The speaking voice

Abstract

Richard Miller: There are many aspects about the singing voice that are related to the speaking voice. One thing is that the spatial arrangements of the vocal tract can be improved to produce the ring by several elements, such as a constantly low laryngeal position, a lowered tongue, a raised velum, etc. I think there 's no doubt that there is ample proof of that, but I would like to also suggest that it's quite possible that in these considerations we might overlook the fact that it's not the absolute dimension of any given resonator which produces perhaps the ideal phonation, but the combination of those resonator chambers. That may be particularly true in the singing voice, perhaps more than in the actor's voice. However, we hear that there must not be a raised tongue position, but yet we know that we cannot see the back of the throat with all vowel sounds. If you keep the tongue in a low position when you're saying ee , you're probably not going to get an e e vowel. So it seems that we have to be somewhat cautious in techniques which attempt to individual parts of the mechanism, so that we do not obscure the fact that it is indeed a unified action. Rubin: Yes, that's a very important point. I certainly agree with it. And perhaps the word maneuver is a kind of dangerous one to use ever. But I wanted to just point out that the reason these exercises exist is to show the actor the possibilities of placements, and then he will select what he needs for the task at hand. Never keep that tongue completely depressed or we would all walk around with