浅论萨克斯管吹奏中常遇的问题及解决方法

萨克斯管吹奏中常出现音色概念、呼吸、指型、口型等方面的错误，阐述了其解决的方法，同时从理论的角度分析了原因，以帮助吹奏掌握正确、规范的萨克斯管吹奏方法。     

Shearing effects on the breathing mechanism of a cracked beam section in bi-axial flexure

The main purpose of this paper is to complete the works presented by Andrieux and Varé (2002) and El Arem et al. (2003) by taking into account the effects of shearing in the constitutive equations of a beam cracked section in bi-axial flexure. The paper describes the derivation of a lumped cracked beam model from the three-dimensional formulation of the general problem of elasticity with unilateral contact conditions on the crack lips. Properties of the potential energy and convex analysis are used to reduce the three-dimensional computations needed for the model identification, and to derive the final form of the elastic energy that determines the nonlinear constitutive equations of the cracked transverse section. We aim to establish a relation of behavior between the applied forces and the resulting displacements field vectors, which is compatible with the beams theory in order to allow the model exploitation for shafts dynamics analysis. The approach has been applied to the case of a cracked beam with a single crack covering the half of its circular cross section.     

Evaluation of Support in Singing

This study searched for perceptual, acoustic, and physiological correlates of support in singing. Seven trained professional singers (four women and three men) sang repetitions of the syllable [pa:] at varying pitch and sound levels (1) habitually (with support) and (2) simulating singing without support. Estimate of subglottic pressure was obtained from oral pressure during [p]. Vocal fold vibration was registered with dual-channel electroglottography. Acoustic analyses were made on the recorded samples. All samples were also evaluated by the singers and other listeners, who were trained singers, singing students, and voice specialists without singing education (a total of 63 listeners). We rated both the overall voice quality and the amount of support. According to the results, it seemed impossible to observe any auditory differences between supported singing and good singing voice quality. The acoustic and physiological correlates of good voice quality in absolute values seem to be gender and task dependent, whereas the relative optimum seems to be reached at intermediate parameter values.     

Vocalization and breathing during the first year of life

Vocalization and breathing were studied in 40 healthy infants, including five boys and five girls each at ages 5 weeks, 2.5 months, 6.5 months, and 12 months. Breathing was monitored through the use of a variable inductance plethysmograph that enabled estimates of the volume changes of the rib cage, abdomen, and lung, as well as estimates of selected temporal features of the breathing cycle. Four vocalization types were studied intensively. These included cries, whimpers, grunts, and syllable utterances. Breathing behavior was highly variable across the four vocalization types, demonstrating the degrees of freedom of performance available to the infant to accomplish the aeromechanical drive required. Such behavior was influenced by body length, body position, and age, but not by vocalization type and sex. The protocol established is a useful tool for observing the natural course of the emergence of vocalization and breathing during the first year of life.     

Neural control of vocalization: Respiratory and emotional influences

Previous research has shown that a region of the midbrain, the periaqueductal gray matter (PAG), is critical for vocalization. In this review, we describe the results of previous investigations in which we sought to find out how PAG neurons integrate the activity and precise timing of respiratory, laryngeal, and oral muscle activity for natural-sounding vocalization using the technique of excitatory amino acid microinjections in cats. In these studies, all surgical procedures were carried out under deep anaesthesia. In the precollicular decerebrate cat two general types of vocalization, classified as voiced and unvoiced, could be evoked by exciting neurons in the lateral part of the intermediate part of the PAG. The patterns of evoked electromyographic activity were strikingly similar to previously reported patterns of human muscle activity. Coordinated patterns of activity were evoked with just-threshold excitation leading to the conclusion that patterned muscle activity corresponding to the major categories of voiced and voiceless sound production are represented in the PAG. In a parallel series of human and animal experiments, we also determined that the speech and vocalization respiratory patterns are integrated and coordinated with afferent signals related to lung volume. These data have led to the proposal of a new hypothesis for the neural control of vocalization: that the PAG is a crucial brain site for mammalian voice production, not only in the production of emotional or involuntary sounds, but also as a generator of specific respiratory and laryngeal motor patterns essential for human speech and song     

Effects of lung volume on vertical larynx position during phonation

The vertical position of the larynx seems to be relevant to voicefunction. As a high vertical larynx position is often seen in hyperfunctional and strained voices, a lowering of a habitually elevated larynx is sometimes a specific goal in clinical voice therapy and different larynx-lowering exercises are used to achieve this goal. Earlier investigations have shown that pitch and to some extent also vocal loudness are relevant to vertical larynx position. In the present investigation, we examine if lung volume affects vertical larynx position. Using a multi-channel electroglottograph, the larynx position was measured in 29 healthy, vocally untrained subjects, who phonated at different lung volumes, pitches, and degrees of vocal loudness. The main results were that high lung volume was clearly associated with a lower larynx position as compared to low lung volume. In addition, vertical larynx position was strongly correlated with pitch. Both of these dependencies were shown to be stronger in males than in females. Our results suggest that lung volume is a factor that is highly relevant to larynx height in untrained subjects.     

The dynamics of cavitation bubbles in a sealed vessel

A model of cavitation bubbles is derived in liquid confined in an elastic sealed vessel driven by ultrasound. In this model, an assumption that the pressure acting on the sealed vessel due to bubble pulsations is proportional to total volume change of bubbles is made. Numerical simulations are carried out for a single bubble and for bubbles. The results show that the pulsation of a single bubble can be suppressed to a large extent in sealed vessel, and that of two matched bubbles with same ambient radius can be further suppressed. However, when two mismatched bubbles have the same ambient radii, an interesting breathing phenomenon takes place, where one bubble pulsates inversely with the other one. Due to this breathing phenomenon the suppression effect becomes weak, so the maximum radii of two mismatched bubbles can be larger than that of a single bubble or that of two matched bubbles in sealed vessel. Besides that, for two mismatched bubbles with different ambient radii, the small one in sealed vessel under some certain parameters can pulsate as strong as or even stronger than that of a single bubble in an open vessel.     

Influence of body position on breathing and its implications for the evaluation and treatment of speech and voice disorders

This paper examines how breathing differs in the upright and supine body positions. Passive and active forces and associated chest wall motions are described for resting tidal breathing and speech breathing performed in the two positions. Clinical implications are offered regarding evaluation and treatment of breathing behavior in clients with speech and voice disorders.     

Breathing for singing

Methods of teaching breathing for singers are diverse. However, it is universally agreed that breath training and support are essential to good singing technique. One method is presented in detail to illustrate the difficulties in producing good singing technique in the studio and the need for imagery as well as scientific fact. The need for further collaboration among scientists and voice teachers is stressed.