RU2380760C1 - Method of determining voice potentialities and teaching resonance vocal-speech technique - Google Patents

Abstract

FIELD: teaching.

SUBSTANCE: auditory voice diagnostics and tree-dimensional spectral analysis in frequency range to 20500 Hz are carried out. Voice analysis is performed on the basis of complex evaluation of objective and subjective indices of acoustic characteristics of voice in singing and speech by comparison with standard phonation. Objective indices are main sound properties: height, timbre, loudness, duration. Teaching process is divided into stages: voice tuning, preparation, correction, coordination, speech. Stages are carried out in strictly determined succession, starting with vowel sounds. Voice tuning is performed in process of vocalisation of high-frequency volumetric vowel "И". Obtained qualities of timbre phonation are transferred in strictly determined order on vowels "И, Э, А, О, У". Voice correction is carried out by means of sound analysers.

EFFECT: increasing efficiency of developing voice potentialities of people.

2 cl, 6 dwg, 22 app, 11 ex

Description

The invention relates to teaching methods and can be used in pedagogy, medicine, speech therapy, psychophysiology, psychotherapy, the practice of announcer and acting, and more particularly to the psychophysiology of speech and singing voice.

One of the main tasks in determining the speech and singing abilities of a person is an assessment of the individual characteristics of voice formation and sound pronunciation, the possibility of their development and the identification of problems in the operation of the vocal apparatus.

Methods for determining voice data are known from the scientific, technical and patent literature (pp. No. 2254835, RF, A61F 5/58, 02/03/2004, No. 2094016, RF, А61Н 6/03, 05.05.94, No. 22240030, RF, А61В 5 / 00, 09.25.2002, No. 2065736, RF, A61F 5/58, 05/16/1995, No. 2313280, RF, А61В 5/08), as well as methods of treatment and training of the vocal apparatus in order to teach correctly formed speech in the process:

- conscious regulation of breathing and training sequential muscle relaxation (PP. No. 2276599, RF, А61Н 1/00, 05/31/2004, No. 2316252, RF, А61В 5/08, 02/28/2006),

- carrying out physical, phonological rhythmic exercises (PP. No. 2126240, RF, А61Н 1/00, 02/03/94, No. 94003935, RF, А61Н 1/00, 03/03/94),

- acupressure, musical accompaniment (pp. No. 2284806, RF, А61Н 39/08, 1/00, 10/10/2006, No. 2277405 А61Н 1/00, 09/15/2004, No. 2092150, RF, А61Н 39/00, 27.07. 93)

-exposure to a pulsed high-frequency electromagnetic field (pp. No. 2273500, RF, A61N 5/04, 04/10/2006, No. 2185862, RF, A61N 2/04, 04/17/2000),

- the use of biological feedback (subitems No. 2248750, RF, А61В 5/08, 12/29/2003, No. 2294691, Russian Federation, А61В 5/103, 11/20/2003, No. 2289311, Russian Federation, А61В 5/16, А61Н 23/00 12/08/2004).

The above known methods are aimed at the treatment of the vocal apparatus, the teaching of colloquial speech after injuries or illnesses, are used to correct external respiration disorders. Currently, much attention is paid to the complex correction of the emotional state of a person, the impact on the human psyche of musical works (paragraph No. 2178204, RF, G09B 5/00, G09B 19/00, 01/10/2002), listening to the student’s reference phonograms of phrases of the announcer or teacher, reverberated phonograms of his usual voice, followed by correction of his own speech (paragraph No. 2177648, RF, G09В 19/04, 06/22/1999).

To manage the attention of the audience, the correct voice setting is very important for people of the voice and speech professions: actors, vocalists, teachers, businessmen, managers, students and aspiring to professional speech and singing art.

A known method of acoustic detection of fixation of the vocal fold (p. No. 94016311, RF, AB 8/08, 05/05/94). The essence of the invention lies in the method of acoustic detection of fixation of the vocal fold, including the sounding of the subject vowel sounds of speech with their subsequent spectral analysis. Spectral analysis consists in determining the difference between the frequencies of the fundamental tone of the voice for each vowel phoneme reproduced by the subject.

The disadvantage of this method is that in determining the state of the vocal folds to identify pathology, the spread of the fundamental frequency taken as a basis for each phonated vowel from 10 to 40 Hz in healthy individuals and practically unchanged in patients with lesions of the vocal fold does not take into account the absence of a spread in the frequency of the main tones in people with posed voices.

There is a method of comprehensive assessment of vocal giftedness (p. No. 2204170, RF, G09B 15/00, 19/00, 12/26/2001 - prototype), which consists in the fact that the measurement of the parameters of the high vocal formant of the singer’s voice includes determining the frequency of the apex of the high vocal formants by measuring the integral spectrum of the singer’s voice, and by this frequency they judge the type of voice, determining the relative level of the high singing formant, corresponding to the sonorous voice coefficient of the singer.

This method has several disadvantages from the point of view of use for determining voice data.

Firstly, spectral analysis for measuring song formants is carried out up to 5000 Hz, in particular, it is limited to the voiced area (VPF), which for professional singers ranges from 2350 to 3700 Hz, therefore it is not possible to assess the region of flight of a voice located from 7000 Hz.

Secondly, the proposed sonogram for assessing the level of the CWP and measuring the vibrato parameters is one of the possible types of spectral analysis in the form of a two-dimensional projection, where the frequency scale is presented vertically, the sound horizontally is stretched in time, but the duration of the sound is not indicated, not fully The acoustic characteristics of the voice are reflected.

A known method of compensating for stuttering, logoneurosis and unstable operation of the nerve speech centers (p. No. 2254835, RF, A61F 5/58, 05/03/2004), which consists in a computer analysis of the speech signal received through the microphone from the patient by spectral analysis with determination of the frequency boundary values the range of the main tone of the patient’s speech and the ratio of the spectral power density in the frequency domain above the main tone to the spectral power density in the frequency region below the main tone, conducting a speech therapy session using a computer analysis of the current spectrum of the speech signal received via the microphone from a patient by monitoring in real time the ratio of its power spectral density in the frequency region above the pitch to power spectral density mode in the frequency range below the pitch. At the same time, by adjusting the spectrum of his voice, the patient fulfills the task of increasing the monitored ratio to at least double the value of the fundamental tone to the power spectral density in the frequency domain below the fundamental tone determined by preliminary computer analysis. In this case, the frequency range of the main tone of the patient’s speech is in the range of 80-340 Hz.

This method allows you to develop human speech skills, however, to indicate the sound "C" as a consonant, in which there is a pronounced low-frequency component, is not entirely correct, since it is known that this consonant belongs to the group of whistling sounds, that is, high-frequency, and, in addition to In addition, as spectral analysis shows, this sound is one of the highest frequencies in the Russian alphabet, and movement at low frequencies is the result of air leakage during pronunciation. Changing the sound spectrum and redistributing the spectral power density is proposed to be carried out in equal parts by means of acoustic filters, that is, using equipment, which does not provide a differentiated approach to the patient and does not take into account the individual characteristics of the voice timbre.

A known method of teaching resonant singing based on the formation of resonant acoustics of the vocal apparatus (p. No. 2202831, RF, G09B 15/00, 19/00, 07/03/2001 - prototype), which includes the stages: speech and vocal, according to the proposed way of setting sound from speech to singing, starting with consonants - working out the reference consonant sound "L" and those similar to it in the type of sound consonants "H", "T", "D" and then proceed to vowels, performing a set of exercises, using didactic material on video / audio cassettes.

This method has been widely used and can significantly improve the singing technique of any person, however, its action is aimed at teaching children of preschool and primary school age and beginning adult students, which does not involve working with professional singing voices, that is, work on improving sound and restoring voice apparatus. There is no diagnosis of voice data. The indicated way of voice setting limits the possibilities of introducing people with speech disabilities and speech disorders, for example, stuttering or having defects in sound pronunciation, including sonor consonants "L", "L '", "P", "P'", which will not allow them form the sound standard proposed by the author. The staging and development of a speech voice also remains beyond the scope of attention. There are no exercises for the development of the respiratory system, necessary to consolidate the acquired skills and obtain sustainable long-term results.

The objective of the present invention is to provide a method for determining voice data and, based on it, a method for training resonant vocal and speech techniques, which allows developing voice data of any person who does not even have natural vocal or speech abilities, to train the voice control of people who have suffered trauma of the larynx or damage to the vocal folds, implement a therapeutic and pedagogical approach to overcome stuttering, bronchial asthma and other diseases associated with impaired voice and respiratory functions and.

The problem is solved due to the fact that when determining voice data, an auditory diagnosis of voice and three-dimensional spectral analysis are additionally carried out in the frequency range up to 20500 Hz, measurements are made on a computer using computer programs for processing an audio signal, analysis is based on a comprehensive assessment of objective and subjective indicators acoustic characteristics of the voice in singing and speech by comparison with the standard of sounding, and subjective indicators are the main properties of sound: that, timbre, volume, duration, and objective indicators complementing the assessment of timbral characteristics, are the main qualities of the sound of the voice: sonicity, volume, flight, the learning process of resonant-vocal speech technique is built on the basis of the results of the diagnostic examination and divided into stages: voice tuning, preparatory, corrective, coordination and speech stages of training are carried out in a strictly defined sequence, starting with vowels, and voice tuning is carried out in the process of vocals high-frequency surround sound “I”, then the obtained sound quality of the timbre is transferred in a strictly defined order to the vowels “I”, “E”, “A”, “O”, “U”, control overtones in the voice by smoothly moving them from high-frequency sound And followed by the gradual filling of the entire spectrum of frequencies with vowels "E", "A", "O", ending with a low-frequency "U", and, conversely, from low-frequency Y to high-frequency And, and then with the singing of the sequence of vowels "U" , "O", "A", "E", "I", at the preparatory stage, specify the provisions of the external and internal articulation, combine the head and chest register in mixed sound, perform exercises to form the feeling of sound support, at the corrective stage, master the level of sound focusing and use resonant cavities by adjusting the teacher’s voice to the student’s voice in real time, perform vocal and speech exercises , conduct training sessions of the wave (sinusoidal) form of the sound signal, perform express-tuning of the voice, conduct vowel aerobics At this stage, by performing real-time breathing and vocal-speech exercises using biofeedback, all types of breathing (superficial clavicular, thoracic, upper-silver and lower-silver-diaphragmatic, paradoxical, abdominal, combined) are practiced, and diagonal, speech breathing is additionally performed the stage is carried out from vocals to speech according to the scheme: first vowel sounds are uttered soundlessly, then each vowel is pronounced separately using the resonant technique: focus sound calibration, sound attack, sound wave, after which the vowels in the words are uttered without consonants (lingering speech), voiced deaf consonants and work out the clarity of their pronunciation, carry out voice correction using sound analyzers, use didactic material in the form of video / audio recordings from the database voices of singers of different genres and styles, actors, teachers, businessmen, managers, as well as people with impaired voice function obtained in the course of various diseases.

Currently, the rapid development of technology has allowed us to conduct a deep, at a new high level, study of voice formation and pronunciation, to identify problems in the functioning of the vocal apparatus and to open up new possibilities for solving them. The most vivid changes in the vocal apparatus are observed in people of creative professions - singers, broadcasters, and actors in the colloquial genre. It is well known that objective indicators of a singer’s giftedness are the presence in his voice of a low singing formant (NPF) and a high singing formant (VPF). The high singing formant is the most important indicator of vocal giftedness and represents a group of reinforced high overtones in the region of 2300-3700 Hz, which gives the singing voice sonority and flight. As a result of our numerous two-and three-dimensional measurements of the spectral analysis of the voice of singers and actors, it was revealed that such an important quality as flight ability - the ability to fly and reach each listener in large and small halls, which gives a characteristic luster (metal) and penetration to the sound, requires special allocation and refinement of the frequency localization zone. These frequencies are in the range of 7000 Hz and higher. The identified frequency group allows against the background of a well-formed and stable HFF not to resort to amplification (forcing) the volume up to forte by both professional masters of stage art and people with voice and speech professions. The appearance of overtones in the field of flight (OP) is accompanied by a complete closure of the vocal folds in each part of the range and gives the timbre of the voice a silver tint, which is perceived by ear as a clear young voice. It has been established that the “age-related” voices of even the famous masters of vocal and speech art have partially lost frequencies in this zone, there is an instability of frequencies in the field of HMF, a decrease in the speed of vibrato and uneven frequency of oscillations. Great difficulties for passing into the voiced and flight zone are experienced by people who do not have musical hearing and any experience in staging a voice. There is no flight area in people with various disabilities of the voice, respiratory and auditory functions. The frequency location in the HFM area does not have a stable position: individual overtones merge into one group (hoarseness, non-closure of vocal folds, the presence of nodules and polyps).

The method is as follows.

To determine the voice data using a comprehensive assessment of the objective and subjective indicators of the acoustic characteristics of the voice in singing and speech. An objective analysis is carried out using standard computer programs for processing a sound signal, sound editors, in which there is an amplitude-time, three-dimensional frequency, spectral analysis of sound (WaveLab, Sound Forge, Cool Edit, PAS Analysis Center, etc.). Recording includes a number of vocal and speech texts and it is carried out in the range from 0 to 20500 Hz, before and after the lesson. Based on the obtained voice recording schemes in two- and three-dimensional space, the analysis of vocal data is performed.

Vocalization of vowels “And”, “E”, “A”, “O”, “U” is one of the leading tests, with the help of which they evaluate:

- basic sound quality: sonority, volume and flight; basic tone (time period, duration of high-quality sound, breadth of vibrations, ability to hold the basic tone, sound attack, the presence of vibrato);

- spectral composition (quantitative and qualitative composition of overtones); saturation, the presence of noise and overtones, the ability to maintain a vocal or speech position, support the work of overtones and provide a "pouring" sound;

- the work of the respiratory system (smoothness and uniformity of the distribution of exhalation);

- dynamic scale (gain, attenuation, thinning).

Subjective analysis includes the study of individual characteristics of voice formation and pronunciation, identifying violations of the vocal apparatus and clarifying problems (auditory assessment of the main parameters of the voice).

The main indicators of voice assessment in singing and speech:

- sound power (loud, quiet, weakened, shades);

- pitch (purity of intonation, general and working range of the voice, evenness and intensity of sound in different parts of the range);

- sound duration (sound support, type of breathing, diaphragm operation);

- timbre (degree of hoarseness, nasal or throat overtones).

According to vibrational sensations, sound localization and the work of external and internal articulation, they specify: the head or chest register, on the left or on the right, does not work actively enough, which of the resonators is turned off from the process and which vocal fold is not completely closed.

Based on numerous studies of the sound of the voices of a huge group of different people, the standard of vowel sounds is defined: a soft attack of sound, dynamic development, a smooth and narrow line of the fundamental tone and overtones, a smooth drawing of the exhale, preferably with slight vibrations — vibrato is an indispensable sign of a good singing voice. The amplitude-time analysis is used to detect sound attacks (hard, soft, aspiratory). They assess the ability to control dynamics, economical exhalation, sound saturation (see Appendix 1, Scheme 1, a graphical representation of the sounds “I”, “E”, “A”, “O”, “U”).

Figure 1 shows the use of soft attack: the beginning of the sound has a shape resembling an arrowhead. Soft entry into the sound provides the best wave-like closure and elasticity of the vocal folds, prevents the formation of nodules and polyps, blocks the movement of false (vestibular) folds. Then comes the dynamic development - sound phasing, providing a smooth transition from quiet to louder and vice versa (p <mf> p). The uniformity of sound filling is visible, which is achieved by a gradual expenditure of air with good sound support and the coordinated work of the respiratory muscles. Three-frequency (three-dimensional spectral) analysis makes it possible to evaluate the main tone of the sound. A sound standard for each vowel is defined (see Appendix 1, Scheme 2 - a sound standard for vowels “I”, “E”, “A”, “O”, “U”, a sound standard for a female voice, sound “I”).

The main tone (primary) is the highest relative to other overtones, narrow, pronounced, located at around 255 Hz: for men it is slightly to the left, for women to the right of this mark. There is a distance between the main tone and overtones (parallel tracks) so that they do not merge with each other and do not create unpleasant noises and squeaks in the voice. If there is no clearly defined straight line between the pitch and overtones, especially standing next to the pitch at 640 Hz, the intonation in singing will be unstable, inaccurate, false, and speech will be perceived as uncertain and insincere. The beginning of the sound (0 ms) is soft (soft attack). The line above the fundamental tone characterizes the uniformity and smoothness of the distribution of breathing throughout the entire sound, small even teeth on the line - a well-formed and pronounced vibrato in the voice. Male voices have additional frequencies below (to the left) of the fundamental tone at around 115 Hz. Thus, if in the process of vocalization or pronunciation of each vowel, approximately the same picture is observed, they sound even and harmonious in singing and speech.

Based on the analysis of the data obtained, they make up an individual training program for the development and restoration of voice and the formation of the basic sound qualities: sonicity, volume and flight by resonant focusing of sound using biological feedback (BFB) while activating the work of external and internal articulation. Training in resonant vocal-speech technique begins with the setting of a chanting long voice in primary tone in order to correct timbral imperfections and eliminate acquired sound skills.

Voice tuning is carried out during the vocalization of the high-frequency vowel “I”, then the obtained sound quality of the timbre is transferred to the other vowels in a strictly defined order: “I”, “E”, “A”, “O”, “U”. They control overtones in the voice by smoothly moving them in the established direct and reverse order: starting from the high-frequency sound “I”, followed by gradually filling the entire frequency spectrum with vowels: “E”, “A”, “O”, ending with the low-frequency “U” ”And, conversely, from the low-frequency“ U ”to the high-frequency“ I ”and then with the singing of the sequence of vowels:“ U ”,“ O ”,“ A ”,“ E ”,“ I ”. The movement of overtones in the high frequency region is fixed by small stops, while the position of the middle part and the root of the tongue does not change, the tip of the tongue moves slightly and glides from the lower teeth to the gums.

At the preparatory stage, all the provisions of the external and internal articulation are clarified: they regulate the movements of the posterior pharyngeal wall, determine the degree of raising of the soft palate, stabilize the position of the larynx at a close position, work out a wide tongue structure, strengthen its lateral and upper lip muscles, activate the microresonator at the tip of the tongue , relieve excessive tension from the wings of the nose, lips and cheeks (“face chores”), release the jaw, connect the head and chest register in a mixed sound, perform exercises for the forms tion sensations of sound support. The resulting sound is compared with a reference sound and a reference diagram of three-dimensional frequency and amplitude-time analysis.

The correction stage involves conducting a resonant adjustment of the teacher’s voice to the student’s voice in real time using auditory analysis and computer sound processing programs (BOS) in order to determine the level of sound focusing skills and the development of skills to use resonant cavities. Perform vocal and speech exercises to eliminate identified problems, including training sessions of the wave (sinusoidal) form of the sound signal. First, express voice tuning is performed. To do this, perform movements aimed at relieving tension in the muscles of the neck and shoulder girdle, then they are engaged in the preparation of the articulation apparatus, gradually include groups of respiratory muscles in the work. Exercises with sound imitation help to give the voice sonority (Horses, Airplane), volume (Bagheera, Sweet and tasty cotton candy, Apple) and flight (Blizzard, Flying Elf). The development of vocal and speech elements begins with vowel aerobics, which helps to restore and develop the basic sound qualities in both singing and speech, developing the necessary characteristics to ensure clear, even and rich sound throughout the entire range of the voice. This approach allows you to include previously unused mechanisms in the work, make coordination between the hearing and voice, articulatory and respiratory systems, vibration and muscle sensations, translate the resulting sound of the voice to the level of figurative perception, correlate with professional slang and consolidate knowledge with generally accepted terminology.

The coordination phase includes the implementation of breathing and vocal-speech exercises. Exercises (Nipple, Spring) are performed using hands modeling of respiratory muscles (stretching). Speaking these exercises in real time using biological feedback (sound analyzers), the student observes the appearance of frequencies in the desired zone: low singing and speech formant, high singing and speech formant and in the high frequency region from 7000 Hz, which allows him to choose from complex exercises the most effective and efficient.

In the future, the invention is illustrated by specific drawings for the implementation of various types of breathing with modeling hand movements (see Appendix 19), on which:

Fig. 1 - superficial clavicular type of breathing;

Fig. 2 - chest;

Fig. 3 - upper-silver-diaphragmatic and lower-silver-diaphragmatic;

Fig. 4 - paradoxical;

Fig. 5 - abdominal and combined (full);

Fig. 6 - diagonal.

In the figures, the first figure is the initial position (exhalation). The second figure is a breath. The setting of the type of breathing - DIAGONAL - provides flexibility and elasticity of the respiratory, vocal and articulatory muscles, in which the upper part of the lungs is activated and activated on the one hand, for example, on the left, and the lower part of the lungs, on the other, on the right. The training of voluntary switching, the transfer of breathing exercises to the level of figurative representations and control of movement patterns with the help of thought. Translation of the modeling movements of the hands of the respiratory muscles to the mental level. Sounding of breathing exercises is carried out in order to create strong and stable coordination bonds between the hearing and the voice.

The following is the speech stage, which includes proverbs, sayings, tongue twisters, selected and systematized in a strictly defined order to consolidate the basic qualities of sound. Having obtained the necessary qualities in a prolonged sound of a voice, they are transferred to a short speech sound, they work on iotated vowels, which provide automatic voicing, then they alternate the iotated vowel with a “pure” vowel and smooth the sound, optimizing the process of transferring vocal sound to speech sound using BOS . Work with the text is carried out according to the developed scheme. At first, vowels sound silently. Silent performance of vocal and speech works serves to eliminate previously acquired skills and the formation of new singing and speech skills. They proceed to the sound stage: each vowel is pronounced separately using the resonance technique: focusing the sound (preparatory moment) - attacking the sound (shock) - sound wave (returning to the starting position). The resonant acoustic effect - the sound wave - arises from the coordinated work of internal articulation and respiratory muscles. Depending on the direction of the impact, the type of sound attack and the resonators used, the sound wave is able to acquire different emotional colors. Then the vowels are pronounced without consonants, “merge” with each other and combined into a single continuous sound line - the sound stream, where sound beats or accents in the word are applied to the stressed syllable, in the phrase - to the semantic word, in the sentence - to the main idea. The next stage is the refinement of the pronunciation of consonants, the voice of deaf consonants. The stage of joining vowels and consonants is accompanied by BOS, with the help of which sound correction of speech occurs. Sound visualization, reinforcement of the work of auditory analyzers by visual analyzers, the connection of a whole complex of various sensations (muscle, vibration, skin-tactile, taste, etc.) that contribute to the development of a special vocal and speech hearing, which allows evaluating not only the perfection of the technique of voice formation, disruption of the vocal apparatus , but also during the performance of vocal and speech works, in the process of communication, using the effect of resonant sound, reconfigure and change the acoustic other characteristics of one's own voice and the voice of another person. The resulting joint feeling - synesthesia - due to the increased interaction of the analyzers creates an additional feeling of the voice system as a stereo system, it allows you to instantly, accurately and finely control the process of sound formation using coordinated movements of the tongue as a lever to control the sound process, soft palate, muscles of the lips and cheeks, jaw. The inclusion of different types of thinking in the process of cognitive activity: theoretical, practical, analytical and intuitive allows you to more quickly and firmly master the material studied and form the necessary singing and speech skills.

At each stage of the development of vocal and speech elements, didactic material is used to develop auditory perception - these are video and audio recordings from the existing extensive database of voices of singers of various genres and styles, actors, teachers, businessmen, managers and other people of voice and speech professions, as well as people with impaired voice function obtained during various diseases. There are records not only of the initial state of the voice data of the trainees in the resonant vocal-speech technique, but also records of their voices during the development and restoration of the voice, respiratory and auditory functions, which allows the formation of analytical thinking for independent work. At each stage of the study of resonant vocal-speech technique, computer diagnostics is carried out, reflecting the intermediate results of individual and group exercises. Spectral analysis of sound is used not only to detect irregularities in the operation of the voice apparatus, but also to develop the basic qualities of sound: sonicity, volume and flight.

After the testing, the obtained data are carefully processed using a comprehensive analysis of computer programs for sound processing, and on the basis of the obtained data an individual program of correctional and developmental exercises is compiled. The program provides the required number of classes. After that, a computer examination is again carried out.

The following programs and analyzers are used in the method for determining voice data:

Scheme 1 - amplitude-time, WaveLab2;

Scheme 2 - three-dimensional frequency, WaveLab2: 3D Frequency analysis;

Scheme 3 - spectrum analyzer, PAS Analysis Center: Spectrum Analyzer;

Scheme 4 - spectrograph, PAS Analysis Center: Spectrogram;

Figure 5 - Spectral Analysis, WaveLab5: Spectrum Analyzer (FFT);

Figure 6 - Oscilloscope, PAS Analysis Center: Oscilloscope.

Scheme 1. The amplitude-time analysis is used to refine the results of three-dimensional spectral analysis: the type of sound attack, determining the possibility of controlling the dynamics, the quality of thinning: smooth transitions when amplifying and attenuating the dynamics. The time is plotted on the horizontal axis, and the amplitude of oscillations on the vertical axis. Estimated:

- attack of sound (hard, soft, aspirated);

- the time of the general sound and the duration of the sound of each vowel;

- the presence of dynamic shades of sound;

- evenness and saturation of sound.

Scheme 2. Three-dimensional frequency spectral analysis is a diagram on which time (s) is plotted on one axis, frequencies (Hz) on the other axis, and their amplitude on the third (vertical) axis. A significant advantage of WaveLab analyzers (Figures 1-2) is the presence of time indicators, in contrast to PAS Analysis Center analyzers (Figures 3-4). The three-dimensional display of the spectral analysis makes it possible to study voice data in detail:

- the ability to hold the main tone of the sound, the applied attack of sound, vibrato,

- smooth and economical exhalation, sound mute,

- a qualitative level of overtones, the location of formants, the presence of hoarseness and overtones, excessive tension in the voice, the tonal evenness of the sound of vowels, etc.

Scheme 3. In the spectrum analyzer - Spectrum Analyzer - the frequency scale (Hz) is located horizontally. On the (FFT Length) tab, settings are made for the Fourier transform. All the auxiliary functions of Display are used: Log Frequency, Log Amplitude and draw grid. In the graphs we presented, there is no Draw inactive - spectral band highlighting. The Bars mode is selected on the Kind tab, because in this mode, unlike the others, the type of spectrum visualization is most clearly and visually presented. In setting the Decay spectral column regeneration time, the Step Up mode is defined as the most optimal for the perception of their speed. The positive point is that schemes 3-4 well reflect the basic sound qualities: sonicity, volume and flight, and therefore can be actively used in the process of staging a singing and speech voice. Firstly, the analyzers work in real time, secondly, they are very sensitive, respond flexibly and quickly note the positive processes of voice development and restoration, thirdly, they attract attention, arouse interest among students, increase their efficiency, and contribute to the quick elimination of identified deficiencies and the consolidation of new coordination links between the muscles of external and internal articulation, vibrational sensations, auditory perception.

Scheme 4. In the spectrograph, the frequency scale is located vertically and stretched in time. In Display are the spectrogram display settings. The graphs also show visual effects: Embossed - change the background of the spectrograph. Accelerate - acceleration in time and Log Amplitude. Outfit - Threshold spectrogram color settings.

Using a spectrograph, professional vocalists determine the ability to use vibrato: the frequency, magnitude and frequency of oscillations in the form of wave-like sinusoidal lines. This program is best used in "live" work with the masters of the scene, as well as in the examination of patients, as it captures various violations of voice, respiratory and auditory function. For example, in people with hearing loss, frequencies in the voiced area appear randomly in the form of a dashed dashed line for a fairly short period of time.

Scheme 5. The spectral analysis of the WaveLab5 program is used additionally for an auxiliary purpose, for example, in working with singers to determine the accuracy of sound entry, as well as to compare the obtained indicators of the basic sound qualities before and after class.

Scheme 6. The oscilloscope shows the shape of the sound wave, is used directly in practical work, and serves as a voice simulator for developing the ability to control sound, giving it a special wave sinusoidal shape. We remove Effect from the Scale setting - color separation for peaks.

The invention is illustrated by specific examples:

Example 1. N.K. - a beginner pop singer (14 years old). Expanding the range, increasing voice strength, eliminating nasal overtones, working on sonority and purity of intonation. Testing before classes.

Scheme 1. The amplitude-time analysis of the vowels “And”, “E”, “A”, “O”, “U” revealed a short exhalation and the use of aspiratory attack on all sounds. The beginning of the sound resembles a soft attack, but the air leak that occurs due to the use of an aspiratory attack is visible in the figure as the uneven color of the sound. The duration of the five vowels is 10 s (see Appendix 2, Scheme 1, sounds “I”, “E”, “A”, “O”, “U” before classes).

The proposed task of singing all the vowels at the same height caused difficulties. Inaccurate intonation is clearly visible in the three-dimensional diagram: the absence of “tracks” between overtones (see Appendix 2, Scheme 2, sounds “I”, “E”, “A”, “O”, “U” before classes). Consider the sound “And” before and after each lesson using different analyzers: 3D Frequency analysis; Spectrum Analyzer (FFT), Spectrogram.

Scheme 2. Three-dimensional frequency analysis of the vowel “I” showed hoarseness and nasal overtones, noises (between the levels of 44 Hz and 115 Hz) are present even after the sound of the main tone is completed due to the use of an aspiratory attack. The breathing is uneven. The primary tone is low: it is at around 255 Hz, which first corresponds to the note "s", turning into a "b-flat" small octave. The main tone is wide: the sound is swinging, the intonation is “creeping” down, since there is no clearly defined border between the main tone and overtones, they “merge” with each other, vibrato not expressed. The overtone below the 640 Hz mark has an unclear line and resembles two overtones “stuck together”, which negatively affects such sound quality as the volume in the voice. Despite the presence of frequencies in the NPF zone, they are perceived as interference in the voice and lack of purity of intonation. The voice range is not wide, the voice is deaf - a low level of overtones in the region of the HMF (around 3620 Hz).

Scheme 3. Spectrum analysis (Spectrum) confirmed a small number of frequencies in the low singing formant (NPF) region, a low frequency amplitude in the voiced region (HFF), as well as a complete absence of overtones in the flight region, so the voice is dull, “dull” and flat.

Scheme 4. Spectrogram did not notice vibrato in the voice, that is, the lines on the graph are straight and not sinusoidal, therefore there is no sensation of intonation purity and stability, and confirmed that the number of overtones in the HF region is so small that in other analyzers, less sensitive, simply not "read", in contrast to three-dimensional spectral analysis.

Scheme 5. A comparative analysis of the sound “I” before classes and after 3 classes showed the presence of an “entrance” to the sound - an inaccurate introduction, which once again confirms the existing problems with intonation.

The results of the survey and the subjective analysis revealed that N. K. has a musical background (music school) and theoretical knowledge in the field of voice production. She regularly performs singing and breathing exercises in the classroom under the guidance of a teacher. Speech exercises are not included in the complex. However, their practical purpose and purpose for her is unknown and incomprehensible, could not specifically reproduce the set of exercises. Only 1-2 vocalises were remembered. External examination showed the presence of a strong overstrain of the muscles of the shoulder girdle and back; a curvature of the spine was detected. The voice is quiet, weak, type of breathing - clavicular. The total range of the voice does not exceed one and a half octaves, it sounds uneven in different parts of the range. On the right side, a strong sip is heard (non-closure of the vocal folds), the lateral muscles of the tongue do not adjoin the teeth. The muscles of the right cheek are also tense, the jaw is clamped, it is constantly in a fixed position. Based on the results of a comprehensive survey, the main task is determined - the formation of voiced voices. An important task is the establishment of breathing support, the removal of excessive muscle tension, on the one hand, and the activation of internal articulation, on the other hand. The strongly lowered soft palate, flaccid lips and intense oral exhalation create an unpleasant nasal overtone. The defining moment in the joint activity to eliminate the identified problems is the comprehension by the learner of the process of developing voice data.

Individual voice development program. In total, three classes were conducted lasting 90 minutes, including the time of the diagnostic examination. The first and second classes are held two days in a row in order to ensure long-term results and consolidate the skills acquired in the first lesson. Voice tuning is carried out at the beginning of each lesson using the sound “I” (evaluation of the resonators). In the first lesson, in addition to a comprehensive examination, preparatory and corrective stages were carried out to solve the tasks in full. Each muscle position of the internal articulation was recorded using BFB and compared with a reference. Before starting work on the “enrichment” of frequencies in the field of HMF, it was necessary to expand the NPF zone. The release of the jaw increased the frequency in the area of NPF, providing a wide position of the tongue and a more snug fit to the lower teeth on the right side caused the appearance of overtones at around 800 Hz. Performing the exercise “Apple” from express voice tuning gave a feeling of soft palate and made it possible to determine its optimal position. Sounding exercises using the syllable "AM" with the use of a spectrum analyzer (Scheme 3) fixed the frequencies in the field of NPF. Then we switched to onomatopoeia to cause the appearance of overtones in the HFF region. Gradually and sequentially moved to the desired region, starting from low frequencies and further to high in the region of 2300-3700 Hz. Sound simulations were performed with the simulation of hand movements, for example, hissing a snake - folding into a ring, raising his head, throwing, buzzing a bumblebee "Zh", flying a bee and a mosquito "Z". We observed the appearance of frequencies, fixed exercises, expanded the dynamic range, used the technique of amplification and attenuation of sound.

In the second lesson, the correctional and coordination phase was carried out, we continued to work on strengthening the muscles of the upper lip and the tip of the tongue for passage into the flight area - from 7000 Hz using onomatopoeic exercises: screaming pig “UI”, barking dog “AU” and “UAU” and puppy-teaser “HER”, after which they started the exercise “overtone control”. At this stage, vowel aerobics exercises were chosen to form voices in order to maintain a position and stabilize the functioning of the organs of the vocal apparatus, and to prevent the facial muscles from being involved in the voice process. The student performed each exercise at least 7-9 times: first 3 times in a static position, then simultaneously with dynamic movements to relieve general muscle tension (stroking the neck, turning the neck and body), and then repeating it without any auxiliary movements. Respiratory gymnastics was carried out purposefully taking into account the identified problems with the spine, therefore, it was necessary to provide flexibility in muscle work, for which N.K. mastered the diagonal type of breathing (see Appendix 19, Fig. 6), strengthened the back muscles and voiced exercises using a paradoxical type respiration (see Appendix 19, Fig. 4). Carrying out a second computer examination after the second lesson showed the appearance of flight in the voice in the middle section of the sound. At the end of the lesson, the student determined the main shortcomings of the sound of the voice according to the vocalization of the vowels from the section "Setting the voice."

The third lesson was aimed at developing material on singing and speech material. To align the vowels with a sinusoidal type, an oscilloscope was used (Scheme 6), which allowed us to transfer the obtained sound qualities to the vowels "E", "A" in singing and speech. The combination of registers and the formation of vibrato was facilitated by the vocal-speech exercise “String Quartet” - a sound imitation of playing stringed instruments with a characteristic sound and wrist movement of the hand: violin, viola, cello, double bass, as well as computer analysis of audio materials for correcting vibrato speed from the section “Restoring Vibrato” vote". The development of the resonant technique of sound focusing was carried out on proverbs and sayings from the first block for the formation of voices - activation of the microresonator and the tip of the tongue. At the same time, the problem of improving diction was solved by involving additional compensatory mechanisms of internal articulation in the process with the goal of freeing the external articulation necessary to create an artistic image. Testing after three classes.

Scheme 1. The use of a soft attack has been identified, there is no air leak. The sound became more flexible and full, dynamic shades appeared. On the vowels “I”, “U”, the sound filtering was fully successful (see Appendix 2, Scheme 1, sounds “I”, “E”, “A”, “O”, “U” after 3 lessons).

Scheme 2. The duration of the vowel sequence “I”, “E”, “A”, “O”, “U” increased compared to the test before classes for 34 s and amounted to 45 s (see Appendix 2, Scheme 2, sounds “I”, “E”, “A”, “O”, “U” after 3 lessons). The duration of the vowel "I" increased from 1.7 s to 9.5 s, which is observed immediately after the first lesson, the exhalation became more even. The sonority in the voice was clearly manifested in the region of high singing formant (3620 Hz) and flight appeared (8130 Hz). Only after the third lesson did exactly outlined “paths” form between the overtones. The main tone has become much narrower, the intonation is clearer, and the primary tone is higher, that is, it has moved to the right of the 255 Hz mark (E flat of the first octave). Decreased, but not completely disappeared nasal overtones. The appearance of a light, not very clearly defined vibrato is noted. With the help of spectral analysis, after each lesson, a gradual and consistent development of voice is observed following the strengthening of the student’s technical training (see Appendix 3).

Scheme 3. A VPF is formed on all vowels, the voice strength has increased, the appearance of overtones in the flight region is noted, in which several frequencies from 7000 Hz to 11000 Hz are clearly presented (see Appendix 4).

Scheme 4. On the graphs, vibrato is presented first in the form of a straight horizontal line, which gradually acquires a sinusoidal pattern, but not yet possessing rhythm, uniformity and stability of frequency modulations. There is no intonational clarity of sound (see Appendix 5).

Scheme 5. Entry into the sound is accurate, the number of overtones in the field of NPF has significantly increased (see Appendix 6).

Recommendations: continue work on soft attack and sound phasing, gradually increasing the dynamic range, transferring voicing and flight to the vowels “O”, “U”, developing the skills to use the mixed register, pay special attention to breathing support in breathing exercises (Figs. 3, 5 )

Example 2. A.N. E. (female 53 g., II gr. Inv.), Bronchial asthma. Improving respiratory function. Testing before classes. 2002. Given the patient’s condition, weighed down by paresis of the vocal folds, for testing was proposed the vocalization of the sound “I” and an excerpt from M. Y. Lermontov’s poem “The Lone Sail Whitens” according to the wishes of the subject. Below is a comparative analysis of the acoustic characteristics of the voice during vocalization of the vowel “I” using various computer programs for sound processing and three-dimensional spectral analysis of indicators in speech before and after classes.

Scheme 1. The exhalation is long, the sonority of the voice periodically disappears and reappears in the first half and at the end of the sound segment. The dynamic scale is narrow, the voice is weakened.

Scheme 2. Three-dimensional spectral analysis of sound “I”. The breathing is uneven, the main tone is wide, there are extraneous sounds. In the NPF region, only one weakly expressed overtone was detected at around 640 Hz, in the VPF region there are two overtones - 2300 and 3000 Hz, the second is clearly visible. The distinct paths between the pitch and overtones suggest that the patient has good musical ear and voice. Three-dimensional spectral analysis of speech. To determine the work of the respiratory system during voice loading, the following measurements were taken: from the phrase "in the blue sea fog" we took the syllable BOM - breath - WHAT "he is looking for in a distant land." Heavy wheezing, between two spoken words: “blue” and “what”, there are frequencies (255 Hz-7000 Hz) instead of a flat field that occurs during a pause in speech, characterizing noisy breathing with a whistle.

Scheme 3. Spectrum analysis (Spectrum) did not reveal frequencies in the NPF region, in the HMF region found an overtone at around 3000 Hz.

Scheme 4. Spectral analysis (Spectrogram) showed the presence of frequencies in the HF region in the form of a dashed line.

Scheme 5. A comparative analysis of the sound “I” showed the absence of the formed basic sound qualities: sonority, volume and flight.

Scheme 6. The oscilloscope did not record the presence of pronounced overtones.

The results of the survey revealed that A.N.E. suffers from the disease for more than 20 years, over the past 5-6 years, diabetes has appeared, obesity, severe dyspnea worries. External examination showed the presence of muscle tension in the neck and shoulder girdle. Cracked, hoarse voice, type of breath - upper chest, inhalation and exhalation of the mouth. The jaw is clamped, the tongue is slow, the soft palate is languid and lowered - strong snoring with holding breaths disturbs. The patient has experience in choral and solo singing in amateur performances in the school years. Based on the results of a comprehensive examination, the main task was determined - staging breathing and relieving excessive muscle tension. An important task is to familiarize yourself with the singing and speech art by listening to the best voices of classical and folk vocals, poetry, with a gradual increase in your own voice load in the process of singing and reading.

An individual program for developing voice and strengthening the respiratory system. Five classes were conducted lasting 90 minutes, including a diagnostic examination: the first and second classes were held two days in a row, the rest twice a week.

In the first lesson, first we listened and analyzed voice data, then we performed a resonant voice tuning using the vowel “I” and a resonant breathing setting: the teacher was adapted to the type of breathing, in this case the chest type and switching to the upper silver-diaphragmatic type of breathing. Breathing exercises were performed very slowly in a static position, sitting on a chair, but with a movement of the hands (see Appendix 19, Fig. 3). The obtained type of breathing was fixed using the “Spring” exercise from the express voice setting.

- Starting position: hands are slightly clenched into fists and are at chest level. Imagine that we have springs or harnesses in our hands, and we must make an effort to stretch them. Inhalation consists of three small breaths, which should be fixed for a moment: the first is to breathe slightly, you can imagine that we are in the fresh air, the second is to stretch your arms forward about 10-12 cm, the third is to spread your arms apart, describing the arc exactly as much as the elbows that support. On the exhale, quickly enough and without additional effort to return to its original position (compression of the spring). Perform 3 times, if performed correctly, the exercise resembles sipping after sleep.

In the second lesson, we completed the preparatory phase and moved on to the correctional phase. We started with silent exercises from the express settings of the voice “Greetings”, “Horizons”, “Bow”, stretched out the muscles of the tongue and released the jaw - “Horses”. Used specially prepared for independent work videos with exercises to relieve muscle tension.

- Starting position: grasp the neck with your fingers, close your palms, gently open. Press fingers firmly, press lightly, well, if there is a slight vibration in the hands, repeat three times, gradually moving in the direction from head to shoulder.

They did the exercise "Balance", "Cheerfulness", conducted acupressure of the collar zone. We repeated breathing exercises, performed their sounding with the help of BF on the vowels “I” and “Y” to add volume to the sound and activate chest resonance, we observed an increase in the amplitude of the overtones. At the end of each lesson, an improvement in the sound of the voice was noted, compared with the recording of sound before classes.

The third lesson began with the “Handbrake” exercise to relieve tension of the respiratory muscles, simulating the movement of the car in a traffic jam: a jerk forward - an active smooth breath and a small exhalation - rollback of the car slightly backward. At one breath, take three to five small breaths. Then a long exhalation on the respiratory support with the inclusion of the press. The exercise was repeated three times, helping himself with a modeling movement of the hand. The first time they extended their lips with a tube and inhaled with their mouths, the second time they used a combined inhalation with their nose and mouth at the same time, the third time they took only a nose. They voiced breathing exercises using the vowel “I”, strengthened their skills by checking the accuracy of their implementation using sound analyzers. The vocal-speech exercise “Echo” from vowel aerobics was chosen to obtain volumetric free sound, as well as to raise the soft palate and include internal articulation in the muscles. Exercise No. 9 helped to improve the closure of the vocal folds, the formation of a smooth pronunciation of sounds and the economy of air consumption, as it is aimed at understanding and mastering by the trainee of the "respiratory installation" - the fundamental installation in singing and speech.

The fourth lesson. Coordination stage. We continued the development of various types of breathing. We studied the abdominal type of breathing using the Nipple exercise, making sure that the front wall of the abdomen protrudes slightly forward when inhaling.

- Imagine that we are in a summer meadow (if the patient has an allergy, you can replace the sensation with fresh frosty air), slowly, with pleasure, inhale the aroma and feel how gradually the lower abdomen is filled with air, then the whole stomach and chest.

We were engaged in the development of a diagonal type of breathing with the modeling of hand movements to activate various resonators and their arbitrary switching - "Spring" in a standing position according to scheme 6. Exercise "Screw" contributed to the establishment of silent nasal breathing and the gradual strengthening of the respiratory system.

- Clench your palms into fists, put them on top of each other so that the hands can move diagonally up or down (see Appendix 19, Fig. 6). One hand is motionless, and the second hand draws a thread on inspiration, that is, it moves in a spiral up or down depending on its position. Pay attention when the left hand performs a movement, then it involuntarily begins to be drawn in more through the left nostril and, conversely, when performing movements with the right hand, it activates and begins to breathe better in the right nostril. Do the exercise while standing and sitting, translate into a mental level, first slowly with pressure, then draw a spiral very quickly using nasal breathing, easily spinning an imaginary part and noting the presence of thread on it (you can close your eyes at the last stage).

In the fifth lesson, they were engaged in a soft attack of sound, worked on strengthening the lateral muscles and mobility of the tip of the tongue. After exercises No. 4 for sonority and No. 5 for flight, we began to transfer the acquired qualities to consonant sounds. First, lips were included in the work - the upper “B”, “P”, “M” and the lower “B”, “F”, the microcavity and the tip of the tongue “C”, “Z”, “C”, “L”, “P ”,“ T ”,“ D ”,“ H ”, lateral muscles“ Ch ”,“ Shch ”,“ Sh ”,“ Zh ”and the root of the tongue“ K ”,“ G ”,“ X ”. The pronunciation of sounds was correlated with characteristic imitating movements: kiss, snort, snapping and smacking, hissing and grunting. The consonants were silently uttered in the chosen position, without changing the position of the external articulation. We selected a line from the Russian folk song “Oh you, canopy, my canopy, my new canopy from the flight block.” Canopy is new, maple, trellised ”and worked on the text according to the developed scheme. They performed the vocal version. Conducted re-comprehensive diagnostics. Testing after classes.

Scheme 1. There is a significant increase in voice strength, the use of a soft attack to enter the sound and a quiet smooth completion of the sound (see Appendix 7).

Scheme 2. Vocalization "And." Additional overtones appeared in the field of NPF and VPF, the pitch was narrowed and “cleared” of overtones, the smoothness and uniformity of the distribution of exhalation was observed (see Appendix 8).

Speech. Breathing is calmer. Between the two spoken words: “blue” and “what”, there are frequencies from 255 Hz to 900 Hz, that is, it is not yet completely silent, but no longer whistling (see Appendix 8a).

Scheme 3. An NPF and an APF are formed on the vowel “I”, the voice strength has increased, the appearance of overtones in the field of flight is noted (see Appendix 9).

Scheme 4. Frequencies appeared in the field of voicing and voice volume, the flight region is present only at around 10,000 Hz and 10,500 Hz, unlike Scheme 3, which showed the presence of a whole group of high frequencies: 8000, 10000, 10500, 12000 and 13500 Hz (see Appendix 10).

Scheme 5. Overtones are expressed in the field of NPF, VPF and flight (OP), the distance between them is observed, the main tone is stable (see Appendix 10).

Scheme 6. Amplification of dynamics, the appearance of overtones (see Appendix 10). Recommendations: activate nasal breathing, master other types of breathing along with diaphragmatic and diagonal, gradually increase the pace of exercises, alternate slow and fast “stretch marks”, translate hand movements to a mental level, engage in vocal and speech exercises, singing and recitation, transfer the acquired qualities sounds to other vowels.

2008 The state of health is satisfactory. Over the past six years, the state of remission has persisted, there have been no calls to the emergency room, it is periodically observed by the attending physician, and is treated at the sanatorium once a year. He makes daily walks with his grandchildren, reads poems and fairy tales to them regularly, sings lullabies and playing songs.

Example 3. K. S. B. (husband, 37 years old), bronchial asthma.

December 20, 2005. Signs of severe obstruction. Wheezing, severe shortness of breath.

Scheme 4. Chronic respiratory diseases, including bronchial asthma, have a characteristic pattern of flickering frequencies, which very quickly die out in the zone of HMF. Overtones merge, indicating the presence of noise and overtones in the voice. The voice is hoarse, the exhalation is short, the vocal folds do not close, the muscles of the collar zone are very overstressed. He practically doesn’t go to the office - it’s hard to climb stairs. Four classes of 90 minutes were conducted, including a diagnostic examination. Given the learner’s sports training, more time was spent in the classroom on imitating sound and vocal-speech exercises, on mastering the paradoxical and diagonal types of breathing, as well as on training methods of acupressure to relieve tension in the muscles of the neck and shoulder girdle.

January 31, 2006. After 4 classes, there is an improvement in overall well-being, an increase in working capacity, and a decrease in shortness of breath. Overtones appeared in the field of voicing in all vowels (see Appendix 11).

Doctor's opinion: there are minor changes after spirography.

July 4, 2008. State of stable remission. He goes on business trips, regularly does exercises, sometimes visits the ice rink.

Example 4. Kolya (12 years old), chronic bronchitis.

Scheme 1. Chronic bronchitis in the acute stage. The exhalation is very short, a little more than 1 s, difficult. After class, the duration of the sound increased to 4-5 s. The breathing on the vowels “I”, “E”, “A” became fairly even, the voice more sonorous (see Appendix 11). Conducted one lesson. The lesson used audio materials with exercises compiled on the basis of the existing sound database. Below is a description of the audio clip.

When the respiratory system cannot withstand the load and the diagnosis of bronchial asthma becomes a reality, your voice gradually fades away (the voice of a 10-year-old boy sounds before classes). Let's make the voice cheerful and joyful, you will see how the disease recedes!

- Listen to how the sound shimmers.

- Try to slowly translate the vowel “I” to “U”, and now back. Play with the sound. If it still doesn’t work out very well and instead of the bells, there is a creak and a rattle, say “MEU”.

- Now we will breathe together. Imagine that you are in the fresh frosty air. Slowly draw in air, do not rush and you will feel light.

Check, your voice has become brighter, and your breathing is longer (the boy’s voice sounds after classes).

Example 5. P. I. V. Change in male voice to female voice when changing sex.

Scheme 5. The integrated spectrum of male voice before and after classes. In the first figure, the top line is the sounds before classes, the bottom line is the sounds after three classes. In the second figure, the top line is the text before classes, the bottom line is the text after three classes (see Appendix 12). After classes, a three-dimensional diagram of the male voice changes to the female voice: an increase in the fundamental tone to the PE note of the first octave, the absence of frequencies below 255 Hz (see Appendix 12a). The voice is low baritone, lower silver-diaphragmatic type of breathing, attack of sound is aspirated, exhale is short, speech is jerky, blurry, illegible, sharp transitions from one register to another are noted. In total, three classes were held three days in a row by the immersion method: listening to female voices similar in timbral characteristics, and the development of performing skills in singing and speech. The resonant tuning of the voice was carried out throughout all classes. The pitch and timbre of the voice was controlled through the control of overtones.

The procedure for performing vocal and speech exercises from vowel aerobics: No. 9, 10, 11, 15, 6, 4, 5, silent exercises No. 1-3, express voice tuning. They mastered the upper thoracic (superficial clavicular), chest and diagonal types of breathing (see Appendix 19, Fig. 1, 2, 6). The scheme for translating sound into speech passed strictly according to plan. Used proverbs, sayings, excerpts from business and literary texts, vocal chants to expand the range of voice.

Example 6. P.S. (female, 27 years old), stuttering.

Stuttering occurred at an early age and was observed up to 7 years, during classes with various specialists it was possible to master normal speech, at 10 years old, as a result of a stressful situation, muscle cramps occurred and stuttering returned. At the moment, there is a need for verbal communication in connection with a change in professional activity.

Scheme 1-2 (see Appendix 13). The voice is muffled, hoarse, trembling, it sounds unstable, the attack of sound is solid, the expiration time is 1 -1, 5 s. The main tone is wide, overtones do not have clear outlines and represent a broken line. There is a strong overstrain of a whole muscle group on the right side. One lesson was held, at which special attention was paid to the preparatory and corrective stages. The articulatory and respiratory muscles were toned, exercises for tension and relaxation were performed. Working with vowels helped to understand the vocal essence of speech, made it possible to find the smoothness of sound transitions and to learn to arbitrarily adjust the pace of speech. After class, there is an increase in the duration of exhalation to 8.5 s, the presence of "paths" between overtones, the appearance of vibrato. Audio recording of the text after the lesson recorded the absence of speech spasms in the voice.

Example 7. G.A. - Soloist of the opera house, coloratura soprano.

Recovery of vocal function, non-closure of vocal folds, loss of the upper part of the range (up to III octave) and focusing of sound over two years due to the experimental search for a new teacher on vocals of “soft and gentle tone of voice”, vulture in voice, reduced vibrato. There is a very strong overstrain of the muscles of the neck and shoulder girdle, with light pressure there is discomfort.

Scheme 1-2. A solid attack of sound, there is no dynamic development, the primary tone is low, does not correspond to the type of voice, the intonation is inaccurate with a tendency to decrease. The main tone is wide, the overtone standing next to the main tone in the NPF region at around 640 Hz is unstable due to the constant search for the position, it is presented as a broken line, overtones in the VPF region are weakly expressed. Three classes were scheduled in stages: two classes — two days in a row and a third — a week later. Exercises from the vocal-speech complex were performed in full with an emphasis on the development of flight in the voice. The wave (sinusoidal) form of the sound signal was trained using an oscilloscope (Scheme 6). Recommended independent work on the elimination of muscle tension.

Scheme 1-2 (see Appendix 14). After classes - the use of soft attack, sound saturation, pronounced vibrato, slightly enhanced at the end of the sound, which is typical for the academic manner of singing, overtones are pronounced, are located parallel to the main tone. Voice range is fully restored.

Scheme 5. Spectral analysis showed in aria the overtones in the HFM region became much finer and more even, took the shape of a triangle, which indicates an improvement in intonation, the flight region is pronounced (see Appendix 14a).

Scheme 6 (see Appendix 14a). Sound equalization, saturation with overtones and power amplification in the process of integrating the basic sound qualities.

Example 8. K.V. (female, 60 years old), voice rejuvenation.

Scheme 4 (see Appendix 15). The voice is muffled, cracked, depressed, it sounds with a tendency to lower the tone. There are no frequencies in the field of voicing from 2300 to 3700 Hz and in the field of flight from 7000 Hz. Breast type of breathing, short exhalation, aspiratory attack. Conducted a two-day voice training (group lessons). The program is made taking into account the phased development of the material, all exercises are performed in a certain sequence. Each training participant is additionally offered an individual voice development program. Diagnostics carried out after the training showed the appearance of frequencies in the field of HMF. The voice is clear, joyful, the attack of sound is soft, the upper silver-diaphragmatic type of breathing, the uniform distribution of air throughout the sentence. Examples of exercises from the individual program K.V.

- Imagine that the voice is a ball and we throw it first up, then forward and down to the syllable “HER”. Your voice has become ringing.

- And now you are in the cave. Substitute the consonant "G" in the iotated vowels: "Unified State Examination", "YAGA", "ITS", "YSU". Your voice has become resounding.

- Try to say “HER” 3 times in one breath, so that it looks like a ringing bell. Do the exercise slowly.

Example 9. Ulyana (20 years), voice acting.

Scheme 2 (see Appendix 16). A sharp, rattling overstressed voice in which the main tone (too high, stands close to the 640 Hz mark) sounds quieter than the other overtones. A solid attack of sound.

To increase the duration of breathing and give the voice a soft surround sound, in addition to vocal and speech and breathing exercises, the following recommendations were made:

- Alternate the loud high-frequency sound “I” with the vowel “Y” and you will get surround stereo sound.

- Give the voice movement, draw pictures with the vowel “AND” at first with large strokes and you will increase the duration of the sound.

- Turn on the upper lip and the tip of the tongue, say “UI” repeatedly and you will gain flight in your voice.

The three-dimensional display of the results of the spectral analysis carried out after 3 classes shows that after three classes an increase in the duration of sound from 1.6 to 6.6 s is observed. A decrease in the intensity of the overtones relative to the fundamental tone indicates the elimination of excessive tension in the voice and improved timbral characteristics.

Example 10. J.S. (female, 32 years old), staging of musical hearing and voice, development of speech voice (see Appendix 17).

Scheme 1. Inhalation attack of sound. The speech voice is quiet, hoarse, weakened, there is a large overexpenditure of air on the exhale, the sound cannot sing for more than 1 s.

Scheme 4. The voice did not reveal frequencies in the field of voicing and flight. There is no musical preparation, there is a problem in establishing coordination between hearing and voice. Seven lessons were held according to the selected stages, the practical material was carried out in full. After the lessons, the voice became sonorous and bright, overtones appeared in the field of HMF and in the field of high frequencies - from 7000 Hz, both in singing and in speech.

Example 11. L.V. Yu. (male, 50 years old), improved auditory function (see appendix 18).

Diagnosis: chronic bilateral mixed hearing loss. High degree of sensorineural hearing loss. Tone audiometry of air and bone conduction was performed. Three audiograms were received: before and after the first lesson (08/04/2005), after the fifth lesson (09/22/2005).

After the first lesson, a slight improvement in bone conduction by 5-10 dB from 125 Hz to 1000 Hz (left ear) was revealed. Defined as the margin of error in the study of the patient’s ear. After the fifth lesson, the air and bone conduction of the left ear is improved over the entire frequency spectrum by 20-30 dB from 125 to 2000 Hz. The right ear is an improvement in the acuity of auditory perception by 10 dB in the 2000 Hz region; there is no break in air conduction at a frequency of 4000 Hz. Bone conduction is unchanged (break in the region of 2000 Hz), however, the excitability of the nervous apparatus is present: the patient continues to hear a sound signal in the region of 6000 and 8000 Hz. Subjective sensations: in the process of listening to music recordings, low frequencies began to be perceived more saturated and bright. The volume scale on the TV is reduced by 2-3 divisions. Attending music concerts due to professional duties no longer causes discomfort. Performances of unaccompanied choral groups, on the contrary, cause interest and positive emotions, as there is a vibration in the body and pressure in the temporal lobes. At each lesson, time was devoted to the development of auditory perception in the process of reproducing high frequencies and mastering the overtone control technique.

Vocal and speech exercises

Express voice tuning

Relieve muscle tension in the neck and shoulder girdle

- Greetings. Put the index finger on the chin and slowly lower it, pull the muscles of the neck (you can put the palm of the other hand on the back of the head and help tilt your head with a slight movement). Fix a nod for 2-3 seconds. Return to starting position like a spring.

- Horizon. Make smooth head turns to the left, right and clockwise (draw two semicircles with a chin and a small circle in diameter).

- Bow. Perform head tilts alternately left and right according to the scheme of the first exercise. Having felt excessive tension in the forearm, gradually squeeze each hand alternately into a fist during a bow and unclench at the time of raising the head.

- The balance. On a long inhalation, with your nose grab your hands around the neck (middle fingers touch each other), then with a sliding movement close your palms together, raise your chin and stretch. Well, if you feel a light yawn. Pay attention to how the respiratory muscles are gradually activated.

- Cheerfulness. Make acupressure of the collar zone. Start with gentle gentle stroking of the neck, using the vibrational technique of pressing, go along the shoulder line (epaulettes). Put your palm on the area of the joint of the shoulder and neck, find the pain points and several times with a screwing motion, lightly press with your fingers (necklace), tilt your head and pull the neck muscles. Run a hand over the collarbones, find a hole at the neck and mark a straight line to the solar plexus, draw the buttons with the middle finger and “stick” each of them (press and sharply pull your hand). Grasp your wrists tightly and hold for 2-3 seconds. Squeeze and massage fingers, pay special attention to the point at the base of the thumb.

Preparation of articulation apparatus.

Volume

- Bagheera. The tip of the tongue to touch the molars of the upper jaw, first on one side, then on the other, slide over the teeth, actively stretching the muscles of the tongue and soft palate. Silently say "Y", "A", pushing back the back of the throat. To voice.

- Sweet and tasty cotton candy. Hold an imaginary cotton candy in your hand, slowly bring it to your mouth with a rounded palm and at the same time open it, gradually wrapping your hands around soft cotton lips. To give cotton wool a different taste: raspberry, strawberry, lemon, banana, tart. Pay attention that when you connect the taste buds, the position of the tongue and soft palate changes each time, different muscle groups of the internal articulation are included in the work. Run silently and with sound.

- An Apple. "Bite the apple." Open the jaw, perform a movement that simulates the intention to bite a piece from a large apple. Repeat several times. To bite off a small piece alternately on the right and on the left side. "Swallow an apple." Imagine that the apple is in the mouth and needs to be swallowed. Put your tongue down and bend, make a swallowing motion, while the soft palate rises.

Sonority

- Horses. Clatter your tongue, imitating the clatter of hooves. Start moving from the teeth and end near a hard palate, then repeat the move in the reverse order. Alternate the position of the lips: first collect in a tube, then open in a smile.

- Aircraft: takeoff and landing. Sound imitation. Gradual take-off in semitones: four times four semitones up or two times eight semitones (up to an octave) and flight 4-5 s at the same height. Vocalists can extend the interval to two octaves (8 times 4 semitones or 4 times 8 semitones). Landing the aircraft follows the same pattern: downward movement and landing, which lasts several seconds.

Flight

- Snowstorm. Say "ssssssss ...", imitating the howl of a blizzard. The lips should remain motionless. Simulate the movement of the wind with your hand: up - volume increase, down - weakening, wind the air in a spiral.

- Flight of the elf. Exercise provides a connection of the head and chest registers, helps to maintain sonority in the low part of the range at a “close” position.

1. Starting position.

- Put the tip of the tongue to the lower teeth.

- Press your tongue to your teeth.

- Touch the formed hole in the tongue with your hand - microcavity.

2. Silent pronunciation.

On an active short exhale:

- Say "And" - voiced and flat.

- Add “Y” to the sound, then to get “AND” - voluminous. When done correctly, only the tip of the tongue will be pressed against the base of the lower teeth.

- Extend your lips into a tube, as for a whistle, and add "U".

Feel a slight vibration on your lips.

On a long exhale:

- Perform smooth transitions: I - S - I - U.

- First add the consonants X, C, W, W, W, H to the sequence of vowels, then P, F, for example X - IIIIU. Perform the exercise by instantly pronouncing the first consonant to create a sound similar to the rustle of wings. On one exhale, actively repeat each sound sequence 4-8 times. At a fast pace, the vowels merge with each other and hear XO ... FEW.

- Perform the exercise slowly at the count of 8, holding out each consonant for a long time. At the expense of 6-7 we say “IU”, at the expense of 8 - we say “IU” or “Yu”. Exact execution will create the effect of circling in the air and soft landing.

3. Silent and silent utterance.

4. Sound imitation. General range: up to two octaves. The range of the audio segment (interval) is the quart. Use glissando technique: glide slowly and smoothly from high to low sound. First of all, to make sure that the transitions from the vowel "I" to the vowel "U" are almost imperceptible, and secondly, that the next tetrachord is performed rhythmically clearly and actively.

Activation of the respiratory muscles

- Nipple. "Pump". Imagine that lips are a nipple. Intermittent mouth breathing fill the lower abdomen, feeling the diaphragm stretch, first perform the exercise silently, then with sound.

- The spring. Stretch the imaginary tourniquet or expander according to the work of the respiratory muscles.

Aerobics of vowels

The pronunciation order in vocal exercises: I, E, A, O, U

The pronunciation order in speech exercises: And, E, A, O, U, Y

Sonority

1. Silently pronounce vowels in one breath. Monitor the position of the tip of the tongue, which is slightly pressed against the gums and gradually slides down. The lips are slightly parted, the shape of a half smile. Choose a convenient height and say (sing) out loud.

2. Silently (in a loud whisper) pronounce the vowels, pausing between them. The tip of the tongue is constantly pressed to the base of the teeth. Then actively pronounce aloud, emphasizing the transition from one vowel to another, paying attention to the change in position of the tip of the tongue, which alternately strongly presses against the gums at the beginning of the sound of each vowel and elastically bounces at the end. A microresonator is formed in the tongue in the form of a fossa (spoon), which can be seen in the mirror.

3. Silently pronounce vowels in one breath. The tip of the tongue remains in a fixed position in the lower teeth. Lips are gradually extended into a “tube”. Silently (in a loud whisper) pronounce the vowels, pausing between them, emphasizing the transition from one vowel to another, paying attention to the position of the lips, the shape of which narrows more and more with the pronunciation of the next vowel. The tip of the tongue slightly touches the gums. Say it out loud.

4. Pronounce all the vowels in an elastic, “close position” (the tip of the tongue constantly rests on the lower teeth), constantly feeling the microresonator, which should be visible in the mirror not only on iotated, but also on “pure” vowels. In the last vowel, try to maintain the volume of sound:

Y-Y-Y

Y-E-E

Ya-ya

Y-o-e

Yoo

Flight

5. To sing at the same height, first soundlessly, and then out loud, listening to the sound and smoothly flowing from one vowel to another:

I-U-I

After the hearing begins to distinguish between the movement of overtones up and down, you should gradually fill in the sequence:

I-E-U-I

I-E-O-U-I

I-E-A-O-U-I

I-E-A-O-U-I-S

Then repeat the exercise, pronouncing the vowels in one breath.

6. Speak smoothly each sound in combination with the vowel “And” soundlessly and aloud:

IE

I-A-I

I-O-I

I-U-I

I-E-A-E-E

I-E-A-O-A-E-E

I-E-A-O-O-O-A-E-E

7. Pronounce the vowels, gradually moving from the tip of the tongue to its root:

I-AND-I-E-E-E

E-E-E-E-E

I-Z-Z-A-A

E-E-E-O-O

U-U-U-U-U

When performed correctly, overtone movements are heard.

Volume

8. Exercise ECHO

Say the exaggerated iotated vowels at first soundlessly, emphasizing the “And”, gradually raising the soft sky. The muscles of the cheeks and lower jaw are actively working. To pronounce the last “pure” vowel, opening the throat as much as possible, fix the position for 1-2 s, listening to the surround sound:

YE-E-E

Ya-a-a

YE-O-O

Yu-u-u

YI-Y-Y-Y

9. In vain, pronounce vowel pairs in a whisper: the first vowel is inhaled, the second is exhaled. Then - loudly, actively raising the soft palate to the second vowel:

E-s,

EE,

I-A

EO

Yu-u

10. Perform an exercise with vowel pairs (see exercise 9) with lips almost closed to include internal articulation. It is necessary to use the muscles that form the "internal" smile. If the task is difficult, first pronounce both pairs of vowels on a smile.

11. Press the tongue with some effort to the gums of the lower teeth on the first vowel (“I”) and, like a spring, return to its original position on the second vowel (“E”). Repeat motion. On the fifth iotated vowel (“E”), both movements with the tongue are quick and active. You can sing an exercise on the motive of a famous Australian children's song:

I-E-E-E-E

I-A-I-A-Z

I-O-I-O-E

I-U-I-U-U

Y-Y-Y-Y-Y

Larynx stabilization at close position (register connection)

12. Exercise to perform with a gradual acceleration of pace. The position of the tip of the tongue is stable: in the lower teeth on all vowels, in contrast to exercise 11. Monitor the purity and clarity of their pronunciation so that there is no laryngeal overtone.

13. Speak with an attack on each vowel. Exercise is also useful for activating the tip of the tongue:

I-Y-S

IE-EE

I-A-A

I-E-O

I-u-u

Developing a broad language and strengthening the lateral muscles.

14. Slowly pronounce iotated vowels from closed lips to a smile and vice versa. Make sure that the vowel does not lose its properties and does not go into the sound of another vowel. For example, “E” in “I” (on a smile) or “E” in “Yu” (lips extended into a tube). Then perform at a fast pace in one breath two times. Apply as a vocal exercise to expand the range and smooth the registers (I-V-I-V-I).

15. First, make a smile smoothly pronounce sounds:

I-E-E-E-E

E-E-E-E-E

I-A-Z-A-Z

E-O-E-O-E

U-U-U-U-U

Then perform the exercise on a half-smile and then with almost closed lips, without changing the starting position. Keep track of the changing language (alternating the work of the tip and root of the tongue).

Intonation improvement

16. Pronounce vowels alternately, first with almost closed lips, then with a half smile, a smile, again with a half smile and almost closed lips in one breath, and then singing (pull without pauses). Follow the position of the lips and, depending on this, emotionally color the sounds, for example plaintively - affectionately - joyfully.

17. Pronounce vowels alternately, first with almost closed lips, then with a half smile, a smile, again with a half smile and almost closed lips. Make sure that the previously selected emotional coloring of the sound does not change depending on the method of articulation.

Removing excessive tension from the wings of the nose and lips (“face chores”)

18. Put the index finger over the upper lip. Pronounce vowel sounds in random order, starting with a smile, then gradually returning to its original position. Perform the exercise abruptly (staccato), not very abruptly (portamento) and smoothly (legato). Make sure that the nasolabial muscles do not strain, and only the corners of the lips work. The sound quality and its emotional coloring should remain unchanged. Then repeat the exercise in reverse order. Check the accuracy using a mirror: the upper lip stretches smoothly and returns to its original position without jerking and pulling the lips into the tube. The tongue is wide, a pit (microresonator) is constantly visible at its tip.

Proverbs, sayings, tongue twisters

The development of basic voice quality

Sonority

The inclusion of a microcavity and the tip of the tongue.

Seven cases in one hand do not take.

Soldier-teter - to the enemy of the door.

Angry, but not strong.

Neither shaky nor roll.

Eh, bast shoes and bast shoes, yes my bast shoes.

In seven sledges seven in a sled sat down themselves.

Well done thirty-three cakes with a pie, and all with cottage cheese.

Thirty-three ships tacked, tacked, but did not catch.

You cannot re-negotiate all tongue twisters, you cannot re-negotiate.

Activation of the microresonator and lateral muscles of the tongue

A heron chicken clings tenaciously to a chain.

Small bird-tit, but clever.

The black grouse was sitting on a tree, from the tree a shadow of a black grouse.

It’s an eagle, but a black grouse.

For one scientist two unlearned give.

Dasha was good, but she wore silk - even more beautiful.

Where a song pours, it’s easier to live.

Sixteen mice walked and six found pennies,

and mice, which are flatter, noisy rummage pennies.

Nippers and ticks - these are our things.

Strengthening the lateral muscles of the tongue

What you write with a pen cannot be cut down with an ax.

The bricks on the stove are hot; the bricks on the stove are hot.

At least take it in the game, just do not drag things.

Black at night, a black cat jumped into a black chimney.

Scales at the pike, bristles at the ingots.

At a hedgehog, at a snake.

The heron is withering, the heron is dry, the heron is dead.

You can’t surpass any dandy in panache, you can’t exceed it.

I’ve stung a snake, I can’t get along with a snake,

already from horror I’ve already eaten a snake to eat for dinner.

Flight

Activating the tip of the tongue

The dog itself does not eat in the hay and does not give to others.

Ah you canopy, my canopy, my new canopy.

Do not sit in your sled.

An oster is an ax, and a bitches tooth.

Feet are worn, and hands are fed.

A zealous mouse and a gnawing board.

Lucky Senka Sanka with Sonya on a sled.

Sledge skok, Senka with legs, Sanka

on the side, Sonya on the forehead - all in a snowdrift.

Senya and Sani have catfish with a mustache in their nets.

Coordination of the work of the lips and the tip of the tongue

To fight, to fight - not to gain your mind.

A good brotherhood is sweeter than wealth.

Visible bird on the flight.

Do not spit in the well - it’s useful to drink water.

Any well done modesty to face.

If the bush weren’t nice, the nightingale wouldn’t have nested.

Frosya flying in a field of millet, weeds tolerates Frosya.

From the clatter of hooves dust flies across the field.

Malanya talkers milk chatted, blurted out, but did not blurted out.

Appreciates flail braid on the braid.

An eagle on a mountain, a feather on an eagle, a mountain under an eagle, an eagle under a feather.

Inclusion of hard palate and lower lip

Once he lied - forever became a liar.

The head is gray, but the soul is young.

Catches a wolf, catch and a wolf.

He is not afraid of labor, who knows how to work.

You can’t take a fish out of a pond without labor.

Three trees, three black grouse, on each tree one black grouse.

Friendship is friendship, and service is service.

There was a tarot, but I was not up to the tarot, not to the tarry wife.

Verzil Vavila cheerfully tossed the pitchfork.

Strengthening the muscles of the cheeks and lips

I am writing jokes for Dashutka and Mishutka.

Pike will not find food for a pike.

Wolves roam, looking for food.

Kochet shouts quotes.

Two abdomens, four ears (pillow).

A yellow dervish from Algeria rustles in silks in a hut,

and juggling with knives, the piece eats figs.

A cuckoo cuckoo bought a hood, put on a cuckoo hood

how funny he is in the hood.

Axes are sharp for the time being, axes are sharp for the time being, for the time being, for the time being, for the time being.

The bull is blunt, the blunt goby, the bull had a white lip.

volume

Raising the soft palate

Briefly and clearly - that's why it's wonderful.

Go hunting - feed the dogs.

Game by game, but by deed.

Do one thing and do another.

Spare the enemy - destroy yourself.

Sad, but not food.

Our Polkan fell into the trap.

Grass in the yard, firewood on the grass, do not chop firewood on the grass of the yard.

Brit Klim brother, Brit Gleb brother, brother Ignat bearded.

Mowing Kasyan obliquely mows obliquely, mowing Kasyan does not mow mowing.

Liberation of the root of the tongue

And nothing has changed.

Millet weed - hands prick.

A drop sharpens a stone.

Courier courier overtakes in the quarry.

Two friends gathered - an arc and a cinch.

Where there is fear, there is collapse.

Cap on the cap, under the cap is the cap.

Karl stole corals from Klara, and Klara stole the clarinet from Karl.

Queen Clara strictly punished Karl for stealing coral.

The inclusion of the posterior pharyngeal wall, the release of the jaw

Faithful pointer - not a fist, but affection.

Sandpiper and loon - two boots of steam.

As it comes around, it will respond.

Truth is the light of reason.

Sorrow is visible in clear eyes, and grunt in white face.

Whoever takes a swoop ends in failure.

In the darkness, crayfish make noise in a fight.

Weaves a weaver fabric on a shawl Thane.

There is no ring near the well.

A cap is sewn, but not in a cap; poured a bell, but not in a bell way.

It is necessary to repack the cap, re-cap;

it is necessary to re-bell, re-echo.

Formation of mixed (mixed) register

What is Savva, such is his glory.

Do not take it with it, but take it with caress.

Without a tongue and a bell mute.

The ring has no end.

He sees a wolf goat - forgot and a thunderstorm.

Each sandpiper in its swamp is great.

Buy a pile of rush.

Mom didn’t regret soap, mom Milu soap soap,

Mila did not like soap, Mila dropped her soap.

Prokop came, boiled dill, Prokop left, boiled dill.

As dill was boiling during Prokop, so dill was boiling without Prokop.

Sow the wind - reap the storm.

Cunning and not outwitting.

Voice enhancement

Nasal overtone

The visitor does not stay long and sees a lot.

Wipe your feet on the doorstep, dry your feet on the doorstep.

You can’t catch up with the missed hour.

A drummer drumming a drum.

Thursday, the fourth, at four and a quarter hours,

four black little dirty little imp

black ink drawing is extremely clean.

The river flows, the stove bakes.

Forced sound

It’s quiet in words, but in fact dashing.

And the old woman is a slammer.

All praise good, but not all praise it.

Eats nuts, and on the zipun holes.

Hammer and ticks - these are their things.

Plowing deeper - chewing more bread.

As can be seen from the above examples, the proposed method in comparison with the known methods of setting voice has several advantages. Firstly, it is universal and designed for voice acting both in singing and in speech. Secondly, the method implements a general approach to various styles of singing: academic, pop and folk (folklore).

Since the formulation of resonant vocal-speech technique uses a comprehensive assessment of voice data, both subjective (auditory analysis) and objective (hardware research), this approach provides quick assimilation of knowledge and the stability of the development of the skill, which makes it possible to further improve the voice and respiratory system. As a result of training, false intonation disappears, hoarseness, non-closure, nasal overtones are eliminated, coordination between the hearing and the voice is established, the ability to evenly distribute breathing is formed, the feeling of shortness of breath, irregular movement of the diaphragm disappears, and the acuity of auditory perception improves. The voice becomes hardy, saturated, bright and expressive, acquiring the necessary qualities: sonority, flight and volume.

In addition, the proposed method can be used in the treatment of functional disorders of voice and speech, bronchial asthma and diseases of the upper respiratory tract, reducing auditory function, etc., which enables people to return to an active lifestyle and continue to independently perform vocal and speech and breathing exercises for health promotion and well-being, and also expands the possibilities of diagnostic examination for early detection and classification of disorders of the vocal apparatus.

Claims (2)

1. A method for determining vocal data, including measuring parameters of a high vocal vocal formant of the voice by means of a device, measuring the spectra of vocal vowels and vibrato parameters, determining the relative level of the high vocal vocal formant in each spectrum and comparing them, determining the degree of coincidence of the location of the high vocal vocal formative and speech formant, characterized in that additionally carry out auditory diagnosis of voice, and measurements are made using computer programs for processing the audio signal in the range at frequencies up to 20500 Hz and additionally measure parameters in three-dimensional space, the analysis is carried out on the basis of a comprehensive assessment of the objective and subjective indicators of the acoustic characteristics of the voice in singing and speech by comparing with the standard sound of the voice, reflecting the basic properties of sound: pitch, timbre, volume, duration Moreover, as the objective indicators complementing the assessment of timbral characteristics, they take the basic sound quality of voice: sonority, volume and flight. 2. A method of teaching resonant vocal-speech technique based on the formation of resonant acoustics of the vocal apparatus, comprising the steps of: a speech stage, consisting of first working out speech, and then the vocal stage, setting the resonant sensations of the formation of consonants, starting from the analysis of the consonant sound L and close to according to the type of sound production of consonants N, T, D, performing a set of exercises, using a repertoire for children and adults in the form of video / audio tapes, characterized in that the learning process is based on p of the results of a comprehensive survey of voice data according to claim 1 and is divided into stages: voice tuning, preparatory, corrective, coordination and speech stages, which are carried out in the above sequence, starting with vowels, and voice tuning is carried out in the process of vocalization of high-frequency surround sound And, then the obtained sound quality of the timbre is transferred to the vowels I, E, A, O, U, control the overtones in the voice by smoothly moving them from the high-frequency sound And followed by gradual filling we eat the entire frequency spectrum with vowels E, A, O, ending with low-frequency Y, and vice versa, from low-frequency Y to high-frequency I, and then with the singing of the sequence of vowels Y, O, A, E, I, at the preparatory stage, specify the positions of the external and internal articulations, connect the head and chest registers to mixed sound, perform exercises to form the feeling of sound support, at the corrective stage, master the level of sound focusing and use resonator cavities with the help of voice adjustment to the learner’s voice in real time, perform vocal and speech exercises, carry out sine wave training sessions for vowels, perform express voice tuning and vowel aerobics, at the coordination stage by performing real-time breathing and vocal-speech exercises with Using the biofeedback, various types of breathing are practiced: superficial clavicular, thoracic, upper-silver and lower-silver diaphragmatic, paradoxical, abdominal, combi nested, they additionally hold breath-type diagonal breathing, the speech stage is carried out from vocal to speech according to the scheme: first vowel sounds are uttered soundlessly, then each vowel is pronounced separately using resonance technique: sound focusing, sound attack, sound wave, then vowels in words, phrases and sentences are pronounced without consonants, voiced deaf consonants and work out the clarity of their pronunciation, combine vowels and consonants with the help of sound analyzers, use didactic material in in the form of video / audio recordings from the database of voices of singers of different genres and styles, actors, teachers, businessmen, managers, as well as people with impaired voice function obtained during various diseases.

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