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While some vocal pedagogists identify such breaks as register boundaries or transition areas between registers, other vocal pedagogists maintain that the breaks are a result of vocal problems caused by a static laryngeal adjustment that does not permit the necessary changes to take place within the
205:
two octaves or more within the modal register with consistent production, beauty of tone, dynamic variation, and vocal freedom. The modal register begins and ends in different places within the human voice. The placement of the modal register within the individual human voice is one of the key
290:
In addition to the stretching of the vocal folds and the increasing tension on them as the pitch rises, the opposing surfaces of the folds, which may be brought into contact, becomes smaller and smaller, as the edges of the folds become thinner. The basic vibratory or
282:
enter the action, which begins to lengthen the folds. As longitudinal tension increases, the glottis tends to develop a gap in the middle. To counteract the tendency, the lateral cricoarytenoids are brought into action, pulling forward on the muscular process of the
266:
remains closed for a considerable time in each cycle. The glottis opens from the bottom first before it opens at the top, which imparts a fluid, wavelike motion to the cords. The modal voice has a broad harmonic spectrum, rich in
295:
pattern remains the same, with the whole vocal fold still involved in the action, but the vertical excursions are not as large and the rolling motion is not as apparent as it was on the lower pitches of the modal register.
226:
rises, the vocal folds increase in length and in tension, and their edges become thinner. If a speaker or singer holds any of the three factors constant and interferes with the progressive state of change, the
271:, because of the rolling motion of the cords. It is comparatively loud to the other vocal registers because of the vibratory energy present, but it is capable of dynamic variation.
95:
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are thick and wedge-shaped. Because of the thickness, large portions of the opposing surfaces of the vocal folds are brought into contact, and the
743:
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477:
449:
383:
535:
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are being approached. To sing or speak above this pitch level, the voice must adopt a new phonatory pattern to change registers.
88:
115:
used most frequently in speech and singing in most languages. It is also the term used in linguistics for the most common
736:
81:
154:
of most of the languages of the world, but a significant minority contrasts modal voice with other phonations. Among
1046:
528:
402:
Large, John (February–March 1972). "Towards an
Integrated Physiologic-Acoustic Theory of Vocal Registers".
729:
275:
465:
181:, the modal register is one of the four identifiable registers within the human voice. It is above the
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function of the voice becomes static and eventually breaks occur, resulting in obvious changes in
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are in a state of flux which causes the frequency of vibration of the vocal folds to vary. As
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The physical limits of muscular strength of the internal thyroarytenoids or
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differently. In singing, the modal register may also overlap part of the
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53:
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Van den Berg, J.W. (December 1963). "Vocal
Ligaments versus Registers".
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710:
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263:
202:
132:
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662:
232:
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174:, many supposedly-voiced obstruents do not usually have modal voice.
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In the modal register, the length, the tension, and the mass of the
879:
249:
241:
142:, modal voice is the only phonation found in the vowels and other
120:
975:
856:
725:
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287:. The process is sometimes referred to as medial compression.
166:
it is very common for languages to contrast modal voice with
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963:
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131:; that is, the optimal combination of airflow and
27:Vocal register associated with speech and singing
258:On the lower pitches in the modal register, the
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367:
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8:
376:The Diagnosis and Correction of Vocal Faults
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82:
29:
499:Modern Techniques of Vocal Rehabilitation
278:are active, but as the pitch rises, the
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201:. A well trained singer or speaker can
135:tension that yields maximum vibration.
32:
472:(6E ed.). John Wiley & Sons.
442:Singing: The Mechanism and the Technic
330:
328:
193:, but some vocal pedagogists may view
185:and overlapping the lower part of the
7:
189:. That view is also adopted by many
345:The Sounds of the World's Languages
206:determining factors in identifying
25:
123:. The term "modal" refers to the
274:For the lowest tones, only the
1:
560:states (from open to closed)
470:The Voice and its Disorders
468:; Lesley Mathieson (2001).
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254:Glottal cycle, modal voice
568:
551:
440:Vennard, William (1967).
753:Musical range or compass
374:McKinney, James (1994).
678:Harsh/ventricular voice
497:Cooper, Morton (1973).
378:. Genovex Music Group.
160:k, g, t͡ʃ/ch, d͡ʒ/j, s,
694:Non-phonemic phonation
637:(restricted airstream)
276:thyroarytenoid muscles
255:
247:
501:. Charles C. Thomas.
348:. Oxford: Blackwell.
253:
245:
214:Physiological process
686:(epiglottal trilled)
158:(consonants such as
146:(consonants such as
640:(blocked airstream)
631:(maximum vibration)
1001:Organ registration
890:Tenore contraltino
256:
248:
246:Vocal fold, scheme
195:vocal registration
183:vocal fry register
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479:978-1-86156-196-1
451:978-0-8258-0055-9
385:978-1-56593-940-0
313:Voice (phonetics)
191:vocal pedagogists
187:falsetto register
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16:(Redirected from
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964:Related articles
895:Tenore di grazia
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672:Faucalized voice
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618:(full airstream)
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466:Greene, Margaret
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444:. Carl Fischer.
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336:Ladefoged, Peter
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239:modal register.
199:whistle register
179:speech pathology
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40:
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1047:Voice registers
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841:Soprano sfogato
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624:whispery voice)
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34:Vocal registers
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927:Basso profondo
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765:Vocal register
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684:Strident voice
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634:(intermediate)
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628:(intermediate)
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340:Maddieson, Ian
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301:vocalis muscle
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18:Modal register
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917:Bass-baritone
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848:Mezzo-soprano
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663:Supra-glottal
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423:NATS Bulletin
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404:NATS Bulletin
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355:0-631-19815-6
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168:voicelessness
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125:resonant mode
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1021:Vocal weight
885:Haute-contre
868:Countertenor
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600:Creaky voice
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1016:Vocal range
971:Chest voice
900:Heldentenor
806:Boy soprano
680:("pressed")
605:Glottalized
595:Stiff voice
590:Modal voice
585:Slack voice
260:vocal folds
220:vocal folds
140:linguistics
129:vocal folds
109:Modal voice
1036:Categories
996:Pedal tone
986:Head voice
816:Coloratura
798:Voice type
674:("hollow")
507:B000JC1U76
319:References
285:arytenoids
208:vocal type
156:obstruents
1042:Phonation
1006:Tessitura
991:Passaggio
981:Extension
907:Baritenor
873:Sopranist
853:Contralto
821:Soubrette
788:Vocal fry
665:phonation
610:Ballistic
545:Phonation
293:phonatory
269:overtones
229:laryngeal
170:, but in
144:sonorants
117:phonation
66:Vocal fry
950:Sub-bass
912:Baritone
863:Castrato
836:Dramatic
778:Falsetto
757:register
706:Falsetto
643:(fortis)
621:(murmur,
410:: 30–35.
342:(1996).
307:See also
148:m, n, l,
54:Falsetto
811:Soprano
773:Whistle
711:Vibrato
701:Whisper
580:Breathy
558:Glottal
491:Sources
264:glottis
203:phonate
172:English
133:glottal
111:is the
48:Whistle
41:Highest
1011:Timbre
955:Treble
831:Spinto
575:Breath
505:
476:
448:
382:
352:
121:vowels
72:Lowest
938:Sound
880:Tenor
826:Lyric
783:Modal
429:: 18.
224:pitch
60:Modal
976:Clef
945:Bass
922:Bass
857:Alto
755:and
503:ASIN
474:ISBN
446:ISBN
380:ISBN
350:ISBN
162:and
150:and
177:In
164:z),
138:In
127:of
119:of
1038::
427:19
425:.
408:28
406:.
394:^
364:^
338:;
327:^
235:.
210:.
152:r)
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855:(
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388:.
358:.
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83:v
20:)
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