AN ACOUSTICAL PHENOMENON IN NON-OPERA VOCAL PERFORMANCE TYPES: SPEAKER’S/ACTOR’S FORMANT

Although all the types of vocal practice have a peculiarity evident in perceptual dimension, all these types of vocal practice and each of the sound quality produced by these practices in specifically, have also an characteristic shared by all others. Following Malinowski’s functionality theory, we...

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Autor principal:	Şahin SARUHAN
Formato:	article
Lenguaje:	DE EN FR TR
Publicado:	Fırat University 2019
Materias:	speaker’s formant actor’s formant voice training training in traditional singing styles function Social Sciences H Social sciences (General) H1-99
Acceso en línea:	https://doaj.org/article/415017b2b8374525868a757cba78df89
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id	oai:doaj.org-article:415017b2b8374525868a757cba78df89
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spelling	oai:doaj.org-article:415017b2b8374525868a757cba78df892021-11-24T09:20:58ZAN ACOUSTICAL PHENOMENON IN NON-OPERA VOCAL PERFORMANCE TYPES: SPEAKER’S/ACTOR’S FORMANT2148-416310.9761/JASSS2548https://doaj.org/article/415017b2b8374525868a757cba78df892019-08-01T00:00:00Zhttps://jasstudies.com/index.jsp?mod=tammetin&makaleadi=1770357492_18-Yrd.%20Do%C3%A7.%20Dr.%20%C5%9Eahin%20SARUHAN.pdf&key=27232https://doaj.org/toc/2148-4163Although all the types of vocal practice have a peculiarity evident in perceptual dimension, all these types of vocal practice and each of the sound quality produced by these practices in specifically, have also an characteristic shared by all others. Following Malinowski’s functionality theory, we can that, all types of vocal practice and each of the sound quality produced by these practices, at least at beginning, has been came out in order to do a function and shaped by the anxiety of to meet certain necessities. The concern that creates this situation is similar in important level too: the desire to hear by the very most people and/or to be hearable to much more distance points. While, opera singers attained this goal with the techniques that has related with the singer’s formant and formant tuning concepts, it seen that, in non-operatic vocal performance types, an another phenomenon has been put into use, that named as speaker’s or actor’s formant. This acoustical phenomenon that located in a frequency region that hearing sensitivity maximized functions like singer’s formant belonged to opera singing genre, but for non-operatic types in this case. Although it seen that, the studies concerned with the speaker’s/actor’s formant topic has been increased in last decades, it appears that, this increase is not sufficient to say something definitely in very much dimension of this phenomenon. However, dates that be acquired about this phenomenon, will aid the search in relation to techniques that can be applied in non-operatic vocal performance types.Şahin SARUHANFırat Universityarticlespeaker’s formantactor’s formantvoice trainingtraining in traditional singing stylesfunctionSocial SciencesHSocial sciences (General)H1-99DEENFRTRJournal of Academic Social Science Studies , Vol 7, Iss 29, Pp 293-312 (2019)
institution	DOAJ
collection	DOAJ
language	DE EN FR TR
topic	speaker’s formant actor’s formant voice training training in traditional singing styles function Social Sciences H Social sciences (General) H1-99
spellingShingle	speaker’s formant actor’s formant voice training training in traditional singing styles function Social Sciences H Social sciences (General) H1-99 Şahin SARUHAN AN ACOUSTICAL PHENOMENON IN NON-OPERA VOCAL PERFORMANCE TYPES: SPEAKER’S/ACTOR’S FORMANT
description	Although all the types of vocal practice have a peculiarity evident in perceptual dimension, all these types of vocal practice and each of the sound quality produced by these practices in specifically, have also an characteristic shared by all others. Following Malinowski’s functionality theory, we can that, all types of vocal practice and each of the sound quality produced by these practices, at least at beginning, has been came out in order to do a function and shaped by the anxiety of to meet certain necessities. The concern that creates this situation is similar in important level too: the desire to hear by the very most people and/or to be hearable to much more distance points. While, opera singers attained this goal with the techniques that has related with the singer’s formant and formant tuning concepts, it seen that, in non-operatic vocal performance types, an another phenomenon has been put into use, that named as speaker’s or actor’s formant. This acoustical phenomenon that located in a frequency region that hearing sensitivity maximized functions like singer’s formant belonged to opera singing genre, but for non-operatic types in this case. Although it seen that, the studies concerned with the speaker’s/actor’s formant topic has been increased in last decades, it appears that, this increase is not sufficient to say something definitely in very much dimension of this phenomenon. However, dates that be acquired about this phenomenon, will aid the search in relation to techniques that can be applied in non-operatic vocal performance types.
format	article
author	Şahin SARUHAN
author_facet	Şahin SARUHAN
author_sort	Şahin SARUHAN
title	AN ACOUSTICAL PHENOMENON IN NON-OPERA VOCAL PERFORMANCE TYPES: SPEAKER’S/ACTOR’S FORMANT
title_short	AN ACOUSTICAL PHENOMENON IN NON-OPERA VOCAL PERFORMANCE TYPES: SPEAKER’S/ACTOR’S FORMANT
title_full	AN ACOUSTICAL PHENOMENON IN NON-OPERA VOCAL PERFORMANCE TYPES: SPEAKER’S/ACTOR’S FORMANT
title_fullStr	AN ACOUSTICAL PHENOMENON IN NON-OPERA VOCAL PERFORMANCE TYPES: SPEAKER’S/ACTOR’S FORMANT
title_full_unstemmed	AN ACOUSTICAL PHENOMENON IN NON-OPERA VOCAL PERFORMANCE TYPES: SPEAKER’S/ACTOR’S FORMANT
title_sort	acoustical phenomenon in non-opera vocal performance types: speaker’s/actor’s formant
publisher	Fırat University
publishDate	2019
url	https://doaj.org/article/415017b2b8374525868a757cba78df89
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AN ACOUSTICAL PHENOMENON IN NON-OPERA VOCAL PERFORMANCE TYPES: SPEAKER’S/ACTOR’S FORMANT

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