Английская Википедия:Estill Voice Training

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Estill Voice Training (often abbreviated EVT) is a program for developing vocal skills based on analysing the process of vocal production into control of specific structures in the vocal mechanism.Шаблон:Sfn By acquiring the ability to consciously move each structure the potential for controlled change of voice quality is increased.Шаблон:Sfn

The system was established in 1988Шаблон:Sfn by American singing voice specialist Jo Estill,Шаблон:Sfn who had been researching in this field since 1979.Шаблон:SfnШаблон:Sfn Estill's research led to a series of vocal manoeuvres to develop specific control over individual muscle groups within the vocal mechanism.Шаблон:SfnШаблон:SfnШаблон:SfnШаблон:Sfn Soto-Morettini quotes Estill as saying the great strength of her method is that it can be used for any style of music,Шаблон:Sfn and speech and language therapists describe the exercises as valuable to voice therapy as well as singing,Шаблон:Sfn in both professional and non-professional voice use,Шаблон:Sfn offering an approach for therapeutic intervention.Шаблон:Sfn Estill Voice Training is a trademark of Estill Voice International, LLC.

Operating principles

Power, Source and Filter: Estill Voice Training partitions the vocal system into the three components power, source and filterШаблон:Sfn extending the existing source-filter model of speech production. 'Power' is the source of energy producing the sound (typically the respiratory system causing air to be expelled from the lungs). 'Source' is the component that vibrates to create the sound waves (the vocal folds). 'Filter' is the shaping of the sound waves to create the final result (the vocal tract).Шаблон:Sfn The focus of Estill Voice Training is on the source and filter components of the vocal system and the interactions between them.Шаблон:Sfn

Craft, Artistry and Performance Magic: Estill Voice Training separates the use of voice into the 'craft' of having control over the vocal mechanism, the 'artistry' of expression relative to the material and context, and the 'performance magic' of a speaker or singer connecting with their audience.Шаблон:SfnШаблон:Sfn Estill Voice Training has a focus on the 'craft' aspect and hence has also been known as Estill Voice Craft by some practitioners.Шаблон:Sfn

Effort Levels: Estill Voice Training uses the identification and quantification of the level of work or 'effort' required for speaking and singing to help develop kinesthetic feedback.Шаблон:Sfn This approach enables a speaker or singer to recognize, locate and control the degree of effort involved in voice production.Шаблон:Sfn

Dynamical Systems Theory and Attractor States: The human vocal system is extremely complex, involving interactions between breath flow, moving structures, resonators and so on. Estill Voice Training draws on a branch of applied mathematics known as dynamical systems theory that helps to describe complex systems. One key concept Estill Voice Training takes from dynamical systems theory is the notion that complex systems can have attractor states. Attractor states are states to which a complex system tends towards, or is attracted to, over time. When applied to the human vocal system, Estill Voice Training proposes there are configurations of the vocal system that are attractor states, which the speaker or singer uses habitually or tend towards.Шаблон:Sfn For example, a subject whose attractor state is for their velum (also known as the soft palate) to be in a raised position may find it requires more conscious effort to create a nasal sound than someone else whose attractor state is for their velum to be in the lowered position.

Figures for voice

In Estill Voice Training there are thirteenШаблон:SfnШаблон:Sfn vocal exercises or 'Figures for Voice' (named after the 'compulsory figures' that figure skaters use to demonstrate proficiency).Шаблон:SfnШаблон:SfnШаблон:Sfn Each exercise or 'figure' establishes control over a specific structure of the vocal mechanism, in isolation, by moving the structure through a number of positions.Шаблон:Sfn For example, the figure for velum (soft palate) control involves moving the velum through raised, partially lowered and lowered positions.Шаблон:Sfn The thirteen Figures for Voice are:

  • True Vocal Folds: Onset/Offset Control
  • False Vocal Folds Control
  • True Vocal Folds: Body-Cover Control
  • Thyroid Cartilage Control
  • Cricoid Cartilage Control
  • Larynx Control
  • Velum Control
  • Tongue Control
  • Aryepiglottic Sphincter Control
  • Jaw Control
  • Lips Control
  • Head and Neck Control
  • Torso Control

These Figures for Voice exercises have a focus basic anatomy and vocal physiology, a knowledge of which helps encourage deductions on reducing constriction and healthy voice decisions.Шаблон:Sfn Janice Chapman, the operatic singer, voice teacher and researcher, writes "Estill figures lead to a much greater freedom and flexibility in the demanding work of the singer and actor."Шаблон:Sfn

Figures for Voice are taught on the course 'Level One: Figures for Voice' that typically lasts three days. In addition to the thirteen Figures for Voice, Estill Voice Training also includes the 'Siren' exerciseШаблон:Sfn where a sound is produced across the entire vocal range.Шаблон:Sfn Other figures are historically part of the model including vocal fold massШаблон:Sfn which is now part of true vocal fold body-cover control, vocal fold planeШаблон:Sfn which is now part of true vocal folds body-cover control and exercises for falsetto quality, and pharyngeal widthШаблон:SfnШаблон:Sfn which is now part of false vocal folds control and head and neck control.

True Vocal Folds: Onset/Offset Control: In this figure there are three options for coordinating expiration and vocal fold closure:Шаблон:SfnШаблон:Sfn glottal where the vocal folds are closed before expiration, smooth where vocal fold closure is synchronised with expiration, and aspirate where expiration precedes vocal fold closure. Learning to produce and apply different onsets marks the beginning of control over the vocal mechanism.Шаблон:Sfn

False Vocal Folds Control: Estill Voice Training identifies three possible positions of the false vocal folds: constricted, mid and retracted.Шаблон:Sfn This figure is helpful in identification of glottal and ventricular constriction. Its concepts and options are valuable to voice therapy as well as singing.Шаблон:Sfn The silent laugh technique, developed into an exercise by Jo Estill, is widely cited as reducing false vocal fold constriction.Шаблон:SfnШаблон:SfnШаблон:SfnШаблон:SfnШаблон:SfnШаблон:SfnШаблон:Sfn

True Vocal Folds: Body-Cover Control: The 'body-cover theory' of vocal fold structure was introduced by Hirano in 1977.Шаблон:Sfn This figure demonstrates the controlled use of the vocal folds in four body-cover configurations: on the thick edge, on the thin edge, in a stiff mode, or in a slack mode.Шаблон:SfnШаблон:SfnШаблон:Sfn These body-cover configurations change or modify the vibratory modes of the true vocal folds and, within the dynamical system of the human voice, effect the intensity of the sound produced and contribute to what are commonly labeled as the different human vocal registers.Шаблон:Sfn This figure was formerly known as vocal fold mass.Шаблон:SfnШаблон:Sfn

Thyroid Cartilage Control: This figure demonstrates control of the position or tilt of the thyroid cartilageШаблон:SfnШаблон:Sfn through engagement or disengagement of the cricothyroid muscle.Шаблон:Sfn The speaker or singer can tilt the thyroid cartilage by adopting the posture of crying or sobbing,Шаблон:Sfn or making a soft whimpering noise, like a small dog whining.Шаблон:Sfn In Estill Voice training, it is proposed that the position of the thyroid cartilage influences not only pitch but also the quality and intensity of the sound produced.Шаблон:Sfn

Cricoid Cartilage Control: This figure demonstrates control of the position of the cricoid cartilage. In Estill Voice training it is proposed that specific positioning of the cricoid cartilage is a typical part of the vocal set-up for shouting and other high-intensity voice productions employing higher subglottic pressure.Шаблон:Sfn

Larynx Control: This figure trains raising and lowering of the larynxШаблон:Sfn influencing resonance. This figure was formerly known as the larynx height figure.

Velum Control: This figure trains the velum (also known as the soft palate) and consists of exercises opening, partially closing and completely closing the velopharyngeal port to control the degree of nasality in the voice.Шаблон:SfnШаблон:Sfn Dinah Harris writes, "Estill has excellent exercises for learning palatal control."Шаблон:Sfn

Tongue Control: This figure demonstrates the influences of different tongue postures, such as compressed.Шаблон:SfnШаблон:Sfn As a practical example, Diane Sheets (Estill Voice Training Certified Course Instructor) worked on the interaction of tongue and larynx when dealing with the vocal problems of Marty Roe, lead vocalist of Diamond Rio.Шаблон:Sfn Control of the tongue can have subtle resonance changes and give greater flexibility to the range.Шаблон:Sfn

Aryepiglottic Sphincter Control: This figure demonstrates the ability to control twang in the voice through conscious anteroposterior narrowing of the aryepiglottic sphincter in the upper epilarynx while avoiding constriction of the false vocal folds.Шаблон:SfnШаблон:Sfn Estill suggests that this laryngeal tube creates a separate resonator that is responsible for the extra brightness in phonation.Шаблон:Sfn

Jaw Control: The jaw figure demonstrates the subtle resonance changes in voice production that are associated with different positions or postures of the jaw.Шаблон:Sfn

Lips Control: This figure demonstrates various lip postures employed by speakers and singers and their subtle impact on vocal resonance through changing the length of the vocal tract.Шаблон:Sfn

Head and Neck Control: Head and neck anchoring involves bracing the skeletal structures of the head and neck gives a stable external framework for the smaller muscles that control the vocal tract.Шаблон:Sfn

Torso Control: Torso anchoring stabilises the body and breath.Шаблон:SfnШаблон:Sfn Gillyanne Kayes writes, 'Techniques for anchoring the tone have been described over the centuries by singers and teachers under a variety of names: support, singing from the back, singing from the neck, appoggiare, rooting, grounding and connecting the voice. In the Estill training model, I believe these techniques have been correctly identified as postural anchoring.'Шаблон:Sfn

Voice qualities

Estill Voice Training incorporates six 'voice qualities'Шаблон:Sfn as mechanisms for demonstration of voice production control. The increased control developed through proficiency in the different Figures for Voice allows the singer or speaker to manipulate the vocal mechanism specifically to produce these arbitrary voice qualities,Шаблон:Sfn and variations on them.Шаблон:Sfn Essentially these voice qualities, such as 'Sob Quality' and 'Belt Quality', are constructed from moving the structures of the vocal mechanism into specific positions or combinations. For example, Sob Quality includes a low larynx position (the larynx figure) and thin vocal folds (the true vocal fold body & cover figure).Шаблон:Sfn The six voice qualities are:Шаблон:Sfn

  • Speech
  • Falsetto
  • Sob
  • Twang (Oral and Nasal variations)
  • Belting
  • Opera

Voice qualities are taught on the course 'Level Two: Figure Combinations for Six Voice Qualities' that typically lasts two days.

Speech: Speech quality is often termed modal speech by voice scientists or chest voice by singers.Шаблон:SfnШаблон:Sfn Speech quality includes thick vocal folds and a neutral/mid larynx position.Шаблон:Sfn

Falsetto: In Estill Voice Training terminology, the term falsetto has a meaning distinct from falsetto as a male vocal register in Western classical terminology. This quality is produced with stiff vocal fold body cover, neutral/mid larynx position, and aspirate vocal fold onset.Шаблон:Sfn

Sob: Sob quality is a soft and dark sound, associated with the sobbing cry of an adult who mourns.Шаблон:SfnШаблон:Sfn Sob quality is produced on a lowered larynx and thinned vocal folds.Шаблон:Sfn Sob quality releases glottal hyperadduction and medial compression, lowers the larynx and releases pharyngeal constriction.Шаблон:Sfn Mary Hammond says that young performers find low larynx and sob quality less familiar.Шаблон:Sfn Cry quality is a permutation of sob quality adopting a higher laryngeal position.Шаблон:Sfn

Twang: The key to twang quality is a narrowing of the epilarynx via a narrowing or constriction of the aryepiglottic sphincter.Шаблон:SfnШаблон:SfnШаблон:Sfn Twang quality has been used by speakers and singer to boost vocal resonance or 'squillo' and is referred to as the speaker's ring or singer's formant.Шаблон:Sfn The quality is excellent when teaching safe shouting and at cutting through background noise, increasing clarity of the voice, and is taught to both singers and actors to enable them to be heard clearly in large auditoria without vocal strain.Шаблон:Sfn Twang quality may be nasalized or oral, as differentiated by an open or closed velopharyngeal port.Шаблон:Sfn Estill suggests setting the vocal tract initially by imitating a cat yowling, ducks quacking, and other exercises.Шаблон:SfnШаблон:Sfn

Opera: Opera quality is a complex set-up including a mix of speech quality and twang quality with a tilted thyroid cartilage, lowered larynx.Шаблон:Sfn

Belting: Belting or belt quality is a complex setup combining speech quality, twang quality, a tilted cricoid cartilage and raised larynx.Шаблон:Sfn Twang is an important component in belt quality.Шаблон:Sfn Gillyanne Kayes writes, 'Belting is not harmful if you are doing it right. Jo Estill has described it as "happy yelling".'Шаблон:Sfn Belt quality also uses clavicular breathing and has the longest closed phaseШаблон:Sfn with the highest subglottic pressure and the greatest glottic resistance.Шаблон:Sfn

Certification

Estill Voice International governs the Estill Voice Training Certification Programme. There are three forms of Estill Voice Training certification available for individuals:Шаблон:CN

  • Estill Figure Proficiency (EFP) is awarded to individuals who can demonstrate the basic options for voice control taught in Estill Voice Training™ Level One (Figures for Voice Control), and Level Two (Figure Combinations for Six Voice Qualities) courses with appropriate Hand Signals.
  • Estill Master Trainer (EMT) qualifies an individual to teach Estill Voice Training within their private studio, course practice sessions or classroom setting. The certification is a two-stage examination including written and voice control components, and observed teaching.
  • Estill Mentors and Course Instructors (EMCI) follows Estill Master Trainer, qualifying an individual to teach Estill Voice Training in public courses, seminars and conferences. The certification is a two-stage examination including written and oral components and observed presentations.

Influence, adoption and application

Estill Voice Training has been adopted by voice professionals worldwide and a list of certified instructors is published by Estill Voice International.Шаблон:Sfn Joan Melton describes the Estill Voice Training terminology as a part of the language of singing teachers in Australia, with terms such as twang and anchoring in common use, although "the Estill language is heard somewhat less frequently in the UK and only occasionally in the United States."Шаблон:Sfn Freelance voice teacher and speech and language therapist Christina Shewell writes, "Estill Voice Training clarifies many of the complex vocal tract options that shape the style of a singers voice, explaining and demonstrating different combinations of structural conditions, and many singing teachers use the system as part of their teaching."Шаблон:Sfn The following list gives some examples of the application of Estill Voice Training in a range of disciplines:

  • Pop Singing: Maureen Scott is a Certified Master Teacher whose clients include Mika and The Enemy.Шаблон:Sfn
  • Country Singing: Diane Sheets is a Certified Course Instructor whose clients have included Marty Roe of Nashville Country Band Diamond Rio.Шаблон:Sfn
  • Acting: Estill Voice Training has been integrated into the training of actors at Mountview Academy of Theatre Arts in London.Шаблон:Sfn
  • Musical Theatre: Faculty teaching on Musical Theatre training courses reference their Estill Voice Training certification. Examples include Steven Chicurel, Certified Course Instructor with testing privileges and service distinction, who is an associate professor of theatre at the University of Central Florida,Шаблон:Sfn and Anne-Marie Speed, Certified Course Instructor with testing privileges and service distinction, who teaches spoken voice on the Musical Theatre course at the Royal Academy of Music in London.Шаблон:Sfn
  • Educational Curriculum: Educational institutions have adopted Estill Voice Training terminology and exercises into their curriculum. Examples include the Drama Centre at Flinders University in Adelaide, South Australia, where the Estill-based vocal technique is taught;Шаблон:SfnШаблон:Sfn London College of Music in its guidelines on the suggested development of vocal technique, as part of the music theatre syllabus, uses Estill Voice Training terminology;Шаблон:Sfn Saint Mary's College of California incorporates Estill and EFP preparation as a part of its undergraduate Music major;[1] Motherwell College, Scotland, includes Estill Voice Training in its BA Honours Musical Theatre and BA Honours Acting programmes;Шаблон:Sfn and at the prestigious Bird College in London.Шаблон:Sfn and the Voice Performance and Musical Theatre programmes at Mars Hill College, North Carolina, include Estill Voice Training in their curriculum.Шаблон:Sfn
  • Clinical Voice Therapy: Dinah Harris, contributor to The Voice Clinic Handbook, recommends learning Estill Voice Training as it provides many useful tools for those working in a voice clinic.Шаблон:Sfn Rattenbury, Carding and Finn present a study that used a range of Figures for Voice exercises as prognostic indicators and voice therapy treatment techniques.Шаблон:Sfn
  • Community Choirs: Thomas Lloyd, Artistic Director of the Bucks County Choral Society, writes that he has "seen and heard results related to sound, dynamic range, consistency of support, and vocal color with [his] choirs, especially with [his] untrained singers."Шаблон:Sfn

Soto-Morettini writes that, 'although the Estill method can be very complex, there are a number of simple things that students can learn quickly — and that these simple things can go a long way towards clearing up the confusion that attends some vocal training.'Шаблон:Sfn

Criticism

Estill Voice Training has been criticisedШаблон:By whom for not including 'breathing' and the related abdominal support within the system, and some of the uses of anchoring for classical singing,Шаблон:SfnШаблон:Sfn although Shewell cites Jo Estill as suggesting breath work as unnecessary if the Figures for Voice are well practiced.Шаблон:Sfn

Notes

Шаблон:Reflist

References

External links

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  1. ↑ Шаблон:Cite web
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