| Foreword |
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xi | |
| Preface |
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xiii | |
| About the Author |
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xvi | |
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1 | (2) |
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2 | (1) |
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3 | (6) |
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3 | (1) |
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3 | (1) |
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4 | (1) |
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Voice Source Harmonic Characteristics |
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4 | (3) |
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5 | (1) |
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6 | (1) |
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7 | (1) |
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7 | (1) |
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Take-Away Message for Harmonics |
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7 | (2) |
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3 Overview of the Changing Theories of Vocal Resonance |
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9 | (2) |
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9 | (1) |
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Coupled Helmholtz Resonators |
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9 | (1) |
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Linear Source-Filter Model |
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10 | (1) |
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Non-Linear Source-Filter Model |
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10 | (1) |
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11 | (9) |
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11 | (1) |
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11 | (1) |
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12 | (1) |
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12 | (3) |
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12 | (1) |
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13 | (1) |
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The Roles of the First Formant |
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13 | (1) |
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Depth or Fullness of Timbre |
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14 | (1) |
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Openness-Closeness Dimension of Vowels |
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14 | (1) |
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Harmonic Interactions with the First Formant |
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15 | (1) |
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The Roles of the Second Formant |
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15 | (2) |
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15 | (1) |
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Front-Back Dimension of Vowels |
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16 | (1) |
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Second Formant Strategy for Male Upper Voice |
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16 | (1) |
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Singer's Formant Cluster (SFC) |
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17 | (1) |
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Relationship of the SFC to Vocal Fetch |
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17 | (1) |
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Relationship of the SFC to Resonance Balance and Interactivity |
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17 | (1) |
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Effect of the Piriform Sinuses |
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18 | (1) |
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Sound Transfer Characteristics of the Vocal Tract |
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18 | (1) |
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Locating Formants Relative to the Keyboard |
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18 | (2) |
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5 Harmonic/Formant Interactions |
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20 | (12) |
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Harmonic/First Formant Interactions |
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20 | (1) |
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Possible Formant/Harmonic Interactions |
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20 | (1) |
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Timbral Opening and Closing |
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21 | (1) |
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21 | (1) |
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21 | (1) |
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22 | (1) |
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23 | (1) |
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23 | (1) |
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24 | (1) |
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25 | (1) |
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25 | (1) |
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26 | (1) |
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27 | (1) |
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Resonance Strategies between Turning and Whoop |
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27 | (3) |
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Lowering F1 through Active Vowel Modification |
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28 | (1) |
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Maintaining Vocal Tract Shape |
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28 | (1) |
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Raising F1 through Vowel Opening |
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28 | (1) |
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Second Formant Strategies |
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29 | (1) |
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First Formant Tracking of H1 (F1 /H1) |
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30 | (2) |
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6 Female/Treble Voice Resonance Strategies |
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32 | (5) |
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Middle Voice Challenge of Open Vowels |
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33 | (1) |
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34 | (1) |
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34 | (1) |
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Examples of F1/H1 Tracking |
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35 | (2) |
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7 Male Passaggio Training |
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37 | (12) |
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Male Passaggio Objectives |
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37 | (4) |
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A Stable Laryngeal Position and Tube Length, and a Convergent Resonator |
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37 | (1) |
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Dynamic Laryngeal Registration |
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38 | (1) |
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Familiarity with Vowel Turning |
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39 | (1) |
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40 | (1) |
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Vowel Integrity with Appropriate Vowel Modification |
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40 | (1) |
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Maintenance of Chiaroscuro Timbre |
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40 | (1) |
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Vowel Modification Revisited |
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41 | (2) |
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Non-Linear Source-Filter Theory Revisited |
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43 | (1) |
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44 | (1) |
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45 | (1) |
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Secondary Acoustic Registration Events |
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45 | (1) |
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Handling the Zona di Passaggio |
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46 | (1) |
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Summary of Acoustic Events Surrounding the Male Zona di Passaggio |
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47 | (1) |
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Registration and Expression/Artistry |
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48 | (1) |
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8 Perceptions of Turning Over |
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49 | (10) |
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Perception of Vowel and Timbre |
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49 | (1) |
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Perception of Tonal Sensation |
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50 | (1) |
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Perception by Voice Type and Vowel |
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51 | (1) |
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Difference in Effect Between Active and Passive Modification |
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51 | (1) |
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Perception of Turning in a Deeper Voice |
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52 | (1) |
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Effect of Approach by Leap |
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53 | (1) |
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54 | (2) |
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Timbral Openings and Closings Other than F1/H2 |
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56 | (3) |
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9 Pedagogic Implications of Tube Acoustics |
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59 | (4) |
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59 | (1) |
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Acoustic Strategies Across Range |
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60 | (3) |
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10 Pedagogic Strategies that Encourage Tube Stability and a Convergent Resonator |
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63 | (5) |
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63 | (1) |
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64 | (1) |
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Lowering the First Formant Frequency |
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64 | (1) |
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Remapping the Throat and Tongue |
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64 | (1) |
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Monitoring Tube Length Stability |
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65 | (1) |
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Efficiency of Articulation |
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65 | (1) |
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Use of Affect to Position and Stabilize the Resonator |
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66 | (1) |
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Tonal "Placement" Sensations |
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66 | (1) |
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Second Formant "Placement" Sensations |
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67 | (1) |
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11 The Acoustics of Belting |
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68 | (6) |
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Yell Characteristics Reviewed |
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68 | (1) |
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Belting: The Skillful/Yell or Call |
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69 | (2) |
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Muscular Factors in Belting |
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71 | (3) |
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71 | (1) |
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71 | (1) |
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72 | (1) |
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Breath Management Factors |
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72 | (2) |
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74 | (7) |
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74 | (2) |
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Connecting Terms with Acoustic Strategies |
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75 | (1) |
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Timbral Terminology: Close or Closed |
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76 | (1) |
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77 | (3) |
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Vibrational Modes versus Head and Chest |
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77 | (2) |
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79 | (1) |
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80 | (1) |
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81 | (9) |
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81 | (5) |
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82 | (2) |
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Intermediate Explorations and Refinement |
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84 | (2) |
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86 | (4) |
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90 | (3) |
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90 | (1) |
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90 | (1) |
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91 | (1) |
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91 | (1) |
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The Problem of Micromanagement |
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92 | (1) |
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15 Laryngeal Registration Revisited |
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93 | (3) |
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93 | (1) |
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Downstream Resisters and Semi-Occluded Vocal Tracts |
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94 | (1) |
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Motivating Laryngeal Stability |
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94 | (1) |
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Laryngeal Registration Goals |
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95 | (1) |
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16 Instructional Technology |
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96 | (8) |
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The Madde Voice Synthesizer |
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96 | (1) |
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97 | (1) |
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Madde and Modes of Phonation |
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97 | (1) |
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97 | (1) |
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97 | (1) |
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98 | (1) |
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99 | (1) |
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100 | (1) |
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100 | (2) |
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102 | (2) |
| Definitions |
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104 | (12) |
| Abbreviations |
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116 | (1) |
| Appendix 1 Madde Explorations |
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117 | (7) |
| Appendix 2 Approximate Fl Locations by Voice |
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124 | (2) |
| Appendix 3 Events Surrounding the Male Passaggio |
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126 | (1) |
| Appendix 4 Recorded Exercise Examples |
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127 | (1) |
| Appendix 5 Youtube Examples |
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128 | (2) |
| Selected References |
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130 | (3) |
| Index |
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133 | |
