Multiphonics īy overstressing or by assimetrically contracting the laryngeal muscles, a multiphonic or chord may be produced. For instance, the ventricular folds (also called the "false vocal folds") may be recruited, probably by solely aerodynamic forces, and made to vibrate with the vocal folds, generating undertones, like those found, for instance, in Tibetan low-pitched chant. This technique has been used most notably by Joan La Barbara.However, undertones may be generated by processes that include more than the vocal folds. Although the octave below is the most frequently used undertone, a twelfth below and other lower undertones are also possible. Undertones īy carefully controlling the configurations of the vocal cords, a singer may obtain " undertones" which may produce period doubling, tripling or a higher degree of multiplication this may give rise to tones that fairly coincide with those of an inverse harmonic series. Although used in the traditional music of Mongolia, Tuva, and Tibet, overtones have also been used in the contemporary compositions of Karlheinz Stockhausen ( Stimmung), as well as in the work of David Hykes. By manipulating the vocal cavity, overtones may be produced. Its engagement with the complexities of vocal production should also be relevant to students and scholars of voice science, acoustics, linguistics, computer modeling, and more. With more than 250 illustrations, 150 associated audio tracks, an extended appendix on voice science, a glossary of key terms, and lists of representative compositions, The 21st-Century Voice will appeal to composers and performers interested in exploring the ever-broadening range of vocal possibilities. Divided into four parts-air flow, source, resonance/articulation, and heightened potentials-Edgerton considers crucial matters affecting vocal production, such as: registral challenges filtering airflow modification combinatorial, multiphonic principles extreme voice possibilities multidimensional vocal issues. ![]() Appearing a decade after the publication of the first edition, this second edition draws on and advances our current understandings of voice production. Much more than a historical treatise on 20th-century masterworks or vocal science, The 21st-Century Voice explores experimental methods of sound production, offering a systematic series of approaches and methods for assessing, engaging, and, in some instances, overcoming the assumed limits of vocal singing. Throughout, he proposes new directions for vocal exploration. In The 21st-Century Voice: Contemporary and Traditional Extra-Normal Voice, Michael Edward Edgerton considers contemporary vocal techniques within an acoustic and anatomical framework. ![]()
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