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826 Phonatory Disoders > Phonatory Process > Flashcards

Phonatory Process Flashcards

1
Q

How do we stop VF vibration?

A
  • ABduct the VFs
  • cease respiration
  • strong medial compression of VFs
  • equalize supra- and sub-glottal air pressure
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2
Q

Parameters of Phonation:

What are the perceptual products of phonation

A

Pitch, Loudness, and Quality

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3
Q

Parameters of Phonation:

What are the acoustic products of phonation

A

Frequency, Intensity, and Periodicity

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4
Q

What are the acoustic correlates to pitch, loudness, and quality

A

frequency, intensity, and periodicity

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5
Q

What is Frequency?

A

the rate of displacement of the VFs from midline

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6
Q

What is intensity?

A

The amplitude of displacement of the VFs from midline

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7
Q

What is periodicity?

A

The symmetry of displacement of the VFs to and from midline

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8
Q

What are the 2 parameters of phonation and what are the two ways in which they are broken down?

A

Product (perceptual and acoustic)

Process (physical and physiological)

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9
Q

What is the typical fundamental frequency for males?

A

100-125 Hz

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10
Q

What is the typical fundamental frequency for females?

A

190/200-220/225 Hz

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11
Q

What are physiological changes that can help determine pitch?

A
  1. mass/unit length
  2. tension of VF tissue
  3. rate of air flow
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12
Q

What happens to fundamental frequency as mass/unit length increases?

A

Fundamental frequency decreases

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13
Q

What happens to fundamental frequency as VF tension increases

A

Fundamental frequency increases

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14
Q

How can a change in air flow affect pitch?

A

It can increase the rate of air flow, which can alter the glottal cycle and lead to increased subglottal air pressure.

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15
Q

What are 2 ways to get into falsetto

A
  1. Significantly increase tension in VF edge:
    • let TA relax and CT contract fairly maximally=elongated VF with thin edge=stiff
  2. Shorten vibrating cord length.
    • Membranous glottis is involved in glottal cycle. Compress part of membranous glottis by compressing near A commisure=vibrating part of VFs is shorter=less opening/closing of VFs=increased F0
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16
Q

What is register

A

A difference in voice quality that can be sustained over some range of pitch and loudness

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17
Q

What is pulse/glottal fry?

What is the frequency of vibration?

A

A rate of VF vibration that is low enough that you can hear the individual pulse.

-60-80Hz

18
Q

What ways can you create pulse/glottal fry?

A
  1. With a relaxed VF cover
    • TA contracts and shortens VFs, and the outer layers get really lax (think Shar Pei)
    • this is more relaxed, low energy glottal fry
  2. With high glottal resistance through medial compression
    • use TA to push VFs tightly together
    • increases air resistance, more subglottal air pressure needed
    • this is more tense, higher effort
19
Q

Pulse register:

Muscles used

Parts of VF in vibration

Quality produced

Pitch

A

Muscles used: TA only

Parts of VF in vibration: most

Quality produced: vocal fry; pulsating

pitch: lowest, below singing pitch

20
Q

Chest register:

Muscles used

Parts of VF in vibration

Quality produced

Pitch

A

Muscles used: mostly TA, some CT

Parts of VF in vibration: most, both cover and body

Quality produced: heavier, fuller tone

Pitch: lower part of singing range

21
Q

Head register:

Muscles used

Parts of VF in vibration

Quality produced

Pitch

A

Muscles used: mostly CT, some TA

Parts of VF in vibration: cover only

Quality produced: lighter, thinner tone

Pitch: upper part of singing range

22
Q

Falsetto register:

Muscles used

Parts of VF in vibration

Quality produced

Pitch

A

Muscles used: CT only, TA is completely lax

Parts of VF in vibration: very little, only outer layers

Quality produced: lightest possible

Pitch: highest sung pitches, above normal range

23
Q

Loudness: what is the acoustic and glottal correlates?

A

acoustic=intensity

glottal: relative close time

24
Q

What physiological factors help to control loudness?

A
  1. Glottal resistance: increased resistance to air flow=increased need for subglottal air pressure. Done by changing mass/unit of length, VF tension, medial compression of VFs, equalizing pressure of glottis
  2. change rate of airflow: push with greater force=increased magnitude of subglottal air pressure
  3. Supraglottal voice tract shape: “tune” vocal tract to enhance certain frequencies
25
Q

What are the acoustic, physical, and physiological correlates of quality?

A

acoustic=periodocity

physical=synchrony of vibration

physiological=balance (both between the chords and along the cords)

26
Q

What needs to happen to start phonation?

What is the function of air in?

What does it create?

What needs to happen next?

What muscles are involved?

What is the outcome?

A
  • Air in is a function of changing volume of thoracic cavity through muscular efforts (mainly diaphragm), reduce air pressure in lungs, draw air in

Creates buildup of relaxation pressures

Need obstruction of air stream:

ADDuction of VFs through LCA (primary, TA (particularly thryoidmuscularis portion), IA

Outcome: causes increase in subglottal air pressure

27
Q

Explain the Aerodynamic-Myoelastic Theory of VF Vibration

A
  • aero=air pressures and flows (Bernoulli effect)
  • dynamic=movement and change
  • myo=muscle
  • elastic=elasticity of the muscles

Aerodynamic part:

  • after closing off the glottis, subglottal air pressure builds until there’s enough pressure to push the air through the VFs and they get blown apart
  • the air rushes through with increased velocity, which creates lower air pressure underneath the glottis
  • then, the myoelastic effect: the VFs continue to blow open and away from midline until the elastic properties of the VFs take over and the VFs move back to original closed position
  • cycle begins again
28
Q

What muscles are used to put to VFs together?

Which is the prime mover?

How does each muscle to it?

A

LCA (prime): turns arytenoids towards each other

Thyromuscularis portion of the TA: pulls arytenoids towards midline (also can pull them A and shorten)

IAs: pulls arytenoids together

29
Q

How do we start phonation?

A
  1. Get air in and out:
    • See respiratory cards
  2. Initiate/sustain VF vibration
    1. VF approximate
    2. Increase in subglottal air pressure
    3. Subglottal air pressure becomes enough that is can part VFs
      • lower edge leads, upper edge drags
    4. VFs push apart, then come back together because of:
      1. tissue elasticity
      2. drop in subglottal air pressure
      3. Bernoulli effect
    5. VF re-approximate and sub-glottal air pressure builds again
30
Q

What are the reasons the VFs come back together again?

A
  1. elasticity
  2. drop in subglottal air pressure relavant to this pressure above the glottis
  3. Bernoulli effect
31
Q

What is the glottal waveform and what is the acoustic waveform?

A

Glottal waveform=wavelike vibration of the VFs

Acoustic waveform=vibration of air molecules

32
Q

What happens if CT contracts unopposed by TA?

A

increased length –decreased mass per unit length —increased rate of vibration AND outer layer of vf becomes stiffer which increases F0

33
Q

TA contracts unopposed by CT?

A

shortens vf –looser vf cover and ligament—increased mass per unit length —decreased rate of vibration.

34
Q

What is the most typical situation when talking in which the laryngeal muscles create VF tension?

A
  • CT sets the VF with some length
  • speaker adjusts TA contraction for finer adjustments in tension to finely control frequency
35
Q

What does an increase in rate of airflow result in?

A
  • increased subglottal air pressure=
  • increased force separating VFs=
  • more rapid movement of VF edge away from midline
  • also: faster movement back to midline because of stronger Bernoulli effect
36
Q

What is the typical frequency for modal speaking range for males and females?

A

Males: 75-450 Hz

Females: 130-520 Hz

37
Q

How much of the vocal fold is used in the following registers:

Pulse/glottal

Modal

Loft/falsetto

A

Pulse/glottal: relaxed=cover and body

Modal: edge, intermediate, maybe even deep layers

Loft/falsetto: only edge

38
Q

What do the glottal cycles look like for:

Pulse/glottal vs. Loft/falsetto

Loudness?

A

Pulse/glottal: significant increase in closed cycle

Loft/falsetto: Little or no glottal closed cycle

Loudness: relative closed time

39
Q

How does glottal resistance increase loudness?

A
  • increased resistence=increased sugblottal air pressure
  • when it can finally overcome laryngeal resistance, the air pulse hits the supraglottal air molecules with increased velocity and displaces them even farther out of the vocal tract and hits the listener’s tempranic membrane with greater force
40
Q

How can you increase/decrease glottal resistance?

A
  1. Change the mass per unit length (TA, CT)
  2. Change VF tension (longitudinally via CT, or with medial compression via LCA, TA, IA)
  3. Change pharyngeal pressure to manipulate pressure differntial at the glottis (hum, plug nose)

826 Phonatory Disoders (5 decks)

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