Voice training

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Under voice training means the training of voice to speak and sing . A distinction is made between the training of a healthy, physiologically effective (functional) use of the voice in order to prevent illnesses and damage to the voice, and the training of the professional speaking and singing voice. In music, vocal training is very important because without any practice the vocal cords could be damaged.

A healthy speaking or singing technique can prevent voice damage. According to Giulio Panconcelli-Calzia , a "good" voice is only formed with the muscles necessary for performance, is free from background noises and false tension, sounds powerful or soft at any level, is long-term, resonant, soft and effortless. With the speaking voice, the training is based on a physiological use. The speaking and singing voice that is perceived as aesthetic depends on the culture and the prevailing fashion trends.

As early as the first millennium BC, the Indians had knowledge of voice training that was used for religious rituals . Since the voice was used in public discussions among the Greeks , voice training had a firm place in rhetoric . At that time, actors had to speak to over 15,000 spectators.

In voice training, the voice is viewed as an expression of personality and trained accordingly. Specific functions ( breathing , finding the physiological speaking voice, etc.) are also practiced individually, but always placed in the holistic context of communication .

Goals of voice training

Economical and relaxed breathing

Breathing , voice production ( phonation ) and articulation are closely related. Developing a lively interplay between breathing and larynx activity is therefore one of the most important goals of voice training.

Finding the speaking voice / indifference

Everyone can speak easily and effortlessly in a particular pitch that is unique to them and usually finds their way back to this position again and again. If the indifference position is left permanently, in extreme cases the voice rolls over and the voice becomes tense and stressed and even hoarseness. This tires the listener and speaker. When speaking, the voice should oscillate around the indifference, depending on the speech melody.

Optimal use of the resonance spaces

The spaces above the vocal folds are known as the vocal tract , attachment tube or articulation or resonance spaces . These include larynx ventricles, pocket folds , larynx entrance, throat , oral cavity and main nasal cavity . As coherent cavities, the attachment spaces can reinforce or weaken certain parts of the primary sound from the vocal folds as resonators. This creates different vowel and tone colors. The anatomical requirements of the attachment spaces, as well as their individual lining with connective tissue, muscles and mucous membrane, as well as their flexibility are fundamental for the resulting sound.

Voice entry and sales

The moment when the vocal folds transition into phonation is called the beginning of the voice . Depending on the type of vocal fold closure, after the beginning of the vibration behavior and after dealing with the breath, different acoustic impressions arise. There are three different categories of voice input, with the boundaries between them being fluid.

  • Breathy voice insert:

The air flow begins before the glottic closure. The air is already flowing while the vocal folds move from the respiratory to the phonation position. This use is physiological for a word beginning with the letter h.

  • Soft voice insert:

At the beginning of phonation, the vocal folds lie softly and without pressure against one another, there is a small elliptical gap. Closing the vocal folds and increasing the blowing pressure results in steadily increasing vocal fold vibrations.

  • Fixed voice insert:

Before the oscillation begins, the vocal folds lie against each other with slight tension and are opened by a slight increase in subglottic pressure. In the high-level German language, this vocal use (glottal beat) is characteristic of initial vowels and here also physiological.

From a vocal training point of view, developing a soft use of the voice - especially in classical singing - is worth striving for. With a healthy voice and good vocal or speaking technique, however, all three types of use can be used consciously and controlled as a stylistic device.

The point at which the vocal folds stop vibrating is called the vocal paragraph. Here, too, there are different variants. The following are considered physiological:

  • The soft heel:

Breathing flow and vocal fold vibration stop simultaneously and gradually without making a sound. The voice swings out gently. This paragraph is considered to be the most gentle type of phonation end for the vocal folds.

  • The fixed paragraph:

After the vocal folds have stopped vibrating, the glottis remains closed for a short time before it opens again for inhalation. Here the paragraph is clearly defined without the voice lingering but also without noise. If the closure is just gentle, then this paragraph is also considered physiological.

Plastic articulation

A clear articulation requires a precise fine-tuning of the elasticity and mobility of the tongue, lips, jaw joint, palate and throat muscles. Good consonant articulation gives the voice support and has a positive effect on breathing and support. It can also help relax and regulate the tone of the muscles involved in phonation.

Relaxation training

Relaxation exercises are often used to regulate the tone: B. Jacobson relaxation training , autogenic training , Alexander technique or eutonia . Then the necessary and sufficient muscle tension for speaking or singing is built up.

Functional relaxation (FE) according to Marianne Fuchs or the phonation (AAP) adapted to the rhythm of breathing, developed by Coblenzer and Muhar, have proven particularly effective in voice training, which is based on natural processes and the well-being of the body.

Voice training and singing

While the functionality of the vote is largely in the speaking voice formation in the foreground, rising vocal voice training a high demand on the sonic aesthetic that extends to questions of interpretation. Beyond the physiological basics, musical aspects such as B. Vowel compensation , coordination of the vocal register , expansion of the vocal range, dynamics, vocal seat or articulation play an important role. Similarities to speech training result from the fact that the singing voice is carried out with the same organs, but there are differences with regard to the neural control of speaking and singing voice emanating from different brain regions. In this respect, both voices can only be influenced to a limited extent, which is why separate training for both voices is necessary.

Voice training and medicine

Medically relevant disorders of the voice are usually diagnosed by ENT doctors, in the best case with sub-specialization in voice and language disorders or phoniatrics , etc. U. also with the participation of speech therapists or clinical speech scientists. Speech therapists approved by health insurers, as well as breathing, speaking and voice teachers are responsible for the treatment of voice disorders according to prescription that is effective for health insurance.

Since every voice disorder in need of treatment always has something to do with functions in the formation of the voice, therapeutic measures must also make use of voice-training methods in order to develop efficient and trouble-free function of the voice and thus avoid recurrences. In the case of singing voice disorders u. U. a skilled vocal teacher or vocal trainer consulted. However, there are no explicitly trained voice therapists.

Voice training in teacher training

The teaching profession puts a lot of strain on the voice. On the one hand, it is therefore important to design the teaching situation in such a way that there is no vocal overload, but on the other hand, teachers must also be able to meet high demands on vocal condition and verbal communication skills. Particularly high physical fitness requirements affect primary school teachers, kindergarten teachers, sports teachers and - in the double burden of speaking and singing voice - music teachers.

This can only be achieved through intensive training in voice and speaker education. Since this is only compulsory at a few training institutions for educators in sufficient scope and with the required intensity, voice disorders that limit occupation and reductions in the effectiveness of the speaking teacher personality are not uncommon. Often there are absenteeism due to illness due to vocal problems, and in some cases even incapacity for work.

A qualified speaking voice training is ideally in the hands of qualified speech educators, qualified speech scientists, speech educators (DGSS) and breathing, speaking and voice teachers. It must also be emphasized that singing and speaking voices influence each other to a certain extent because they are carried out with the same organs, but are controlled cortically by different centers. Therefore, separate training for singing voice (voice training, vocal pedagogy) and speaking voice (speaking training, breathing, speaking and vocal training) is required.

See also

literature

Web links

Individual evidence

  1. ↑ Cf. Raulin / Bergauer / Janknecht, Praxis der Voice Therapy, Springer Verlag Heidelberg 2011
  2. ↑ Cf. Günther Habermann: Voice and Language , Chapter Breathing Support, Voice Use and Paragraph and Voice Approach , Thieme-Verlag.
  3. ↑ Cf. Raulin / Bergauer / Janknecht, Praxis der Voice Therapy, Springer Verlag Heidelberg 2011
  4. ↑ Cf. Raulin / Bergauer / Janknecht, Praxis der Voice Therapy, Springer Verlag Heidelberg 2011
  5. ↑ Cf. Raulin / Bergauer / Janknecht, Praxis der Voice Therapy, Springer Verlag Heidelberg 2011
  6. ↑ Cf. Raulin / Bergauer / Janknecht, Praxis der Voice Therapy, Springer Verlag Heidelberg 2011
  7. ↑ Cf. Raulin / Bergauer / Janknecht, Praxis der Voice Therapy, Springer Verlag Heidelberg 2011
  8. ↑ (cf. Michael Pezenburg: vocal training. Scientific basic didactic method. Wißner Verlag, Augsburg 2015, pp. 279–286)
  9. ↑ (see Pezenburg, 2015, Learning Psychological Basics of Voice Training, p. 141 ff.)