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1	FROM LUNGS TO LIPS: CREATION AND CONTROL OF VOCAL SOUNDS Ingo R. Titze, Ph.D. Distinguished Professor of Speech Science and Voice, University of Iowa Director, National Center for Voice and Speech Denver Center for the Performing Arts
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6	Voice quality associated with breathing patterns: Ribcage high – all phonatory organs in the body move upward and forward, shortening the airways and thereby raising the formants. The sound will be bright. Ribcage low – all phonatory organs move downward, elongating the airways and thereby lowering the formants. The sound will be dark.
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14	Voice qualities governed by glottis alone Pressed or strained - no Flow phonation - no Breathy - yes
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21	Voice Quality Every person has a unique sound signature, yet we can easily recognize their speech
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25	Neutral shape is defined by Genetics (familial traits) Language and dialect (phonetic neutral) Health Age Characterization (impersonation) Singing versus speech
26	Vocal tract voice quality Wide pharynx and wide epilarynx tube – yawn quality Narrow pharynx and narrow epilarynx tube – twang quality Wide pharynx and narrow epilaynx tube –operatic ring quality
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28	A five-tone singing scale Yawn: Twang:
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52	Why is source-filter interaction important? It can make the system more efficient (the source can be enhanced by the filter) It can create more spectral variety (vocal color) It can also create more instability (feedback always creates a potential for instability)
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60	Conclusions about nonlinearities: Nonlinearities cause instabilities that produce self-sustained vocal fold oscillation Feedback nonlinearities can increase power and efficiency of voice Nonlinearities can produce bifurcations and possibly chaotic vibration Nonlinearities cause pitch-loudness dependencies
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62	Cecilia Bartoli “Dove Sono” from The Marriage of Figaro by Wolfgang Amadeus Mozart
63	Diamanda Galas “OK” from Schrei
64	Nonlinearities in Singing can reveal the beauty and the beast in your voice und
65	An advertisement
66	The Summer Vocology Institute www.ncvs.org Held annually in Denver, Colorado, June 10-August 10, at the Denver Center for the Performing Arts Intensive study with daily homework and examinations 9 semester hours of graduate school credit from the University of Iowa; certificate of graduation Classes taught: Principles of Voice Production Instrumentation for Voice Analysis Voice Habilitation Methods of Teaching Voice Voice for the Actor Seminar in Voice Disorders Vocology: “the science and practice of voice habilitation”
67	The End und