overtone singing accapella by RAVI JI
ABOUT LEONARDO FUKS:
Associate professor at Rio de Janeiro Federal University School of Music, Leonardo Fuks combines a background in mechanical and acoustical engineering with a 25 years carrier as orchestra oboist and contemporary music performer.
He obtained his doctoral degree at the Swedish Royal Institute of Technology, KTH, with prof. Johan Sundberg, studing acoustical, physiological and perceptual aspects in woodwinds and in Tibetan-type bass phonation.
His main present project deals with the development and production of new instruments for research, education and experimental music. Such instruments and components are usually inexpensive and made of non-conventional materials, such as resins, carbon fiber, pvc and plastic films.
Fuks´workshop has produced more than two thousant professional clarinet and sax mouthpieces, besides flute bocals and baroque oboes.
His lectures and workshops have been presented in several countries: Japan, USA, Mexico, Germany, Denmark, Poland, Switzerland, Italy and Sweden.
Dr Fuks is the founder and director of two contemporary ensembles: Cyclophonica Bike Orchestra and Cellphonica, a group that employs cell phones as conventional solo and chamber instruments.
CLICK ON THIS LINK TO READ THE WHOLE PAPER :
Ken-Ichi Sakakibara (1 2), Leonardo Fuks (3), Hiroshi Imagawa(4), Niro Tayama(5)
1NTTCommunication Science Laboratories, NTT Corporation, Japan
2Department of Otolaryngology, The University of Tokyo, Japan School of Music,
3Universidade Federal do Rio de Janeiro, Brazil
4Department of Speech Physiology, The University of Tokyo, Japan
5International Medical Center of Japan, Japan
Among the so-called extended vocal techniques, vocal growl is a rather common effect in some ethnic (e.g. the Xhosa people in South Africa) and pop styles (e.g. Jazz, Louis Armstrong-type) of music. Growl usually consists of simultaneous vibrations of the vocal folds and supraglottal structures of the larynx, either in harmonic or subharmonic co-oscillation.
This paper examines growl mechanism using videofluoroscopy and high-speed imaging, and its acousitcal characteristics by spectral analysis and model simulation. In growl, the larynx position is usually high and aryepiglottic folds vibrate. The aryepiglottic constriction is associated to a unique shape of the vocal tract, including the larynx tube, and characterizes growl.
This is a simplified physical model proposed by me for the larynx during VVM phonation mode, which produces similar sounds to those from the Tibetan Chant tradition. Below, the vocal folds (m1,m2) and above, the false or ventricular folds (m3). In this example, vocal folds oscillate at a frequency which is twice as that of the ventricular folds. The letters m stand for mass, k for stiffness, and r for damping coefficient. Indexes r-l stand for left and right sides, respectively.
During my research work in music acoustics I created/recorded/processed some gigabytes of sound files, most of them of no musical interest for the listener.
FILES IN REAL AUDIO FORMAT
4. Popeye the Saylor used VVM !! (an original recording from a William Costello’s version)
Periodic pulse register , see Paper VI
Vocal Growl (co-oscillation of vocal folds and epiglottis)-similar to the mechanism used by Louis Armstrong
A piece for OBOE called “My Six Marigaux 10499’s”, recorded in 6 channels
All recordings, excepted by numbers 0 (Gyuto Monks, Tibet) and 4 (Popeye, W. Costello) are performed by Leonardo Fuks
|To the THESIS INTRODUCTION – FROM AIR TO MUSIC: Acoustical, Physiological and Perceptual Aspects of Reed Wind Instrument Playing and Vocal-Ventricular Fold Phonation
HTML by Leonardo Fuks