Respiration, Phonation, and Resonation: How dependent are they on each other? (Kay-Pentax Lecture in Upper Airway Science) Ingo R.

Transcription

1 Respiration, Phonation, and Resonation: How dependent are they on each other? (Kay-Pentax Lecture in Upper Airway Science) Ingo R. Titze Director, National Center for Voice and Speech, University of Utah Professor Communication Sciences and Disorders and the School of Music University of Iowa

2

3 Disclosure Most of the material presented here comes from one new textbook I am an author of this book, but receive no royalties. The National Center for Voice and Speech, a non-profit organization that publishes the book, uses some of the proceeds to produce and conduct outreach materials to the public

4 Topics to be covered Oscillators in speech production physiology and their entrainment The Carrier-modulation principle The maximum power transfer principle for matching impedances Source-filter interaction in resonant voice to strengthen the carrier Applications to voice-speech therapy and voice training (speech of the deaf, Parkinson s, MTD, stuttering, S.D.)

5 Oscillators and their entrainment

6 1. Every anatomical component in the airway has an equilibrium position 2. Equilibrium positions should not be extreme positions 3. In habilitation, we find the best combined equilibrium for all parts 4. We make use of natural oscillations in body parts for efficiency

7

8 Breathing, Valving, Voicing, Sound Resonating, and Articulating Are all cyclic (oscillatory) and can exhibit natural frequencies Are best understood with coupled oscillator theory and the concept of entrainment

9

10 Oscillators The breathing oscillator is most noticed in panting The valving oscillator is most noticed in giggling The articulation oscillators are most noticed in reiterant speech with repeated syllables The voicing oscillator is perceived as tone it s the carrier of the speech or song The pitch oscillator is most noticed in trilling The accent oscillator is noticed in abdominal pulsations, as a belly-laugh The sound resonance oscillator is noticed as a buzz in facial tissues

11 Tube (vocal tract)

12

13 Entrainment of oscillators

14 Breathing and valving oscillators combined with entrainment

15

16 The Carrier-Modulation Principle

17 Some general guidelines Establish a carrier (with an oscillator) that has a high frequency, preferably a sinusoid Modulate the frequency or amplitude such that the carrier never breaks down Keep the modulation frequencies well below the carrier frequency Keep the modulation extent small

18 Modulation

19

20 A Carrier-Modulation Hierarchy for Voice and Speech Training Establish voicing first; it is the carrier for speech and song Breathing is a required severe modulation of voicing Prosody is a friendly modulation Voiced consonants are friendly modulations Unvoiced consonants and consonant clusters are challenging modulations

21 Breath Modulation

22

23 Accent or stress Modulation

24

25 The Accent Method for Voice therapy

26 Modulating the carrier with prosody

27

28 Prosody with A semioccluded vocal tract

29

30 SOVT exercises promote optimal vocal fold adduction

31 The Maximum Power Transfer Theorem

32 Maximum aerodynamic power out of the mouth (as if to blow out a candle)

33

34

35 Acoustic Impedance is a ratio of oscillating pressure to oscillating airflow

36 Maximum power is transferred to the listener when: Glottal impedance = vocal tract impedance

37

38 Vowel /a/ as in hot - male Leakage into Nasal Tract Mouth Pharynx Lips Valleculae Piriform Sinus Epi-Larynx Tube Area Ae Vocal Folds Trachea

39 Epilarynx tube (vestibule) acts like the mouthpiece of a trumpet

40

41

42 Resonant Voice (using the vocal tract to enhance the sound source)

43 Definitions of resonant voice Clinically, it feels easy and there are buzzy sensations in the facial tissues Acoustically, the vocal folds interacts with the vocal tract to produce a stronger sound

44 Resonance between the source and the filter happens in three ways: Glottal airflow has a sharper decline with an inertive vocal tract, which increases vocal intensity Vocal tract pressures help the vocal folds in their vibration A better impedance match between source and filter allows maximum power to be transmitted to the listener

45

46 Supraglottal inertance

47

48 Inertance of a tube = (density of air)*length/area

49

50 Increased inertance of the air column in a narrow tube skews the glottal flow pulse, which makes the voice louder

51 Low inertance High inertance

52 Increased inertance of the air column helps the vocal folds vibrate it lowers the phonation threshold pressure

53 P e = I du dt a P g = a 1 ( Ps Pe ) Pe

54

55

56

57

58 Thoughts about voice and speech therapy

59 Commonalities I have found Daniel Ling proposed the carrier-modulation principle for teaching speech to hearing impaired children Stuttering therapy includes soft onset and optimal adduction (mixed registration) LSVT is based on voice being the carrier, with improved articulation and breathing following improved voicing Vocal function exercises, the Accent Method, LMRVT, all utilize semi-occluded vocal tracts

60 Speech

61

62 The Basic Concepts in SOVT Exercises Stretch the vocal folds Un-press the vocal folds Use the vocal tract to help the vocal folds vibrate

63 Stretch!

64

65 Why do we need to stretch? Stretching tissue is generally healthy Speech crowds us into a small range of fundamental frequencies, and hence into a small range of motion for laryngeal gestures Voicing in speech is designed for communication with articulation rather than communication with vocalization

66 Stretching the vocal folds without injury is best accomplished with semi-occluded vocal tract exercises Phonation into thin straws Lip trills Tongue trills Lip-tongue trills (raspberry, or razz) Bilabial fricatives Humming /u/ or /o/ vowel

67

68 Why an occlusion or semiocclusion? It seems counter-intuitive! A wide open mouth would appear to offer the least resistance to sound transport through the vocal tract, and therefore should be best

69 A favorable acoustic load on the vocal folds for ease of phonation at high pitches

70 maximum vocal fold stretching and high lung pressure without injury

71

72 Phonation into flow-resistant straws and tubes builds up an oral pressure that is felt all the way to the vocal folds

73

74 The pressure helps you Un-press!

75

76 Pressing occurs in two dimensions

77 Pressing at Vocal Processes (LCA muscles) unpressed pressed

78 Pressing with TA muscle

79

80 Phonation with a semioccluded vocal tract separates the vocal folds automatically greater lung pressure produces greater separation

81 Zero oral pressure Oral pressure Vocal tract pressure Lung pressure Lung pressure

82 There is less vocal fold contact by collision

83

84 RESULT: Straw or tube phonation supports mixed register adduction

85 falsetto mixed TA dominant

86 Some straw exercises: Messa di voce Pitch glides Accents Prosody on sentences Songs

87 What semi-occluded vocal tract exercises accomplish They maintain a positive mouth pressure so that the vocal folds are not driven too hard during warm-up or cool-down; they also keep the vocal folds slightly abducted under high lung pressures They allow pitch and lung pressure to be raised to high levels without excessive vocal fold collision They lower the threshold pressure to get vibration started

88 How does phonation with a semi-occlusion transfer to normal and continuous speech?

89 Likely Answer: Semi-occlusion at the mouth may transfer to an equivalent semi-occlusion above the larynx to produce more inertance and a better impedance match

90 For a refresher, go to my YouTube Video

91 Overall Conclusion The source (larynx) can be interactive with the vocal tract they resonate with each other Acoustically, interaction is heightened if some part of the vocal tract is narrow, such as the epilarynx tube; this creates not only vocal ring, but higher overall intensity A semi-occluded vocal tract (at the mouth) is very friendly to a mixed register and hence is very useful for training classical singing

92 Enroll in the Summer Vocology Institute COURSES Principles of voice production Voice habilitation Instrumentation for voice Voice for performers Salt Lake City June 10 July 31,

93 The End

94