Principles of Voice Production

Abstract

Although written primarily as a text for students and teachers of vocal production, based as much as possible on scientific principles, this book is for "anyone interested in voice." This includes all of us who speak, sing, sigh, hum, and hear. Just as the study of acoustics in general is very inter- disciplinary, some of the specialized subjects within acoustics are also in- terdisciplinary. Voice production is a prime example. In this book Ingo Titze has succeeded in blending knowledge drawn from research and experience in a variety of voice-related professions. Con- cepts, definitions, and illustrations from anatomy, physiology, physics, aero- dyamics, acoustics, speech science, hearing science, and music are presented and interrelated both for normal voice production and for several types of voice disorders. The artistic aspects of singing and the teaching of vocal technique are not neglected, but some of the related mythology has been dispelled or confirmed by knowledge gained from research that is explained, then iden- tified by publication references at the end of each chapter. The reader of ‘‘Principles of Voice Production’’ is not necessarily expected to have prior experience in any of the voice related professions. However Titze has avoided the temptation to treat subjects only qualitatively in the interest of easy reading. Equations are included and units are defined and used. Many graphs and illustrations are specially prepared for this book, in order to supplement figures borrowed from other published research. Following the basics of vocal anatomy, breathing control, oscillation of the vocal folds, acoustical generation and propagation, and theoretical and spectral analyses of vowel sounds, the practical issues of voice classi- fications, ranges, controls, fluctuations, and disorders are explained in detail. A Glossary and five Appendices assist the reader who is unfamiliar with terminology, the metric system, decibel and musical scales, and the phonetic alphabet. Author Titze can entertain while being instructive. Examples are (1) a picture of an ‘‘anatomically correct’’ four-part vocal ensemble scaled like a string quartet; (2) a picture of vocal strain by singer Mick Jagger; and (3) a limerick about fluctuations and perturbations (e.g., trills, vibrato) in vocal output. The reviewer, with singing as a lifetime avocation (in choirs, opera, barbershop harmony), was so fascinated by this book that he read it in doctor’s offices and on planes, and lost it somewhere along with accumulated notes. This very belated review followed the purchase of another copy. Any acoustician who speaks, sings (or hears) could be equally fascinated. DANIEL W. MARTIN 7349 Clough Pike Cincinnati, Ohio 45244