Memory Voice
Memory Voice
Sound production mechanism of the human voice
The voice is the only instrument that can produce words. The equipment needed to produce the sound of the muscles, cartilage and bone is common for men and manyother agencies, but only man has the intellect and physical mobility necessary to communicate through a spoken language. Although other animals make sounds, the birds sing or whistle, the dogs bark or growl, horses neighing, and so on, their level Communication is basic compared to the infinite variety of thoughts, emotions and images of the human voice can convey through words. Only a slight change in tone introduce subtle variations in meaning and reflects the subtle change in the thinking of the remote past speaker.In of our ancestors communicated only in grunts. It took a very long time for humans to develop a spoken language. Singing to maintain pleasant sounds in different tones, but accurate of different lengths, but requires time, while at the same time pronouncing words, is the extension of the evolution of language and the human voice.What are the problems?
• The voice is the only instrument that is able to develop good habits or bad. Unlike any other instrument, a large percentage of the matter which builds the voice is a muscle. Muscles can develop habits to repeat certain actions over and idiosyncrasies. Why developing habits? Can they be changed? Which of these habits relate to voice? These questions can be answered only in the context of the following fact: • Voice is the only instrument whose muscular components react to their environment. Because humans are complex and highly developed, which have profound mental and physical reactions for the pressures of life that are constantly around us. These reactions to the pressures and problems, without changes or unresolved, make their appearance in the individual and tensions. Muscles tighten various body parts. The area of the throat where the sound starts, immediately reacts to emotional experiences. Components human vocal moving equipment change position, for example, muscles in the throat, which corresponds to the intensity of the experience. And the answer is remembered. If the original experience, or a similar experience occurs more than once (usually does), the feeling of tightening the muscles becomes familiar and the action becomes repetitive, a habit. Eventually, the tightening of muscles in particular is not related to the original experience. ADDRESS LEVEL SINGING
There inhibitors tool that many of these muscles or vocal habits that are common to most potential singers. We are all products of our conditioning and have become slaves to our habits, particularly those who are not even aware of. It is therefore very important for the student to be aware of these bad habits. It can mean the difference between long and hard struggle to overcome some vocal flaws "in the dark," or discover with great precision, mentally and physically, where the cause and cure lies.Did particular problem you ever heard anyone be excited exhilarated and speaks softly, slowly and calmly? I doubt it. Did you ever listen to someone who has just caused a car accident one person terribly afraid that he may have hurt someone else, talk to a joyful sound, controlled? The different types of sounds that we use in different circumstances is a very accurate reflection of our emotional state in a particular environment.
What makes an individual tone of voice consistent with a situation?
• The change in tone, more or less than usual • change in the volume higher or normal • change in the intensity stricter or more relaxed than usual all these changes are affected by changes in the muscular components before the sound is heard. The sound quality is pre-determined by changes in the positions of the muscles throat. It is our intention to stop some symptomatic muscle tension, and substitute the correct muscle actions that can be controlled and used in almost any environment.
• The voice is the only instrument that connects directly to a brain. A violin sounds like a violin because it is shaped like a violin. A piano sounds like a piano, because it is the shape of a piano and a violin. These observations may seem obvious until we ask, "One voice is the form of a voice. Why then, in the song, not all the voices sound good? "Why is it that we can all use the vocal instrument to talk and it is more or less adequate, and yet, when some people try to maintain a musical sound, his team produce tight vocal, no music, sounds and unattractive? This is because the voice is the only instrument that is partially built mobile muscle and these muscles are connected to a brain. The brain is influenced, as I said, environment for their emotional, social, economic and cultural value, and (the brain) which determines the positions of the muscles in the vocal instrument will have. These positions muscle, in turn, determine the type of musical instrument vocal sound will occur. s I said, by their environment emotionally, socially, economically and culturally, and he (The brain) which determines the positions of the muscles in the vocal instrument will have. These positions muscle, in turn, determine the type of musical instrument sound vocal will occur.
A violin has no brain. A piano is meaningless. These instruments are pre-structured, and students approach them without prejudice, without trial advance in their sound quality and no bad habits already in place. The student comes to your instrument's voice totally damaged: three in the voice of support mechanisms sound, sound production and speech production, are governed by the reflex actions, the experiences of the past now become habits. Through repetition constant student's voice is locked in the current quality of their sound, and although not like the sound, can not conceive of himself sound like something else. He is completely aware of the kind of sound of the instrument is potentially capable of producing if they were properly structured.Another very important consequence of the direct connection of the voice in the brain is the muscle response of the three mechanisms to the various emotional experiences. Muscles react (even if you consciously try to avoid) that fear, grief, happiness, depression, joy, love, hate, desire, anxiety, jealousy, disappointment, joy. For example, induces fear and anxiety "knots" in the stomach during times of stress can be dry mouth (the muscles around the saliva glands press), some people start to stutter when cried our throats sore.
The brain remembers things I do not recall these memories consciously and unconsciously influence the way our muscles react. A large percentage of our last freeze in our vocal apparatus. This means that the tension we carry around with us long after the initial tension production experiences have been forgotten consciously. And we become so accustomed to these feelings of tension that we know we have the ability to repeat certain brain them.The muscle activity over and over again like a broken record, begins very early in life. What is the first use of the vocal apparatus? Mourn at the time of birth. Crying is always accompanied by a tightening of the throat. By chance, the positions of the muscles of the throat making the first sounds may have been extremely narrow. In some people a small fraction of that first cry, however, stress can be as tightness in the throat.I d 'and the list in the form of questions, some other situations that may have been recorded in the brain, which in turn have become vocal inhibitors. The student should be aware of the possibility that your system muscle itself may have reacted to certain experiences.
As very young children: What were the conditions in the home? Otherwise, there a house? It was quiet, calm? O tense and noisy? Maybe it was quiet and yet there was an atmosphere of tension? He scolded the bowel and bladder control? It scold him if you vomit? (The process of inhibition of certain natural child behavior can simultaneously activate constrictor muscles in the relative parts of the body.) There were sisters or brothers to fight and play? (The tensions created by sibling rivalry are well documented.) Were you alone? Have you had nightmares? Are you afraid of the dark? Was there an accident or death? (Adults have a hard enough time to deal with the tragedy. Imagine the stress of a child experiences when exposed to the tragedy.) Are you allowed to speak freely? It was his view, good or bad received with respect? ("Children should be seen and heard "Is not a common attitude among adults. Furthermore, in the process of getting through a terrible day, parents may be short of patience and frustrate a child sometimes justifiable claims. Calamities and inhibitions imposed force may be too much for a child to cope. Results unconscious muscular tensions and chronic like a child trying to "hold". Any of these experiences, and almost everyone has had some of them, you can set the habits of muscular tension.)
• The voice is the only instrument that imitation is natural in the sense that, with the help of hearing the voice responds in a culturally recognizable both in speech and singing. Children imitate: What kinds of sounds that are accustomed to hearing? Talk or yell? Your father or mother sing? Do your brothers or sisters singing? They sing good or bad? (What you listened to imitate.) In what part of the country you grew up? (Each section has its own peculiar accent and pronunciations not necessarily useful for singing well. And children imitate what they hear.)
At school: Were you embarrassed if you were called to sing? Was dull branded or not the singer for a Professor impatient or unfriendly? Do you get along with other children? You left out the various activities? It feels comfortable at school? Were you unsure of your ability to learn? Did anyone laugh when he sang alone? Did you listen to music much at the time? Do you hear classical music? Pop? West? Rock? Rhythm and blues? Have you seen a lot of television? Listen to shows a lot of disc jockey? Imitating you've heard? (Yes he did!) Do you imitate it? It was what he was imitating no good in the first place? Did you go to concerts? Musical? Plays? Could you afford to even if you wanted? Did you grow up in a small town where there were these activities? Do you think there was a happy or unhappy childhood?
They are pleasant or unpleasant memories? Was discriminated against because of their religion, color or minority status? (Children and adults-can be very cruel to each other, often without realizing the lasting damage they cause.) by a teacher impatient or indifferent? Do you get along with other children? It was left out of different activities? He feels comfortable at school? Were you unsure of your ability to learn? Did anyone laugh when he sang alone? Did you hear music a lot at that time? Do you listen to classical music? Pop? West? Rock? Rhythm and blues? Have you seen a lot of TV? Listen to shows much disc jockey? Imitate what you hear? (Yes he did!) Do you imitate it? It was what he was imitating no good in the first place? Did you go to concerts? Musical? Plays? Could you even afford to if you wanted? Did you grow up in a small town where there were these activities? Do you think that had a childhood happy or unhappy? They are pleasant or unpleasant memories? Was discriminated against because of their religion, color or minority status? (Children-and adults-can be very cruel to each other, often without realizing the permanent damage they cause.)
When are seriously interested in singing? Do you want to study singing, but they laughed at their parents or friends? What percentage of the that says "I can do?" What percentage say, "I can not I do?" (The attitude of friends and family can be, but often should not be-a major influence.)
As he grew older: What were your romantic experiences? What were your sexual experiences? Are you suitable as a love story? Do you feel attractive? (I never said good looks-I meant to feel attractive.) Do you think now you're a great singer? A great artist? A great lover? (Very often, an overestimation of their abilities can be an inhibitor of the vowel. Overestimation can actually be a defense against feeling down deep under-estimate) How satisfied are you with:. Your job? His home life? Activities you enjoyment? Friends? Your spouse? (Your immediate surroundings can influence their approach to discipline and concentration needed for successful development.) Have you ever studied singing before? Who was your teacher? It was his teacher as a nice person that their relationship was friendly, but suffered their development? When you sing, you totally Technically, he knows what he's doing? Or is his technique a sort of vague conjecture on the basis of "If I like what I hear, is good"? (If that's his "technique" you really sing "by ear.") What do you really think about singing? One way to become a millionaire? One way of romance? A way to become a star and "get" or "show who you really are" (A person must desire to become a singer because of his love for the art of singing. Any other reason could itself be a cause of tension and emotional stress.)
They are in the fear to sing? Is it a wonderful gift, mystery, given a few? Do you think that you are not gifted, but inside I hope you are? Do you do a lot of singing? Or do you think you sound so terrible that rarely sing at all? When listening to a recording or watching someone sing you say to yourself, "are not as good. I can do as well. "And yet, why not? (A person can have many mixed feelings and attitudes about the emotional an issue as the song. The only stabilizing influence for the singer is focusing on the potential development of objective techniques to the mysteries and fantasies are replaced by facts and thoughts realistic.) This is an incomplete list of experiences and socio-cultural phenomena in which people are conditioned and by reflecting that conditioning. Think again. Try to remember their own personal experiences that may have influenced his singing. They are there. Their emotional experiences, social, economic and cultural are total sum to you. The brain remembers. These experiences have had an effect on how they sound and perform. However, the vocal problems that may have acquired as a result of its past can be undone. Perhaps you are not a "naturalborn" singer, but neither are you a "born" not a singer. You have a set of pre-existing vocal muscle inhibitors. Bad habits you have learned unknowingly be forgotten and replaced by correct muscular habits conscious.
About the Author
Malcolm Dupri ,singer songwriter producer and internet marketing expert who owns the in house studio Baselinezone productions, developing new urban artists,
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