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The Larynx

Anatomy of the Vocal Mechanism by Connie de Veer Illinois State University School of Theatre and Dance Photos by Melisa Pereyra , MFA Acting, 2012 Illinois State University in fulfillment of Voice VI special class project. The Larynx. The Larynx, cont’d.

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The Larynx

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  1. Anatomy of the Vocal Mechanismby Connie de VeerIllinois State University School of Theatre and DancePhotos by Melisa Pereyra, MFA Acting, 2012 Illinois State Universityin fulfillment of Voice VI special class project

  2. The Larynx

  3. The Larynx, cont’d. Cricoid Cartilage – the base of the larynx. Considered by some to be the top ring of the trachea. From the Greek word “Krikos” meaning ring. (frontal view) (side view)

  4. The Larynx, cont’d.

  5. The Larynx, cont’d • Thyroid Cartilage – “Adam’s Apple.” Two flat plates fused in the center to form a wedge-like structure with a V-shaped notch at the top center.

  6. The Larynx, cont’d. • Arytenoid Cartilages – Provide posterior attachment of the vocal folds. They are responsible for providing a lever whereby opening, closing, and tensing of the vocal folds are effected. Pyramid shaped, with frontal projections to which vocal folds are attached. They rest on the slanted posterior rim of cricoid, attached by a flexible joint which allows for movement. (Larynx sliced in half)

  7. The Larynx, cont’d. • Epiglottis – Leaf-shaped cartilage attached to the anterior (front) wall of the thyroid cartilage. During breathing and phonation, it assumes an upright position resting against the base of the tongue.

  8. The Larynx, cont’d. • Epiglottis (posterior view) (side view)

  9. Muscles of the Larynx • Intrinsic – Muscles inside the larynx (including the vocal folds). Effect changes in the tension and relative positions of the folds. Important Point! – These muscles are tiny and so closely interrelated that they are not under individual control. They also require but little energy. Hence, relaxation must be accomplished indirectly through exercises.

  10. Muscles of the Larynx, cont’d. • Extrinsic Muscles – are the muscles surrounding the larynx. They are responsible for larger movements of the larynx on the whole. For example, pulling down, as in swallowing. It is also believed to contribute to pitch changes by altering the pharyngeal resonator.

  11. The Pharynx A fancy word for “throat.” One of the 3 chief resonating chambers, (along with the nose, mouth, and throat). (side view) (frontal view)

  12. The Glottis • The space between the vocal folds

  13. The Vocal Folds • A pair of intrinsic muscles, attached in front to a point behind the notch of the thyroid cartilage, and in back to the moveable arytenoid cartilages. The tissue is pearly white, fibrous, wedge-shaped, and rounded. • Function of the vocal folds – Folds vibrate (approximate very quickly) as they are drawn together, and breath (sub-glottal air pressure) is forced between them to create sound=phonation

  14. See the vocal folds in action: • http://www.youtube.com/user/katedevore

  15. The Chief Articulators for Speech • Soft Palate – back of the roof of the mouth. Sometimes called the Velum. • Hard Palate – roof of mouth • Tongue • Teeth • Lips

  16. The Breathing Organs and Process • Trachea – Membranous tube held open by cartilagenous crescents. Divides in two at the juncture with the lungs, and are called…

  17. The Breathing Organs and Process, cont’d. • Bronchi – tubes leading into the lungs, which then sub-divide into smaller and smaller tubes called… • Bronchioles – which finally terminate in clusters of tiny air sacs called…

  18. The Breathing Organs and Process, cont’d. • Alveoli – which comprise the structure of the lungs. Actual respiration occurs here with the transference of oxygen for carbon dioxide as a waste product, in the blood.

  19. The Breathing Organs and Process, cont’d. • Lungs – conical, porous, sponge-like organs comprised of bronchioles and alveoli

  20. The Breathing Organs and Process, cont’d. Sternum • Ribs, or thorax – Bony cage of the chest formed by the vertebral column in back, and the sternum (breast bone) in front, and 12 pairs of ribs --- which are attached by flexible cartilage to the sternum in front. The last 2 pairs are not attached in front, and are thus called “floating ribs.”

  21. The Breathing Organs and Process, cont’d. • The last 2 pairs are not attached in front, and are thus called “floating ribs.”

  22. The Breathing Organs and Process, cont’d. • Diaphragm – The principal muscle involved in the breathing process. Muscle and tendonous fiber; dome-shaped, fitting into the lower surface of the lungs. Divides the thorax and the abdominal cavity. Attached to the sternum and ribs in front and the spinal column in back. Upon inhalation, the abdominal muscles and central tendon of the diaphragm pull down and allow for space in the lungs, creating a vacuum and allowing for rib expansion. Air outside the body then fills the vacuum. Exhalation is the reverse of this process.

  23. Optimal Breathing for Speech • Adequate movement of air with the least amount of effort. • Quick and silent inhalation • Minimum interference from the throat To accomplish this, one must be free of any extraneous neuro-muscular tension ANYWHERE in the body, especially the laryngeal area. Also, the nasal area must be free from congestion/obstruction.

  24. The Attributes of Voice • Time or Rate – The length of time given each vowel sound within a word and the time between words and phrases. Sound is carried on the vowels. Consonants are noise elements introduced into speech to create meaning/language. When working to slow down rate of speech, focus should be centered on the vowels. • Pitch – How we perceive the frequency or rapidity of a vibration. The more rapid the frequency, the higher the pitch. Physiologically depended upon the length, mass/weight, and tension of the vibrating object (i.e., vocal folds)

  25. Attributes of Voice, cont’d. • Loudness or Intensity – Dependent upon • Resiliency of the vocal folds • Strength of the sub-glottal air pressure • Distance the sound must travel • Resonance, or degree of reinforcement

  26. Attributes of Voice, cont’d. • Melody Pattern – Musical intervals between two tones. Very dependent upon one’s ability to hear different pitches and intervals • Resonance – Creates the intensity of the various overtones that are a result of the basic structure of the vibrating agent (vocal folds).

  27. Attributes of Voice, cont’d.The Chief Resonators • Mouth • Pharynx (throat) • Nasal passages Also, chest, skull, etc.

  28. Attributes of Voice, cont’d. • Quality, or Tone – Pureness or clarity of tone. Related to the complexity of vibration; therefore the size, shape, and texture of resonators gives each of us unique voices.

  29. Attributes of Voice, cont’d.7 Problems Related to Quality 1. Breathiness – results when excess unvocalized air escapes between the vocal folds when they are too loosely drawn together, or when there is an obstruction, i.e., nodes. 2. Hoarseness – organic cause such as a cold, nodes. May also result from habitual strain and tension. 3. Stridence/Strain – metallic quality resulting when the folds are crowded too closely together during phonation. The throat muscles become constricted.

  30. Attributes of Voice, cont’d.7 Problems Related to Quality 4. Harshness or throatiness – gutteral, throaty quality. A functional, not organic disability. The difference between hoarse and harsh qualities is the presence of breathiness in the former. Often accompanies falling inflection and back-placement. Can be due to poor breathing habits and vocal fold tension. 5. Absence of Vibrato or Monotone – Lack of periodic shifts in pitch and loudness.

  31. Attributes of Voice, cont’d.7 Problems Related to Quality 6. Nasality – too much nasal resonance and emission of breath. Often, soft palate fails to lift and block the breath on non-nasal sounds, so it escapes through the nose. Causes could be a cleft palate, obstruction in the sinuses, inactive soft palate 7. Denasality – no nasal resonance. Causes could be an obstruction in the sinuses, adenoids, cold, swollen tonsils.

  32. Goals For Good Vocal Production • Soft attack – balance of breath and tension • Energize the breath stream (breathe from “center”) • Freedom from extraneous neuro-muscular tension anywhere in the body • Forward focus of tone

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