RU2352998C2 - Training method of resonant singing and speaking using resonance metre - Google Patents

Abstract

FIELD: electrical engineering.

SUBSTANCE: invention relates to training techniques. Training method of resonant singing and speaking using resonance metre includes recording relative high and low formant levels and resonator vibration activity in vocal apparatus using vibration sensors. One of vibration sensors is placed in the area of head or chest resonant, the other - in the area of larynx. So, the vibration sensors are put alternately: firstly - on teacher's body, then - on the trainee's body. High-frequency electrical signals from vibration sensors are converted into the 200 Hz low-frequency electrical signals and then amplified. The signals are then supplied to dermal and tactile vibrators on the trainee's body or visual screen and head or chest resonant vibration intensity ratio to the larynx vibration intensity is calculated in real-time mode. After that, signals are supplied to dermal and tactile vibrators and/or visual screen. The resonance metre is built up from five electronic circuits interrelated functionally.

EFFECT: invention allows for increasing training effectiveness and helps to master in resonant singing and speaking technique with/without teacher's assistance.

5 cl, 8 dwg

Description

The present invention relates to the field of psychophysiology, more specifically, the psychophysiology of singing and speech.

The term “resonant singing” was introduced into the scientific vocabulary and usage by the author of these lines (Morozov VP, 1994. Scientific foundations of vocal art: resonant theory of singing. Lecture course for vocalists, choir conductors, musicologists, graduate students, interns seekers. // Questions vocal education.Methodical recommendations for teachers of higher educational institutions and secondary specialized educational institutions.Med. Ministry of Culture of the Russian Federation, Gnesins Russian Academy of Music M., 1995, p.60-62) and means “singing with the maximum use of the activity of the resonator voice Arata. " A similar definition can be given to the term “resonant speech”.

The emergence of the term “resonant singing” is caused by the following circumstances. The voice is the result of the interaction of the three main parts of the vocal apparatus - the larynx, respiratory system and resonators, which include all the airways of the vocal tract (mouth, pharynx, mouth, paranasal sinuses - this is the upper resonator, and also the trachea with large bronchi - the chest resonator). The most important organ is the larynx with the vocal cords. Therefore, the traditional theory of voice formation - myelastic and neuro-chronactic - consider the process of voice formation mainly as a result of the work of the larynx, however, the practice of prominent singers indicates the crucial role of resonators in singing.

Studies by the author of the application showed that the most important feature of the technique of singing vocal gifted singers is the maximum activation of the resonant system of the voice apparatus, since this allows the singer to obtain a significant increase in voice power (along with an improvement in his aesthetic qualities) by increasing the efficiency of the voice apparatus , i.e. due to the conversion of most of the singer’s physical efforts (spent physical energy) to produce voice into useful sound energy. (V. Morozov, Resonance theory of singing (psychophysiological aspects). // Materials of the All-Russian scientific-practical conference "Musical education in the context of culture". Ross. Acad. Music named after Gnesins, M, 1996, pp. 22-29. Morozov VP The Art of Resonant Singing, Fundamentals of Resonance Theory and Technology (Moscow, 2002, p. 33).

It is shown that maximizing resonator activation during singing significantly saves the singer’s energy costs and thereby prevents the likelihood of occupational diseases of his voice apparatus (Morozov V.P., Resonant singing theory on protecting the larynx of professional singers from overload. // First International Congress “Music Therapy” and regenerative medicine ”, M., 2000, pp. 64-70).

Based on the foregoing, the expression “resonance technique of singing and speech” means the technique of voice formation with the maximum activation of the resonators of the singing or the speaker. The phrase “resonance technique of voice formation” has a similar meaning.

Despite the fact that singing is one of the most popular and accessible types of musical creativity (millions of people sing and learn to sing), mastering the resonant vocal technique presents significant difficulties for the singer, as a result of which even many professional singers do not achieve the necessary perfection in this and are very satisfied mediocre voice qualities and lack of popularity. Suffice it to say that the voice of a singer who does not own the resonant technique of singing does not have the ability to overcome the “sound curtain” of orchestral accompaniment and to sound large concert halls, that is, devoid of the so-called flight property. “A voice without resonance is stillborn and cannot be spread,” wrote the famous Italian singer, soloist of the Milan La Scala opera house Giacomo Lauri-Volpi, “... vocal pedagogy is based on the search for resonators - a sound echo” (J. Lauri- Volpi, Vocal Parallels, L., 1972).

A similar situation exists in the practice of teaching the technique of speech on a resonant basis, the fundamental importance of which was recognized by KS Stanislavsky and a number of modern stage speech teachers (Sicelli Bury. Voice and actor. M., 1996). The problem of resonant voice formation is also relevant for all other forms of public speech on the following grounds.

Firstly, it is proved that in addition to strength and flight, resonance gives the voice high aesthetic timbre qualities, in particular, pleasant sounding voices, silver timbre, and at the same time softness, “chest timbre”. This is an aesthetic pattern.

Secondly, there is a psychological regularity: the listener is inclined to transfer aesthetic advantages or disadvantages of voice to the speaker’s personality, i.e. to give the speaker with a beautiful voice great virtues, and the speaker with an unpleasant voice - unpleasant character traits, etc. Despite the exceptions, this pattern is often justified, because the voice is a mirror of the soul, like the eyes.

Thirdly, voice voice is often a professional communication tool. These are teachers, artists, lecturers, managers, radio and TV announcers, clergy, commentators of various kinds, politicians whose voices should be not only pleasant (in the light of the above), but also sonorous, strong enough, “flying” to be heard in large audiences, often in conditions of noise, poor acoustics of the hall, etc. A technical tool - a microphone - can by no means always fall into the speaker’s hands, but if it does, it will amplify all the shortcomings of his voice.

Fourth, if you do not own the resonance technique and do not use the free energy of resonance, which gives the voice strength and indefatigability, then you will overstrain the vocal cords, as a result - often suffer from professional voice disorders, and even lose your voice, being unable to fulfill your professional duties. This is a medical and, at the same time, a social problem.

All the above problems are successfully solved by mastering the resonance technique of voice formation, because resonance, as I say in the lectures to listeners, is a supplier of free energy to your voice. “Take it!”. “How?” They ask. Since resonance is a rather complicated phenomenon, and especially in a person’s vocal apparatus, it’s far from clear to everyone what it is, the author’s monograph “The Art of Resonant Singing” is devoted to this issue. M., 2002, and in practical terms - the proposed method of teaching the resonant technique of singing and speech.

The activity of the resonators in the process of voice formation is manifested in a greater or lesser increase in sound in the cavity cavities, which is reflected in the vibration of the walls of the resonators and, when their activity is strong enough, is perceived as singing or speaking in peculiar vibrational sensations due to the presence of microscopic vibrational receptors in our body. “... When I sing, I feel a resonance in my whole body, right down to the tips of my fingers!”, The famous soloist of the Bolshoi Theater (bass), nar. art. USSR Ivan Petrov-Krause (see V.P. Morozov. Cit. Ed. 2002, p. 391). A similar statement belongs to one of the leading soloists of the famous Milanese La Scala theater Magde Oliviero: “I have very resonant sensations, are strong: my whole face, neck, forehead ring, shake, and often get dizzy. Thoracic resonance is connected itself, especially on the high notes of the fort. Then the whole body works: everything vibrates inside, from legs to head. ”(See V.P. Morozov. Cit. Ed. 2002, p. 422). With a weak vibrational activity of the resonators, which is typical for those who do not own the resonance technique of voice formation, vibrational sensations are difficult or completely absent.

The resonator activity is also manifested in the very sound of a singing or speech voice in the form of amplification of certain groups of voice overtones, which is the physiological basis for the auditory perception of phonetic elements of speech, its intelligibility (diction) and timbre coloring of the voice. In particular, it has been shown that such an aesthetically valuable quality of voice as voicing is caused by the presence in the singing or speech voice of significantly enhanced high overtones (due to the resonance of certain sections of the vocal tract). The group of amplified high overtones in the singing voice, giving the voice a sonority (in the region of 2400-3000 Hz), was called the high singing formant (HFF). Studies by the author of the application showed that in the sound of a good singing voice, the VPF level reaches 30-40%, somewhat less in female and more in male voices, reaching outstanding singers up to 50% or more (F. Chaliapin, E. Caruso, I. Petrov -Krause, P. Domingo, L. Pavarotti, etc.). In unprofessional voices and in vowels of ordinary colloquial speech, the level of HMF is significantly lower and it does not occupy a stable frequency position in the spectrum of the voice (see Figure 1). At the suggestion of the author of the application, the degree of expression in the voice of the high singing formant was called the voicemail coefficient. In a speech voice, overtones corresponding to the HFF of a singing voice give a timbric clarity to a voice.

In the spectrum of the singing voice there is also a low singing formant (NPF). This is a group of amplified overtones in the region of 400-700 Hz, giving the voice also a soft, pleasant sound, velvety timbre (chest timbre).

Thus, the singing and speech voice is the result of one or another activity of the vocal apparatus of a singing or speaking person. Resonance technology, as already mentioned, is characterized by high activity of resonators.

There are a number of reasons for the high or low activity of resonators.

Firstly, their good or bad acoustic mood - natural or achieved in the process of training resonant technique by changing the size and shape of the resonant cavities, which can be widely given to the oral and pharyngeal resonators, to a certain extent the nasal resonator, by regulating its acoustic connection with oral cavity with a soft palate (“the sound should be in the nose, but in the sound should not be the nose” - the advice of old vocal teachers). The thoracic resonator also has the possibility of acoustic tuning and alignment with the oropharyngeal resonator, by changing the volume and shape of the trachea due to its extension or contraction, as well as changing the diameter of its cartilaginous half rings, which is observed under x-ray during normal and especially singing breathing. Thus, the acoustic setting is determined by the physiological activity of the organs of voice formation.

Secondly, among the physiological reasons that affect the activity of resonators, a special role belongs to the singing (and speech as well) type of breathing, and first of all, to the high activity of the diaphragm and intercostal respiratory-expiratory muscles, providing the so-called “respiratory installation” in the process of phonon exhalation and the “support of sound on the diaphragm” associated with special singing sensations. The most important physiological indicator is the optimal position of the larynx, which can be arbitrarily changed by the singing or speaking during sound formation, as well as the absence of muscle tension in the larynx and vocal cords of the singing or speaking, as this excessive tension leads to the degradation of the voice and its loss.

Thirdly, the psychophysiological reason for the singer’s or speaker’s ability to rationally (optimally) tune the resonators is the necessary high sensitivity of the singer’s vocal organs to the effects of resonator vibrations, because it is known that the thresholds of vibrational sensitivity vary significantly in different people (see Human Physiology, 2004. Cit. ed. p.). As a result, some people cannot optimally tune their resonators because they do not feel their vibrational activity.

Fourth, there is a psychological reason - many singers and speakers do not pay attention to their vibrational sensations, even if they are sufficiently pronounced, and are guided in singing and speech, mainly by auditory and muscular sensations, which is certainly necessary, but far from a sufficient condition for successful training and mastery of the resonant technique of singing. As mentioned above, for singing masters, vibrational sensations are the most important indicator of the resonant technique of singing.

Objective studies of the vibration of the human body as a result of the work of his vocal apparatus in the process of pronouncing speech sounds were carried out by different researchers, including G. Bekesi (see Figure 2, Bekesy G. The structure of the middle ear and hearing of own voice by bone conduction, - J. Acoust. Soc. Amer., 1949, v.21, No. 3, p.217 -232.

In parallel with the study of the acoustic features of the singing and speech voices, the author of the application carried out objective measurements of the vibration of resonators in singers of various qualifications using vibration sensors that convert the mechanical vibration of the singer’s body into an electrical signal proportional to the intensity and frequency of the resonators. The results showed that the best singers, whose voices were characterized by a pronounced high and low singing formants, pleasant ringing, flying, tonal evenness of vocal vowels, great sound power, and at the same time freedom and ease of sound formation, recorded very high levels of vibration resonators with a tendency to increase towards the end of vowel phonation (Figure 3, a). For unskilled singers or non-vocalists who sound the sound in a speech way, the vibration intensity of the resonators was low with a tendency to decrease even more towards the end of the vowel phonation (Figure 3, b), (see V.P. Morozov. The art of resonant singing. M., 2002, p. 187).

The author of the application also found that in the vibration spectrum of the pectoral resonator (in the middle of the sternum) the region of the low singing formant (NPF, about 420 Hz) dominates, which is close to the data of V.N. Sorokin, and in the vibration spectrum of the upper resonator (in the “ masks ”) - a high singing formant (VPF, about 2500 Hz), (see V.P. Morozov. Cit. ed. p. 151).

The indicators of the resonance technique of singing and speech, as follows from the foregoing, can serve, firstly, the acoustic and primarily timbre features of the learner’s voice, which depends on the formant composition of its spectrum and, in particular, on the high and low singing formants, as well as the vibrato of the voice, secondly, the direct vibrational activity of the resonators of the singing or the speaker, which must be intense enough so that the technique of singing can be considered “resonant”, and thirdly, special psychological factors affecting ktivnost resonators, and, fourthly, a special muscle-motor activity of organs of phonation.

In the practice of vocal pedagogy, these indicators are usually used by experienced teachers and the singers themselves as self-control in the work on mastering the resonance technique of singing. However, the timbre indicator of a voice, measured by ear, cannot serve as a reliable reference point for the person who is singing or speaking, since it is known that we hear our own voice differently from those around us, and we often wonder when we hear it in sound recordings. Physiologically, this is explained by the fact that a person hears his own voice not only coming from the outside, but also acting on the auditory organ from the inside (see Bekesy, op. Cit. 1949). In this regard, the teacher’s good vocal hearing is a very important means of controlling the resonance technique of the student’s voice formation, although significant differences among teachers in the subjective assessments of the aesthetic merits of the singing (as well as speech) voice, as well as the technique of voice formation, are often the cause of failures in learning to sing, and also speech. Therefore, the assessment of the resonance technique of singing by objective indicators of voice, in particular by the level of the HMF, is relevant.

The second indicator of the resonance technique (and in significance - equivalent to the first) is the direct vibrational activity of the resonators as well, although by no means always, is used in pedagogical practice. An experienced teacher draws the student's attention to the vibrational sensations of the chest in the sternum (os sternum), which corresponds to the activation of the chest tracheobronchial resonator, and at the same time - in the area of the hard or soft palate or in the area of the front surface, usually covered by a masquerade mask (hence the term “ mask ”by the vocalists), which corresponds to the good activity of the upper resonators, etc.

However, to achieve good vibratory sensations in the learner, i.e. Natural vibrational self-control, especially at the initial stages of training, is very difficult, due to the weak vibrational activity of the student’s resonators. A common mistake of inexperienced students is that they overexert the larynx and vocal cords (which is absolutely unacceptable, because it leads to degradation and loss of voice), instead of increasing the activity of the resonators due to their rational tuning and tuning. And this is achievable by sometimes insignificant changes in the size and shape of the resonant cavities, as mentioned above.

Thus, in the practice of teaching the technique of singing, as well as speech, and especially in the early stages, the main indicators of the resonance technique - hearing and vibration sensitivity - are not used effectively (for various reasons). And in most cases, training in singing and speech is based mainly on the coordination of the learner’s vocal apparatus under the control of only his muscular sensations: the work of the respiratory apparatus, articulatory organs, larynx, etc. Experience and resonance theory say that such a path is of little promise.

The main objective of the proposed method and technical means of its implementation is to increase the effectiveness of training and mastering the resonance technique of singing or speech by people of different professional and age categories in the context of training sessions with the participation of a teacher or independently, as well as in conditions of public performance of a singer and speaker.

The prototype of the proposed method can be a method for comprehensive assessment of vocal giftedness, including the evaluation of a number of features of a high singing formant (HF), in particular, its relative level and frequency arrangement in the voice spectrum for different types of voices, an assessment of the characteristics of vibrato from a dynamic spectrogram, as well as features of a vocal hearing (patent No. 2204170).

Bearing in mind that the origin of the VPF in the singer’s voice (as well as vibrato) is associated with resonant processes in the vocal apparatus (see V. P. Morozov. On the resonant nature of high and low singing formants. // Collection of proceedings of the XI session of the Russian Acoustic Society Acoustics of speech, medical and biological acoustics. Vol. 3, M., November 19-23, 2001, pp. 76-81), the prototype method can be partially used as a control of the resonance technique of singing according to the VPF.

However, the prototype method as a means of self-learning and mastering the resonance technique has several disadvantages.

Firstly, it does not provide for the use of such an important indicator of resonance technology as the direct vibrational activity of the resonators of the vocal apparatus in the process of speech and singing.

Secondly, this well-known method as its main task puts a scientific assessment of vocal giftedness by professional specialists and is not focused on using it as a self-control of the resonant technique of singing and speech of people who are not familiar with the scientific foundations of this method.

Thirdly, this known method, if it can be specialized to a certain extent for the purposes of self-monitoring of resonant singing or speech, for example, in terms of a high singing formant, providing the learner with the possibility of visual self-monitoring of its level by observing on a computer screen, it is, nevertheless as practice has shown, it is far from always an effective means of activating the resonant processes of the student’s voice formation, partly probably due to the fact that in natural conditions of singing and speech, the viewer ny analyzer is not used for these purposes.

Fourthly, this method is not applicable in conditions of public performance of a singer or speaker. Meanwhile, it is precisely in conditions of public speaking that even the previously acquired resonant mechanisms of voice formation are most often violated due to the inevitable stage excitement, distraction of attention to the substantive side of singing or speech, etc.

The scientific rationale for the proposed method is as follows.

According to the psychophysiological nature of the human body, mastering complex skills, including mastering the techniques of resonant singing and resonant speech, can most effectively be carried out with the involvement of as many sensory organs as possible: hearing, vision, and also touch, i.e. skin-tactile feeling, a variety of which is vibrational sensitivity. As already mentioned, vibrational sensations are the most important means of self-control of natural resonant processes of voice formation.

The universal principle of regulation of all biological (and technical) systems is, as you know, the principle of feedback based on the use of information about the activity of the system to regulate its activity in the necessary direction upward (positive feedback) or decrease (negative feedback). All motor activity of a person, the work of the circulatory, respiratory systems, metabolic processes (in particular, the regulation of blood sugar), as well as the regulation of the voice formation system (speech or singing) is based on the principle of feedback.

In the latter case, the feedbacks that deliver information about the process of voice formation to the central nervous system are the signals of our senses: hearing, vision (an example is singing from notes “from the sheet”), muscle feeling (proprioception), vibrational feeling (vibroreception) ( see Figure 5., see V.P. Morozov, Cit. ed. 2002, p.168).

The author’s studies have shown a particularly important role of feedback based on vibrational sensitivity in mastering the technique of resonant singing, which is perfectly mastered by outstanding masters of vocal art. However, the existing methods of staging the singing (as well as speech) voice, unfortunately, are mainly based on the muscular sensations of the voice apparatus of the trainees. Meanwhile, it is vibrational sensitivity that is leading in the technique of resonant singing (and resonant speech), since it signals the most important thing - the degree of direct vibrational activity of the resonators of the vocal apparatus of a singing or speaking person.

Hearing, “the judge and the conscience of the voice,” as it is called, also signals this on the basis of an assessment of the tonal qualities of the voice, but as mentioned above, it may be mistaken in perceiving the timbre of one’s own voice and, especially in conditions of difficult auditory control, which for a singer can be the result of a masking action of musical accompaniment, sometimes quite strong (orchestra, choir), poor acoustics of the hall, etc.

The main technological idea of the proposed method in this regard is to provide the singing or speaker with the most complete information about the degree of activity of his resonators for the purposes of self-monitoring, regulation, and in this case, the maximum increase in their activity, i.e. activating them on the basis of feedback.

The implementation of this idea according to the proposed method and its difference from the prototype and analogues in general terms consists in the fact that the regulation and activation of the resonant processes of voice formation of the student is carried out by providing him with the technical ability to self-control the indicated resonant processes on the basis of feedback, and as feedback signals, those. indicators of resonance processes, provide the learner with information about any acoustic, physiological, psychological and other features of his singing or speech (reflective) that are the result or cause of the activity of the resonators of the vocal apparatus of the singing or speaking, i.e. indicators of the resonance technique of singing or speech, in a convenient form for the perception of these indicators by different sensory organs - auditory, visual, vibrational, musculoskeletal analyzers - using the technical capabilities provided by the resonance meter or any other means, and psychological recommendations, along with traditional (vocal -) by pedagogical means, while the student is instructed to achieve maximum activation of the resonant processes of voice formation according to the above of their display body under the self-control of one or several senses, but not due to an increase in the muscular efforts of the larynx, tension of the vocal cords and forced breathing, but due to the optimal tuning of the resonators, by changing their shape and size, correcting articulatory and respiratory mechanisms, taking into account the instructions of the teacher in conditions training sessions or in independent work, as well as in public performances of a singer or speaker.

The technical means for the implementation of the proposed method is a specialized hardware complex developed by the author, and in a portable version - a small-sized device (such as a mobile phone), called by the author “RESONANSOMETER” in accordance with its main purpose - measuring and amplifying (activating) resonant processes of voice formation in order to master resonance technique of singing and speech.

This portable (“pocket type”) version of the resonance meter has the distinctive functional property that can be used in any environment, including the conditions for public speaking of a singer or speaker. This is facilitated by the use of a vibration effect in the resonometer as feedback signals, the technology of which is invisible to the audience.

The difference of the proposed method from the prototype and analogues also lies in the fact that the vibration feedback to the singing or talking person, corresponding in frequency to the maximum sensitivity of the person to the effects of vibration, is used as a feedback vibration signal. Experimental studies have shown that this region is located in the region of 200 Hz (Human Physiology. / Ed. By V. Schmidt and G. Tevs. Translated from English. Ed. By Acad. P. G. Kostyuk. M., “Mir”, 2004, T.1, p. 201). Below and above this frequency, a person’s sensitivity (to the effects of vibration decreases very steeply (thresholds increase), as a result of this, a person is not able to clearly feel the vibrational impact with the sound frequency of the singing voice, which reaches 350-520 Hz in male voices at high notes, and women’s - up to 1046 Hz and above. Moreover, the perception of a high singing formant, whose frequency is 2400-3200 Hz, will be more difficult.

In this regard, the method involves the use of a feedback signal of vibrational vibration effect with a frequency of 200 Hz, as corresponding to the highest human sensitivity to vibration.

Thus, the main differences of the proposed method from the prototype and analogues and the peculiarities of its implementation are that as a means of self-monitoring and activation of resonant processes of voice formation according to the feedback principle, the singing or talking person is presented with information about the relative level of the high singing formant of his voice and / or the vibrational activity of its resonators, and / or any other information about the resonant processes of its voice formation, for example, about a change in voice power, about a low singing formant, vibrato and the like

These types of information are presented both in visual form on the resonance meter display, and in the form of a vibration effect corresponding in frequency to the maximum sensitivity of a person to the effects of vibration.

This is achieved by converting the electrical signals of the vibration sensors located in the chest cavity (in the middle of the sternum os sternum), and the head in the nose bridge or other areas corresponding to the head resonator, as well as the electrical signal at the output of the device recording the relative level of the high singing formant , in low-frequency electrical signals with a frequency of about 200 Hz (which corresponds to the frequency of the maximum sensitivity of a person to the effects of vibration).

The electrical signals converted in this way and electronically amplified are applied to miniature tactile-skin vibrators mounted on the surface of the student’s body in convenient places (using bandages, belts or bracelets, rings on different hands or in another way) and converting the electrical signals into well-perceived singing or talking mechanical vibrational impact with a frequency of about 200 Hz, and by intensity change - proportional to the relative level of the high singing formant, as well as naturally th vibration of the resonators (or any other indicators reflecting the resonant processes of voice formation).

Due to this, the singing or speaking person senses much more clearly the degree of vibrational activity of his resonators and the level of high (or low) singing formant and, with the help of such technically enhanced vibrational self-monitoring of the vibrational and / or acoustic activity of the resonators, changing the tuning of the resonators by changing the operation of articulatory organs and phonon breathing , without forcing it and not straining the larynx, both on the recommendations of a vocal or speech teacher, and independently, achieves maximum th resonators activity (and other factors), which is the main indicator of the resonance of voice technology, in education as a resonant singing and resonant voice.

The difference also lies in the fact that tactile skin vibrators are installed on the student’s body, and vibration sensors that record the vibrational activity of the resonators are installed alternately: first, on the resonator region of the teacher who is well versed in the resonant technique of singing or speech, and then again on the student’s resonators, with instructions the student to achieve the same parameters of the resonance technique as the teacher, according to the sensation of KTV and its other indicators, including acoustic indicators, by using the same microphone for I record the voice of a teacher and student.

The difference also lies in the fact that, as feedback signals, the student is presented with information about the relative intensity of vibration of the head or chest resonator with respect to the intensity of vibration of the larynx, by placing one of the vibration sensors on the head or chest resonator, and the other on the larynx, and vibration sensors are installed in the indicated way alternately: first, on the body of a teacher who is fluent in resonance technology, and then the student, the above ratio is calculated in real a belt using an operational digital amplifier-converter, or in another way, or a device that outputs an electric signal proportional to the specified ratio, which, in the form converted according to claim 2, is fed to a visual screen, for example, in percentage or otherwise, to a skin-tactile vibrator the student with the instruction to achieve the same ratio of the intensity of vibration of the resonators and larynx, as well as all other indicators of the resonance technique, like a teacher.

The difference also lies in the fact that for auditory self-monitoring of resonant processes of voice formation according to the feedback principle, the student is alternately presented with the signals of the direct vibrational activity of the resonators of both the student and his teacher, by supplying these signals to the student’s head phones from vibration sensors (after preliminary amplification) in real time or by alternately listening to tape recordings of the teacher’s own resonators and resonators, along with others so far Atelier resonance technique of singing or speech.

The difference also lies in the fact that, as feedback signals, the singing or the speaker is presented with information about the technical elements of his voice formation, i.e. about the musculoskeletal activity of various parts of the vocal apparatus, about articulatory, respiratory and any other mechanisms that affect the activity of resonant processes, in the form of visual or skin-tactile self-control, including self-monitoring by the current video image of a singing or talking person, using a video camera.

The difference also lies in the fact that, as a psychological means of teaching the resonant technique of singing and speech, when verbally explaining it to students, they use not only a logical description of the resonant mechanisms of voice formation, but also an emotionally-shaped metaphorical idea of them, i.e. “as if” type of representation, similar to “magical if” in the system of K. S. Stanislavsky and his method of “proposed circumstances”, especially preferred for people of the artistic (ie, emotionally-figurative) type of personality and thinking, which owns the majority of vocalists, as well as children trained in the resonant technique of singing and speech.

The difference also lies in the fact that, as an important psychological means of mastering the resonance technique of singing and speech, by activating the chest and head resonators, the student is recommended to imagine that the sound source of his voice is not the larynx with vocal folds, but the trachea and the sound that forms in the trachea It connects with the sound formed in the head resonators, and in this way the entire respiratory tract sounds, and the larynx seems to be absent.

The difference also lies in the fact that to implement the proposed method, a resonance meter is used - a specialized technical tool for teaching the resonant technique of singing and speech, as well as maintaining the resonant technique in public performances of the singer and speaker (design of the author of the application).

An analogue of a resonance meter can be a multi-channel ink-writing apparatus designed by the author of the application, which was used at one time to record the vibration intensity of resonators for singers of various qualifications and non-vocalists using vibration sensors and parallel recording of voice power (microphone, amplifiers) and respiratory movements using a special pneumographic method at the level of the upper chest, the level of the lower ribs and pads, as well as at the level of the lower abdomen (see Figure 3).

The resonance meter is made of five functionally interconnected electronic circuits. The first circuit includes a VD-1 vibration sensor of a piezoelectric or other type, which converts the mechanical vibration of the external surface of the chest and head resonators into an electrical signal, a pre-amplifier PU-1, which serves to amplify the signal of the vibration sensor, an amplitude modulator MOD-1 in combination with a low-frequency generator LFO 200 Hz, which serves to convert the high-frequency signal of the vibration sensor into a low-frequency electrical signal with a frequency of 200 Hz, and by the change in intensity - proportional to the signal of the VD-1 vibration sensor, UM-1 power amplifier, used to amplify the signal from the MOD-1 modulator output, KTV-1 skin tactile vibrator, used to convert the electric signal from the MOD-1 modulator output to mechanical vibration of the KTV-1 skin-tactile vibrator body with a frequency of 200 Hz, designed for vibrational exposure to a singing or speaking one, an indicator with an integrator of the intensity of the IND-1 electric signal supplied to the KTV-1 skin-tactile vibrator, LED, digital or other type; the second circuit, identical to the first one, includes a VD-2 vibration sensor, a PU-2 pre-amplifier, a MOD-2 modulator in combination with a low-frequency generator (200 Hz), a tactile skin tactile vibrator KTV-2, an indicator with an IND-2 integrator, identical indicator IND-1; the third circuit combines the first two circuits in the block of an operational digital converter-amplifier OCPU, which calculates in real time the ratio of the intensity of the voltage of the signal at the output of the MOD-1 modulator to the signal intensity at the output of the MOD-2 modulator and produces a signal proportional to this the ratio that goes to the skin-tactile vibrator KTV-3 and in parallel to the indicator with the integrator IND-3, where it is recorded in percent; the fourth chain includes a microphone - M, a microphone amplifier - MU, an automatic AGC level control unit, a singing formant filter FVPF, a MOD-4 modulator unit in combination with a low-frequency generator (200 Hz), a tactile skin vibrator KTV-4 , indicator with integrator IND-4; the fifth chain operates on the basis of the fourth, i.e. originates from the output of the MU microphone amplifier, bypasses the automatic AGC level control unit and the VPF high vocal formant filter by disconnecting these blocks with the PC switch, and then through the MOD-4 modulator it enters the input of the UM-4 power amplifier and ends with the IND-4 visual indicator and skin-tactile vibrator KTV-4.

The differences of the resonancemeter from the prototype and analogues are that it has a combination of the following functional and design features (see Figure 6):

a) Converts electrical signals of sound frequency from VD-1 and VD-2 vibration sensors to a proportional intensity mechanical vibration of skin tactile vibrators KTV-1 and KTV-2 with a frequency of 200 Hz and thereby provides a singing or talking vibratory or visual self-monitoring of vibration activity thoracic and head resonators, in the area of which are VD-1 and VD-2 vibration sensors, respectively. This technical possibility is carried out by pre-amplifying the electrical signals of the vibration sensors with amplifiers PU-1 and PU-2, modulating their voltages with the amplitudes of the electrical signal of 200 Hz supplied to the modulator, a low-frequency LF generator, amplifying these amplitude-modulated signals with power amplifiers UM-1 and UM -2 and applying to the skin-tactile vibrators KTV-1 and KTV-2, respectively, as well as to visual indicators IND-1 and IND-2.

b) Converts in real time the electrical signals of the VD-1 and VD-2 vibration sensors into a mechanical vibration signal of the KTV-3 skin-tactile vibrator with a frequency of 200 Hz to the intensity ratio of the indicated signals VD-1 / VD-2, proportional in intensity, by transmitting signals from the outputs of the amplitude modulators MOD-1 and MOD-2 to the input of the digital operational amplifier-converter OCPU, or by any other method that performs this conversion, and further supplying the received electrical signal from the OCPU output to the skin-tactile skin Rathore KTV-3 and IND-3 visual indicator.

c) Converts in real time the electric signal of the high and / or low singing formant into the proportional intensity of the vibration of the skin-tactile vibrator KTV-4 and the visual indicator IND-4 and thereby provides the singing or talking person with vibrational and / or visual self-control of the relative level of VPF ( and / or NPF). This technical possibility is carried out by registering the voice of a student trained with a microphone M and amplifying with a microphone amplifier MU, normalizing (equalizing) the signal intensity with an automatic AGC level regulator, applying a signal normalized to the input level of the filter for singing out singing formants of the VPF, converting the high-frequency signal of the VPF (and / or NPF) into an electrical signal of 200 Hz using an amplitude modulator MOD-4 and a low-frequency LFG signal generator, amplifying the converted signal using an amplifier I have the power of the MIND and supply it to the skin-tactile vibrator KTV-4 and the visual indicator IND-4.

d) Converts the learner’s voice strength signal into a visual signal proportional in intensity or skin-tactile vibration signal and thereby provides the learner with the technical ability of visual or vibrational self-monitoring of voice power by supplying the voice power signal from the output of the MU microphone amplifier directly to the input of the MOD-4 modulator, switching off from the chain of blocks of automatic control of the AGC level and the filter of the high vocal formant of the VPF using the PC switch.

e) The filtering unit for singing the singing formants of the FVPF selects the HFM by the maximum voltage in the 1/3 octave band for male voices in the range of 2400-2700 Hz, for women - in the range of 2800-3500 Hz, and the low singing formant for male and female voices - in the range of 400-700 Hz.

f) The resonance meter display provides the technical ability to display all the indices of the resonant singing or speaking technique recorded by the IND-1-IND-4 indicators, both in the form of real-time dynamics of each of them and in the form of general and average per unit time (s) integral values in analog and digital form.

g) The laboratory version of the resonance meter, which is used for educational purposes, may consist of the equipment complex described above in the block diagram (Fig. 6), including a conventional computer with appropriate software. The functionally excellent (for its intended purpose) model of the resonance meter, which makes it possible to use it in public performances by a singer or speaker, is made in the form of a portable device, such as a mobile phone, using micromodular elements, a loop-type microphone, vibration sensors hidden under clothes or mounted on a bow pince-nez, which makes it possible to use a portable model of a resonance meter for vibrational self-monitoring and maintaining the resonance technique of voice formation, not only in classrooms, but also when public speaking.

The method and resonance are illustrated by the following drawings (Fig.1-Fig.8).

Figure 1.

The envelopes of the spectra of five Russian vowels A, E, I, O, U, sung on a note mi (165 Hz) by highly qualified opera singer N. Okhotnikov (A) and neo-vocalist L.P-com (B). The top of the VPF is indicated by an arrow, the top of the fundamental tone by a cross, vowels are indicated by the corresponding letters.

Horizontal - average transparency frequencies of 1/4-octave bandpass filters of the SMl / 2i-3a spectrometer, German company RFT in Hz; vertical - the intensity of the spectral components (DB above the level of 1 mV).

A comparison of spectra A and B shows their very significant differences. Singing vowels have a pronounced HFV, which is almost identical for all vowels in level (≈40%) and frequency location (≈2400 Hz). Speech vowels in this region have spectral maxima, significantly differing both in levels and in frequency arrangement.

These acoustic differences A and B correspond to significant differences in auditory perception and physiological mechanisms of the formation of vocal and speech vowels.

Figure 2.

The numbers indicate the relative intensity of the vibration of the human body when pronouncing speech sounds relative to the intensity of the vibration of the larynx, which is conventionally taken as 100 units (according to Bekesy, 1949, p. 222, cit. Ed., As amended).

Figure 3 (a, b).

Pneumographic recordings of the respiratory movements of qualified (a) and unskilled (b) singers with simultaneous recording of the level of voice strength and the intensity of vibration of the chest resonator. 1 - voice strength level, 2 - chest resonator vibration intensity, 3-6 - respiratory movements: 3 - upper chest, 4 - lower ribs, 5 - pads, 6 - lower abdomen, 7 - time stamp after 1 s.

Figure 4.

The integral vibration spectra of the singer’s chest and head cavities while singing in the two-octave gamma 1a major (1a ¹ -La). The performer is a highly qualified Bulgarian singer (tenor), soloist of the Sofia Opera House Ilya Iosifov. A modern computer analysis of the vibration of the resonators of this singer was made by her tape recording in the Laboratory for the Study of the Singing Voice of the Leningrad State Conservatory named after Rimsky-Korsakov (60s). It is clearly seen that in the vibrational spectrum of the pectoral resonator (in the middle of the sternum) the region of low singing formant (NPF, about 420 Hz) dominates, which is close to the data of V.N. Sorokin, and in the vibrational spectrum of the upper resonator (in the “mask” area) - high singing formant (VPF, about 2500 Hz).

Figure 5.

Scheme of interaction of different senses in the process of regulation of the singing voice.

The arrow from left to right indicates the direct effects of the central nervous system (CNS) on the vocal apparatus. The right-left arrows of the voice function feedback, i.e. signals of the senses about the process of voice formation. Proprioreception - muscle feeling; baroreception - a feeling of the degree of air pressure in the lungs; vibroreception - vibration sensitivity.

6.

Schematic diagram of a resonometer.

Legend.

VD-1 - Vibration sensor - 1

PU-1 - Pre-amplifier - 1

MOD-1 - Modulator - 1

UM-1 - Power Amplifier - 1

IND-1 - Indicator - 1

KTV-1 - Skin-tactile vibrator - 1

LFO - Low Frequency Generator (200 Hz signal)

OCPU - Operational Digital Converter-Amplifier

IND-3 - Indicator - 3

KTV-3 - Skin-tactile vibrator - 3

VD-2 - Vibration sensor - 2

PU-2 - Pre-amplifier - 2

MOD-2 - Modulator - 2

UM-2 - Power Amplifier - 2

IND-2 - Indicator - 2

KTV-2 - Skin-tactile vibrator - 2

M - Microphone

MU - Microphone Amplifier

AGC - Block for automatic adjustment of the sound signal level

FVPF - Filter for singing formant selection

MOD-4 - Modulator - 4

UM-4 - Power Amplifier - 4

IND-1 - Indicator - 4

KTV-1 - Skin-tactile vibrator - 4

PC - Self-monitoring mode switch: VPF / voice power

Note: a detailed diagram may contain a number of additional details.

7.

The spectra of the voice of a singer who is well versed in resonant technology - G. Selezneva. S. Rachmaninov’s romance “Oh no, I pray, don’t leave ...”, six vowels in the final phrase “... HELP with me, DO NOT GO!”. Perfectly formed and almost identical in amplitude and frequency to the VPF on all six vowels is evidence of the singer's high vocal and technical professionalism. This is the result of the great activity and stability of the resonators when singing different vowels and a great example to follow for singers who do not know the resonant technique of singing.

Fig. 8.

An increase in the intensity of vibration of the chest resonator (2) under the influence of its visual self-control while keeping the voice power (1) constant (singer R.A., vowel “A”, note 1a of a small octave). The line designations are the same as in FIG. 3.

Fragments B, D and D - the singer’s attempts to strengthen the choice of resonators. At the same time, one can observe how changes in the musculoskeletal activity of the singer’s respiratory apparatus (lines 3, 4, 5, 6) increase the resonator vibration.

Implementation of the method: examples and explanations.

There are no fundamental differences between teaching resonant speech and teaching resonant singing, and moreover, there are more similarities than differences. The unprincipled differences in speech from singing in terms of training are determined by differences in the duration of vowels, the pitch range and strength of voice. The duration of vowels in speech varies on average between 0.05-0.60 s, and in singing it can be 5.0 and even 10.0 s. The sound pitch range of a professional singing voice is at least 2 octaves, while in speech within one octave or slightly more (in public speech). The level of voice power in singing reaches 110-120 dB for the most powerful voices, and in speech approx. 70 dB, varying significantly in different speech conditions.

Since in speech these acoustic parameters are much smaller and, accordingly, less tension of the organs of voice formation, including a lower intensity of vibration of the resonators, then, therefore, lesser and vibrational sensations of the speaker. This is a special indication for the use of a resonance meter for teaching resonant speech.

In view of the foregoing, speech training is conducted mainly on speech material (reading text, free speech), and singing on the performance by a student of any vocal exercises with singing, usually long vowels. But the singer must possess resonance technique when singing and short vowels, close in duration to speech and even delivered at a faster pace, as this requires, for example, the performance of Farlaf’s aria from the opera “Ruslan and Lyudmila” by M. I. Glinka, as well as recitative , ditties, etc. Therefore, when learning the resonant technique of singing, exercises that are appropriate in duration and in speech vowels are used.

On the other hand, when teaching speech, the use of elongated (extended) vowels is shown, as if singing them, since in these conditions it is easier for a student to achieve an increase in the intensity of vibration of resonators under the control of visual or skin-tactile indicators of the activity of resonant processes while maintaining the voice strength constant (see Fig. 3a, 3b, and also Fig. 8).

In the learning process, the learner is in front of the microphone of the resonance meter, which records the activity of the resonance processes according to any indicators, for example, according to the level of HMF and their immediate vibration, and displays this information for visual and skin-tactile perception by singing or talking using vibration sensors located in the chest and the trainee’s head resonators, as well as tactile skin vibrators — in convenient places with bandages, belts, etc. (see formula).

On the instructions of the teacher (or on his own), the singer sings various vocal exercises, while trying to achieve the necessary parameters of the resonance technique according to the level of the VPF (displayed on the screen or in another way) and the vibrational activity of the resonators under the visual and vibrational control of these indicators by the proper organization of song breathing, ensuring supporting sound on the diaphragm, optimizing the position of the larynx, optimizing the work of articulatory organs (degree of opening of the mouth, position of the tongue, raising the soft palate) and etc. means of vocal and pedagogical impact on the work of the vocal apparatus. At the same time, the singer is warned that in no case should one achieve the necessary high level of HMF or its necessary frequency redistribution at any cost, for example, through excessive efforts of the vocal apparatus, leading to a feeling of inconvenience and fatigue of the vocal organs. It is necessary to achieve the required parameters of the VPF with a feeling of freedom and tension of the vocal apparatus, especially the larynx, which reacts extremely negatively to any power methods of activating its work.

According to the principles of resonant singing, developed by the author on the basis of analysis of the singing technique of prominent masters of vocal art and their statements, the singer’s consciousness should be aimed at maximum activation as the upper head resonator, which is expressed by the sensation of strong vibration of facial tissues in the area covered by a masquerade mask (hence the term “ voice in the mask ”), and the chest cavity by the sensation of strong vibration of the chest.

Resonant singing is characterized by the combination of the upper and lower resonators into one resonant complex under the control of internal vibrational sensitivity and the achievement of the so-called “voiced breathing”, achieved by combining respiratory and resonant sensations into a single image of “resonating breathing”. All these conditions ensure high professional qualities of the singing voice and, in particular, the necessary high level of HMF and its optimal frequency position for the singer.

Psychologically, the student should have a feeling that the sound originates in the chest (the trachea sounds) and connects to the sound in the head resonators, while the larynx does not seem to be involved in the formation of the voice.

Performing these difficult tasks often presents great difficulties for young inexperienced singers. Therefore, the use of parallel visual and vibrational control over the level of HMF (as well as NPF), as experience shows, allows the singer to quickly find, internally feel and remember the necessary physiological mechanisms of the correct singing voice formation.

When explaining the basics of resonance technique to a learner, it is preferable to use emotionally-shaped metaphorical expressions that are better than the logic of words to evoke the learner's understanding of the essence of resonance technique. For example, everyone will better understand the singing breath feature if you say: “You take your breath as if you are smelling a flower” (E. Obraztsova). The essence of the “resonant singing breath” (resonating exhalation) was clearly explained by the famous Italian vocal teacher Genarro Bara: “The breath should buzz in you, as the flame buzzes in the fireplace with good traction, then it will be free, passing (i.e. not pinched, B .M.) And resonating. ” And here is a metaphor explaining the resonant technique of F.I. Chaliapin's speech voice: “When he speaks, his voice sounds like an organ” (Swedish newspaper “Stockholm dagblad”, 05/09/1930), etc.

A significant advantage of the proposed method of training and self-control of resonant singing is that the teacher (a teacher who owns the resonant technique of singing) and / or singer can show the student with his voice how to sing this or that exercise and not only will the student hear the sound quality, but and he will see its characteristics (level of VPF, NPF and vibration of resonators) on a computer screen or resonance meter (and will perceive skin-tactile using skin-tactile vibrators). So, for example, the sung nar. art. RF, Professor G.V. Seleznev, the phrase from the novel by S.V. Rakhmaninov “Oh no, I pray, don’t leave ...” allows you to compare six vowels on the computer screen in the final phrase “... HELP with me, DO NOT GO!”. At the same time, a clearly marked, perfectly formed and almost identical in amplitude and frequency of VPF on all six vowels (evidence of the singer’s high professionalism, the result of the great activity and stability of his resonators) is a great example for the student to follow. In this case, the student can also perceive and evaluate not only the teacher’s VPF or NPF, but also the vibration of his head and chest resonators using his skin-tactile vibrators. For this, vibration sensors must be installed on the resonators of the teacher, and KTV - on the body of the student. Alternating rearrangement of vibration sensors on the resonators of the teacher and student gives a positive learning result.

The resonance meter also allows the student to evaluate by ear how the teacher’s resonators sound when applying signals from his vibration sensors through an amplifier and headphones, as well as compare their sound with the sound of their own resonators by rearranging the vibration sensors to their resonators. This exercise allows you to achieve a high activity of the resonators of the student under his triple parallel self-control: auditory, visual and vibrational or any pairwise combination of these three types of self-control of the resonance technique, or each of them individually. Since the sound of the voice of the singing (or speaker) can interfere with the perception of the vibration of the resonators, it is also advisable to make an alternating tape recording of the resonators of the teacher and student in order to further listen and evaluate it by the students.

When using the relative activity of the thoracic or head resonators with respect to the intensity of the larynx vibration as an indicator of resonant singing, one of the vibration sensors is placed on the chest or head resonator region, and the other on the larynx region, also alternately on the body of the teacher and student. In this case, the student is instructed to achieve the same ratio of vibration intensity of the resonators and the larynx as that of the teacher, using the visual control of this indicator for this.

In special training exercises that require long vowel phonation, the singing or the speaker presents the possibility of visual self-monitoring of changes in the intensity of vibration of resonators over time with parallel self-monitoring of changes in voice power (for example, on a computer screen or portable resonance meter) with instructions, keeping the voice strength constant, not only not to allow a decrease in the intensity of vibration, but rather try to increase it, but not by increasing the voltage of the larynx, but only by more than optimal tuning of the resonators by correcting articulatory and respiratory mechanisms, in particular, activating the “support of sound on the diaphragm”, focusing also on the vibration sensations created by skin-tactile vibrators, and when working with a teacher, on his instructions. An example of the success of this kind of exercise to increase the vibrational activity of the thoracic resonator is shown in Fig. 8 (using a phonopneumograph of the author’s design, which also makes it possible to observe possible features of the student’s respiratory movements). A resonometer also provides such an opportunity, for example, by replacing one of the vibration sensors with a respiratory motion sensor or supplementing it with several channels for recording respiratory movements at different levels.

It is advisable to use the visual indicators of the IND-1-IND-4 resonance meter both in real time and in the mode of integrators, allowing you to summarize the intensity of the electrical signals of vibration sensors and / or high and low singing formants or voice strength, vibrato features and other indicators of resonance technology for a certain period, for example, for a unit of time or for the whole time a separate vowel or separate vocal or speech phrase, or a whole vocal work, or a monologue’s speech monologue is examined, as a result, the learner receives additional information about the total activity of his resonant system for the above short or longer period of time and in accordance with this additional visual information and, focusing on the intensity of vibration sensations received from skin-tactile vibrators in real time, makes a correction of the technique voice formation, achieving maximum values in the process of phonation, both vibrational sensations and indications of integrator indicators.

Particular advantages are provided by a portable, simplified resonometer model. The advantage is that it does not require any complex devices for implementation and can be used in the form of a small-sized pocket type resonance meter powered by an AA battery or similar. As an indicator of the vibrational activity of resonators, any simple type of arrow or screen (as well as digital) indicator can be used with a calibration of the levels of resonator activity in decibels, percent, or other units convenient for the user.

The advantage of such a portable (pocket type) resonance meter is quite obvious, since it can be used in any living conditions for self-monitoring of resonance technology, including public speaking by a singer or speaker, when controlling the activity of resonators using small-sized tactile vibrators hidden under clothes and a microphone like “ loop ”for self-monitoring of voice power and VPF using KTV. In public speaking, as mentioned above, the most common occurrence among inexperienced singers and speakers is resonance technique.

Preliminary studies have shown the high efficiency of this method for teaching resonance singing to both adults and children, especially young children, who find it difficult to explain what resonance singing is, but with the help of a Morozov resonance meter they easily understand its essence, and the learning efficiency is much improved.

Claims (5)

1. A method of teaching the resonant technique of singing and speech using a resonantometer, including recording the relative level of high and low singing formants and registering the vibrational activity of the resonators of the vocal apparatus using vibration sensors, characterized in that one of the vibration sensors is placed on the head or chest resonators, and the other - on the area of the larynx, and vibration sensors are installed alternately: first on the body of the teacher, and then on the body of the student;
convert high-frequency electrical signals of vibration sensors into low-frequency electrical signals with a frequency of 200 Hz;
amplify signals and apply to skin-tactile vibrators mounted on the surface of the student’s body and / or visual indicator;
calculate the ratio of the intensity of vibration of the head or chest resonator to the intensity of vibration of the larynx in real time and apply to the skin-tactile vibrators and / or visual indicator. 2. The method according to claim 1, characterized in that a high singing formant and / or a low singing formant is isolated, converted to low-frequency electrical signals with a frequency of 200 Hz, amplifies the signals and serves on tactile skin vibrators and / or on a visual indicator. 3. A resonance meter made of five functionally interconnected electronic circuits, the first circuit including a first vibration sensor that converts the mechanical vibration of the external surface of the chest or head resonator into an electrical signal fed to the first pre-amplifier, the first amplitude modulator in combination with a low-frequency generator with the possibility of conversion high-frequency signal of the first vibration sensor to a low-frequency electric signal with a frequency of 200 Hz, the first power amplifier, the first skin-tactile vibrator with the ability to convert an electrical signal from the output of the first modulator to mechanical vibration with a frequency of 200 Hz, the first visual indicator; moreover, the second circuit includes a second vibration sensor that converts the mechanical vibration of the outer surface of the thoracic or head resonator or larynx into an electric signal fed to the second pre-amplifier, a second amplitude modulator in combination with a low-frequency generator with the possibility of converting the high-frequency signal of the second vibration sensor to a low-frequency electric signal with a frequency 200 Hz, second power amplifier, second tactile skin vibrator with the possibility of converting electrical si drove from the output of the second modulator into mechanical vibration with a frequency of 200 Hz, the second indicator; the third circuit combines the first and second circuits in the block of the operational digital converter-amplifier with the possibility of calculating the ratio of the intensities of the electrical voltage of the signals at the output of the first and second modulators, respectively, with a further signal input to the third tactile skin vibrator and in parallel to the third indicator; the fourth circuit includes a microphone, a microphone amplifier, an automatic sound level control, a singing formant selection filter, a fourth modulator in combination with a low-frequency generator, a fourth tactile tactile vibrator, and a fourth indicator; the fifth circuit operates on the basis of the fourth by turning off the automatic level control and the high vocal formant filter with a switch. 4. The resonance meter according to claim 3, in which the filter unit of the high singing formant works with the possibility of highlighting the high singing formant to the maximum voltage in the 1/3 octave band for male voices in the range of 2400-2700 Hz, for women in the range of 2800-3500 Hz, and low singing formants - in the range of 400-700 Hz. 5. The resonance meter according to claims 3 and 4, made in the form of a portable device such as a mobile phone using micromodular elements, a microphone of the “loop” type, vibration sensors, vibrators.

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