Term
Why is voice classification important? |
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Definition
It is important because misclassification can rob a voice of tonal beauty and freedom of production, can cause endless frustration and disappointment, can shorten a career, and can cause vocal damage of varying degrees of permanence. |
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Term
Singing at a pitch level that is either too low or too high creates: |
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Definition
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Term
Why is it important not to make an immediate judgment regarding a student's classification? |
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Definition
Premature concern with classification can result in misclassification, with all its attendant dangers. |
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Term
What is the first essential in singing? |
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Definition
To establish good vocal habits within a limited, comfortable range. |
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Term
Why is it important to first establish good vocal habits within a limited, comfortable range? |
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Definition
When techniques of posture, breathing, phonation, resonation, and articulation have become established in this comfortable area, the true quality of the voice will emerge and the upper and lower limits of the range can be explored safely. |
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Term
The first rule of voice classification: |
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Definition
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Term
The second rule of classification: |
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Definition
Assume that the voice is of medium classification until it proves otherwise. |
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Term
Why should a teacher assume that a voice is of medium classification until it proves otherwise? |
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Definition
Most of the populace is of a medium category, and singing in a medium range is less likely to cause vocal harm. |
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Term
True or false: Medium voices have the same upper and lower limits. |
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Definition
False. There are higher and lower medium voices, and one medium voice might have a much larger or smaller range than another. |
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Term
This will help prevent a teacher from making a harmful misclassification of a voice: |
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Definition
Assuming a medium classification until the teacher gets to know the voice intimately. |
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Term
At the beginning of vocal study, it is more important to a) expand the singer's range or b) establish vocal freedom. |
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Definition
b) establish vocal freedom |
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Term
Why is it more important to develop vocal freedom than try to expand the range of a new singer? |
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Definition
It will lead to better vocal health, with less chance of vocal harm. |
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Term
Why do choir directors have a difficult time correctly placing voices within a choir? |
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Definition
If most voices are of medium classification, then the director will have to place many voices in categories that are too high or too low in order to fill the choir. |
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Term
There are fewer dangers in singing in a range that is too _______ than in singing too _________. |
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Definition
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Term
Why do many students obsess over voice classification, and what problem might this present? |
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Definition
It is considered more in style to be of a higher classification, and it is a popular conception that singers with high voices make more money. Many singers will strive to be of a classification that they are not, and this causes vocal problems. |
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Term
What are the four main considerations for classifying a voice? |
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Definition
1) range 2) tessitura 3) timbre 4) transition points (breaks) |
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Term
What are a few secondary considerations when classifying a voice? |
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Definition
physical characteristics, speech level, scientific testing |
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Term
How many octaves should a professional singer be able to comfortably sing in? |
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Definition
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Term
What percentages of notes sung by a certain classification will lie in the middle two octaves that the singer of that classification should be able to comfortably sing in? |
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Definition
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Term
Practical 12th, ideal 2 octaves, and extreme ranges for a bass: |
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Definition
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Term
Practical 12th, ideal 2 octaves, and extreme ranges for a baritone: |
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Definition
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Term
Practical 12th, ideal 2 octaves, and extreme ranges for a tenor: |
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Definition
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Term
Practical 12th, ideal 2 octaves, and extreme ranges for a contralto: |
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Definition
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Term
Practical 12th, ideal 2 octaves, and extreme ranges for a mezzo: |
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Definition
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Term
Practical 12th, ideal 2 octaves, and extreme ranges for a soprano: |
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Definition
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Term
This is often confused with range. |
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Definition
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Term
What is the difference between range and tessitura? |
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Definition
Range is concerned with the total compass of a voice part or of a singer. Tessitura is concerned with the part of the range which is receiving the most use. It may refer to the voice part itself or how the singer relates to it. |
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Term
True or false: A song can have the same range, but a different tessitura. |
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Definition
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Term
How does a singer with a wide range determine which tessitura they should sing in? |
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Definition
The decision should be made mostly on which range proves more tiring to the singer. |
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Term
If a singer can sing comfortably in two tessituras, the smart decision is to choose the __________ one. |
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Definition
Lower; it is less likely to cause vocal harm. |
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Term
Vocal longevity bears a direct relationship to vocal ___________. |
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Definition
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Term
This is the most intangible criterion used in determining voice classification. |
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Definition
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Term
How does a teacher use timbre to help determine voice classification? |
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Definition
The teacher must hear the voice as it sounds now and picture in their mental ear how it will sound when it is fully developed. To do this, the teacher must recall other voices, other students, desired tonal images, etc. |
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Term
Why is timbre the most risky criterion for new teachers to use? |
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Definition
They do not have an arsenal of tonal memories to call on. |
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Term
True or false: All light, lyric voices are high. |
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Definition
False. There are light mezzos, baritones, etc. |
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Term
True or false: Not all heavy, dramatic voices are low. |
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Definition
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Term
What do terms such as dramatic and lyric primarily refer to? |
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Definition
Size of voice, kind of tone quality, or style of singing...not range. |
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Term
Why are many young or undeveloped voices misclassified as sopranos or tenors? |
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Definition
Because they sound light. |
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Term
These are two classification-related mistakes a student can make that can lead to vocal harm: |
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Definition
Students may misclassify themselves or adopt wrong tonal images. |
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Term
There is a strong correlation between the vocal image a singer adopts and this: |
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Definition
The creation and continuation of most functional and organic voice disorders. |
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Term
Some teachers rely almost exclusively on this to classify voices. |
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Definition
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Term
True or false: The transition points of high, medium, and low voices follow the same sequence, with higher voices having higher transition points and lower voices having lower transition points. |
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Definition
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Term
What is a transition point? |
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Definition
It is generally accepted that most singers have moree or less clearly defined areas in the voice where there is a "register" change, a change of quality, or the necessity for some change in technique. |
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Term
This is a good term for what needs to happen around the breaks in the voice to navigate them successfully. |
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Definition
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Term
The most obvious transition occurs in the _________ part of the female voice and the __________ part of the male voice, but on the same pitches. |
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Definition
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Term
Transition point for contraltos and basses (according to the book): |
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Definition
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Term
Transition point for mezzos and baritones: |
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Definition
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Term
Transition point for sopranos and tenors |
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Definition
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Term
Upper transition point for contraltos: |
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Definition
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Term
Upper transition point for mezzos: |
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Definition
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Term
Upper transition point for sopranos: |
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Definition
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Term
Where does the upper female transition point occur relative to the lower transition point? |
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Definition
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Term
Is the upper or lower transition point more conclusive for categorizing female voices? |
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Definition
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Term
What is the goal for a singer in the transitional areas of the voice? |
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Definition
To learn to camouflage the change until it is almost imperceptible. |
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Term
True or false: All vowels have the same transition points. |
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Definition
False. Front vowels shift sooner. |
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Term
Students who do not accept their real classification may do this in relation to their transition points: |
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Definition
They may adopt the transition points of their desired classification just to prove a point. |
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Term
It is generally better to speak (higher or lower)? |
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Definition
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Term
What are some physical characteristics of singers with high voices? |
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Definition
Round faces, short necks, large chests, and short stature. |
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Term
What are some physical characteristics of singers with low voices? |
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Definition
long faces, long necks, flat chests, and tall stature |
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Term
The relationship between good singing and good ___________ can't be overemphasized. |
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Definition
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Term
It is accepted that _______ ____ ______ is a primary determinant of voice type. |
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Definition
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Term
The most important factor in voice classification is probably: |
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Definition
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Term
Possible dangers of misclassification: |
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Definition
a shortened career, loss of tonal beauty, loss of freedom of production, continuing frustration and disappointment, and the possibility of serious vocal damage. |
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Term
Why might it take years for vocal damage to make an appearance after a voice has been misclassified? |
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Definition
The human voice, especially in early adulthood, is very resilient. |
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Term
Is it possible for a singer who has sung in the same fach for years to see vocal damage? |
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Definition
Yes. Sometimes damage can take a long time to appear, but misclassification will eventually take its toll. |
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Term
Singing in the wrong category, especially too high, can cause this vocal condition. |
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Definition
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Term
Singing above your best tessitura does this to your vocal cords: |
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Definition
Keeps them under unnecessary tension for long periods of time. |
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Term
When is singing at too low a pitch likely to be damaging? |
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Definition
When the singer forces their voice down. |
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Term
This happens when a person sings lower notes correctly. |
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Definition
There is an element of relaxation of subglottic air pressure which permits the vocal folds to vibrate freely. |
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Term
This happens when a singer tries to sing a pitch that is below their singing range. |
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Definition
It will become almost inaudible or will turn to breath. |
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Term
Trying to force the voice to sing lower than its natural range will cause this paradoxical symptom. |
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Definition
The voice will cut off even higher because of the increased breath pressure. |
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Term
The secret to successful low notes: |
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Definition
The relaxation of the support mechanism as the pitch descends |
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Term
With proper singing technique, the singer's voice should hold up until what age? |
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Definition
Well into his 60's or 70's. |
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Term
Four major reasons for a shortened vocal career: |
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Definition
wrong classification, wrong technique, singing too much and too often without proper rest, and health problems. |
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Term
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Definition
The process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. |
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Term
The end result of resonation is: |
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Definition
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Term
Various definitions related to the resonation process include such terms as: |
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Definition
amplification, enrichment, enlargement, improvement, intensification, and prolongation. |
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Term
What are the two basic kinds of resonance? |
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Definition
Sympathetic and conductive |
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Term
What is sympathetic resonance? |
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Definition
The resonator starts functioning because it receives vibrations through the air and responds to them sympathetically. |
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Term
What is conductive resonance? |
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Definition
The resonator starts vibrating because it is in physical contact with the vibrating body. |
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Term
Another name for conductive resonance: |
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Definition
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Term
What are conductive vibrations best used for in singing? |
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Definition
They are good sensation guides for the singer. They provide evidence that the singer's vocal folds are forming strong primary vibrations which are being carried from them to the head and chest. |
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Term
This type of resonance has the most impact on the sound a singer makes: |
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Definition
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Term
Factors that determine the resonance characteristics of a resonator, in which small changes can cause major changes in sound: |
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Definition
Size, shape, type of opening, composition and thickness of the walls, surface, and combined resonators. |
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Term
The larger the resonator: |
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Definition
The lower the frequency it will respond to, the greater the volume of air, and the lower the pitch. |
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Term
Besides the size of the resonator, what factor will affect the pitch? |
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Definition
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Term
A conical resonator does this to the pitch: |
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Definition
Amplifies it indiscriminately. |
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Term
The pitch of a cylindrical resonator is affected primarily by what? |
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Definition
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Term
A spherical resonator will be affected most by these factors: |
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Definition
The amount of opening it has and whether or not that opening has a lip. |
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Term
Two jars have the same volume. One has a large opening, one has a small opening. Which creates a lower pitch when you blow on it? |
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Definition
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Term
Two bottles have the same shape but different sizes. Which creates a lower pitch when you blow on it? |
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Definition
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Term
Three factors that relate to the walls of a resonator that will affect how it functions: |
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Definition
The material it is made of, the thickness of its walls, and the type of surface it has. |
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Term
The harder the surface of the resonator, the ________ selective it will be. |
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Definition
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Term
The softer the surface of the resonator, the ______ ___________ it will become. |
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Definition
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Term
Hardness carried to the extreme in a resonator will create this: |
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Definition
penetrating tone with a few very strong high partials. |
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Term
Softness in the resonator carried to the extreme will result in this: |
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Definition
mushy, non-directional tone of little character. |
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Term
Joining two resonators together results in: |
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Definition
lowered resonant frequency of each in different proportions according to their capacities, their orifices, and so forth. |
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Term
Term meaning two or more resonators joined together. |
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Definition
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Term
Name all of the vocal resonators. |
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Definition
The chest, the tracheal tree, the larynx, the pharynx, the oral cavity, the nasal cavity, and the sinuses. |
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Term
How does the chest resonator affect the vocal sound? |
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Definition
It is not an effective resonator and does not really influence the sound. |
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Term
The vibrating felt in the chest could be called: |
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Definition
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Term
What is the tracheal tree? |
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Definition
The trachea and the bronchial tubes combine to form an inverted Y-shaped structure. It lies just below the larynx and has a definite tubular shape and hard surfaces. |
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Term
True or false: The internal diameter of the tube in the tracheal tree can be increased or decreased to a moderate extent and is under conscious control. |
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Definition
False. It can be increased and decreased, but it is not under conscious control. |
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Term
True or false: The response of the tracheal tree will be the same for all pitches except for its own resonant frequency. |
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Definition
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Term
When the resonance frequency of the tracheal tree is reached, the response of the subglottic tube is to act as: |
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Definition
an acoustical impedance or interference which tends to upset the phonatory function of the larynx. |
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Term
The tracheal tree will continue to impede normal phonatory function of the larynx until: |
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Definition
The singer learns to adjust the supraglottal resonators to compensate for it. |
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Term
True or false: The tracheal tree makes no contribution to the resonance system except for a negative effect around its resonant frequency. |
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Definition
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Term
Why is the larynx considered a resonator? |
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Definition
Even though it is primarily a vibrator, it also is a cavity, even if it is a very small one. |
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Term
The larynx functions only for this type of frequencies, since it is so small. |
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Definition
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Term
Brilliance or ring is this: |
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Definition
A prominent overtone lying between 2800 and 3200 Hertz, with male voices nearer the lower limit and female voices near the upper. |
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Term
The "ring" can also be called: |
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Definition
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Term
This plays an important role in the generation of the singer's formant. |
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Definition
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Term
True or false: The larynx is under conscious control. |
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Definition
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Term
How can the singer's formant or ring be encouraged? |
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Definition
It can be indirectly encouraged by awareness on the part of the student and teacher of the sounds which contain it. |
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Term
Why is the singer's formant required to be heard over an orchestra? |
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Definition
It sits at a frequency that is naturally weak in the orchestra. |
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Term
What is the most important resonator? |
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Definition
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Term
Why is the pharynx the most important resonator? |
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Definition
It is the first cavity of any size through which the product of the laryngeal vibrator passes, and the other supraglottal cavities have to accept whatever the pharynx passes on to them. |
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Term
What are the supraglottal resonators? |
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Definition
The pharynx, the oral cavity, the nasal cavity, and the sinuses. |
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Term
Why is the pharynx ideally suited to function as a resonator? |
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Definition
Its vertical and horizontal dimensions can be increased or decreased, the tension in its walls is highly variable, and the size of the orifices leading to the mouth and nose can be varied, as can the entrance to the larynx itself. |
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Term
Where is the pharynx located? |
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Definition
It extends from the back of the nose down to the larynx and the mouth of the esophagus. |
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Term
This forms the walls of the pharynx. |
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Definition
Three large bands of constrictor muscles (the upper, middle, and lower constrictors). |
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Term
The nasopharynx can be shut off from the rest of the pharynx by the action of: |
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Definition
the upper constrictor and the elevation of the soft palate. |
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Term
The laryngopharynx can virtually be cut off from the rest of the pharynx by: |
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Definition
the juxtaposition of the back of the tongue and the pharyngeal wall. |
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Term
This is the second most important resonator. |
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Definition
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Term
Why does the oral cavity serve as an effective vocal resonator? |
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Definition
Its location, size, and adjustability make it a good resonator. |
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Term
How are the dimensions of the oral cavity manipulated? |
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Definition
By movements of the tongue, soft palate jaw, lips, and the shape of the front and back of the orifice. |
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Term
The main functions of the mouth are to: |
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Definition
form the vocal tone into understandable units by supplying consonants for communication, to get the sound out where it can be heard, and to join with the pharynx in the formation of vowel sounds. |
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Term
What is the most important factor of articulation? |
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Definition
The singer must be able to articulate without spoiling the quality which has been generated in the larynx and resonated by the pharynx. |
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Term
What is one of the most important functions of the oral cavity as a resonator? |
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Definition
To act as a funnel for the projection of sound. |
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Term
This is the third most important resonator. |
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Definition
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Term
What sounds is the nasal cavity essential in? |
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Definition
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Term
The opening between the back of the nose and the back of the mouth is called: |
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Definition
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Term
The only way the singer can change the shape of the nasal cavity is to: |
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Definition
flare the nostrils, although it doesn't change much. |
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Term
The action of this opens and closes the nasal cavity. |
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Definition
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Term
Vibration felt in the nose acts as: |
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Definition
evidence of a good phonatory process and the effectiveness of the pharynx and mouth as resonators. |
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Term
The vibrations felt in the nasal cavity are a ____________, not a __________, of the sound you are producing. |
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Definition
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Term
This is the reason that the sinuses are insignificant as resonators. |
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Definition
Their size, location, minuteness of orifice, and lack of adjustability make it an insignificant resonator. |
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Term
Name the three most important resonators in order of importance. |
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Definition
Pharynx, oral cavity, nasal cavity. |
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Term
The pharynx brings out the _______ partials in the vocal tone, and therefore contribute to tone that can be described in this way: |
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Definition
lower; warm, full, round, rich, or mellow. |
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Term
These two things work cooperatively in the formation of vowel sounds, functioning as combined resonators. |
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Definition
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Term
The larynx should be _____________ _____. |
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Definition
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|
Term
The extrinsic muscles of the larynx perform this task: |
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Definition
They pull up and down on the larynx, stabilizing it. |
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Term
True or false: The larynx should travel up as the pitch travels up. |
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Definition
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Term
A high larynx results in this type of sound: |
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Definition
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|
Term
This is an ideal position for singing and should be cultivated. |
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Definition
Beginning-of-a-yawn position |
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Term
Why should a full yawn position be avoided? |
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Definition
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|
Term
The location of the larynx affects the pharynx in these two ways: |
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Definition
It alters the tension in its walls and and its size. |
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Term
When the larynx is high, the length of the pharynx is: |
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Definition
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|
Term
When the pharynx is high, the walls of the pharynx are made: |
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Definition
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|
Term
When the larynx is high, the horizontal dimensions of the pharynx are: |
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Definition
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|
Term
A high larynx affects the pharynx in these three ways: |
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Definition
Diminishes the length, hardens the walls, and decreases the horizontal dimensions. |
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Term
|
Definition
The resonance abilities of the pharynx. |
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Term
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Definition
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|
Term
Desirable attributes of an open throat: |
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Definition
1. Sufficient size to bring out low partials. 2. Sufficient flexibility to adjust to different pitches coming from the larynx. 3. Sufficient softness to absorb undesirable high partials and respond to a broad range of pitches. 4. Sufficient muscle tone to preserve the character of the tone. |
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|
Term
In order for sufficient space to be maintained in the pharynx, these muscles must not be allowed to take over. |
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Definition
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|
Term
One of the main causes of bad vocal sound: |
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Definition
tensing the constrictor muscles |
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Term
Tensing the constrictor muscles causes this: |
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Definition
hardening of the resonator walls, reduced space, and tension in the vocal folds. |
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Term
Tense constrictor muscles lead to this kind of sound: |
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Definition
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|
Term
The beginning of a yawn position leads to the following positive things: |
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Definition
1. Opens pathway for a noiseless and almost effortless taking of air. 2. Puts the larynx in a comfortably low position without tensing to do so. 3. Increases the size of the throat, especially in the vertical dimension. 4. Relaxes the muscles controlling the articulators, thus freeing them for action. |
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Term
How does the beginning of a yawn position increase the size of the pharynx? |
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Definition
lowers the larynx, gently lifts the soft palate, and relaxes the constrictor muscles. |
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Term
On what vowel does the soft palate assume its highest position? |
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Definition
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|
Term
The soft palate elevates considerably for this type of consonant: |
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Definition
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|
Term
What position should the mouth be in for singing? |
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Definition
Freely open as in the beginning of a yawn with the lower jaw dropping freely open as well. |
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|
Term
True or false: the singer's formant is only present in a few different sounds. |
|
Definition
False. It should be present in all sounds. |
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Term
Since the singer's formant can be present in all sounds, it must be comparatively: |
|
Definition
insensitive to vowel articulation. |
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|
Term
The part of the vocal tract that varies the least with vowel articulation is: |
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Definition
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|
Term
Conditions favorable for the generation of the singer's formant are: |
|
Definition
1. lowering of the larynx 2. widening of the laryngeal ventricle and 3. widening of the pyriform sinuses |
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|
Term
What position is most conducive to the singer's formant? |
|
Definition
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|
Term
Name the two major categories of faults related to resonation. |
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Definition
Faults related to nasal resonance and faults related to the basic harmonic spectrum of a voice (its tone color). |
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|
Term
What are the two faults related to nasal resonance? |
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Definition
1. hypernasality and 2. hyponasality |
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|
Term
How much nasal resonance should be in the voice is a matter of: |
|
Definition
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|
Term
When does true nasal resonance occur? |
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Definition
When the nasal port is open enough for the nasal resonator to exert the predominant influence on the external sound produced. |
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|
Term
Two other names for true nasal resonance: |
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Definition
postnasality and nasal honk |
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|
Term
What causes forced nasality or nasal twang? |
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Definition
A tight, pinched sound which seems to be centered in the nasal cavity. It differs from true nasality because the sound can be produced when the nasal port is closed. It is caused by a constricted pharynx. |
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|
Term
What range is associated with nasal twang? |
|
Definition
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|
Term
What is the difference between nasal honk and nasal twang? |
|
Definition
Nasal honk is the result of a hung soft palate whereas nasal twang is the result of pharyngeal tension. |
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|
Term
Insufficient nasal resonance is said to be: |
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Definition
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|
Term
Best correction for denasality: |
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Definition
|
|
Term
|
Definition
the soft palate doesn't sufficiently close off the nasal cavity and so it predominates on non-nasal sounds. |
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|
Term
What are some steps to take to correct nasal honk? |
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Definition
1. Find out why he's making the sound (former teacher, tonal preference, easier to sing that way, etc). 2. Try to develop a new tonal model. 3. Try to direct his tonal sensations to a new location. 4. Experiment with nasal consonants and plosive consonants. 5. As a last result, substitute nasal twang to teach them a new sensation. |
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Term
Why are plosive consonants helpful in reducing nasal honk? |
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Definition
They require closure of the nasal port. |
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Term
How is nasal twang corrected? |
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Definition
1. Loosen general tension in the body. 2. Use exercises to relax the neck, throat, and jaw. 3. Thy to develop a new tonal model for the student. 4. Direct the student's tonal sensations to a new location. |
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Term
Name the two faults related to tone color. |
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Definition
Too bright (white, forward, or open) and too dark (muffled, swallowed, covered, far back). |
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Term
Both too bright and too dark sound result from: |
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Definition
failure to bring the vocal resonators into proper balance. |
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Term
In a too bright voice, too much emphasis is put on this resonator. |
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Definition
The mouth, not enough on the pharynx. |
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Term
In a too dark voice, too much emphasis is put on this resonator: |
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Definition
The pharynx, not enough on the mouth. |
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Term
Brightness and darkness are not faults in themselves; they become faults when: |
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Definition
a majority would identify the sound as too bright or too dark. |
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Term
Why is "placing" a voice physically impossible? |
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Definition
Sound moves out from its vibrating source in waves, filling any vocal resonator which it has access to. There is nothing in the human mechanism by means of which a singer can place, focus, or throw the sound anywhere. |
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Term
What are factors that cause a too-bright sound? |
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Definition
1. Lack of space in the pharynx due to the action of the constrictor muscles and. or elevation of the larynx. 2. Tension in the walls of the pharyngeal resonator making it too selective. 3. Wrong tonal models. 4. Exaggerated mouth opening, pulling the lips back in a forced smile, or protruding the lips too much. 5. Excessive tension in the muscles of the lips, tongue, jaw, or palatal arches. |
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Term
This fault often occurs along with a too-bright sound. |
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Definition
Hyperfunctional phonation. |
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Term
What are some corrective measures for a too-bright sound? |
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Definition
1. Check posture, breathing, and support. 2. Use exercises to relax and loosen the neck, throat, and articulators. 3. Exercise extensive practice on establishing and maintaining the beginning-of-a-yawn position. 4. Develop a new tonal model. 5. Suggest that he think of a sound that is further back or otherwise calls attention away from the mouth. 6. Imagine a deeper, richer, more dramatic sound. 7. Use back vowels combined with b, m, or j. |
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Term
Too-bright sounds are often associated with this larynx position. |
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Definition
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Term
A too dark sound is placing too much emphasis on this: |
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Definition
The pharyngeal resonator. |
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Term
What factors can cause a too-dark sound? |
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Definition
1. Overuse of the yawning muscles with resulting spread throat and/or depressed larynx. 2. Lack of oral space due to lip, jaw, or tongue position. 3. Wrong tonal models. 4. Flabby surfaces of the pharyngeal walls. 5. Tongue pulled back into the pharynx. |
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Term
Does darkness in a sound come from too much or too little tension? |
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Definition
It can come from either, so it is important to identify the specific cause before correcting it. |
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Term
What should a teacher look for first when a singer makes a too-dark sound? |
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Definition
lack of activity in the articulators, such as failure to move the lips or make any significant mouth opening, which can muffle the sound even when no other faults are present. |
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Term
How does a teacher correct an overly dark sound caused by a lack of movement in the lips or mouth opening? |
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Definition
Call the student's attention to it and require him to practice in front of a mirror. |
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Term
What's the first question a teacher should ask about a too-dark sound? |
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Definition
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Term
If a student's too-dark tone is breathy, what is a good first step? |
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Definition
Work on the phonation problem first. It will often fix the timbre problem. |
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Term
What are other steps to correcting an overly dark tone? |
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Definition
Figure out why he's singing that way, develop a new tonal model, explain that a balanced sound requires a lot of hard palate vibration behind the front teeth and near the back of the palate and seems more centered in the throat. Make sure his tongue isn't being pulled back by having him sing with his tongue out. Exercise him on frontal vowels and rapid articulation exercises. |
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Term
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Definition
The coming together of the vocal folds. |
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Term
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Definition
The separating of the vocal folds. |
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Term
What are the five major controls that govern the vibration of the vocal folds? |
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Definition
1. Adduction 2. Thickness 3. Length 4. Tension 5. Breath (BATTL) |
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Term
What happens if adduction is too tight? |
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Definition
The vocal folds squeeze the glottis, causing a tight, harsh tone. |
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Term
What happens if adduction is too soft? |
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Definition
The vocal folds do not seal the glottis, causing a breathy, limp tone. |
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Term
Thick vocal folds produce: |
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Definition
Slower vibrations, lower pitches, and a more robust tonal quality. |
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Term
Thin vocal folds produce: |
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Definition
faster vibrations, higher pitches, and purer, more floating tone. |
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Term
Vocal cords get longer or shorter to control: |
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Definition
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Term
Long, stretched vocal folds produce: |
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Definition
faster vibrations, higher pitches, and a purer tonal quality. |
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Term
Shorter vocal folds produce: |
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Definition
slower vibrations, lower pitches, and a more robust tonal quality. |
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Term
This is the tension in the vocal folds when they are stretched. |
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Definition
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Term
As the longitudinal tension increases in the cords, they tend to: |
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Definition
vibrate faster and raise the pitch. |
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Term
Breath controls vocal fold vibration through: |
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Definition
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Term
More breath pressure causes ___________ tones while less breath pressure causes _________ tones. |
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Definition
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Term
Too much breath pressure causes the vocal folds to tighten too much to maintain pitch, causing: |
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Definition
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Term
Too little breath pressure causes the cords to tighten, causing: |
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Definition
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Term
How long are the vocal folds? |
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Definition
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Term
Where are the intercostals located? |
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Definition
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Term
What are the two layers of the intercostals called? |
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Definition
External and internal intercostals |
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Term
Which intercostal muscles cause air intake? |
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Definition
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Term
The lungs expand as a result of: |
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Definition
The external intercostals contracting, causing the ribs to move outward. |
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Term
Which are more important to singing: the external intercostals or the internal intercostals? |
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Definition
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Term
The ribs stay open for singing because of these muscles: |
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Definition
The external intercostals |
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Term
The abdomen lies between the: |
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Definition
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Term
The thorax refers to the: |
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Definition
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Term
What separates the abdomen from the thorax? |
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Definition
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Term
Define muscular antagonism |
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Definition
Two muscles pull against each other. |
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Term
How does muscular antagonism influence breath control? |
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Definition
The external intercostals and the abdominals pull against each other. The external intercostals expand the rib cage and the abdominals pull against the open rib cage. |
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Term
What are opposing pressures? |
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Definition
Muscles pushing against each other. |
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Term
How are opposing pressures utilized in breathing for singing? |
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Definition
The diaphragm contracts downward and the abdominals contract, pushing the viscera upward, opposing the downward force of the diaphragm. The diaphragm slowly yields to the viscera, creating a smooth, even outflow of air. |
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