La resonancia del cante flamenco: un estudio acústico y comparativo con el canto clásico

Abstract

In a singeŕs vocal assessment it is not sufficient to diagnose the existence of resonance without also specifying its quality. A resonated voice has a broad harmonic content and can be achieved in many ways. ObjectiveTo analyze and validate Alfredo Krausśs hypothesis on the use of paranasal sinuses by flamenco singers, in order to naturalize voice sound, also called “/i/ technique”, equalizing all sounds based on this vowel. We translated this hypothesis into acoustic parameters using Singing Power Ratio (SPR) as a resonance measure of different vowels. MethodParticipants were divided into: a)Flamenco Experimental Group (FEG), 23 flamenco singers recruited from the Cristina Heeren Foundation in Seville, Garrotín Flamenco School and Reina Sofía Flamenco School in Granada, and b)Classical Control Group (CCG), 21 classical singers from the Cristobal de Morales conservatory in Seville and Victoria Eugenia conservatory in Granada. All the participants had over 2 years of experience. The SPR was calculated in sustained phonation tasks using Fast Fourier Transformation (FFT) algorithm for the vowels /a/, /i/, /u/. A comparative assessment between the groups was made using ANOVA. ResultsSignificant differences were found only in /i/, where the FEG obtained higher resonance values than CCG (up to 7bB difference). ConclusionsSound support in the vowel /i/ indicates how flamenco singers place vocal tract to amplify voice sound during singing, as Krauss suggests. Therefore, flamenco singers’ resonance technique differs from the classical.