Analysis of the glottal and supraglottal configuration and acoustic data in countertenor singing

Detalhes bibliográficos
Autor(a) principal: Cruz, Tiago Lima Bicalho
Data de Publicação: 2021
Outros Autores: Loureiro, Mauricio Alves
Tipo de documento: Artigo
Idioma: por
Título da fonte: Per Musi
Texto Completo: https://periodicos.ufmg.br/index.php/permusi/article/view/25951
Resumo: Singers perform different vocal adaptations to sing both lyrical and popular music. The mechanism M1 (modal register) is predominant, but a small portion uses the mechanism M2 (falsetto register). In the lyrical singing, it is the countertenor who makes this peculiar vocal emission. The present study analyzed through nasofiberscopic, glottic, and supraglottic adjustments performed by countertenors, as well as the presence and level of the singer’s formant. The tasks (two interval leaps - a minor sixth and a perfect fourth – and a crescendo in sustained note) were taken from an aria by Georg Friedrich Haendel. During the crescendo, a lowering of the larynx and pharyngeal widening were observed; pharyngeal constrictions and laryngeal elevation were observed in both leaps executions; no glottal chink or air leak were detected. Singer’s formant was identified on all subjects. Professional countertenors performed better than non-professional because they had a higher level of singer's formant and, supralaryngeal adjustments that favor vocal emission with less constrictions and a higher degree of larynx lowering, therefore compatible with better vocal emission.
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spelling Analysis of the glottal and supraglottal configuration and acoustic data in countertenor singingAnálisis de la configuración glotal y supraglotal y de los datos acústicos en el canto del contratenorAnálise da Configuração glótica e supraglótica e dados acústicos no canto do contratenorCountertenorsVoiceSingingLaryngeal adjustmentsSinger's formContratenoresVozCantoFalseteFormante do CantorContratenorCantoVozFalseteFormante del CantanteSingers perform different vocal adaptations to sing both lyrical and popular music. The mechanism M1 (modal register) is predominant, but a small portion uses the mechanism M2 (falsetto register). In the lyrical singing, it is the countertenor who makes this peculiar vocal emission. The present study analyzed through nasofiberscopic, glottic, and supraglottic adjustments performed by countertenors, as well as the presence and level of the singer’s formant. The tasks (two interval leaps - a minor sixth and a perfect fourth – and a crescendo in sustained note) were taken from an aria by Georg Friedrich Haendel. During the crescendo, a lowering of the larynx and pharyngeal widening were observed; pharyngeal constrictions and laryngeal elevation were observed in both leaps executions; no glottal chink or air leak were detected. Singer’s formant was identified on all subjects. Professional countertenors performed better than non-professional because they had a higher level of singer's formant and, supralaryngeal adjustments that favor vocal emission with less constrictions and a higher degree of larynx lowering, therefore compatible with better vocal emission.Los cantantes realizan diferentes adaptaciones vocales para cantar tanto música lírica como popular. Predomina el registro modal, pero un pequeño número de ellos utiliza el registro de falsete. En el canto lírico, los contratenores son los que realizan esta peculiar emisión vocal. El presente estudio analizó, mediante el método de fibronasolaringoscopia, los ajustes glotales y supraglotales realizados por los contratenores, además del nivel y la presencia del formante del cantante. Las tareas (dos saltos de intervalo -sexta menor y cuarta justa- y un crescendo en nota sostenida) fueron tomadas de un aria. En el crescendo se observó un descenso laríngeo y una ampliación faríngea; en los saltos se observaron constricciones faríngeas y elevación laríngea; no se detectó hendidura glótica ni fuga de aire. El formante del cantante fue identificado en todos los sujetos. Los contratenores profesionales obtuvieron mejores resultados que los estudiantes por presentar el formante del cantante a un nivel de amplitud mayor y ajustes supralaríngeos que favorecen la emisión vocal con menores constricciones y mayor descenso de la laringe, por tanto compatible con una mejor emisión vocal.Cantores realizam diferentes adaptações vocais para cantar tanto música lírica quanto popular. O mecanismo M1 (registro modal) é predominante, mas uma pequena parcela utiliza o mecanismo M2 (registro falsete). No canto lírico são os contratenores que fazem essa emissão vocal peculiar. O presente estudo analisou através de fibronasolaringoscopia, ajustes glóticos e supraglóticos realizados por contratenores, além da presença e do nível do formante do cantor. As tarefas (dois saltos intervalares - sexta menor e quarta justa – e um crescendo em nota sustentada) foram extraídos de uma ária de Georg Friedrich Haendel. No crescendo observou-se abaixamento de laringe e alargamento faríngeo; constrições faríngeas e elevação laríngea foram observadas em ambas as execuções dos saltos; não foi detectado nenhuma fenda glótica ou escape de ar. O formante do cantor foi identificado em todos os sujeitos. Contratenores profissionais tiveram melhor desempenho do que os não profissionais por apresentar em maior nível de amplitude o formante do cantor e ajustes supralaríngeos que favorecem a emissão vocal com menores constrições e maior abaixamento de laringe, portanto compatíveis com uma melhor emissão vocal.Universidade Federal de Minas Gerais (UFMG)2021-06-14info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionTextTextinfo:eu-repo/semantics/othertext/xmlapplication/pdfhttps://periodicos.ufmg.br/index.php/permusi/article/view/2595110.35699/2317-6377.2020.25951Per Musi; No. 40 (2020): Thematic Session: Computing Performed Music; 1-19Per Musi; Núm. 40 (2020): Thematic Session: Computing Performed Music; 1-19Per Musi; n. 40 (2020): Thematic Session: Computing Performed Music; 1-192317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGporhttps://periodicos.ufmg.br/index.php/permusi/article/view/25951/37655https://periodicos.ufmg.br/index.php/permusi/article/view/25951/27340Copyright (c) 2021 Per Musihttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessCruz, Tiago Lima BicalhoLoureiro, Mauricio Alves2023-05-05T19:42:35Zoai:periodicos.ufmg.br:article/25951Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2023-05-05T19:42:35Per Musi - Universidade Federal de Minas Gerais (UFMG)false
dc.title.none.fl_str_mv Analysis of the glottal and supraglottal configuration and acoustic data in countertenor singing
Análisis de la configuración glotal y supraglotal y de los datos acústicos en el canto del contratenor
Análise da Configuração glótica e supraglótica e dados acústicos no canto do contratenor
title Analysis of the glottal and supraglottal configuration and acoustic data in countertenor singing
spellingShingle Analysis of the glottal and supraglottal configuration and acoustic data in countertenor singing
Cruz, Tiago Lima Bicalho
Countertenors
Voice
Singing
Laryngeal adjustments
Singer's form
Contratenores
Voz
Canto
Falsete
Formante do Cantor
Contratenor
Canto
Voz
Falsete
Formante del Cantante
title_short Analysis of the glottal and supraglottal configuration and acoustic data in countertenor singing
title_full Analysis of the glottal and supraglottal configuration and acoustic data in countertenor singing
title_fullStr Analysis of the glottal and supraglottal configuration and acoustic data in countertenor singing
title_full_unstemmed Analysis of the glottal and supraglottal configuration and acoustic data in countertenor singing
title_sort Analysis of the glottal and supraglottal configuration and acoustic data in countertenor singing
author Cruz, Tiago Lima Bicalho
author_facet Cruz, Tiago Lima Bicalho
Loureiro, Mauricio Alves
author_role author
author2 Loureiro, Mauricio Alves
author2_role author
dc.contributor.author.fl_str_mv Cruz, Tiago Lima Bicalho
Loureiro, Mauricio Alves
dc.subject.por.fl_str_mv Countertenors
Voice
Singing
Laryngeal adjustments
Singer's form
Contratenores
Voz
Canto
Falsete
Formante do Cantor
Contratenor
Canto
Voz
Falsete
Formante del Cantante
topic Countertenors
Voice
Singing
Laryngeal adjustments
Singer's form
Contratenores
Voz
Canto
Falsete
Formante do Cantor
Contratenor
Canto
Voz
Falsete
Formante del Cantante
description Singers perform different vocal adaptations to sing both lyrical and popular music. The mechanism M1 (modal register) is predominant, but a small portion uses the mechanism M2 (falsetto register). In the lyrical singing, it is the countertenor who makes this peculiar vocal emission. The present study analyzed through nasofiberscopic, glottic, and supraglottic adjustments performed by countertenors, as well as the presence and level of the singer’s formant. The tasks (two interval leaps - a minor sixth and a perfect fourth – and a crescendo in sustained note) were taken from an aria by Georg Friedrich Haendel. During the crescendo, a lowering of the larynx and pharyngeal widening were observed; pharyngeal constrictions and laryngeal elevation were observed in both leaps executions; no glottal chink or air leak were detected. Singer’s formant was identified on all subjects. Professional countertenors performed better than non-professional because they had a higher level of singer's formant and, supralaryngeal adjustments that favor vocal emission with less constrictions and a higher degree of larynx lowering, therefore compatible with better vocal emission.
publishDate 2021
dc.date.none.fl_str_mv 2021-06-14
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Text
Text
info:eu-repo/semantics/other
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/25951
10.35699/2317-6377.2020.25951
url https://periodicos.ufmg.br/index.php/permusi/article/view/25951
identifier_str_mv 10.35699/2317-6377.2020.25951
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/25951/37655
https://periodicos.ufmg.br/index.php/permusi/article/view/25951/27340
dc.rights.driver.fl_str_mv Copyright (c) 2021 Per Musi
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2021 Per Musi
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv text/xml
application/pdf
dc.publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
dc.source.none.fl_str_mv Per Musi; No. 40 (2020): Thematic Session: Computing Performed Music; 1-19
Per Musi; Núm. 40 (2020): Thematic Session: Computing Performed Music; 1-19
Per Musi; n. 40 (2020): Thematic Session: Computing Performed Music; 1-19
2317-6377
1517-7599
reponame:Per Musi
instname:Universidade Federal de Minas Gerais (UFMG)
instacron:UFMG
instname_str Universidade Federal de Minas Gerais (UFMG)
instacron_str UFMG
institution UFMG
reponame_str Per Musi
collection Per Musi
repository.name.fl_str_mv Per Musi - Universidade Federal de Minas Gerais (UFMG)
repository.mail.fl_str_mv antoniom@fgvnf.br||permusi@ufmg.br
_version_ 1799711236098621440

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