The Science behind Pavarotti: How projection of the operatic singing voice is influenced by breath support.
Music to our ears
我们中的许多人在听音乐时会经历强烈而深刻的情感反应，因此，研究人员对不仅了解听音乐的生理影响，而且以唱歌的形式对生理效果产生了特别的兴趣也就不足为奇了。。
唱歌似乎是我们制作音乐的最简单，最自然的方法 - 甚至孩子也可以做到 - 但这是一项非常复杂的运动活动。这就是为什么像运动员一样的歌剧歌手需要训练自己的肌肉才能以非常特殊的方式投射他们的声音 - 因此，歌剧歌手所做的训练类型可以使他们的表现有所不同，并最终对他们的职业生涯有所不同。
歌手能够控制自己的呼吸的能力最终会影响他们的语气质量，范围和语音投影，所有这些都对成为成功的歌手至关重要。对于许多人来说，不为人知的是，有多种用于实现人声控制的“支持”教学方法。研究员C. William Thorpe希望了解腹部和diaphragmatic肌肉“支撑”对五位歌剧歌手的呼吸模式和声学输出的影响。
To reduce the effects of intersubject variability, all participants were already proficient in a specific method of 'support' that aimed to increase the intensity of ‘projection’ in voice quality. Moreover, this method encompasses the use of “abdominal support synchronized with the onset of phonation”.
研究详细信息：
Thorpe, C.W., Cala, S.J., Chapman, J., Davis, P.J.,(2001).Patterns of Breath Support in Projection of the Singing Voice. Journal of Voice,15（1）：86-104。Details
使用磁力计作为呼吸行为的指标
One method Thorpe used to measure the level of support provided by the abdominal muscles was through the use of linear magnetometers. This method is commonly used to obtain rib cage and abdomen measurements as an indication of respiratory behavior without obstructing the mouth. Here, the lateral and anterior-posterior (AP) dimensions of the rib cage were determined using tuned pairs of electromagnetic coils taped parallel to one another on the singers’ upper body. The output voltage is linearly related to the distance between the magnetometers of each pair. Therefore, one placed at the level of the sternum, while the other at the same level on the spine will measure the anterior-posterior (AP) diameter of the rib cage. Movement artifacts were minimized by an adjustable frame for participants to rest their arms on.
使用MACLAB（adinStruments）以100 Hz记录磁力计信号PowerLabpredecessor) calibrated to centimeters, with a representation of the acoustic signal for synchronization purposes. Lung volumes were estimated using calibrations performed against spirometric measurements obtained with a drum spirometer while performing vital capacity (VC), isovolumic, and relaxation maneuvers. Additionally, sound was recorded on a digital audio tape recorder at 44.1 kHz and subsequently transferred to a computer via a sound card and resampled at 22.05 kHz to reduce memory requirements. Participants were then required to sing an aria recorded with two levels of voice projection.
Read more: Spirometry data acquisition and analysis
对于每个发声词，计算DB中的平均声功率（未加权），然后通过快速傅立叶变换（FFT）进行平均功率频谱密度。分别通过PLO和PHI获得了平均功率频谱密度的频带0-2 kHz和2–4 kHz的功率。2–4 kHz频段的峰值幅度提供了歌手声音中“响起”质量的相对良好的表现。由此，可以计算PHI/PLO的比率。
Greater projection requires greater abdominal support
结果表明，相对于0-2 kHz带中的功率，较大的投影导致频带2-4 kHz的声能量显着增加（发出声能的发射速率）。结合起见，他们看到平均呼气流的下降，表明声音效率提高，随着预测的较高的投影。此外，“更大的投影产生了较大的肋骨笼，尤其是在横向尺寸中，但只有很小的腹部侧向尺寸减少”。这意味着通过增加内侧作用的腹部肌肉的激活需要更大的腹部支撑。
Few changes, however, were seen in lung volumes upon request for increased levels of voice projection. One reason for this is that singers will learn the size of breath required to sing each phrase through practice of the melody. Hence, even when instructed to change their level of projection, their muscle memory of the inspiration required still prevails.
Overall these findings support the general observation of singers and teachers alike that ‘ good support’ is needed in assisting the projection of one's voice. Thorpe was able to use accurate, non-invasive techniques to understand the physiological effects of a particular breathing support technique and further our understanding of the science behind operatic wonders like Pavarotti.
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