Most Western opera singers report feeling phonatory vibrations, that is, vibrations caused by phonation, in different parts of their bodies while singing. As one perceives one's own voice quite differently from the way one's listeners perceive it, it has been hypothesized that phonatory vibrations may be useful as a feedback signal for the control of phonation. These vibrations have been examined in some articles, which are reviewed. It is concluded that in singing at fundamental frequencies lower than about 350 Hz (pitch F₄ ) the amplitudes of the vibrations in the chest wall may be easy to use as a feedback signal, as they reflect an aspect of phonation that is relevant to singers. However, vibrations in the face and the skull seem to vary considerably between different vowels and can therefore be assumed to be more difficult to use for controlling phonation, which is basically independent of vowel quality.

References

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