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The myoelastic theory states that when the vocal cords are brought together and breath pressure is applied to them, the cords remain closed until the pressure beneath them, the subglottic pressure, is sufficient to push them apart, allowing air to escape and reducing the pressure enough for the muscle tension recoil to pull the folds back together again.
Janwillem van den Berg (26 November 1920 in Akkrum – 18 October 1985 in Groningen) was a Dutch speech scientist and medical physicist who played a major role in establishing the myoelastic-aerodynamic theory [1] of voice production.
The Myoelastic-Aerodynamic Theory of Phonation. [4] Denver, CO 80204: National Center for Voice and Speech (2006). Titze, I.R. Principles of Voice Production. Englewood Cliffs, NJ: Prentice Hall (1994). Reprinted by the National Center for Voice and Speech, Denver, CO 80204 (2000). Translated into Chinese, German, Japanese and Portuguese. Titze ...
The physician and court singer Giovanni Camillo Maffei was the first writer on vocal pedagogy to incorporate knowledge of the physiology of the voice into a theory of singing in his treatise Discorso delta voce e del modo d'apparare di cantar di garganta, and Scala naturale, overo Fantasia dolcissima, intorno alle cose occulte e desiderate ...
Vennard’s collaboration with Janwillem van den Berg resulted in his film Voice Production: the Vibrating Larynx. Winning several awards, including best medical research film from a festival in Prague in 1960, it shows the anatomy and physiology of voice production in the excised larynx. He was a pioneer in the science of singing and in voice ...
Regularly, the question arises of how one should use one's voice to minimize tiring in the vocal organs. This is encompassed in the study of vocology, the science and practice of voice habilitation. Basically, a normal, relaxed way of speech is the optimal method for voice production, in both speech and singing.
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As vocal fold vibration is a foundation for vocal formants, this presence or absence of tissue layers influences a difference in the number of formants between the adult and pediatric populations. In females, the voice is three tones lower than the child's and has five to twelve formants, as opposed to the pediatric voice with three to six.