is obtained, which leads to fatigue of the vocal folds, and sometimes to aphonia.
hypertonicity may involve vocal and vestibular folds. When phonation is attempted, the voice either does not appear at all, or a sharply distorted, dull sound appears. Sometimes there is no closure of the vocal folds (hypotension) with tense closure of false folds (hypertonicity). The resulting specific rough, monotonous sound is called false fold.
Falsefold the voice can be caused by a disorder of the innervation of the false folds, for example, their hyperfunction, expressed in increased closure of the false folds during phonation, which completely cover the true vocal folds. The voice in such cases is hoarse, without modulations (shades).
About phonopedic classes aimed at
The beauty of the voice and the health of the vocal apparatus depend both on the correct functioning of the vocal folds and on the correct position of the larynx. If a person has a loss of voice due to insufficient closure of the vocal folds due to a functional or organic injury to the recurrent nerve, phonopedic exercises can be very effective.
The main goal of phonopedic exercises is to restore the functional relationship between breathing, articulation and voice formation. Differentiation of nasal and oral breathing, obtaining a loud, sonorous, "flying" voice and fixing it in the student's independent speech.
The work is carried out under the control of auditory, visual, tactile-vibrational and muscle sensations, which play the role of those stimuli that signal to the central nervous system about the correct operation of the resonators.
There are two stages of phonopedic work:
Preparatory, which includes:
B) breathing exercises;
The main stage, which includes:
B) the development of the strength and duration of the sound of the voice;
D) development of the melodic-intonational aspect of speech;
E. V. Lavrova in her works notes that restoration of the voice by phonopedic exercises is primarily a functional training of the vocal apparatus, as well as the development of the skills of correct voice leading with its minimum load. This pedagogical process, based on the physiology of voice formation and subject to the basic didactic principles of pedagogy. Based on this, she offers a course of rehabilitation therapy in five stages:
1) Explanatory conversations.
2) Statement of physiological and phonation respiration.
Training the muscles of the vocal apparatus, in order to coordinate their work,
Voice exercises.
Automation of correct phonation by vocal exercises.
At the first conversation, it is necessary to explain to the patient the essence of the violation of his voice, to acquaint him with the mechanism of voice formation in an accessible form, and then briefly outline the method of restoration work. Patient need
convince of the effectiveness of phonopedic classes, instill hope for success, demonstrate patients with already restored voices (the author considers this method the most convincing). At the same time, it should be explained to the patient that without his active involvement in classes, the restoration of the lost voice function is impossible. In addition, the patient must know exactly why the phonopedist gives him this or that exercise. If the student approaches the lessons consciously, he will accurately and clearly fulfill all the phonopedist's instructions, and the lessons will be effective. Such explanations should be constantly present throughout the recovery period. It should be especially emphasized that it is not enough to explain to the student the methods of setting the voice, you need to be able to show them on yourself. At each lesson, the phonopedist must himself demonstrate the techniques of setting the voice. After each exercise, the phonopedist must control the sound of the voice while talking to the patient. If the voice sounds better after the proposed exercise, then this exercise needs to be performed, it helps the student, and vice versa, cancel the exercise if the sound of the voice worsens, because incorrect voice leading is automated as quickly as normal sound. Classes should be carried out only under the supervision of a phonopedist, since a person does not hear himself, since sound and bone conduction is present in the body.
Classes should be only individual, otherwise neither the teacher nor the student will be able to hear each other and correctly supply sound to the “mask”.
You can give exercises for self-study after they have been worked out by the patient together with the phonopedist.
The task of phonopedic classes is to destroy incorrect conditioned reflex connections and create new physiologically correct skills. This is carried out by the upbringing of the coordinated work of breathing, voice leading and articulation (muscular design of speech sounds). The training process is complex. All muscle groups of the articulatory and vocal apparatus should be trained. Correct setting of individual links speech apparatus helps the smooth functioning of other links. Any exercise offered to the student must obey the same initial principles, which are the support of breathing and a clear, correct articulation speech sounds.
Comparing the Italian singers of the old school with the singers of the new generation, we will notice that the singers of our time are losing their voice much faster than it was with the old Italian masters.
S. Gromov believes that "modern teachers do not teach to play the voice instrument made by the Lord God, but try to correct its imperfection."
In his work on correct breathing during phonation, S. Gromov notes the following: “The task of a singing teacher should be to facilitate work during singing, which cannot be achieved by the condition [using] various unnatural techniques, often threatening not only the voice, but also the general condition health.
There are teachers who resort to mechanical methods for developing voice and breathing with the help of a spirometer, pneumograph, placing heavy objects on the stomach and chest, bending canes with the stomach, etc. This is the most dangerous teacher, since without giving anything, it kills the voice and health . Such a teacher is also dangerous because he can always justify the failures of his student: either the diaphragm is to blame, or the arytenoid cartilage, or the palatine curtain, or the position of the Adam's apple is too high or low, etc. Such a teacher can hide his ignorance in sound technology for a long time ".
Professor of the old Italian school F. Lamperi wrote: “The best friend and worst enemy for sound is breathing. Breathing, used correctly, becomes a friend, incorrectly used an enemy. The singer should use only the amount of air necessary to produce sound, no more.
Success is achieved only by constant exercises for the voice. The main secret of singing lies in the ability to sing with little breath. This is the whole secret of the correct setting of the sound.
M. Garcia argued: "It is impossible to be a good singer without having the art to control your breathing."
Prof. Rubin: "A skillful singer is recognized by the way he saves and spends his breath."
Strengthened, orderly activity of breathing, revitalizing the body, improving metabolism, causing a healthy appetite and restful sleep, all this has a strengthening effect on the entire physical and spiritual life of a person. All this affects his nervous system, this pathogen and regulator of the body, since the nervous system works well only in a healthy state of the organism, of which it forms a part. Prof. Kofler in his work stated: “In the acts of inhalation and exhalation, nature has given us much greater means for renewing and healing the body than they can give the remedies of all pharmacies together.”
Berlin prof. Eulenburg writes: “How often do we doctors have to prescribe improved, intensified and methodically introduced breathing as a remedy for anemia, nervousness, lung and heart disease, but, unfortunately, most of the advice collapses due to a complete misunderstanding of them.” London
Dr. L. Brown and E. Behnke, speaking in detail about breathing,
say: "Incorrect breathing in nine cases out of ten is the cause of nervous, throat, lung diseases."
Dr. Niemeyer, in his book The Lungs, points to holding the breath after taking a deep breath as the best way to keep the lungs, digestive organs, blood, and nerves healthy. Dr. M. Mackenzie, in his book Singing and Speech, says: “The art of breathing will only be learned when breathing is automatic, not only during exercise, but also in everyday life. Breathing while singing is the main success factor, it is the alpha and omega of vocal art. To be able to use the breath correctly is to be a singer. It is not the quantity of exercises that forms the singer, but the quality and measure of their performance.
From the foregoing, we can conclude that famous singers gave special meaning exhalation, because only with a good exhalation is the full sound of the voice possible.
F. Lamperi attached great importance to the free functioning of the neck muscles for proper singing. In his writings, he claims that “neck flexibility” is necessary for free singing, that is, the muscles of the neck must be completely relaxed when singing, not tense, in order to give
the ability to function the vocal folds as nature itself tells them. Any demand for excessive descent of the larynx, above or below the normal level, will create stiffness in the external muscles of the neck, thereby preventing the vocal folds from functioning properly.
In his work “My conclusions about inhalation are the fruit of many years of practice,” F. Lamperi described how three ways of breathing can be connected in pairs: starting from the chest, you can go to the side, starting from the side - to the clavicle. “To take a deep breath, one must alternately go through all three stages of breathing,” the author states.
This mixing of breathing methods will be in direct proportion to the size of the musical phrase that must be sung in one breath. If the phrase is small, consisting of 3-4 notes, then there is no need to gain a lot of air, passing through all three types, when even one abdominal one is enough; if the musical phrase is longer, then you can take in air with the help of two types of breathing - abdominal and lateral; if the phrase is very large - in all three ways.
"The great secret of singing lies in the ability to sing with little breath." The slightest change in the body is enough to prevent free breathing, such as raising the shoulders, wrinkling the forehead, lowering the head, etc.
Lamperi taught his students to recognize a fixed sound and an unsupported sound by the sensation of the ear: "Operated sound" there will be a metallic, sonorous, full, rounded, beautiful, energetic, etc.
"Unfinished Sound" will be liquid, non-energetic, non-metallic, often hoarse and hoarse, that is, the typical sound of a voice with dysphonia.
Lamperi, as a supporter of the old Italian school, argued: "If the flame of a lit candle placed in front of the mouth while singing remains motionless, then the expenditure of breath is correct." The flame of a candle will fluctuate when poorly closed vocal folds let excess air pass through a large glottis, in which case the sound will turn out to be “unsupported”, dull.
Tightly closed vocal folds, passing only the necessary amount of air for their vibration, will not allow excess air to pass through and thereby set in motion the air lying above the cords, which, acting on the flame of a candle like a breath, will vibrate it. On this basis, sound propagates in the air not due to the movement of its particles, but only due to its shaking.
S. Gromov notes that a candle still lit and brought to the mouth is the best control of the correctness of the sound emitted by the singer.
The singer, who does not know under what conditions the voice is strong and resonant, always tries to get the strength of the voice with the help of a large pressure of breathing, and not with the help of the correct functioning of the vocal apparatus. The more such a singer works,
Most of the causes of overwork and early loss of voice are mainly due to the unnatural functioning of the vocal apparatus. This applies to the entire vocal apparatus: the vocal folds, the position of the larynx, the way the lungs work, the diaphragm, and the improper use of resonators. Incorrect, unnatural functioning of the vocal apparatus leads to a rapid loss of voice, so rapid that even at school students lose their voices.
B. Weikl teaches that the goal of vocal training is “a natural and relatively beautiful sounding of the voice, relaxed and free from unnatural overtones, creating the impression of even fullness from the depths to the very top of the individual range, making optimal use of the resonant cavity, that is, all presented to us by nature resonant spaces, flighty and therefore filling the entire hall. “Academic”, in the professional language “operated”, singing with voice vibration is the most economical and effective way. At the same time, a developed voice uses a different frequency range than a piano or an orchestra, and therefore it can always be distinguished, heard against the background.
escort in any hall. “Undelivered voices lack vibration, and therefore, sound rich in overtones. Such singers resort to electronic amplifiers. And the vocal folds, due to incorrect use, come to a deplorable state,” writes B. Weikl.
In addition, it all depends on the teacher, who, if the voice is set incorrectly, can lead his student to a complete loss of the ability to sing. The literature describes a case when the Italian government turned to Enrico Caruso with a request to take on a young tenor with an unusually beautiful voice. Since Caruso was not a teacher, to his horror, after a while he discovered that his student had irretrievably lost his voice.
The singer Mirolyubov, who possessed a magnificent bass, studied in Italy with a famous professor. In the classroom, the professor forced the singer to perform falsetto exercises. After these classes, Mirolyubov's voice finally deteriorated.
“Many teachers follow their own teaching system,” says A. Paula, L. Povarotti's teacher, “but the only correct method is the one that the student himself masters. It is impossible to impose something contrary to its nature on a rich voice.
“A teacher and a student need “super-ears” to listen to each other, and unlimited patience to follow all the corrections for mistakes, says B. Weikl.
F. Wieck demanded from the vocal teacher an exquisite taste, good science education, a beautiful and developed voice, the finest hearing. After all, the ability to imitate is one of the main properties of a person.
Violations of the function of voice leading may not always be due only to painful processes in the larynx, but very often - a violation by the singer of the voice mode. The author can give such examples: if a singer sings in an unnatural range for him or sings a lot without observing the voice mode, he will surely lose his singing voice after some time.
Thus, patient A., possessing an excellent baritone, led, in addition to opera, an active concert activity. Also, since the range of his voice allowed him to hit higher notes than his voice type allowed, the singer constantly abused this. As a result, he sought help due to the loss of his voice. By the time of treatment for 2 years, the patient's singing voice had ceased to sound in the usual volume. During laryngoscopy, non-closure of the vocal folds and their slight reddening were observed. A picture of an explicit phonasthenia. At the same time, the patient had cases of repeated bronchitis. Some time after the phonopedic classes, the lost voice function was somewhat restored: the singer could sing at concerts and even perform familiar arias.
With laryngoscopy, a picture of complete health was observed. It would seem that the singer had to return to his former vocal activity, but it was enough for a small cold to appear so that the voice that appeared was gone. Despite the fact that a picture of complete health was observed in the larynx, the singer could not take the usual notes: the sound of the voice broke off, while hoarseness was not observed, the timbre of the voice did not change. Laryngoscopy showed complete closure of the vocal folds. Despite the fact that the position of the vocal folds was completely normal, the singing voice did not appear in the same volume, although in colloquial speech the voice sounded as usual.
In this case, it can be seen that ordinary speech contains the same tones as in singing, but without the usual pitch. The singing of a certain sound is carried out by tension and contraction of the vocal folds, which must be maintained during the entire duration of the sound, while such muscle tension is not required during speech. Thus, singing strains the vocal folds more than speech. Such cases are described in phoniatric practice. Apparently, in addition to visible disturbances that have functional causes, this is accompanied by a breakdown of conditioned connections in the cerebral cortex. Here we can cite as an example the pride of our opera stage I. Kozlovsky: despite his advanced years, he quite well preserved the gift sent to him by God,
because always respected the voice mode. The author, based on his own experience, can advise young singers not to waste their voice at empty concerts, because nature releases a certain limit for the vocalist, after using which it is impossible to return the singing voice. This is where Yusson's neurochronaxic theory comes into play: everything is regulated by the central nervous system. Sometimes, if the voice mode is not observed, even if the completely lost mobility of the vocal folds is restored, the person will have a good speech voice, but will no longer be able to sing.
In some patients who lose their voice after operations that injure the recurrent nerve, years later there is a complete closure of the vocal folds. It would seem that the voice should sound good, but dysphonia remains. After the conducted phonopedic classes, the sound of the voice is restored, and the voice still sounds strong and beautiful.
Singer F. also turned to the author after a long break in work. At laryngoscopy, the picture of complete non-closure, vocal folds, thickened over the entire surface, had a reddish tint. Phonopedic sessions with the patient were carried out for 6 months. After the lessons
laryngoscopy showed complete recovery of the vocal folds. The singer went on tour and for 10 years now has not experienced any difficulties in his professional activities.
Father M. asked for help, having lost his singing voice. At laryngoscopy, the vocal folds did not close completely. The glottis was as wide as possible. In the middle part, nodules of singers formed on both folds. Gradually, the singers' nodules from phonopedic exercises disappeared. The vocal folds closed and he was able to continue serving.
Singer K. acquired the singers' bundles after intensive rehearsals while recording his album. The singer got an appointment with a phonopedist after three operations to remove the nodules. Conducted phonopedic classes helped the patient to completely get rid of the recurrence of the disease. Currently, re-formation of nodules of the vocal folds is not observed.
All persons of speech professions need to be especiallyware of shrill, squeaky, strangled, unstable high-pitched sounds - they are very harmful and unpleasant to the ear. Each person should use a natural, peculiar to him voice. Finding the natural sound of the voice and teaching how to use it is the main task of the phonopedist and vocal teacher.
People who do not have special vocal training get into the monastery church choirs. As a rule, they are busy performing other obediences as well. Sometimes they have to sing almost every day, which completely undermines their ability to sing well. They need to remember that they need to constantly observe the voice mode, as well as the fact that it is imperative to monitor the health of the entire vocal apparatus.
Most often, ministers of the Church have functional disorders vote. They are not accompanied by inflammatory or any anatomical changes in the larynx.
^ Violations in the closure of the vocal folds can be as follows: they can close very tightly, and then the sound is obtained only with the help of a very strong air jet, while it will be sharp and unpleasant. The vocal folds can close after exhalation has already begun, while part of the air comes out at the sound, and it becomes hoarse (an overtone is heard, reminiscent of « X»). If the vocal folds close at the same time as the exhalation begins, the sound will be full and beautiful.
By observing the activity of the larynx, Dr. Barthes found that in good singers the larynx changes position all the time when singing. When inhaling, the larynx descends; when holding the breath, the larynx lingers in the lower position; when exhaling, the larynx rises. These movements occur automatically, depending on the operation of the entire respiratory apparatus. According to Dr. Barth, the position of the larynx depends on the lowering of the diaphragm, that is, the higher the sound, the lower the diaphragm should be,
the stronger its tension should be, the greater then the volume of the chest and the amount of air absorbed. Therefore, only correct lower-costal breathing gives the correct position of the larynx when singing. Similarly, the complete closure of the vocal folds depends on the correct operation of the diaphragm. If the singer lowers the diaphragm before the sound begins, the vocal folds will not close completely and air will escape along with the sound. With spasmodic contraction of the diaphragm, the vocal folds will close automatically. If the larynx is at least slightly lower than required for given sound, then it will be deprived of free movement and there will be no flexibility in the voice. If the larynx descends artificially, it is very easy to cross the border. A sense of proportion in the amount of inhaled air or in the depth of inspiration is acquired in phonopedic classes.
The first thing a singer must master is a quick, free, silent breath. After inhaling, he must hold the air until the beginning of the sound, in order to achieve complete closing of the vocal folds and not waste the slightest amount of air besides the sound.
In everyday life, when exhaling, the lungs contract relatively quickly, but when singing, this contraction should occur as slowly as possible, because the slower the exhalation, the better the singer owns the voice. This can be achieved
causing the diaphragm to rise as slowly as possible. Based on this, you must first train the diaphragm. If the training is successful, then during singing the chest will remain in a calm expanded state, and pressure from the inside will be felt from the side of the sternum. This is important both acoustically and hygienically.
Acoustically, the airways and chest are important resonators in the production of sound, making the sound fuller and richer. There will be no full-fledged sounding of the voice if there is not sufficient subglottic pressure of the air column.
In hygienic terms, if you do not keep your chest in a calm state while singing or slowly exhaling, then the muscles involved in the act of breathing will weaken, which will not allow the singer to use diaphragmatic breathing to the fullest.
All famous phoniatrists believe that proper breathing is the basis of speech and singing. In addition, clergymen who lead long services also need more than anyone else to do breathing exercises, since only with its help you can achieve complete control over your breathing, and therefore improve your voice data, because previously already it was pointed out that breathing is the basis of the voice.
To achieve proper breathing is possible only by performing a series of breathing exercises. The task of a phonopedist (or singing teacher) is to create a conditional connection in the cerebral cortex so that correct breathing becomes automatic not only when singing, but also in everyday life.
Breathing exercises
Phonopedic classes should begin, first of all, with the establishment of correct costoabdominal breathing.
Classes on setting up correct breathing begin with training at rest, since it is a functional unity with phonation. In this case, you need to monitor the correct implementation of breathing exercises. Any forcing, pressure immediately negatively affects the vocal folds. The diaphragm must be able to minimally dose a constant flow of air after inhalation, otherwise the vocal folds will constantly tire.
Recovery classes begin with an exercise proposed by E. V. Lavrova - “blowing into a harmonica”.
This exercise has a dual purpose: to lengthen the exhalation necessary for correct voice leading, and to massage the larynx with an inhaled and exhaled air stream. With this technique, an increase in the mobility of the vocal folds is achieved, since under the action of an air stream, all the muscles of the larynx involved in phonation are stimulated. To perform this exercise, the patient must sit on a chair, leaning against the back, straighten the body, bend the legs at a right angle, press the feet to the floor. In this position, he should inhale through the accordion, while sticking his stomach forward, then exhale into the accordion, pulling the diaphragm
and while pulling the stomach to the back. It is necessary to blow slowly, lingeringly, blowing in and out on the same note. You should start with 30 seconds per session, while taking a break from 45 minutes to 1 hour. Perform the exercise 4-6 times a day. After 2 weeks, you can increase the load to 1 minute. Some people may feel dizzy from this exercise. In this case, it is necessary to reduce the load. As you exercise, the dizziness goes away. It should be noted that the duration of each inhalation and exhalation on the harmonica at the beginning of the practice is significantly shortened even if the exercise does not complicate the patient. A smooth, prolonged inhalation and exhalation is achieved gradually with the mastery of the skills of correct phonation breathing. Simultaneously with blowing into an accordion, patients perform breathing exercises.
Breathing exercises can be divided into 2 groups:
Exercises to achieve physiologically correct breathing.
Exercises for the development and strengthening of the muscles involved in the act of breathing.
Preparatory breathing exercises
gymnastics
Lie straight on your back, on a flat couch, with arms extended along the body. Exhale through closed lips, pull the stomach to the back, hold your breath a little; then a free breath, stomach forward, pause counting 1-2 (2 seconds). Repeat this exercise 5 times.
Stand straight, holding a stick in your hands, then, inhaling, raise your hands above your head with a free movement and hold them in this position for several seconds, while holding your breath. After that, exhale while lowering the stick to the back of the neck.
Stand straight with your hands behind your back so that one hand covers the other. Inhale - stomach forward, exhale - tighten the stomach, pause 1-2. When breathing in this position, both the muscles of the chest and the muscles of the abdomen work evenly. The exercise is performed 5 times.
Stand straight, holding your hands behind your back so that one hand covers the other, take a breath. Then, easily and freely put your hands on your chest so that the index and middlefingers touched the collarbones, at this time exhale. Stay in this position for the entire duration of the exercise. Inhale - stomach forward, exhale - tighten the stomach, pause 1-2. The exercise is performed 5 times.
The preparation for this exercise is the same as for 4. Then you need to put your hands on the lower part of the chest, in the area of the diaphragm, so that the ends of the middle fingers touch each other, and so inhale.
Standing straight with your arms at your sides and with your mouth half open, inhale quickly through your nose and at the same time easily and freely raise your arms above your head so that they grapple with your hands. Stay in this position, holding the air. Exhale through the nose, while the arms fall freely down.
Standing straight, inhale, rising to your toes, hold your breath, rest your hands on your sides and, slowly exhaling, sit down, linger for a few seconds in a sitting position and, inhaling, rise and stand on your entire foot.
Exercises to achieve physiologically
Proper phonation breathing
First of all, breathing exercises should develop a long smooth exhalation. Long exhalation is very important for singing and speaking. As you know, speech exhalation is eight times longer than inhalation. When performing breathing exercises, in no case should you raise your shoulders, because with this wrong way of breathing, the diaphragm is not used in any way, which is ineffective. The resulting tension of the cervical, occipital and shoulder muscles is transmitted to the larynx, and with it the vocal folds.
Starting training, first of all, you should check the activity of the diaphragm. To do this, in a prone or standing position, if at the moment it is not possible to lie down, place the palm of your left hand on the area between the chest and abdomen and, after exhaling, take a breath, trying not to raise your chest. If the arm rises during inhalation, then the diaphragm has lowered and is working correctly.
For the coordinated work of the entire respiratory apparatus, exercises with a deep breath are important. In addition, it is necessary to train singers in a differentiated breath through the mouth and through the nose. When singing, when you need to quickly inhale a large amount of air, inhaling through the nose is not enough, so the singer must breathe through the mouth too. At the same time they do:
Inhale through the nose - the stomach forward (the diaphragm descends, and fresh air completely fills the lungs, displacing carbon dioxide, which may cause the student to feel dizzy.) Then they exhale air through the mouth, through closed lips; after exhalation, be sure to pause at the expense of 1-2 (2 seconds).
Inhale through your mouth, hold your breath for a few seconds, then exhale through closed lips.
Inhale through the mouth - exhale through 1 nostril - 15 seconds;
Inhale through the nose - exhale through 1 nostril - 15 seconds;
exhale through the 2nd nostril - 15 seconds.
Inhale through the 1st nostril - exhale through the 2nd nostril - 15 seconds.
Inhale and exhale through 1 nostril - 15 seconds.
Inhale and exhale through the 2nd nostril - 15 seconds.
All exercises should be done at the beginning of classes for 15 seconds (inhale and exhale approximately 3 times). As you train, after a few days, add 15 seconds, bringing the time to complete each exercise to 1 minute. The break between classes should be at least 3 hours. The whole complex should be performed no more than 2 times a day. After about 15-20 days, the student will notice good diaphragmatic breathing.
Exercises for development and strengthening
Muscles involved in the act of breathing
1. Exhale, hold your breath for 2 seconds (counting 1-2), after which a new impulse to breathe appears, inhale through loosely closed lips, so that the air flows in a slow thin stream (lips should be in the same position as when drinking through a straw, so that the air is as if sucked in). Then hold it for a few seconds and release it through a wide open mouth.
2. Inhale, hold your breath for a few seconds, exhale in small portions through closed lips (as if saying "PF"). Hold the remaining air for a few seconds and then exhale part of it. At the same time, attention should be paid to the expansion of the intercostal muscles, the work of the diaphragm (excursion of the diaphragm: lower, sticking out the stomach when inhaling and pulling, pulling the stomach in when exhaling).
3. Standing, inhale air through loosely closed lips, then hold the air for as long as possible without particularly strong tension. The mouth must be kept closed. Exhale, releasing the air very slowly through the mouth, pressing the upper jaw to the lower lip so that we hear a sound close to "F". At the same time, attention should be paid to the expansion of the respiratory apparatus during inhalation and the work of the muscles during exhalation.
Exercises 2 and 3 were done daily by a student of Porpor and Bernaki, the famous singer Farinelli (an outstanding Italian singer of the XVIII