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r is to set the column of still air in the throat - and also that in the windpipe – in vibration”. The vibratory element of the larynx consists of a highly skilful compromise on the part of nature which enable the opera singer to phonate without interfering with the breathing capacity (Kelsey, 1950: 66). This vibration is a function of the larynx; a device similar to the diaphragm of a sound-system speaker, is the anatomical device through which the sound is created while simultaneously allowing the singer to continue breathing through the same gap (or slit) by which the airflow is controlled. This control is the output of extensive skill learning, disciplined practise and deliberate conscious control (Kelsey, 1950: 66-67).

Structure and Function – Resonator / Supraglottic Activity

The word resonator refers to an apparatus for increasing the resonance of sound (Longman, 1980:942). For the purpose of this study, the word “resonance” can be defined as secondary vibrations produced by sound waves from another vibrating body (Lessac, 1997:13). He also distinguishes between two types of resonance, namely direct or enforsed resonance and indirect or sympathetic resonance. Direct resonance occurs when a vibrating body is placed in direct physical contact with another substance. For the opera singer direct resonance could be the sound resonating with the outer surfaces of your teeth. Indirect resonance occurs when the sound waves of a vibrating body set up vibrations in a substance some distance away. Sympathetic resonance occurs as the vocal sound waves, travelling through air space from the vocal folds, make contact with the hard pallet and then with the nasal bone (Lessac, 1997:13). The ability to resonate can therefore be described as the amplifying of the human voice. This amplifying can be divided into three sections, including the air contained in the lungs and windpipe, the air contained in the throat and, that contained in the suprapalatal cavity. Each of these can be seen an air-conditioner.

Classical Technique (sit nog iets in of haal uit, PL)

“In popular usage, art or ‘serious’ music as opposed ‘popular’ music” The Harvard Concise Dictionary of Music and Musicians.

CHAPTER 2: The Good Voice in Classical Singing

Before the good voice can be discussed, the anatomy of voice production needs to be clarified in short. Lessac (1997:14) defines the term “voice box” of “human sound box” as the cavity or enclosure where the tone is strengthened, amplified and enriched by resonance and wave reflection. According to Lessac, the voice box comprise two areas: a major adjustable area right above the larynx and the oral cavity and nondadjastable area in the pharynx, the nose, the forehead and adjacent structures. This soundbox can be describe as the singing meganism of which all the parts interdependent of each other, eah of which plays a crucial role in producing the good voice.

The “good voice” as defined in par 1.1 takes years of concentrated training. This focus on singing technique is the primary focus of most singers’ studies” (Gilfrey, 2007:1). A whole voice approach is beneficial for both singer and actor; however actor training programs don’t in本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。