Fundamental Aspects Of Vocal Resonance Education Essay Example

through various bones such as teeth, hard palate, nasal bone, zygomatic bones, sinuses, forehead, braincase, vertebrae and rib cage. When intoning a long "aah" sound, it may seem like there is strong resonance in our head and that our voice is echoing in our nasal and frontal sinuses. However, what actually happens is that the bony structures of our hard palate, teeth and cheekbones pick up these vibrations causing us to feel them at the front of our skull (Christina).Due to the positioning of our soft palate against the back of our throat, there is no column of vibrating air in our nose. This is because our nose and upper head are closed off from the vibrations produced by our voice. According to Sundberg, there are 40 different areas on the body where people can feel these vibrations while speaking. As a result, individuals often mistakenly believe that these sympathetic vibrations originate from resonating chambers located in the top of their head and chest, as these areas produce the most noticeable vibrations.

However, it is important to note that the actual resonating chambers consist only of air passages above the vocal cords. These passages extend from the glottis to the lips. Seikel explains that these vocal resonating chambers can be divided into four sections: oral, buccal, nasal, and pharyngeal cavities. The buccal pit, which can be found between one's teeth and cheeks, is an unspecified part of this vocal resonating chamber (see Appendix 2 for an illustration). It is believed that the unique and harmonious resonance of human voices can be attributed to the intricate characteristics of these pits (Carey 2008:115).

Actors must possess adequate skills in

order to control these pits and master various vocal techniques for different purposes. The "blend" aspect of resonance originates from the nasal pit. Despite its relatively small size and limited structure, it plays a crucial role in producing vibrations at high frequencies and pitch while also adding power to one's voice.

On the other hand, we have the tubular guttural pit which consists of three parts: laryngopharynx, oropharynx,and nasopharynxThe height of the voice box and width of the throat offer flexibility. The oral pit, which is where speech is produced, is the main chamber for resonance. Tongue muscle movement in the floor of the oral pit creates space for vowels and consonants. The anatomy of the hard palate extends to the soft palate and uvula, a movable muscle that separates the oral and nasal pits (see Appendix 3 for an illustration of the anterior view of the oral pit). Articulation occurs in the oral cavity, where sound waves are transformed into spoken words with different meanings and tones. There are two types of articulators: fixed structures such as teeth, alveolar ridges, and hard roof of mouth; and soft roof of mouth, which is a movable articulator that produces various vowel sounds and consonants through muscle movements between throat and nasal passages. However, three distinct nasal consonants are not included. Emotion can also be added to vowels and consonants through articulation, making it an important element for voice practitioners. The tongue has three typical muscular movements: up/backward, down/backward, and up/forward. The position of tongue along with lip rounding determines formants in vowel sounds. Facial muscles from lips to jawline play a role in clarity and precision in

speech.
Consonants are created by closing or partially closing the vocal tract, which disrupts airflow using articulators. The muscles of these articulators are directly influenced by resonance and articulation, both of which have various effects on vibrating spaces (Appendix 7 contains diagrams showing the place of articulation for each sound). Resonance and articulation in terms of their anatomical and physiological aspects demonstrate the complex interaction between these two elements. Actors often face challenges when it comes to mastering both of these elements in voice training. Voice performances in acting differ from everyday speech as they require a wide range of characteristics including endurance, flexibility, emotional expression, and clarity. Overcoming these challenges is crucial for actors as they use their voices to embody characters through color and quality. Establishing a strong connection between voice, body, and breathing is essential for natural and unrestricted vocal expression. In acting, resonance and articulation play significant roles; resonance adds substance and energy to the voice while fully resonating allows for heightened responsiveness and expression of thoughts and emotions. Barbara further emphasizes that effectively working on resonance is necessary for effortless energy production.When it comes to actors, those in training often struggle with developing resonance in their voices, which can lead to projecting unwanted qualities. Failing to master these techniques can result in damaging the voice and requiring treatment. Rodenburg emphasizes the importance of using more resonating chambers for a clearer and easier-to-project voice, as well as employing natural expansion when working in a space. The extent of spacing depends on size and acoustics, so actors must develop strategies to use natural expansion for a more effortless and natural sound. Additionally, actors

must deliver their lines with appropriate expressions simultaneously.

Prolonged rehearsals and intense dramatic roles can leave actors physically exhausted, especially body parts involved in vocal training. Extraordinary dramas like "Medea" and "Hamlet" require actors who possess talents in voice, body language, and emotion. These skilled actors are able to effortlessly amplify the natural resonating chambers without exerting unnecessary effort.

An intriguing aspect of voice training is encountering diverse voices from various actors. As Carey explains, we may be drawn to a speaker's voice based on its sound - quality, color, or tone. Words such as 'rich', 'warm', 'smooth', 'dark', and 'bright' are all used to describe the quality of a voice, which refers to its resonance.Resonance is associated with qualities like "plummy," "nasal," "tight," and even "sarcastic" or "bored." It is important to have access to a wide range of resonating possibilities. Understanding how to adjust your resonance will give you more control over the sound you produce. According to Carey (2008:110,116), the qualities of a voice, such as pitch and colors, depend on the portrayal of resonance. Actors who can possess a wide range of resonating options are able to project desired voices for different dramatic scenes involving diverse settings, places, and characters. Carey also highlights the significance of balancing resonances, which is often overlooked in outdoor settings. When performing outdoors, actors may feel tempted to speak louder; however, this does not align with their character. They must learn to control their nasal and oral resonance in order to project a brighter and clearer voice without needing to shout.

Modern acting requires specialized vocal enhancements such as wireless microphones in film, commercial, and music theater settings where

voices are edited for precise qualities. Nevertheless, it remains the responsibility of actors to blend resonance effectively and deliver their characters convincingly. Stanislavski emphasizes that actors must recognize various factors' importance in order to adequately prepare for their characters. Resonance provides a broader range of vocal options when developing a character.Voice instructors in English-speaking countries play a crucial role in accent training, as the appropriate speech pattern is essential for representing an individual's culture, origin, and personality. When actors perform, they are expected to fluently adapt to three different speech patterns, showcasing their articulation skills. Once actors establish the connection between their voice, body, and breath, they can focus on delivering the words themselves. Words in a play convey significance and specific messages. During preparation, various methods are taught to convey words with deeper inner resonance, impacting how characters are perceived by the audience. Shewell (2009:103) describes 'word make fulling', illustrating how a speaker's voice can make a word 're-sound' with its significance. Vowels bring resonance to spoken words by providing energy and emotions through formants of resonance. This allows actors to explore hidden qualities and connect meanings through establishing and developing resonance. Berry (1987:45) suggests that delivering words with their rational meanings emphasizes vowel length and movement perception along with consonant length and vibration, keeping the language active and muscular.
The placement of our tongue and the shape of the oral cavity influence the tone and intonation we use when speaking. Actors, unlike regular communicators, deliver unique and memorable performances. Gun-young Moon, a 25-year-old Korean actress, has gained recognition for her exceptional dramatic portrayals. However, critics often criticize her lack of transitional skills in connecting

emotionally with characters. Despite this criticism, audience members are still drawn to her emotional performances rather than focusing on character development. The actress herself acknowledges her mistakes and is undergoing training to improve these areas.

To effectively convey texts and messages to audiences, actors must have control over their language and speech. Linklater states that emotions are expressed through voice and breath, while language serves the intellect. Therefore, a balance between emotion and intellect, as well as voice and speech, is necessary for effective communication. The physical aspect of articulation plays a crucial role in achieving this balance by allowing for both emotional and rational expressions during performances.
The proposed 10-week programme in resonance and articulation is aimed at helping students improve their understanding and use of voice. The class has several goals, including teaching students the anatomical and physiological aspects of resonance and articulation related to actors' voices, emphasizing the importance of these skills for actors, helping students recognize their strengths and weaknesses in resonance and articulation, and providing practical exercises to overcome any shortcomings. Throughout the class, interactive activities and creative teaching methods will be used to ensure an effective learning experience. However, due to the limited duration of the program, the main focus will be on developing voice awareness rather than working on specific texts. Student evaluations will occur in weeks 4 and 10 to critically assess their abilities in resonance and articulation. Week 1 will cover foundational topics such as alignment, breathing, and voice using group exercises and quizzes for learning facilitation. Visual materials like DVDs, pictures, press releases will also be utilized to explain key concepts in resonance.The materials in this course

will teach students about the process of vocal folds generating vibrations, which then get amplified in three resonating chambers: pharyngeal, oral, and nasal cavities. Hands-on voice exercises are included to give students firsthand experience with body vibrations. There will be sound recordings to improve their hearing abilities, including examples from animals, music theatre vocals, reliable spoken voice, and voices on stage.

In Week 2, practical sessions will explore the primary resonating chambers as well as guttural, oral, and nasal cavities. Through these exercises, students will study how different resonating chambers affect voice qualities and how pitch is related to those chambers. They will also investigate the impact of various mouth positions and tongue movements on creating different spaces within the vocal tract.

This session aims to help students discover their optimal pitch and resonance. Once they can find their own resonance, discussions will focus on factors that can decrease or increase resonance and the importance of resonance in acting.

During Week 3, attention will shift towards 'extreme character voices' through exercises that imitate animal sounds. Before diving into these exercises, students will explore bone-conducted resonance by releasing and feeling vibrations from various parts of the face including head chest back etc.,In Week 3, advanced exercises will be conducted that build upon the exercises done in Week 2. These exercises focus on students developing their resonating skills, which include feeling comfortable projecting sound and distinguishing ordinary spoken voice from stage presentations. Students will be grouped based on similar resonating patterns. In the next session, each group will create different character voices and animal sounds from movies or recordings.

Moving to Week 4, this session aims to involve students in practical

work where they will imitate the sounds they have brought. This group activity encourages teamwork and improves listening skills. The objectives for this session are to expand upon the knowledge gained in the previous three sessions, analyze how sound is projected, and explore various qualities of sound and voice. Furthermore, students' performances during these group activities will be evaluated critically.

Week 5 continues the progression from Week 4. Students will be regrouped with different members and participate in teaching sounds to each other. They will also explore new sounds and incorporate them into their own pieces.
The students will present their work and learn to work together in groups, understand the differences in their voices, and bring different voices together. In Week 6, they will focus on the anatomical and physiological aspects of articulation using press releases and images. This will help them understand how articulators such as the roof of the mouth, tongue, lips, teeth, and jaw function. They will also gain direct experience with their own parts to understand how voice is projected. Linklater's book exercises will be used to develop effective vocal channels and articulators without jaw tension. In Week 7, they will explore open and closed vowels through images and practical exercises while learning techniques to release muscular tension in the mouth. Group exercises will demonstrate how different tongue positions produce vowels including diphthongs that transition from one vowel to another. Moving on to Week 8, the focus shifts towards prolonging consonants starting with nasal consonants. Soft palate movement with nasal consonants /ng/ and all vowels using the Estill technique will be practiced alongside visuals of drifting seaweed symbolizing sustained nature of these

consonants. The differences between voiced and voiceless sounds for a better understanding of consonants will also be explored during this weekBy the end of Week 9, students should be able to present texts intellectually rather than emotionally. The focus of Week 9 will be on unsustained consonants and exploring various musical instruments from Lessac's approach. Students will learn how to produce rapid tongue movements to create similar sounds. Enjoyable and playful exercises will promote relaxed resonance and articulation training.

Moving on to Week 10, each student will have an opportunity to individually present a text within 3 minutes while portraying a character of their choice. In a 5-minute solo presentation, students will showcase their improvements in articulation and discuss their strengths and weaknesses. A final discussion about areas of improvement for resonance and articulation, as well as feedback gathering about the course, will also take place.

This revised program emphasizes the importance of resonance and articulation in acting. It proposes a 10-week class that specifically addresses these elements, aiming to overcome past limitations in understanding and explaining their principles. By initially understanding their vocal abilities fully and providing appropriate methods for enhancement, actors can expand their range of vocal options.

As a voice instructor, it is crucial to have access to all areas of vocal training and remain open to new methods and development opportunities.The mentioned strategies have the potential to enhance creativity and effectiveness, leading to faster progress for students and instructors alike.