Emily F. McKinney 5

Emily F. McKinney 5

What are the 2 functions of the larynx? 1-to work as a valve to protect the lungs, 2-for phonation

The thyroarytenoid muscle has two folds.  What does each fold form? 1-vocalis or internal thyroarytenoids, which form the vocal folds, 2-ventricular bands, which form the false vocal folds

When larynx functions as valve, which folds close? both sets of folds

What 8 characteristics of good vocal sound does McKinney list? 1-freely produced, 2-pleasant to listen to, 3-loud enough to be heard easily, 4-rich, ringing, and resonant, 5-energy flows smoothly from note to note, 6-consistently produced, 7-vibrant, dynamic, and alive, 8-flexibly expressive

What 8 negative characteristics does he list? 1-constricted, forced, or strained, 2-strident or rasping, 3-too loud, like shouting or yelling, 4-hoarse, 5-breathy, 6-weak, colorless, or devitalized, 7-inconsistently produced, 8-shaky or wobbly

What does McKinney have to say about thinking and sound production? Beautiful sound starts in the mind of the singer. If you cannot think a beautiful sound, it is an accident if you make one.

How does he suggest you develop a mental image of a beautiful sound? listening to lots of good singing and recognizing recurrent characteristics throughout

What is the danger in modeling your sound after a single artist? No two voices are alike, no two vocal physiologies are the same, so trying to sound just like someone else can promote poor habits of forcing and manipulating the sound. Also, one would lose their individuality as a singer. Also, trying to sing exactly like a mature, professional singer could cause strain.

Describe the 3 phases of a musical tone. 1-attack phase--mental preparation of pitch, timbre, dynamic; breath and vocal fold preparation with simultaneous engagement, 2-sustension phase--from attack to release support is maintained, 3-release phase--clean, precise cessation of sound that is musically accurate

What are the four instructions quoted by McKinney from Van Christy? 1-the chest should never collapse, nor should the shoulders move up or down even on the longest phrases, 2-don't sing too long of phrases on one breath, but always maintain good quality of tone and sufficient breath reserve first, with the long ideal phrase second in importance, 3-efficient tone is basic for efficient breath control, 4-the singer should never try to control the diaphragm consciously 

Summarize the corrective procedures for hypofunctional singing. 1-humming (vibration in roof of mouth), 2-using more energy by singing louder, 3-using more energy with gentle lifting exercises, 4-imitating an opera singer, 5-establishing good posture and breathing habits, 6-activating breath support mechanism by exercises, 7-singing to the last row of an auditorium, 8-becoming involved in the music/emoting, 9-adopting correct tonal goals by listening to good singers, 10-vocalizing on forward vowels, 11-vocalizing with nasal consonants, 12-imitating a tight sound as a means to an end

Summarize corrective procedures for hyperfunctional singing. 1-exercises for relaxation of general body tension, 2-studio atmosphere conducive to relaxation and self-confidence, 3-establishing good posture and breathing habits, 4-reducing excess tension in the support mechanism, 5-maintaining the beginning of yawn position, 6-exercises for balanced or soft attack, 7-making student aware of desired tonal goals, 8-vocalizing on vowels that require lip rounding, 9-vocalizing with consonants that help free the jaw, 10-deliberately using a breathy sound as a means to an end