There are three departments: respiratory system(breathing mechanism) supplying air to the glottis; larynx(sound source), where the vocal folds (vocal cords) are placed; articulation apparatus with a system of resonant cavities that serve to form vowels and consonants. In the process of speech and singing, all parts of the vocal apparatus work interconnectedly. Sound is energized by breathing.

Respiratory system- it's easy with respiratory tract and muscles that carry out the process of breathing. The lungs consist of a delicate porous tissue, which is an accumulation of vesicles - alveoli, connected by channels that form the bronchial system. The bronchi of the right and left lungs are connected to the trachea, which ends in the larynx. The bronchi and trachea make up the so-called bronchial tree. The lungs, together with the bronchi and trachea, hold 5-6 liters of air. A normal calm breath is approximately 0.5 liters of air ( breathing air). A deep breath allows you to additionally fit into the lungs 1.5-1.8 liters of air (additional air). Approximately the same amount can be exhaled after a calm exhalation (reserve air). The volume of air from maximum inhalation to maximum exhalation is called the vital capacity of the lungs and is equal to 3.5 to 4.5 liters. When inhaling muscles chest and diaphragms expand the chest cavity in the vertical, lateral and anterior-posterior directions, and air enters the lungs under the influence of atmospheric pressure. A slight expansion of the chest and filling of the lungs occurs in their lower part due to a decrease in the dome of the diaphragm and expansion of the chest in the region of the lower ribs.

In singing, it is customary to distinguish between several types of breathing: costal(thoracic) with a predominance of the work of the chest; abdominal(abdominal) with a predominance of the diaphragm; costabdominal(breast diaphragmatic, mixed), in which the chest and diaphragm participate equally, - clavicular(clavicular) breathing, in which the movement of the upper ribs, collarbones and shoulders predominates; in the last type of breathing, the participation of the diaurasm is insignificant.

Larynx- is a tube that connects the trachea to the pharynx. It occupies the front of the neck. The larynx is made up of 5 cartilages and muscles. The external muscles of the larynx raise, lower or fix the larynx. These properties of the larynx are very important, especially for opera singers. The internal muscles serve to perform breathing and voice formation. The main ones for voice formation are the true vocal cords - the folds, the vibrations of which cause the appearance of sound. In a calm state, the vocal cords form a triangular opening - the glottis, through which air passes freely. Above the true vocal cords are the so-called false vocal cords, and in the space between the true and false vocal cords there are depressions, the mucous membrane of which moisturizes the vocal cords.

The length of the vocal cords (folds) usually depends on the type of voice. The folds are the longest bass- 24-25 mm; baritone-22-24mm; tenor and mezzo-soprano-18-21mm ; at the soprano- 14-19 mm. The thickness of the vocal folds in a stressed state is 6-8 mm. The vocal folds are able to close, open, tighten and stretch.

articulatory apparatus is called a cavity enclosed in elastic walls, having an outlet and responding to certain sound tones. The system of cavities located above the larynx is called the extension tube. It includes the pharyngeal cavity, oral, nasal and adnexal cavities of the nose. Thanks to the resonator of these cavities, the timbre of the sound changes.

There are upper and lower resonators of the singing apparatus. Upper resonators lying above the larynx: pharynx, mouth, nose, paranasal cavities; the lower resonators - cavities lying below the pharynx: the trachea and bronchi (bronchial tree). The upper resonators - the accessory cavities of the nose and the nasal cavity - have a stable shape and therefore have an unchanged resonator. The resonance of the oral and pharyngeal cavities changes due to the work articulation apparatus, which includes the tongue, lips and soft palate. The lower resonators affect the timbre, affect the vibration of the ligaments, and contribute to an increase in the activity of their work with the least energy consumption.

Sound pitch - the quality of musical sound, depending on the frequency of vibration of the sounding body; in acoustics it is measured by hertz (the number of vibrations per second). In musical performance, absolute height is distinguished (tuning the instrument and singers according to the height standard - tuning fork). In singing, the pitch of the sound formed above the cords is determined by the frequency of vibration of the cords. The oscillation frequency depends on the degree of tension, thickness and length of the ligaments. The oscillatory work of the folds is a special function of the larynx. The frequency of their oscillations does not depend on breathing.

For the correct approach to solving singing and pedagogical problems, it is necessary to know the structure of the vocal apparatus and its relationship with the organs of the human body that receive direct involvement in the process of singing. Such organs are lungs, sound-conducting and resonating cavities, articulatory organs - lips, tongue and nervous system, which centrally controls the entire vocal complex.

1. Larynx

2. Supraglottic cavity

3. Subglottic cavity

4. Trachea and bronchi

5. Oral cavity

6. Nasal cavity

7. Soft palate

8. Hard palate

10. Posterior wall of the pharynx

11. Second (singing) mouth.

A schematic section of the vocal apparatus is shown in Fig.1. Its main part is the larynx with the vocal cords. In the vocal cords, layers of muscle fibers are located under different angles, which causes complex vibrations of the ligaments, that is, the diversity of the sound of the voice (simultaneous change in the strength of sound, pitch, and even, to some extent, timbre). The mechanism by which vocal cord vibration occurs is not yet fully understood. There is reason to present it as a joint simultaneous action of two factors - elastic vibrations muscles of ligaments under air pressure, exposure to control periodic bio-impulses from the central nervous system.

Above and below the larynx, tubular cavities are directly adjacent, constituting a single whole with it. The lower - subglottic tube - passes into the trachea and bronchi. The upper - supraglottic tube - passes into the cavity of the oropharynx (pharynx) and further into the oral and nasal cavities. Thus, the larynx, together with the epiglottic tube, oropharynx and oral cavity, represents a single sound-conducting horn system. The shape and dimensions of the cavities, with the help of their mobile muscle tissues, are constantly changing, adapting their resonant qualities to the mode of operation of the vocal cords and the conditions of articulation.

The sound-producing node - the larynx - consisting of a cartilaginous drum, vocal cords and muscles, is suspended together with the root of the tongue freely to the lower jaw. The main functions of the larynx are to provide breathing and sound production. In addition, the larynx is a mechanical protective device for the ligaments. Sound production is the result of a complex and subtle interaction of all parts of the larynx, which is carried out through a wide network of neural connections with the brain. So, it is in the larynx that the subglottis is adjusted air pressure and the amount of air passing through the glottis. The larynx is very mobile vertically - the range of its movement in one direction reaches 2-3 cm. This mobility is necessary to set it in the most favorable bioacoustic position. When singing, the span of the larynx is smaller and the movement itself is smoother. In skilled singers, the larynx is relatively stable relative to the middle position.

Part of the sound energy exits the larynx through the upper cavities and out of the mouth. Some of it passes down into the trachea and, resonating there, causes a sensation of vibration of the anterior wall of the chest.

The "construction" of the larynx with the cavities associated with it is one-piece and does not have any parts or organs that can change the direction of the sound. The singer can only change the intensity of the sound and, to some extent, the timbre, by controlling the size and shape of the opening of the oropharynx, and the mouth itself. Of course, by turning the head and body, the singer can orient his voice in the right direction using the oral cavity as a mouthpiece. The oral cavity and the opening of the mouth itself, depending on the articulation, change reflexively. However, it is especially important for the singer to be able to conscious control this complex with the help of the corresponding muscles. specifically importance has control of the oropharynx with the help of the muscles of the soft palate, tonsils and the root of the tongue. This complex opening of the oropharynx is also called the "second" or "singing" mouth, thus emphasizing the fact that sound is formed in this very place.

The root of the tongue can block the entrance to the oral cavity, and then the sound will pass only into the nasal cavity. But the entrance to the nasal cavity cannot be completely closed - there is always some kind of opening that provides breathing. Singers constantly use the opportunity to adjust the passage of sound into the oral and nasal cavities to change the intonation and color of the sound.

The surface of the hard palate has a large number of nerve endings, perceiving the pressure of sound and signaling it to the brain, which gives the singer the opportunity to evaluate his singing mood - the freedom of sound passing through the oropharynx, getting it into the head resonators, etc.

Among singers, these sensations are called the sensation of sound in a "mask" or they say that "sound in a high position." In fact, this is the optimal acoustic state of the vocal apparatus.

The sound quality of the singer's voice depends on many anatomical and physiological factors, including the shape and size of the supraglottic cavities and, in particular, the palatine vault. The vault of the palate, consisting of a hard palate, turning into a soft one, is a surface that reflects the sound flow towards the outlet - the mouth, and the acoustic qualities of this reflector must correspond to the mode of operation of the vocal cords. Singers with good sounding voices have a high hard palate with a steep anterior descent to the teeth. Simultaneously great importance has the ratio of the length of the soft and hard palate. More favorable for sounding is the case when the length of the hard palate is much greater than the absorbing surface of the soft palate. There may be cases where the disadvantageous structure of the upper reflective arch or the absence of teeth can be an obstacle to use. singing voice. There are cases when prosthetics of missing front teeth led to the restoration of good sound.

Children's voices have a high head sound. In terms of the content of overtones, they are poorer than the voices of adults, but they have a special silveriness and lightness. Although the voices of children are inferior in strength to the voices of adults, they are distinguished by greater sonority and "flying". Such timbre properties as silveriness and sonority give children's voices a special charm. Qualitative differences in children's voices are associated with the anatomical and physiological features of both the vocal apparatus and the entire growing child's body.

The larynx in children is located high. It is 2 - 2.5 times smaller than the larynx of adults. The cartilages of the larynx are flexible, soft, not completely formed. Therefore, the children's larynx is elastic and highly mobile. The muscles of the larynx are poorly developed. The vocal folds of children are short, narrow and thin. In the thickness of the vocal folds, a child under 5 years of age does not have vocal muscles, only by the age of 11-12 they are fully formed.

Approximately from 9-10 years old, as the vocal muscles develop, the way of voice formation begins to acquire more and more mixed character.

Children's voices are heard greater strength, are enriched with overtones, and the range also increases. The elasticity of the upper resonators increases (the area of ​​the soft palate, supraglottic cavities). There is an intensive development of the vocal muscle, especially in children with low voices. The timbre of such voices becomes deeper, juicier, acquires a mixed character. In that age period there is an opportunity to increase the strength of the sound.

The period when a teenager reaches 11-12 years is called "pre-mutation". The physical growth and growth of their vocal apparatus ceases to be smooth. External disproportionality also indicates unevenness internal development. The voice loses its brightness, fades, a little hoarse. Sometimes a change in range is noticeable: some students who sang freely begin to avoid higher sounds or sing them with tension. All these changes, which occur as a result of serious restructuring of the body and its nervous system, can adversely affect the singing voice, which requires special attention and mode.

Schoolchildren - members of the choir often have voice defects. The most common reason for the occurrence of deficiencies in singing sound formation is the overvoltage of the vocal apparatus. Quite often beginning singers sing in a tessitura unusual for their voice: high or low. The owners of high voices adapt to low voices and sing works for these voices. It also happens vice versa. Very often, novice singers, trying to increase their range, practice the upper notes on their own, not knowing how to use them. Children try to "outdo" each other with high notes, but also compete in loud singing, trying to make their voice stronger than it actually is. Abuse of high notes, singing in an unusual tessitura, forcing the voice violate normal function vocal organs, cause them to strain, overwork and lead to diseases.

According to some researchers, many defects in voice formation are the result of an incorrect and irrational mode of using voice in childhood. Children often adopt the manner of singing from adults, and the technical difficulties that arise are overcome by overstraining the vocal apparatus or its separate parts.

1. Organic defect of the device;

3. Wrong habits instilled in the process of imitation, forcing sound, breathing, or arising from the performance of an unbearable repertoire.

To identify and possible elimination The first group of deficiencies requires medical attention.

The second group of shortcomings - the shortness of the range, insufficient strength and low sonority - can be completely eliminated in the process of unhurried and systematic development of the voice. A significant improvement in timbre is also possible.

The third group of disadvantages include:

Sluggish sound production , expressed in inaccurate taking of the initial note and its fuzzy ending, constant "entrances", lubrication of scales, accompanied by fuzzy diction and poor articulation vowels.

sharp , hard sound, in which the voice sounds tense, dry, sometimes even creaky. As a rule, a singer with such a manner of singing can only sing on the forte; singing on the piano is not available to him.

The main reasons for the occurrence are violations of auditory self-control, a change in the position of correct sound production and poor musical development.

Sound tremolation is perceived by ear as a vibration with an increased amplitude of oscillation and sound swing. The change in vibrato frequency is the result of an unstable position of the larynx, causing it to vibrate abnormally. Outwardly, as a rule, this is accompanied by pitching of the lower jaw.

The cause of tremolation may be asynchrony in the work of the vocal cords; in this case, a beating sound occurs, which can be recognized by a special dryish timbre. Often these beats indicate a serious disease of the vocal apparatus requiring treatment.

Another extreme case of violation of normal vibrato is its absence, which is expressed by ear in a direct, timbreless, empty, unemotional sound of the voice. With spastic contraction of the muscles of the vocal apparatus, vibrato is impossible, and the voice has a direct beep-like character. Vibrationless voice is the most common phenomenon among students.

This does not mean the natural transition of an untrained voice from one register to another, but a deliberate change in sound - a manner pursuing the goal of an allegedly increased emotionality of performance. Today it takes place in the so-called "folk" genre and pop performance.

Distortion of vowels at the beginning of the second octave, caused by the desire for an overly "open" sound, and a sharp transition to a rough sound.

The cause of such a defect may be the result of an incorrect approach to the student, when work is being done without taking into account his psychological features, the degree of his susceptibility to the tasks facing him. Sometimes teachers make a gross mistake, trying to impose on the student their muscular, vibrational sensations during phonation, not taking into account him. individual qualities, physiological and mental characteristics.

Often, teachers strive to achieve the desired result by "pressure", repeatedly forcing the student to repeat the same note or phrase, demanding a momentary positive result, forgetting about gradualness and consistency in work. As a rule, with this approach, the singer is forced to force the sound, which leads to a defective sound of the voice and clamping of the vocal apparatus.

Due to improper use of the voice, organic changes in the ligaments may occur - false and true nodules, persistent non-closure and re-closure of the vocal cords, chronic swelling. A hoarse tone with sputum discharge speaks of catarrhal phenomena.

A dry, hoarse tone indicates a lack of closure of the vocal cords, possibly a thickening of the ligament or the appearance of nodules.

All these pathological changes, felt by ear, require special attention, timely rest and special treatment.

There are also persistent disturbances of normal sound production, characterized by the absence of external, objectively observable changes in the vocal apparatus. The singer complains of physical difficulties in singing, of poor sounding of the voice, and the phoniatrist does not see any changes upon examination. Such an abnormal condition of the vocal apparatus is called phonosthenia, which as a result of a violation of the relationship between the brain and the vocal apparatus. Consider more features this relationship.

All control of the body is carried out through the central nervous system, through the brain. Some of its functions, in particular, in the vocal apparatus, a person can control consciously (strength and pitch, articulation, timbre, tempo and rhythm), some - without the participation of consciousness (the work of the vocal cords, regulation of subglottic air pressure, mutual adjustment of the larynx, resonators) .

The brain controls the vocal apparatus based on the singing task and the information it receives from our senses. All information is conditionally divided into external and internal. External information may include: the singing task, the presence of surrounding people, their behavior, as well as lighting, noises, music, etc.

Internal information is produced by organs involved in singing, muscles and transmitted to the brain through peripheral nerve channels.

All this information is an irritant that can stimulate the general physical and psycho-emotional mood of the singer, or slow it down.

Calm working environment, the benevolent attitude of the teacher, comrades and listeners, soft lighting that does not hurt the eyes, good health positively stimulate the singing tone, while ill health, harsh remarks, and noise negatively affect professional opportunities singer.

Such disorder as phonosthenia most often it is caused by the change of habitual automated actions by volitional ones. Another reason may be nervous fatigue caused by a disorder of the muscular activity of the vocal apparatus, which, of course, is reflected in the sound.

All this takes place when the teacher, not taking into account the state of the student's nervous system, tries to drastically change the manner of singing and gives him an overwhelming task.

Many singers by nature or as a result of previous training have deficiencies in the timbre of the voice. If there is good data in the overall complex, the shortcomings in the timbre can be corrected completely or partially. right upbringing vote. But for this it is necessary to correctly represent the cause of the occurrence of vicious overtones. Some of them have to do with breaking vibrato, others have to do with work. glottis, others with a soft palate.

It is no wonder that middle-aged schoolchildren often have voice sounding defects, because this sound-producing "node" - the larynx has a thin and vulnerable structure, and in the younger adolescence the vocal apparatus develops unevenly, the voice function may be impaired.

In children, functional and organic disorders are observed, the cause of which is mainly the incorrect and irrational mode of using the voice.

It makes sense to single out methods and techniques for correcting these violations.

Disproportion in the development of individual organs of the vocal apparatus;

Lack of gradual development and the presence of jumps in this process;

Different end of growth various organs voice device.

The larynx of newborns of both sexes grows intensively only in the first year of life. In boys, this is especially noticeable in the first 3 months, as well as in the 8th and 9th months after birth. In girls - during the 1st, and then at 4-7 months of the first year of life.

True vocal folds behave differently during growth than the larynx. The vocal folds grow intensively until the end of the first year of life. Due to uneven growth various parts voice apparatus, the child's voice changes in its basic qualities - in pitch, volume, timbre, range, registers, and duration of sound.

There are two mechanisms of voice formation in ontogenesis: from 7 to 10 years old, the falsetto mechanism prevails in children, in the implementation of which the anterior cricoid muscle takes the main part. The vocal muscle itself is not involved in the falsetto mechanism. It is in the process of formation.

From about 10 years old, the internal thyroid-arytenoid muscle (voice) is formed into an independent one and takes Active participation in the control of the vocal folds. Thus, another mechanism of phonation (thoracic) appears, which is partially used at first. In children of this age, the so-called mixed mixed mechanism predominates in the formation of sound. In this case, a chest sound begins to emerge on the lower notes of the range, and a falsetto register is used on the upper notes. The vocal folds on the lower notes completely close, while moving to the upper ones, a narrow linear gap remains, which is characteristic of falsetto.

From this age period, the internal vocal muscles, as well as the external muscles of the larynx, are the main ones in the process of controlling the vocal folds. The anterior thyroid-cricoid muscles also take a great part in this. They regulate the gap of the glottis during phonation, change the sound quality by contracting, stretching the vocal folds as a whole or their individual parts. Other muscles of the larynx also participate in this act to one degree or another, receiving impulses from the central nervous system in accordance with one task or another.

The anatomical and physiological features of the children's vocal apparatus also include a rather high position of the larynx; a large number of mucous glands in all parts of the larynx, as well as lymphatic and connective tissue, which at an early age replaces the missing internal vocal muscles.

The voice of a newborn, obeying unconditioned reflex mechanisms, varies in strength, but is always the same in pitch and almost does not differ in timbre in all children of both sexes (asexuality). During this period, the mother's hormones circulate in the body. The main color of the child's voice is its "silverness". Every 2-3 years, the voice changes its qualities from “silver” with a sound range of 5-6 notes, it becomes saturated, acquires fullness of sound, a “metallic” shade, the range increases to 11-12 notes, and in the 6th year it is equal to the seventh .

speech apparatus represented by a system of interconnected organs responsible for the production of sounds and the construction of speech. It is a system by which people can communicate through speech. It consists of several departments and different elements of the human body, inextricably linked.

The structure of the speech apparatus is a kind of system in which many human organs are involved. It includes the respiratory organs, active and passive components of speech, elements of the brain. The respiratory organs play important role, sounds cannot be produced without exhalation. With the contraction of the diaphragm interacting with the intercostal muscles, on which the lungs rest, inhalation occurs, with relaxation - exhalation. The result is a sound.

Passive organs do not have much mobility. These include: the jaw region, nasal cavity, laryngeal organ, palate (hard), pharynx and alveoli. They are the supporting structure for active organs.

Active elements produce sound and produce one of the main functions of speech. They are represented by: the area of ​​the lips, all parts of the tongue, vocal cords, palate (soft), epiglottis. The vocal cords are represented by two muscular bundles that produce sounds when contracted and relaxed.

The human brain sends signals to other organs and controls all their work, directing speech according to the will of the speaker.

The structure of the human speech apparatus:

• Nasopharynx
• Hard palate and soft palate.
• Lips.
• Language.
• Incisors.
• Throat area.
• Larynx, epiglottis.
• Trachea.
• Bronchus on the right side and lung.
• Diaphragm.
• Spine.
• Esophagus.

The listed organs belong to two departments that form the speech apparatus. This is the central part of the peripheral.

Peripheral department: its structure and functioning

The peripheral speech apparatus is formed by three sections. The first section includes respiratory organs, which play a major role in the pronunciation of sounds during exhalation. This department supplies jets of air, without which it is impossible to create sound. The air flows at the outlet perform two important features:

• Voting.
• Articulation.

In case of violations speech breathing sounds are distorted.

The second section consists of the passive organs of human speech, which have the main impact on the technical component of speech. They give speech a certain color and power, creating characteristic sounds. This is the voice department responsible for character traits human speech:

• strength;
• Timbre;
• Height.

When the vocal cords contract, the airflow at the exit is converted into a vibration of air particles. It is these pulsations, transmitted to the external air environment are heard as a voice. The strength of the voice depends on the intensity of contractions of the vocal cords, which is regulated by the air flow. The timbre depends on the shape of the oscillation vibrations, and the height depends on the force of pressure on the vocal cords.

The third section includes active speech organs that directly produce sound and perform the main work during its formation. This department plays the role of the creator of sounds.

Articulatory apparatus and its role

The structure of the articulatory apparatus is built on the basis of the following elements:

• Lip area;
• Components of the language;
• Soft and hard palate;
• Maxillary department;
• Laryngeal region;
• vocal folds;
• Nasopharynx;
• Resonators.

All these organs are composed of individual muscles that can be trained, thereby working on your speech. The jaws (lower and upper) when lowered and raised close or open the way to the nasal cavity. The pronunciation of some vowel sounds depends on this. The shape and structure of the jaws are reflected in the spoken sounds. Deformations of this part of the department lead to speech disorders.

• The main element of the articulatory apparatus is the tongue. It is very mobile thanks to numerous muscles. This allows it to become narrower or wider, long or short, flat or arched, which is important for speech.

There is a frenulum in the structure of the language that significantly affects pronunciation. At short bridle impaired reproduction of eye sounds. But this defect is easily eliminated in modern speech therapy.

• The lips play a role in the articulation of sounds, helping their mobility to take the tongue to a specific location. By changing the size and shape of the lips, articulatory creation of vowels is provided.
• The soft palate, which continues the hard palate, can descend or rise, providing separation of the nasopharynx from the pharynx. It is in a raised position during the formation of all sounds, with the exception of "H" and "M". If the functioning of the palatine curtain is disturbed, sounds are distorted, the voice turns out to be nasal, “nasal”.
• The hard palate is a component of the lingo-palatal shutter. The strength of tension required from the language when creating sounds depends on its type and shape. The configurations of this department of the articulatory system are different. Depending on their varieties, some components of the human voice are formed.
• The volume and clarity of the sounds produced depend on the resonator cavities. The resonators are located in the extension pipe. This is the space above the larynx, represented by the oral and nasal cavities, as well as the pharynx. Due to the fact that a person's oropharynx is one cavity, it is possible to create different sounds. The tube that these organs form is called the extension tube. It plays the fundamental function of a resonator. By changing the volume and shape, the extension tube is involved in creating resonance, as a result, some of the sound overtones are muffled, and some are amplified. As a result, a speech timbre is formed.

Central apparatus and its structure

The central speech apparatus is the elements of the human brain. Its components:

• cerebral cortex(mainly the left side).
• Nodes under the bark.
• Nucleus of nerves and trunk.
• Pathways that carry signals.

Speech, like all other manifestations of the work of the higher nervous system, develops due to reflexes. These reflexes are inextricably linked with the work of the brain. Its some departments play a special, leading role in speech reproduction. Among them: the temporal part, the frontal lobe, the parietal region and the occipital, related to the left hemisphere. In right-handers, this role is performed by the hemisphere of the right side of the brain.

The lower, they are also frontal, gyrus play a major role in creating oral speech. The convolutions in the region of the temples are the auditory part, which perceives all sound irritations. Thanks to her, you can hear someone else's speech. In the process of understanding sounds, the main work is performed by the parietal region of the cortex. human brain. And the occipital part is responsible for the visual part and the perception of speech in the form of a letter. In children, it is active when observing the articulation of older people, and leads to the development of oral speech.

From subcortical nuclei depends on the characteristic color of the voice.

The brain interacts with the peripheral elements of the system through:

• Centripetal paths.
• Centrifugal paths.

Centrifugal pathways connect the cortex with the muscles that regulate the work of the peripheral section. The beginning of the centrifugal path takes in the cerebral cortex. The brain sends signals along these pathways to all peripheral organs that produce sounds.

Response signals to the central section pass along centripetal pathways. Their origin is located in the baroreceptors and proprioreceptors located inside the muscles, as well as tendons and articular surfaces.

The central and peripheral departments are inextricably linked and the dysfunction of one will inevitably lead to disruption of the other. They make up single system speech apparatus, thanks to which the body is able to produce sounds. The articulatory department, as an element of the peripheral part, plays a separate role in the formulation of the correct and beautiful speech.

with a system of inhalation and exhalation resonators and sound emitters

Anatomical structure and physiology of the human vocal apparatus. The relationship of the vocal apparatus with the organ of hearing. Synchronization of sound perception and playback. The value of a single functional system voice and hearing to communicate people.

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All the organs involved in voice formation together form the so-called vocal apparatus.It consists of:oral and nasal cavities with adnexal cavities, pharynx, larynx with vocal cords, trachea, bronchi, lungs, chest with respiratory muscles and diaphragm,

abdominal muscles.

The nervous system also takes part in voice formation, corresponding to nerve centers brain with motor and sensory nerves connecting these centers with all the indicated organs.

Orders go from the brain along the motor nerves to these organs (efferent connection), and information about the state of the working organs comes through the sensory nerves (afferent connection). In fact, the organs involved in voice formation are the technical executors of the orders of the central nervous system. The work of the organs of voice formation cannot be considered apart from the central nervous system which organizes their functions into a single, integral singing process, which is the most complex psychophysical act.

In singing, as well as in ordinary speech, it is necessary to have an apparatus that both creates and perceives sounds.It is well known that a child who has completely lost his hearing in early childhood(up to a year) as a result of a disease of the hearing organs, it becomes not only deaf, but also dumb.

Perceived by healthy hearing organs, auditory irritations from external environment turn out to be irritants for nerve cells who control the work of the organs of the vocal apparatus. For a deaf child auditory perceptions and, as a result of them, there are no irritations of the speech-motor centers, and therefore the vocal apparatus does not function.

The connection between hearing and voice is two-way: not only can voice not be formed without the participation of hearing, but hearing also cannot develop without the participation of the vocal organs.Auditory perceptions are carried out through the activity of the vocal organs, listening to speech, music or singing, we "to ourselves", and sometimes aloud, repeat them and only then perceive.

During the formation and development of vocal skills, the work of the participating organs is constantly being corrected: superfluous ones are swept aside, fixed and improved. necessary movements. This whole process is impossible without the control of auditory, muscular, resonator sensations. Hearing is the main regulator of the voice.

Larynx - the organ where the origin of the voice occurs. It is located on middle line neck in its anterior part and is a tube, the upper opening of which opens into the pharyngeal cavity, and the lower one continues directly into the trachea.

The larynx performs a triple function (respiratory, protective, voice) and has a complex structure. Its skeleton is made up of cartilage, interconnected movably with the help of joints and ligaments and intertwined inside and out with muscles.

The inner surface of the larynx, like all the abdominal organs of our gel, is lined with a mucous membrane. The largest cartilage of the larynx - the thyroid - determines the size of the larynx.

The upper opening of the larynx, called the entrance to the larynx, has an oval shape, formed in front of the movable laryngeal cartilage by the epiglottis.

When breathing, the entrance to the larynx is open. When swallowing, the free edge of the epiglottis leans back, closing its opening.During singing, the entrance to the larynx narrows and is covered by the epiglottis. This phenomenon is of great importance for the formation of artistically valuable qualities of singing sound, for singing support.

If you look into the larynx from above, then two protrusions of the mucous membrane located one above the other are symmetrically visible from both sides. Between them there are small symmetrical depressions - blinking ventricles. The upper projections are called false (ventricular) folds, and the lower ones are called vocal folds.

False sweets are the same color as the entire mucous membrane of the larynx. They consist of loose connective tissue, glands, poorly developed muscles that bring these folds together. Glands located in the false folds and in the walls of the ventricles themselves moisten the vocal folds, in which there are no glands. This function is especially important in singing voice formation.

The vocal folds form a gap when breathing triangular shape called glottis. During voice formation, the vocal folds approach or close, the glottis closes. The surface of the vocal folds is covered with a dense elastic tissue of mother-of-pearl color. Inside them are external and internal shield-scoop muscles. The second, internal, are called vocal muscles.

Muscle fibers are located parallel to the inner edge of the fold and in an oblique direction. Thanks to this structure, the vocal fold can change not only its length in a variety of ways, but also fluctuate in parts: in full width and length or in parts, which determines the richness of the colors of the singing sound.

The vocal folds divide the larynx into two spaces: the supraglottic and infraglottic regions. All muscles of the larynx are divided into external and internal. The internal muscles close the glottis and perform voice formation (they are phonator muscles). The external muscles of the larynx connect it to the hyoid bone lying above, under the lower jaw, and below to the sternum. These muscles lower and raise the entire larynx, as well as fix it on certain height, set to the position necessary for voicing.

Below, the larynx directly passes into the windpipe or trachea (Fig. 3).

The trachea is a tube consisting of cartilaginous rings that are not closed behind. These cartilaginous plates are interconnected by ligaments and intertwined by circular and longitudinal muscles. The circular muscles, contracting, narrow the lumen of the trachea, while the longitudinal muscles shorten it during contraction.

The trachea divides into two large bronchi, which, branching tree-like, turn into smaller and smaller ones. The smallest bronchi, called bronchioles, end in vesicles where gas exchange takes place.

The entire bronchial tree is built like a trachea, only with closed cartilaginous rings. The muscles of the trachea and bronchi are of the type of smooth muscles, they are not directly subordinate to our consciousness, they work automatically. As the diameter of the bronchus decreases, cartilage tissue it becomes smaller, it is displaced by muscle. The small bronchi are almost entirely composed of muscle tissue. This structure allows the small bronchi to act as valves that regulate the supply of air from the lung tissue during voice formation.

All bronchi together with pulmonary vesicles form two lungs- right and left, which are placed in the chest cavity, hermetically isolated from the surrounding air, located in the chest.

Rib cage has the shape of a truncated cone. It is formed in front of the sternum, behind - the thoracic spine. The vertebral column is connected to the sternum by arcuate ribs.

The skeleton of the chest is braided with muscles that take part in breathing. Some are involved in inhalation - inhalers (raise and push, expand the chest cavity). Other pectoral muscles lower the ribs, exit, and are accordingly called expiratory.

The base of the chest is the diaphragmor abdominal obstruction. This is a powerful muscular organ that separates the chest cavity from the abdominal cavity. The diaphragm is attached to the lower ribs and spine, has two domes - right and left. During inhalation, the muscles of the diaphragm contract, both of its domes fall, increasing the volume of the chest. The diaphragm is made up of striated muscles. Its movement is not completely subordinated to our consciousness. We can consciously inhale and exhale, but the complex movements of the diaphragm during voice formation occur subconsciously.

The diaphragm regulates the rate of air flow and subglottic pressure during the formation of sounds and changes in their strength.

The upper part of this tube is the nasal cavity (7). It is made up of soft tissues of the nose and facial bones of the skull. In the midline, it is divided by a vertical nasal septum into left and right halves, open in front and behind. The nasal cavity communicates with the pharynx (with the nasopharynx) through the posterior openings, choanae.

In the walls of the nasal cavity there are small openings of the channels through which it communicates with the air cavities located in the facial bones of the skull. These cavities are called accessory cavities or sinuses. They, like the nasal cavity, are lined with a mucous membrane. With her illness, these cavities can be filled with pus or polypous formations (growths of the mucous membrane), which negatively affects the quality of the singing sound.

The nasal mucosa is rich blood vessels and glands, as well as villi, due to which the inhaled air, passing through the nose, is warmed, moistened and cleansed.

Located under the nasal cavityoral cavity. Its side walls are the cheeks, the bottom of the mouth fills the tongue, the front wall is formed by the lips (in the closed state).In the thickness of the lips there are muscles that close them, forming the mouth opening and changing its shape.

The upper wall of the oral cavity is made up of a bony plate that separates the oral cavity from the nasal cavity. It is called hard palate, which goes from behind to soft sky, called the veil of the palate.

The posterior edge of the soft palate, freely hanging in the pharynx, has a protrusion in the middle - a small tongue (only a person has it).

The soft palate continues into two symmetrical folds of the mucous membrane diverging downward at an angle. These folds are called arches; front and back. In the thickness of the arches are the muscles that connect the soft palate with the tongue and larynx.

The soft palate is well innervated by sensory nerves. The muscles located in the thickness of the sky rise during contraction, pulling it.

The hard and soft palate together with the front teeth make up the vault of the palate.The structure of its parts affects the quality of the singing voice.

Behind the mouth, a wide opening - a pharynx - opens into the pharynx (in its middle section). From above, the pharynx is limited by the soft palate, from the sides by the palatine arches and from below by the back of the tongue. Zev can narrow and expand. It narrows due to the contraction of the muscles embedded in the arches of the soft palate.

When singing, the pharynx expands; this occurs when the soft palate is raised and the tongue is lowered, which is observed with a singing yawn.

Pharynx It is a muscular tube, which ends blindly under the cranial vault with an upper expanded section. tapering down,the pharynx passes from the front to the larynx, and from behind- in the esophagus. On its front surface, as already noted, there are openings: choanae and pharynx.

The pharynx is conditionally divided into three parts: the upper - the nasopharynx, the middle - the oropharynx and the lower - the laryngopharynx. There are in the throat individual clusters glandular, so-called lymphatic tissue, which form the tonsils. The most significant of them: the pharyngeal tonsil (lies on the upper wall of the pharynx, on its arch) and the tonsils, located between the anterior and posterior palatine arches.

Tonsils perform a protective function: microbes trapped in the throat linger in them. Acute inflammation of the tonsils is called acute tonsillitis or tonsillitis. A significant increase in the tonsils reduces the pharyngeal cavity, negatively affects the formation of a singing voice.

The walls of the pharynx are formed by strong muscles running in a longitudinal and circular direction. Thanks to them, the pharynx can increase and decrease, narrow in various sections (lower, middle, upper) and thereby change its shape and volume, resonator properties in a variety of ways.

The muscles of the pharynx are entirely subordinate to our consciousness.

Any elastic body in a state of oscillation sets in motion the particles of the surrounding air, from which sound waves. These waves, propagating in space, are perceived by our ear as sound. This is how sound is produced in the environment around us.

In the human body this elastic body are the vocal folds. The sounds of a speech and singing voice are formed by the interaction of vibrating vocal folds and breathing.

If a person wants to sing, all parts of his vocal apparatus come into a state of readiness to perform this action.

The process of singing begins with inhalation, during which air is forced through the oral and nasal cavities, pharynx, larynx, trachea, bronchi into the lungs expanded at the entrance. Then, under the action of nerve signals (impulses) from the brain, the vocal folds close, and the glottis closes. This coincides with the start of exhalation. Closed vocal folds block the path of exhaled air, preventing free exhalation.