Vibrato: Why Study It? The human voice can be the most responsive, flexible, and infinitely variable sound-producing instrument. When used by the artistic level singer of opera, lied, popular/folk music or liturgical music, it is the most thrilling of all instruments and represents the human voice at its highest level of achievement. Indeed, ... Article
Article  |   July 01, 2003
Vibrato: Why Study It?
Author Affiliations & Notes
  • Howard B. Rothman
    Department of Communication Sciences and Disorders, University of Florida, Gainesville
Article Information
Speech, Voice & Prosody / Articles
Article   |   July 01, 2003
Vibrato: Why Study It?
SIG 3 Perspectives on Voice and Voice Disorders, July 2003, Vol. 13, 29-31. doi:10.1044/vvd13.2.29
SIG 3 Perspectives on Voice and Voice Disorders, July 2003, Vol. 13, 29-31. doi:10.1044/vvd13.2.29
The human voice can be the most responsive, flexible, and infinitely variable sound-producing instrument. When used by the artistic level singer of opera, lied, popular/folk music or liturgical music, it is the most thrilling of all instruments and represents the human voice at its highest level of achievement. Indeed, there is a historical consensus of opinion that no instrument is satisfactory except in so far as it approximates to the sound of the human voice.
It is important to understand the physiology of human voice production and the acoustic parameters that comprise it for singing as well as for speech. There is no doubt that the art of voice production for singing is a learned behavior and that vocal pedagogy, wherever it is practiced, is a highly subjective art that is strongly influenced by ethnic traditions. In the introduction to his book The Structure of Singing, Richard Miller says that he has never met anyone who has learned to sing by reading a book, and, that the art of singing can only be learned through singing.
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