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Head voice is a term used within vocal music. The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regards to this term. Head voice can be used in relation to the following:

Contents

History

The first recorded mention of the term head voice was around the 13th century, when it was distinguished from the throat and the chest voice (pectoris, guttoris, capitis -- at this time it is likely head voice referred to the falsetto register) by the writers Johannes de Garlandia and Jerome of Moravia. Human voices may be classified according to their vocal range &mdash the highest and lowest pitches that they can produce A vocal register in the human voice is a particular series of tones produced in the same vibratory pattern of the Vocal folds and possessing the same quality Vocal resonation is the process by which the basic product of Phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to The term falsetto (Italian diminutive of falso, false refers to the Vocal register occupying the frequency range just above the Modal voice register and Jerome of Moravia or Hieronymus de Moravia ( d after 1271 was a medieval music theorist. [2] The term was later adopted within bel canto, the Italian opera singing method, where it was identified as the highest of three vocal registers: the chest, passagio and head registers. Bel canto ( Bel-Canto) ( Italian, "beautiful singing" an Italian musical term refers to the art and science of vocal technique which originated in This approach is still taught by some vocal pedagogists today. [3]

However as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists have redefined or even abandoned the use of the term head voice. [3] In particular, the use of the term head register has become controversial since vocal registration is more commonly seen today as a product of laryngeal function. A vocal register in the human voice is a particular series of tones produced in the same vibratory pattern of the Vocal folds and possessing the same quality For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the head. The vibratory sensations which are felt in the head are resonance phenomena and should be described in terms related to vocal resonance, not to registers. Vocal resonation is the process by which the basic product of Phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to These vocal pedagogists prefer the term "head voice" over the term "head register". These vocal pedagogists also hold that many of the problems which people identify as register problems are really problems of resonance adjustment. This helps to explain the controversy over this terminology. Also, the term head register is not used within speech pathology and is not one of the four main vocal registers identified by speech pathologists. Speech-language pathology is the study of disorders that affect a person's Speech, Language, cognition voice swallowing ( Dysphagia) and the rehabilitative [1] The following is an overview of the two predominant views on head voice within vocal pedagogy.

Differing views on head voice

Head voice and vocal registration

One prevailing practice within vocal pedagogy is to divide both men and women's voices into three registers. Men's voices are divided into "chest register", "head register", and "falsetto register" and woman's voices into "chest register", "middle register", and "head register". Chest voice is a term used within vocal music The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals The term falsetto (Italian diminutive of falso, false refers to the Vocal register occupying the frequency range just above the Modal voice register and Chest voice is a term used within vocal music The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals Head voice is a term used within vocal music The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals "Such pedagogists teach that the head register is a vocal technique used in singing to describe the resonance of singing something feeling to the singer as if it is occurring in their head. It's mentioned in the Speech Level Singing method used in some singing. According to an early 20th century book written by David Clippinger, all voices have a head register, whether bass or soprano. This article is related to a series of articles under the main article Voice type. [4]

In Clippinger's 1917 book, it is stated that male and females switch registers at the same absolute pitches. Male (♂ refers to the sex of an organism or part of an organism which produces small mobile Gametes called spermatozoa. Female (♀ is the Sex of an Organism, or a part of an organism which produces ova (egg cells Clippinger also states that at about E flat or E above middle C the tenor passes from what is usually called open to covered tone, but which might better be called from chest to head voice. At the same absolute pitches the alto or soprano passes from the chest to the middle register. According to Clippinger there is every reason to believe that the change in the mechanism for male voices into head register is the same as that which occurs in the female voice as it goes into the middle register at the same pitches. [5]

The contemporary vocal pedagogy instructor Bill Martin seconds the view that the change from chest voice to head voice occurs at around E4 in all voices, including the bass, but Martin states in the coloratura soprano it is more likely to occur at F4. In Education, a teacher is one who helps Students or pupils often in a School, as well as in a Family, religious or [6] A recent book by a former teacher at Oberlin College Conservatory of Music and a vocal pedagogy teacher, Richard Miller; states that in the "tenore lyrico" the higher part of the singing voice above the secondo passaggio at G4 extending upwards is referred to as "full voice in head," or voce piena in testa, effectively stating the head register begins at G4 in the "tenore lyrico," not at E4. The Oberlin Conservatory of Music, located in Oberlin Ohio, was founded in 1865 and is the oldest continuously operating conservatory in the United States Pedagogy (ˈpɛdəgɒdʒi or paedagogy is the Art or Science of being a Teacher. In Education, a teacher is one who helps Students or pupils often in a School, as well as in a Family, religious or Richard Miller may refer to Richard Miller (FBI agent, arrested for spying in 1983 Richard Miller (Olin College President, first president Passaggio is a term used in classical singing to describe the pitch ranges in which Vocal registration events occur [7]According to Singing For Dummies, the bass changes from chest voice into middle voice around A3 or Ab3 below Middle C and changes into his head voice around D4 or C#4 above Middle C. For Dummies is a prolific series of instructional books which are intended to present non-intimidating guides for readers new to the various topics covered [8]

According to Martin, in the head register that is above the chest register some of the bottom end leaves the voice, but it's still a voice capable of much power. [9]

According to Clippinger, often explanations for the physiological mechanisms behind the head voice alter from voice teacher to voice teacher. This is because, according to Clippinger: "In discussing the head voice it is the purpose to avoid as much as possible the mechanical construction of the instrument". [10]

However, not all vocal pedagogists agree with this view. In 1993 Thomas Appell published the book Can You Sing a HIGH C Without Straining?[11] which refuted the theory that all singers switch registers at the same absolute pitch. Appell defined chest voice as resonance below the vocal folds and head voice as resonance above the vocal folds. He also recorded examples of male and female singers changing from chest voice to head voice at different pitches in an attempt to prove that the transition pitch is a function of the intensity of the vocal tone and is not absolute. At higher vocal cord tension (intensity of singing) Appell shows that the pitch at which a singer transitions from chest to head voice will be higher. At lower vocal cord tension (intensity of singing) Appell shows that the pitch at which a singer transitions from chest to head voice will be lower.

Head voice and vocal resonation

This view believes that since all registers originate in laryngeal function, it is meaningless to speak of registers being produced in the head. The vibratory sensations which are felt in the head are resonance phenomena and should be described in terms related to resonance, not to registers. These vocal pedagogists prefer the term "head voice" over the term register and divide the human voice into four registers: the vocal fry register, the modal register, the falsetto register, and the whistle register. Creaky voiceThe vocal fry register (also known as pulse register, laryngealisation, pulse phonation, creak, glottal fry, glottal See also Voice (phonetics, Vocal register Modal voice is the Vocal register used most frequently in speech and singing in most languages The term falsetto (Italian diminutive of falso, false refers to the Vocal register occupying the frequency range just above the Modal voice register and The whistle register (also called the flageolet register or whistle tone) is the highest register of the Human voice lying above the Modal This view is more consistent with modern understandings of human physiology and in keeping with stroboscope videos of laryngeal function during vocal phonation. Phonation has slightly different meanings depending on the subfield of Phonetics. [1] Tarneaud says, "during singing, the vibration of the vocal folds impresses periodic shakes on the laryngeal cartilage which transmits them to the bones in the thorax via the laryngeal depressors, and to the bony structures in the head via the laryngeal elevators. The vocal folds, also known commonly as vocal cords, are composed of twin infoldings of Mucous membrane stretched horizontally across the Larynx. The thorax is a division of an Animal 's body that lies between the head and the Abdomen. Singers feel these shakes in the form of thoracic and facial vibrations". These internal phonatory sensations produced by laryngeal vibrations are called "resonance" by singers and teachers of singing. [12] There are seven parts of the human body that act as resonators and of those seven the three most effective resonators that help amplify and create the most pleasing sounds are all located in the head: the pharynx, the oral cavity, and the nasal cavity. [1] For more information see vocal resonation and vocal registration. Vocal resonation is the process by which the basic product of Phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to A vocal register in the human voice is a particular series of tones produced in the same vibratory pattern of the Vocal folds and possessing the same quality

References

  1. ^ a b c d McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group. ISBN 13: 978-1565939400.  
  2. ^ The New Grove Dictionary of Music & Musicians. Edited by Stanley Sadie, Volume 6. Edmund to Fryklund. ISBN 1-56159-174-2, Copyright Macmillan 1980.
  3. ^ a b Stark, James (2003). Bel Canto: A History of Vocal Pedagogy. University of Toronto Press. ISBN 13: 978-0802086143.  
  4. ^ Clippinger, David A. (1917). The Head Voice and Other Problems: Practical Talks on Singing. Oliver Ditson Company, Page 12.  at Project Gutenberg
  5. ^ Clippinger, David A. (1917). The Head Voice and Other Problems: Practical Talks on Singing. Oliver Ditson Company, Page 24.  
  6. ^ Martin, Bill (2002). Pro Secrets Of Heavy Rock Singing. Sanctuary Publishing, Page 10. ISBN 1-86074-437-0.  
  7. ^ Miller, Richard (1993). Training Tenor Voices. Schirmer, Pages 3, 4 & 6. ISBN 978-0028713977.  
  8. ^ Pamelia S. Phillips. Identifying the Fab Four of Singing Voices (English). Wiley Publishing. Retrieved on 18th February 2007.  “Bass is the lowest of the voice types. . . ”
  9. ^ Martin, Bill (2002). Pro Secrets Of Heavy Rock Singing. Sanctuary Publishing, Page 11. ISBN 1-86074-437-0.  
  10. ^ Clippinger, David A. (1917). The Head Voice and Other Problems: Practical Talks on Singing. Oliver Ditson Company, Page 14.  
  11. ^ Appell, Can You Sing a HIGH C Without Straining?: Understanding the Break, page 14
  12. ^ Tarneaud, J. (November 1933). "Study of larynx and of voice by stroboscopy". Clinque (Paris) 28: 337-341.  

See also

Chest voice is a term used within vocal music The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals The term falsetto (Italian diminutive of falso, false refers to the Vocal register occupying the frequency range just above the Modal voice register and In Music, the term tessitura ( Italian for texture) generally describes the most musically acceptable and comfortable Timbre for a given The voice organ is the part of the Human body responsible for the generation of Sound, usually in the form of speech or Singing. Voice projection is the strength of speaking or Singing whereby the Voice is used loudly and clearly. The ancient vocal method is a term used by a small number of music historians for a speculated singing technique that may have evolved within the ancient Cultures of the A vocal register in the human voice is a particular series of tones produced in the same vibratory pattern of the Vocal folds and possessing the same quality Vocal resonation is the process by which the basic product of Phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to
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