Those who are not singer, actor, announcer or teacher, often do not think about the enormous importance of his voice for a person. Moreover, after hearing a recording of their own voice, many people exclaim: “How unpleasant my voice turns out to be!” In fact, it only seems so; your own voice must be judged by the perception of 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 your voice.
If during conversation he treats you kindly and with great respect, then this indicates that your sound is pleasant. But there are people about whom they say: “It would be better if he didn’t open his mouth!” These are the owners of a monotonous and boring voice. It is very difficult for them to establish contacts with people; those around them do not want to communicate with them and be friends. As a rule, such a voice belongs to insecure people who have various psychological problems.
Voice- our business card. Today, for representatives of many professions - businessmen, bankers, politicians, actors, showmen and managers - it is the most important tool for successful advancement in career ladder. Each person's voice is unique, like their fingerprints. By voice we recognize relatives, friends and acquaintances. We evaluate a person by the sound of his voice and can get a first idea of his character.
Voiced and high voice associated with vigor and youth, it is usually characteristic of a person in his youth. If a person of honorable age has a voice like a young man, then it 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 a person’s voice, the less chance he has of success. A loud voice that sounds for a long time causes irritation and discomfort in others, and reduces the degree of trust and respect for its owner.
Harsh, loud and shouting voice characteristic of nervous and irritable people who are often prone to outbursts of anger and aggression. The deepest feeling of love can be evoked in us by a low, velvety voice, regardless of whether we know this person by sight or have never seen him. This voice is associated with success, intelligence and self-sufficiency. But there are also physiological reasons why we love people with a low, chesty voice rich in intonations, and those with a monotonous, thin voice simply annoy us.
The fact is that voice In men, it is 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 increased levels of male hormones in the blood, which is typical for people with high temperament. Therefore, when we hear a low voice, we subconsciously read the gene code of the interlocutor and we perceive him as a temperamental and authoritative person.
If on genetic level If you don't have a very pleasant voice, then you shouldn't be upset. You just need to learn how to skillfully use yours and correctly structure 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 control their voice. Thus, 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 spent many months training his voice. Demosthenes' subsequent public appearances were simply brilliant; he charmed the crowd with his confident voice, well-written speech and convincing intonation. But changing your voice does not mean starting to speak 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 hormone content in blood, the sound of the voice is influenced by the structure of the vocal cords, breathing patterns and psychological mood. Often a quiet voice indicates a person’s low self-esteem and lack of self-confidence. People with a quiet and sad voice think that no one is interested in their thoughts. But deep down they are aggressive and vindictive. After all, a quiet voice is only a means that they use to make people listen to them.
Information transmitted confident and in a loud voice, it is better absorbed by us. That is why, during television advertising, the sound on our televisions becomes half a decibel louder. Train your vocal apparatus, set the optimal “volume level” of your voice, learn to clearly formulate your thoughts and present them clearly. And the best way to learn to control your voice and speech is by reading the works of the unsurpassed genius of oratory, Cicero.
Classic 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.
Loudness depends on the range of oscillatory movements (amplitude), on the frequency of the sound (at the same strength, sounds of different frequencies are perceived as unequal in volume, with sounds in the middle register seeming loudest), on the distance to the sound source.
In musical practice, the ratios of volume levels are indicated using dynamic shades (see “Dynamics”).
Stereotypical misconception.
In order to sing loudly, you need to have a strong voice.
Our addition.
Loudness, as a quantity in physics, is denoted by relative scale units (decibels), showing how much more “powerful” a sound heard at a given moment is felt by the ear than a sound at the threshold of audibility.
So, for example, 60 decibels is a sound that has sound energy 60 times greater than that which we practically cannot hear, but not 60 times greater than complete silence.
The human auditory organs are designed like a “spring”, so the pressure on them is so strong sound offset by their ability to resist a strong, energetic sound wave. “Restructuring” 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 is that when you spend a long time in an environment with high sound volume, your hearing does not immediately return to “normal.” Often, having quickly left a hall with deafening music, we are not immediately (a fraction of a second or even a few seconds) able to “hear” a sound whose volume is within the usual speech range.
In vocals, the volume of sound (for the listener, since the strength of the voice is more important for the singer) is created in different ways.
The first of them is amplitude - creating greater subglottic pressure. This method is achieved by increasing exhalation, increasing the work of the muscles responsible for its creation.
Provided that the vocal folds are able to withstand the increased pressure, the strength of the sound (and, as a result, its volume) increases. However, taking into account the reflex resistance on the part of 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 decrease.
Taking into account the Fletcher-Manson law, human hearing is most sensitive to certain frequencies in the audible range (in the frequency region 1-4 kHz). If we take into account that the general 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.
It is believed that this is due 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 speaking, how Information system, has not yet 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 high formant frequencies.
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 (lat. 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 rapid voice restoration.
Dysphonia manifests itself in changes in the pitch, strength and timbre of the voice.
However, these terms indicate only the degree of manifestation of the defect. Behind them are very specific and very diverse changes in the voice-forming organs - the larynx, supernumerary tube, bronchi, lungs and systems that affect their function (endocrine, nervous, etc.).
There are many definitions to characterize dysphonia: the voice is weak, forced, loud, shrill, rough, hoarse, hoarse, strangled, guttural, choking, trembling, intermittent, dull, closed, nasal, monotonous, etc.
Each of the above voice shades is based on a certain mechanism that is not typical for the normal sound of the voice, the understanding of which can help correct the defect.
^ Voice weakness may depend either on the weakness of the respiratory apparatus, or on insufficiently energetic closure of the vocal folds (hypokinesia). The latter most often occurs with laryngeal paresis. If the closure is slow, delayed, or 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 tones, a shrill voice is heard.
^ Choking sound in the throat occurs when the larynx is compressed by the external muscles (which may be associated with the elevation of the larynx, the root of the tongue) or the muscles of the shoulder girdle (when the lungs are filled with air), which is sometimes accompanied by the closing of the vocal folds.
^ Intermittent, shaking sound indicates a disturbance in the smoothness of sound, which may be caused by hyperkinesis, convulsions in the muscles of the larynx or respiratory muscles.
^ Choking voice This usually happens when trying to speak while inhaling, that is, when there is a discoordination of breathing and voice production, which is observed with excitement, haste, and also with tachylalia (fast rate of speech).
^ Closed sound heard during speech with compressed, sedentary articulation, especially of the lips and jaws.
White sound is the result of a constant, sedentary smile on the speaker's face.
^ 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. In this case, the closure of the vocal folds is incomplete, loose, and some air breaks through them. A hoarse voice is also observed during the mutation period.
^ False voice is formed when the false (vestibular) vocal folds vibrate. The voice sounds rough, hoarse, reminiscent of croaking.
in height - monotonous, tremulous, modulated, low or falsetto;
by timbre - hoarse, rough, guttural-harsh, dull, with a “metallic tint”, “croaking”, squeaky, nasalized (with a nasal tint), diplophony;
in strength - a whisper, weak, fading (quickly reaching a whisper), too loud.
stenosis (narrowing) of the larynx after diphtheria, injury, burn of the larynx. These diseases lead to deformation of the larynx and vocal folds and, consequently, to limitation of their mobility.
Singers most often develop vocal fold nodules. V. A. Feldman-Zagoryanskaya (1951) believed that the term “singers’ nodules” is often used to name various kinds of limited formations of small size that arise on the edges of the true vocal folds in people of voice-speech professions. Singers' knots may appear acutely in singers (mainly beginners) with a weak vocal apparatus and are associated with its overload, with singing in a sick state, or with singing with incorrect voice formation technique. In some cases, these formations, with complete vocal rest, may disappear within 1-2 days, and the edges of the folds become smooth; in others they can last longer - sometimes for 2-3 weeks. Such patients need to contact phoniatricians.
The complaints of patients who have a tendency to form nodules on the vocal folds boil down to the following: the voice becomes tired with prolonged use, hoarseness appears after singing, as well as a feeling of phlegm on the folds. Often the piano fails, the voice sounds better on form, and after singing hoarseness develops. The latter circumstance causes the patient to constantly cough. Hoarseness occurs because, due to a mechanical obstruction, there is incomplete closure of the vocal folds, which causes air leakage, creating a friction noise that is added to the sound. To obtain a purer sound, significant tension on 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 again causes the formation of false nodules.
The presence of a nodule sometimes forces the patient to change the correct mechanism of voice formation and adapt to the existing conditions, which can, with a long-term illness, lead to a state of stable skills, which in the future, after 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, it later turned out that such operations did not prevent
Among chronic diseases of the pharynx and oral cavity, the most common among people in vocal professions are chronic pharyngitis and tonsillitis. Chronic pharyngitis 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 a feeling of nausea. Sometimes patients complain of dry throat, soreness and scratching. 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 even exclude the latter.
In order to prevent the occurrence and development of pharyngitis, any person who devotes himself to church service must comply with hygienic requirements that ensure the 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 foods, etc.).
In case of acute tonsillitis and exacerbation of chronic tonsillitis, singing is impossible until complete recovery.
Servants of the Church often develop diseases that should be considered professional, since their occurrence is associated with the conditions of church services, with overload of the vocal apparatus in one form or another (forcing, giving voice at a solid attack of sound, singing with excess tessitura, hasty introduction of unprepared singers in a church choir, etc.), as well as with psychogenic factors.
The 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, manifested only in the patient’s subjective sensations. In such cases, the patient complains of rapid fatigue, some tension when using the voice, partial loss of sonority, and sometimes the appearance of detonation. After complete vocal rest for 2-3 days, this condition disappears if voice disorders were associated with temporary overload of the vocal apparatus.
Rice. 23. Left recurrent nerve palsy:
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 a lack of functioning of the glottis closures, mainly due to myopathic paresis of the vocal muscles (Fig. 23), which explains the visible laxity 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. A stroboscopic examination reveals a lack of synchrony of vibrations between the vocal folds; the vibrations of the diseased fold are slower.
The second degree also includes the so-called “catarrh of fatigue”, in which there is a pink discoloration of the true folds and the arytenoid region, a noticeable dilation of blood vessels on the surface of the true folds and hyperfunction of the false folds, which during phonation often overlap the true ones, taking up their original position when breathing. “Fatigue catarrh” persists 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 (disadvantages of voice technique). In addition to drug treatment, phonopedic classes are recommended.
Third degree - long-term and significant voice disorders. The cause of such diseases is the singer’s incorrect assessment of his condition. Trying to adapt to existing conditions in order to be able to somehow work, the vocalist changes the style of sound production, which later becomes habitual. This adaptive mechanism is difficult to change even if the vocal apparatus is healed, and the vocal 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, laxity of the folds, insufficient closure of the glottis, disturbances in vibration of the vocal folds). This group of diseases also includes hemorrhages, usually occurring on one of the vocal folds, which can appear suddenly with a sharp note, often in the upper register, as well as with a solid attack of sound, accompanied by strong air pressure. The cause of hemorrhage can also be a scream or a sharp cough.
Hemorrhage may be partial or over the entire surface of the vocal folds. In this case, vocal function is sharply impaired. During stroboscopic examination, almost complete immobility or sharply slow vibrations of the vocal fold are observed. For such diseases, drug treatment and phonopedic exercises are indicated.
History of the study of dysphonia
For persons of speech professions
According to the Spanish phoniatrist J. Perello, as early as 1600, medical literature called dysphonia a disease of preachers.
Since the end of the 19th century, attempts have begun to scientifically study the mechanisms of voice formation and to substantiate the methods of education and re-education of the speaking and singing voice. In Germany it is Gutzmann, in Czechoslovakia Seeman and Sovak, in France Tarneaud, in the USA Bury and Eidenson.
N. Gutzmann (1873) considered the occurrence of phonic paralysis during weak 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 complete the closure of the glottis. The author did not note absolute immobility of the vocal folds as a result of incorrect voice guidance.
Th. Flatau (1899) believed that improper use of the voice purely mechanically produces damage to the vocal folds.
H. Krause (1898) associates voice loss with diseases of the larynx or a violation of its innervation. Indicates that voice disturbances may be independent of the degenerative process of the neck muscles or the endings of the 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, voice fatigue, or pressure from painful processes on the recurrent nerve innervating the larynx.
E. N. Malyutin (1924) gave great importance the shape of the hard palate as an important component of the resonator. I 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 technique that a singing teacher offers to a given 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 in the vocal folds in many people: the left vocal fold tenses less during phonation than the right one, and
on the contrary - in left-handers, the left vocal fold in most cases tenses more energetically than the right. The scientist explains this phenomenon either by the difference in the anatomical location of the right and left recurrent nerves innervating 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 a consequence of poor vocal training and are based on a decrease in the tone of the vocal folds.
F. F. Zasedatelev (1935) saw the causes of occupational diseases in singers in incorrect voice production. I paid a lot of attention to proper breathing. I believed that correct, economical breathing is the main thing for good sound. Too much breathing causes tension in the vocal apparatus, hyperemia of the mucous membrane of the larynx, and subsequently paresis of the vocal folds. Lack of breathing 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 people in voice-speech professions provide only temporary improvement. The main thing is to change the technique of voice formation. I paid a lot of attention to monitoring my breathing. He put forward a hypothesis about the significant important role smooth muscles of the bronchi and all lung tissue during phonation. He pointed out that this provision is crucial for the methodology of vocal teaching.
V. S. Kantorovich (1955) emphasizes the role of resonators in the function of voice guidance. Resonators having a constant volume amplify the same sounds. Resonators with movable walls enhance the various harmonic overtones of compound sounds that can quickly alternate in the larynx. All resonators together enhance the main sound and its overtones.
J. Perello (1962-1968) describes voice disorders due to incorrect voice production.
According to D. D. Daskalov, A. G. Atanasov (1962), Mitrinovic-Modzheevskaya (1965), L. S. Kovalevskaya (1976), with dysfunction of the thyroid gland, 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 cause neurotic voice disorders. O. V. Pravdina also believes that improper use of the voice, once or repeatedly, is fixed in the form of a pathological conditioned reflex, fixation of incorrect mechanisms, which will
serve as the basis for functional voice disorders. These disorders, in her opinion, are expressed in incoordination of the speech mechanism: the muscles necessary to perform 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 dysphonia.
There are several types of functional aphonia:
paretic aphonia, which is characterized by sudden loss of voice. With this disorder, functional laxity of the laryngeal muscles 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 decreased activity of true folds, and vice versa.
Phonasthenia− dysfunction 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 and pitch of the voice may change (high-pitched sounds do not sound), and the timbre of the voice may change (hoarseness). All these phenomena are transitory.
This disorder is of a professional nature and develops among people in speech professions. Phonasthenia manifests itself in a 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 a patient complains of significant voice disturbances, there may often be no changes in the larynx, so the symptoms of this disease are said to be more likely to be heard than seen. When listening to such patients, various voice defects are revealed: detonation, lack of piano, thinning, sound disruptions, etc.
During laryngoscopy, an oval, longitudinal or triangular gap between the vocal folds is noted (Fig. 24).
Dysfunction of the thyroid-cricoid muscle of the larynx manifests itself in a weakening of the tension of the edges of the vocal folds (flaccidity).
The resulting insufficient closure of the vocal folds causes a disorder in voice formation, since an involuntary leak of air occurs through the resulting gap, which makes it impossible for the singer to regulate breathing when 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 overload of 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. For example, some can sing under different conditions, sometimes even in the presence of noticeable organic changes (for example, a nodule on the folds); in others, under the same conditions or sometimes even under better conditions, voice disorder quickly sets in.
A - paresis of the thyroarytenoid muscle; b – paresis of the transverse arytenoid muscle; c – combined paresis of the thyrophyseal and transverse muscles.
A. Mitrinovic-Modrzejewska classifies phonasthenia as a motor neurosis and considers it a congenital coordination disorder. She classifies similar disorders that arise 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 absence of voice) is caused, as a rule, by bilateral myopathic paresis, i.e. paresis internal muscles of the larynx(Fig. 24). In this case, insufficient closure of the vocal folds periodically occurs. (hypokinesis). They occur with certain infections (flu, diphtheria, etc.), as well as with severe voice strain. The muscles that narrow the vocal folds suffer. With functional disorders of the internal muscles of the larynx, the damage affects one muscle, more often one pair of muscles (since almost all of them are paired).
At hypotension The vocal folds do not completely close at the moment of phonation; a gap remains between them, the shape of which depends on which pair of muscles is affected. Voice pathology can manifest itself from mild hoarseness to aphonia with symptoms of vocal fatigue, tension and pain in the muscles of the neck, back of the head and chest.
The voice with this pathology is weak, quiet, and fading. The strength of the voice is constantly changing. There are no voice modulations, and pitch changes are not available. Phenomena of detonation and tremor are observed. Breathing is shallow and rapid. The exhalation is short and weak. Rapid depletion of expiratory force during speech.
^ Hypertonic (spastic) voice disorders are associated with increased tone of the laryngeal muscles, with a predominance of tonic spasm at the time of phonation. In this case, closing of the vocal folds is observed. The reasons for their occurrence are not fully understood, but spasmodic dysphonia and aphonia develop in people who force their voice.
The voice with this disorder is rough, often hoarse, “choked.” There are no arbitrary voice modulations. Breathing is shallow, chaotic, no coordination: rapid inhalation, short, convulsive exhalation. The clavicular type of breathing predominates. 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 muscles of the shoulder girdle (when the lungs are filled with air), a compressed guttural sound is produced, which leads to fatigue of the vocal folds, and sometimes to aphonia.
Hypertonicity may involve vocal and vestibular folds. When trying to phonate, the voice either does not arise at all, or a sharply distorted, dull sound appears. Sometimes there is a lack of closure of the vocal folds (hypotonicity) with tense closure of false folds (hypertonicity). The resulting specific rough, monotonous sound is called false folded.
False fold 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, completely covering 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 experiences voice loss 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, ringing, “flying” voice and consolidating 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) development of the strength and duration of the voice;
D) development of the melodic-intonation side of speech;
E.V. Lavrova notes in her works that restoring the voice with phonopedic exercises is, first of all, functional training of the vocal apparatus, as well as developing the skills of correct voice production with minimal 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) Staging physiological and phonation breathing.
Training the muscles of the vocal apparatus in order to coordinate their work,
Voice exercises.
Automation of correct phonation with vocal exercises.
During the first conversation, you need to explain to the patient the essence of his voice disorder, introduce him in an accessible form to the mechanism of voice formation, and then briefly outline the method of restoration work. The patient needs
convince of the effectiveness of phonopedic classes, instill hope for success, demonstrate patients with already restored voices (the author considers this technique the most convincing). At the same time, it should be explained to the patient that without his active involvement in classes, restoration of lost voice function is impossible. In addition, the patient must know exactly why the phonopedist is giving him this or that exercise. If the student approaches the classes consciously, he will accurately and clearly carry out all the phonopedist’s instructions, and the classes will be effective. Such explanations should be constantly present throughout the entire recovery period. It must be especially emphasized that it is not enough to explain the techniques of voice production to the student, you need to be able to demonstrate them on yourself. At each lesson, the phonopedist must demonstrate voice production techniques himself. After each exercise, the phonopedist must monitor the sound of the voice while talking with 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 production is automated as quickly as normal sounding. Classes should be conducted only under the supervision of a phonopedist, since a person cannot hear himself, since sound and bone conduction are present in the body.
Lessons should only be individual, otherwise neither the teacher nor the student will be able to hear each other and correctly transmit sound into the “mask”.
You can give exercises for independent practice after they have been worked out by the patient together with a phonopedist.
The task of phonopedic classes is to destroy incorrect conditioned reflex connections and create new physiologically correct skills. This is accomplished by developing the coordinated work of breathing, voice guidance and articulation (muscular formation of speech sounds). The training process is carried out comprehensively. 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 units. Any exercise offered to the student must obey the same initial principles, which are breathing support and 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 lose their voices much faster than was the case with the old Italian masters.
S. Gromov believes that “modern teachers do not teach to play a voice instrument made by the Lord God, but try to correct its imperfections.”
In his work on proper breathing during phonation, S. Gromov notes the following: “The task of a singing teacher should be reduced to facilitating labor during singing, which cannot be achieved by [using] various unnatural techniques, which often threaten not only the voice, but also the general condition health.
There are teachers who resort to mechanical techniques to develop voice and breathing using a spirometer, pneumograph, placing heavy objects on the stomach and chest, bending a cane with the stomach, etc. This is the most dangerous teacher, because 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 the most terrible enemy for sound is breathing. Breath, used correctly, becomes a friend, incorrectly - an enemy. The singer should expend only the amount of air necessary to produce sound, and no more.
Success can only be achieved through constant voice exercises. The main secret of singing is the ability to sing with little breath. This is the whole secret of getting the sound right.”
M. Garcia stated: “It is impossible to be a good singer without possessing the art of controlling your breathing.”
Prof. Rubin: “A skillful singer is recognized by the way he saves and spends his breath.”
Strengthened, orderly breathing activity, revitalizing the body, improving metabolism, causing a healthy appetite and restful sleep, all of 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 when the body, of which it is a part, is in a healthy state. 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 the medicinal products of all pharmacies together can provide.”
Berlin prof. Eulenburg writes: “How often we doctors have to prescribe improved, strengthened 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
Doctors L. Brown and E. Behnke, speaking in detail about breathing,
state: “Improper breathing in nine cases out of ten is the cause of nervous, throat, and pulmonary diseases.”
Dr. Niemeyer, in his book The Lungs, points out holding the breath after a deep inhalation as the best remedy to maintain healthy lungs, digestive organs, blood and nerves. Dr. M. Mackenzie in his book “Singing and Speaking” says: “The art of breathing will only be learned when breathing is automatic, not only during exercise, but also in everyday life. Breathing when singing is the main factor of success; it is the alpha and omega of vocal art. To be able to use the breath correctly means to be a singer. It is not the quantity of exercises that shapes a singer, but the quality and measure of their execution.”
From the above we can conclude that the famous singers attached special meaning exhale, 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 for free singing, “neck flexibility” is necessary, that is, when singing, the neck muscles must be completely relaxed, not tense, in order to give
the ability for the vocal folds to function as nature itself tells them to. Any demands for excessive lowering of the larynx, above or below the normal level, will create stiffness in the outer neck muscles, 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 methods of breathing can be combined in pairs: starting from the thoraco-abdominal, you can move on to the lateral, starting from the lateral to the clavicular. “To take a deep breath, you need to go through all three stages of breathing in turn,” says the author.
This mixture of methods for gaining air will be directly dependent on 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, going through all three types, when one abdominal one is enough; if the musical phrase is longer, then you can take in air using two types of breathing - abdominal and lateral; if the phrase is very large - in all three ways.
“The big secret of singing is the ability to sing with little breath.” The slightest change in the body is enough to interfere with free breathing, such as raising the shoulders, wrinkling the forehead, lowering the head, etc.
Lamperi taught students to recognize supported and unsupported sounds by the sensation of the ear: "Operated Sound" will be metallic, sonorous, full, round, beautiful, energetic, etc.
"Unfeathered Sound" will be liquid, unenergetic, non-metallic, often hoarse and hoarse, i.e. the typical sound of a voice with dysphonia.
Lamperi, as a supporter of the old Italian school, argued: “If the flame of a lighted candle placed in front of the mouth while singing remains motionless, then the expenditure of breath is correct.” The candle flame will fluctuate when poorly closed vocal folds allow excess air to pass through the large glottis, in which case the sound will be “unsupported” and 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 candle flame like a blow, 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 until now, a candle lit and brought to the mouth is the best control of the correctness of the sound emitted by the singer.
A singer who does not know under what conditions a voice can be strong and sonorous always tries to achieve the strength of his voice with the help of a large breathing pressure, and not with the help of the correct functioning of the vocal apparatus. The more such a singer works,
Most of the reasons for overwork and early loss of voice mainly lie in the unnatural functioning of the vocal apparatus. This applies to the entire vocal apparatus: vocal folds, position of the larynx, the way the lungs work, the diaphragm, and improper use of resonators. Incorrect, unnatural functioning of the vocal apparatus leads to rapid loss of voice, so fast that even at school students lose their voices.
B. Weikl teaches that the goal of vocal training is “a natural and relatively beautiful sound of the voice, relaxed and free from unnatural overtones, creating the impression of even fullness from the depths to the very tops of the individual range, optimally using the resonant cavity, that is, everything presented to us by nature resonant spaces that fly and therefore fill the entire hall.” “Academic”, in professional language “optional”, 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 and heard against the background
escort in any room. “Unproduced voices do not have vibration, and therefore a sound rich in overtones. Such singers resort to electronic amplifiers. And the vocal folds, due to improper use, become deplorable,” writes B. Weikl.
In addition, everything depends on the teacher, who, if the voice is incorrectly positioned, 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 work with a young tenor with an unusually beautiful voice. Since Caruso was not a teacher, to his horror, after some time he discovered that his student had irretrievably lost his voice.
The singer Mirolyubov, who had an excellent bass, studied in Italy with a famous professor. During classes, the professor forced the singer to perform falsetto exercises. After these classes, Mirolyubov’s voice completely deteriorated.
“Many teachers follow their own teaching system,” says A. Pola, L. Povarotti’s teacher, “but the only correct method is the one that the student himself masters. It is impossible to impose on a rich voice something contrary to its nature.”
“The teacher and student need “super ears” to listen to each other, and limitless patience to follow all corrections in case of mistakes,” says B. Weikl.
F. Vic demanded from his vocal teacher exquisite taste, good scientific education, a beautiful and developed voice, the finest hearing. After all, the ability to imitate is one of the basic properties of a person.
Violations of the vocal function cannot always be caused only by painful processes in the larynx, but very often - by a singer’s violation of the vocal regime. The author can give the following examples: if a singer sings in a range that is unnatural for him or sings a lot without observing the vocal regime, he will definitely lose his singing voice after some time.
Thus, patient A., possessing an excellent baritone voice, was active in concert activities in addition to opera. In addition, since the range of his voice allowed him to hit higher notes than his voice type allowed, the singer constantly abused it. As a result, he sought help for his loss of voice. By the time of treatment, the patient’s singing voice had ceased to sound at its usual volume for 2 years. During laryngoscopy, non-closure of the vocal folds and slight redness were observed. A picture of obvious phonasthenia. At the same time, the patient had cases of repeated bronchitis. Some time after the phonopedic classes, the lost vocal function was somewhat restored: the singer could sing at concerts and even perform familiar arias.
Laryngoscopy revealed a picture of complete health. It would seem that the singer should have returned to his previous vocal activity, but a slight cold was enough for the voice that had appeared to disappear. Despite the fact that a picture of complete health was observed in the larynx, the singer could not sing the usual notes: the sound of his voice was broken, but there was no hoarseness, and the timbre of his voice did not change. Laryngoscopy revealed 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 spoken speech the voice sounded as usual.
In this case, you will notice that ordinary speech contains the same tones as in singing, but without the usual pitch. Singing a certain sound is carried out by tension and contraction of the vocal folds, which must be maintained throughout the entire duration of the sound, while during speech such muscle tension is not required. Thus, singing puts more strain on the vocal folds than speaking. Such cases have been described in phoniatric practice. Apparently, in addition to visible disturbances that have functional causes, there is a disintegration 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 I always followed the voice mode. The author, based on his own experience, can advise young singers not to waste their voices at empty concerts, since nature allows the vocalist some kind of limit, after using which it is impossible to return the singing voice. Here Husson's neurochronaxial theory comes into its own: everything is regulated by the central nervous system. Sometimes, if the vocal regime is not followed, even if the completely lost mobility of the vocal folds is restored, a person will have a good speaking voice, but will no longer be able to sing.
Some patients who lose their voice after operations that injure the recurrent nerve experience complete closure of the vocal folds years later. It would seem that the voice should sound good, but dysphonia remains. After the phonopedic sessions, 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 from work. During laryngoscopy, the picture was of complete non-closure; the vocal folds, thickened over the entire surface, had a red 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 after losing his singing voice. During laryngoscopy, the vocal folds did not close completely. The glottis was as wide as possible. In the middle part, singers' knots have formed on both folds. Gradually, the singers’ nodules from phonopedic exercises disappeared. The vocal folds closed and he was able to continue to serve.
Singer K acquired the singers knots after intensive rehearsals while recording his album. The singer saw a phonopedist after three operations to remove nodules. The phonopedic sessions helped the patient completely get rid of the relapse of the disease. Currently, re-formation of vocal fold nodules is not observed.
All people in speech professions need to be especially wary of shrill, squeaky, compressed, unstable high-pitched sounds - they are very harmful and unpleasant to the ear. Each person should use a natural voice that is characteristic of him. Finding the natural sound of a voice and teaching how to use it is the main task of a phonopedist and vocal teacher.
People who do not have special vocal training get into monastery church choirs. As a rule, they are busy performing other obediences. 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 vocal regime, as well as the fact that it is necessary to monitor the health of the entire vocal apparatus.
Most often, Church ministers experience functional disorders vote. They are not accompanied by inflammatory or any anatomical changes in the larynx.
^ Disturbances in the closure of the vocal folds may be as follows: they can close very tightly, and then the sound is produced only with the help of a very strong air stream, and it will be sharp and unpleasant. The vocal folds can close after exhalation has already begun, while part of the air escapes when the sound is given, and it becomes hoarse (a sound resembling « X»). If the vocal folds close at the same time as the exhalation begins, the sound will be full and beautiful.
Observing the activity of the larynx, Dr. Barth found that in good singers the larynx constantly changes place when singing. When you inhale, the larynx lowers, when you hold your breath, the larynx stays in the lower position, when you exhale, the larynx rises. These movements occur automatically, depending on the operation of the entire breathing apparatus. According to Dr. Barth, the position of the larynx depends on the lowering of the diaphragm, i.e. the higher the sound, the lower the diaphragm should be,
the stronger its tension should be, the greater the volume of the chest and the amount of air absorbed. Consequently, only correct lower costal breathing gives the correct position of the larynx when singing. Likewise, complete closure of the vocal folds depends on the correct functioning of the diaphragm. If the singer lowers the diaphragm before the sound begins, the vocal folds will not close completely and air will escape in addition to the sound. With spasmodic compression of the diaphragm, the vocal folds will close automatically. If the larynx stands at least a little lower than required for of this sound, then she will be deprived of free movement and there will be no flexibility in her voice. If the larynx lowers artificially, then it is very easy to cross the border. A sense of proportion in the amount of air inhaled or in the depth of inspiration is acquired in phonopedic classes.
The first thing a singer must master is a quick, free, silent breath. Having inhaled, he must hold the air until the sound begins in order to achieve complete closure of the vocal folds and not waste the slightest amount of air in addition to the sound.
In everyday life, when exhaling, the lungs contract relatively quickly, but when singing, this compression should occur as slowly as possible, because the slower the exhalation, the better the singer’s voice. This can be achieved
forcing the diaphragm to rise as slowly as possible. Based on this, you need to 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 chest bone. This is important both acoustically and hygienically.
Acoustically, the airways and chest are important resonators in the production of sound; they make the sound fuller and richer. There will be no full sound of the voice if there is not sufficient subglottic pressure of the air column.
From a hygienic point of view, if you do not keep the chest in a calm state when 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, clergy who conduct long services also need, more than anyone else, to engage in breathing exercises, since only with its help can one achieve complete control over one’s breathing, and therefore improve one’s vocal abilities, since previously it was pointed out that breathing is the basis of the voice.
Correct breathing can only be achieved by performing a series of breathing exercises. The task of a phonopedist (or singing teacher) is to create a conditioned 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 costo-abdominal breathing.
Classes on establishing correct breathing begin with training in a state of rest, since it represents a functional unity with phonation. In this case, you need to ensure that breathing exercises are performed correctly. Any forcing or pressure immediately has a negative effect on the vocal folds. The diaphragm must be able to minimally dose a constant flow of air after inhalation, otherwise the vocal folds will constantly become tired.
Rehabilitation classes begin with an exercise proposed by E.V. Lavrova - “blowing into a harmonica.”
This exercise has a dual purpose: lengthening the exhalation necessary for proper vocalization, and massaging the larynx with an inhaled and exhaled air stream. This technique achieves an increase in the mobility of the vocal folds, since under the influence of the 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, and 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, tightening the diaphragm
while pulling your stomach towards your back. You need to blow slowly, slowly, blowing in and out on the same note. You should start with 30 seconds per session, while taking a break of 45 minutes to 1 hour. Perform the exercise 4-6 times a day. After 2 weeks, you can increase the load to 1 minute. This exercise may make some people feel dizzy. In this case, it is necessary to reduce the load. As the workout progresses, the dizziness goes away. It should be noted that the duration of each inhalation and exhalation on the harmonica at the beginning of classes is significantly shortened even when the exercise does not make it difficult for the patient. Smooth, prolonged inhalation and exhalation is achieved gradually with mastery of the skills of correct phonation breathing. At the same time as blowing the accordion, patients perform breathing exercises.
Breathing exercises can be divided into 2 groups:
Exercises to achieve physiologically correct breathing.
Exercises to develop and strengthen the muscles involved in the act of breathing.
Preparatory breathing exercises
Gymnastics
Lie straight on your back, on a flat couch, with your arms extended along your body. Exhale through closed lips, pull your stomach towards your back, hold your breath a little; then inhale freely, belly forward, pause for a count of 1-2 (2 seconds). Repeat this exercise 5 times.
Stand straight, holding a stick in your lowered hands, then, inhaling, freely raise your arms above your head and hold them in this position for several seconds, holding your breath at the same time. After this, exhale while lowering the stick onto the back of the neck.
Stand straight, holding your hands behind your back so that one hand covers the other. Inhale - belly forward, exhale - tighten your belly, pause 1-2. When breathing in this position, both the chest muscles and abdominal muscles 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 lightly and freely place your hands on your chest so that your index and middlefingers touch the collarbones, while exhaling. Remain in this position for the entire duration of the exercises. Inhale - belly forward, exhale - tighten your belly, pause 1-2. The exercise is performed 5 times.
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 diaphragm area, so that the ends of the middle fingers touch each other, and inhale.
Standing straight with your arms at your sides and 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 clasp your hands. Remain in this position, holding in the air. Exhale through your nose, while your arms fall freely down.
Standing straight, inhale, rising onto your toes, hold your breath, rest your hands on your sides and, slowly exhaling, squat down, stay for a few seconds in a sitting position and, inhaling, rise and stand on your entire foot.
Exercises to achieve physiologically
Correct phonation breathing
First of all, breathing exercises should produce 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, you should never raise your shoulders, because this incorrect way of breathing does not use the diaphragm in any way, which is ineffective. The resulting tension in the neck, neck and shoulder muscles is transmitted to the larynx, and with it to the vocal folds.
When starting training, you should first check the activity of the diaphragm. To do this, in a lying or standing position, if it is not possible to lie down at the moment, place the palm of your left hand on the area between the chest and abdomen and, after exhaling, inhale, trying not to lift your chest. If your hand rises when you inhale, it means that the diaphragm has lowered and is functioning correctly.
Deep inhalation exercises are important for the coordinated functioning of the entire respiratory apparatus. In addition, singers need to be trained in differentiated inhalation through the mouth and through the nose. When singing, when you need to quickly inhale a large amount of air, breathing through the nose is not enough, so the singer must breathe through the mouth too. In doing so they do:
Inhale through the nose - belly forward (the diaphragm lowers, and fresh air completely fills the lungs, displacing carbon dioxide, which can cause the student to feel dizzy.) Then exhale air through the mouth, through closed lips; after exhalation, be sure to pause for a count 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 1 nostril - exhale through 2 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 must be at least 3 hours. You need to perform the entire complex no more than 2 times a day. After approximately 15-20 days, the student will begin to 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 sucked in). Then hold it for a few seconds and release it through your 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 some of it. In this case, you need to pay attention to the expansion of the intercostal muscles, the work of the diaphragm (excursion of the diaphragm: lower, protruding the stomach when inhaling and pulling up, drawing in the stomach when exhaling).
3. While 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 air very slowly through the mouth, pressing the upper jaw to the lower lip so that we hear a sound close to "F". In this case, you need to pay attention to the expansion of the respiratory apparatus when inhaling and to the work of muscles when exhaling.
Exercises 2 and 3 were done every day by the student of Porpora and Bernachi, the famous singer Farinelli (outstanding Italian singer XVIII