Voice modulation in spoken language
Human spoken language makes use of the ability of almost all persons in a given society to dynamically modulate certain parameters of the voice source in a consistent manner. The most important communicative, or phonetic, parameters are the voice pitch (determined by the vibratory frequency of the vocal folds) and the degree of separation of the vocal folds, referred to as vocal fold adduction (coming together) or abduction (separating).
Human spoken language makes use of the ability of almost all persons in a given society to dynamically modulate certain parameters of the voice source in a consistent manner. The most important communicative, or phonetic, parameters are the voice pitch (determined by the vibratory frequency of the vocal folds) and the degree of separation of the vocal folds, referred to as vocal fold adduction (coming together) or abduction (separating).
The airflow pumped through the lungs hit the vocal chords which vibrate due to this that results in words or sound to be produced. Children can learn to use this action consistently during speech at an early age, as they learn to speak the difference between utterances such as "apa" (having an abductory-adductory gesture for the p) as "aba" (having no abductory-adductory gesture). Surprisingly enough, they can learn to do this well before the age of two by listening only to the voices of adults around them who have voices much different from their own, and even though the vocal chord movements causing these phonetic differentiations are deep in the throat and not visible to them.
If an abductory movement or adductory movement is strong enough, the vibrations of the vocal folds will stop (or not start). If the gesture is abductory and is part of a speech sound, the sound will be called voiceless. However, voiceless speech sounds are sometimes better identified as containing an abductory gesture, even if the gesture was not strong enough to stop the vocal folds from vibrating. This anomalous feature of voiceless speech sounds is better understood if it is realized that it is the change in the spectral qualities of the voice as abduction proceeds that is the primary acoustic attribute that the listener attends to when identifying a voiceless speech sound, and not simply the presence or absence of voice (periodic energy).
Other aspects of the voice, such as variations in the regularity of vibration, are also used for communication, and are important for the trained voice user to master, but are more rarely used in the formal phonetic code of a spoken language.
Physiology and vocal timbre
The sound of each individual's voice is entirely unique not only because of the actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body, especially the vocal tract, and the manner in which the speech sounds are habitually formed and articulated. (It is this latter aspect of the sound of the voice that can be mimicked by skilled performers.) Humans have vocal folds that can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect somewhat the sound produced by an individual.
The sound of each individual's voice is entirely unique not only because of the actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body, especially the vocal tract, and the manner in which the speech sounds are habitually formed and articulated. (It is this latter aspect of the sound of the voice that can be mimicked by skilled performers.) Humans have vocal folds that can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect somewhat the sound produced by an individual.
Actors can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx, which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocals.
Breathing Technique
It is very important to understand that everything depends on how one breathes. A term is always uttered by each and every person in theatres that the dialogues should come from within. But what is this within...? Is is heart.. or anything else..?
Breathing should be done in a technical form. When one breathes in, his / her diaphragm just below chest and above stomach including stomach should come out naturally and while the person breathes out, the stomach as well as the diaphragms should go in again. This is said to be deep breathing. As explained earlier, the air left from this diaphragm hits thee vocal chords to resonate. The more stronger the breathe exhaled the more harder it brushes the chords to create louder noise.
Exercise to be done
Keep one hand on the diaphragm, breathing in and experience with your hand that the stomach and the diaphragm comes out which means the air is filled full in the lunges too. Hold and Breathe out gently where one understands that the diaphragm moves in to empty itself by throwing all the air in a required force to talk. Try this out with normal dialogues or monologues.
Breathing Technique
It is very important to understand that everything depends on how one breathes. A term is always uttered by each and every person in theatres that the dialogues should come from within. But what is this within...? Is is heart.. or anything else..?
Breathing should be done in a technical form. When one breathes in, his / her diaphragm just below chest and above stomach including stomach should come out naturally and while the person breathes out, the stomach as well as the diaphragms should go in again. This is said to be deep breathing. As explained earlier, the air left from this diaphragm hits thee vocal chords to resonate. The more stronger the breathe exhaled the more harder it brushes the chords to create louder noise.
Exercise to be done
Keep one hand on the diaphragm, breathing in and experience with your hand that the stomach and the diaphragm comes out which means the air is filled full in the lunges too. Hold and Breathe out gently where one understands that the diaphragm moves in to empty itself by throwing all the air in a required force to talk. Try this out with normal dialogues or monologues.
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