A METHODOLOGICAL FRAMEWORK FOR VOCAL RESONANCE TRAINING: INTEGRATING PHARYNGEAL VOICE PEDAGOGY AND MODERN ACOUSTICS
DOI:
https://doi.org/10.35631/IJEPC.1162016Keywords:
Vocal Resonance, Pharyngeal Voice, Vocal AcousticsAbstract
Vocal resonance is the fundamental aspect of the quality of singing, projection, and richness of expression, but current training methods are still disjointed. Pedagogical approaches, e.g., the Eight Steps of Pharyngeal Voice Training offered by Lin Junqing, are valuable and practical, yet they are not always put into a systematic setup in an academic approach. Modern acoustic research, on the other hand, provides more elaborate explanations of resonance phenomena, such as formant tuning, singer formant and resonance tube phonation, but these results have not been applied to vocal pedagogy. This paper suggests a conceptual framework for vocal resonance training combining the traditional theoretical pharyngeal voice training with the modern theory of acoustics. The framework is conceptually a ten-step framework based on the literature synthesis and pedagogic analysis of the eight-step model presented by Lin, with each step characterised by its pedagogical goal, physiological process, anticipated outcome and scholarly support. This paper indicates that the suggested framework will help develop a more systematic perspective on resonance pedagogy and its applicability to performing arts research.
Downloads
References
Ambros, G. A., & Andrada e Silva, M. A. de. (2025). Resonance strategies in the upper range of Western operatic tenors. Journal of Voice. Advance online publication. https://doi.org/10.1016/j.jvoice.2025.02.025
Callaghan, J. (2014). Singing and science: Body, brain and voice. Compton Publishing Ltd.
Davids, J., & LaTour, S. (2021). Vocal technique: A guide to classical and contemporary styles for conductors, teachers, and singers. Waveland Press, Inc.
Dimon, T., Jr. (2018). Anatomy of the voice: An illustrated guide for singers, vocal coaches, and speech therapists (G. D. Brown, Illus.). North Atlantic Books.
Echternach, M., Burk, F., Köberlein, M., Döllinger, M., Burdumy, M., Richter, B., & colleagues. (2024). Biomechanics of sound production in high-pitched classical singing. Scientific Reports, 14, Article 13132. https://doi.org/10.1038/s41598-024-62598-8
Enflo, L., Sundberg, J., Romedahl, C., & McAllister, A. (2013). Effects on vocal fold collision and phonation threshold pressure of resonance tube phonation with tube end in water. Journal of Speech, Language, and Hearing Research, 56(5), 1530–1538. https://doi.org/10.1044/1092-4388(2013/12-0040)
Henrich, N., d'Alessandro, C., & Doval, B. (2001). Spectral correlates of voice open quotient and glottal flow asymmetry: Theory, limits and experimental data. In Proceedings of Eurospeech 2001 (pp. 2929–2932). Aalborg, Denmark. https://doi.org/10.21437/Eurospeech.2001-11
Howard, D. M., & Murphy, D. T. (2008). Voice science, acoustics and recording. Plural Publishing.
Lã, F. M. B., & Fiuza, M. B. (2022). Real-time visual feedback in singing pedagogy: Current trends and future directions. Applied Sciences, 12(21), Article 10781. https://doi.org/10.3390/app122110781
Lee, S. H., Kwon, H. J., Choi, H. J., Lee, N. H., Lee, S. J., & Jin, S. M. (2008). The singer's formant and speaker's ring resonance: A long-term average spectrum analysis. Clinical and Experimental Otorhinolaryngology, 1(2), 92–96. https://doi.org/10.3342/ceo.2008.1.2.92
Lin, J. (1982). Gēchàng fāyīn de kēxué jīchǔ [The scientific basis of singing pronunciation]. Shanghai Literature & Art Publishing House.
Lin, J. (2019). Prof. Jùnqīng’s steps of pharyngeal training. Independently published. https://www.amazon.com/dp/1793445079
Miller, D. G. (2008). Resonance in singing: Voice building through acoustic feedback. Inside View Press.
Raveendran, R., & Krishna, Y. (2025). Auditory-perceptual judgment of vocal resonance in Carnatic singers by different groups of listeners. Journal of Voice, 39(5), 1413.e17–1413.e25. https://doi.org/10.1016/j.jvoice.2023.05.005
Rosenberg, M. D., & LeBorgne, W. D. (2019). The vocal athlete: Application and technique for the hybrid singer (2nd ed.). Plural Publishing.
Sadolin, C. (2021). Complete vocal technique: Book and media online. Complete Vocal Institute.
Somanath, K. A., & Ma, T. (2016). A measure of the auditory-perceptual quality of strain from electroglottographic analysis of continuous dysphonic speech. Journal of Voice, 30(5), 546–552. https://doi.org/10.1016/j.jvoice.2015.11.005
Sundberg, J. (1987). The science of the singing voice. Northern Illinois University Press.
Sundberg, J., Lã, F. M. B., & Gill, B. P. (2013). Formant tuning strategies in professional male opera singers. Journal of Voice, 27(3), 278–288. https://doi.org/10.1016/j.jvoice.2012.12.002
Ternström, S. (2023). Special issue on current trends and future directions in voice acoustics measurement. Applied Sciences, 13(6), Article 3514. https://doi.org/10.3390/app13063514
Titze, I. R. (2022). The acoustic characteristics of vocal twang. Journal of Singing, 78(5), 613–614.
Watson, P. J., & Hixon, T. J. (1985). Respiratory kinematics in classical (opera) singers. Journal of Speech and Hearing Research, 28(1), 104–122. https://doi.org/10.1044/jshr.2801.104
Welch, G. F. (2016). Singing and vocal development. In G. E. McPherson (Ed.), The child as musician: A handbook of musical development (2nd ed., pp. 441–461). Oxford University Press.
Zhang, Z. (2016). Respiratory–laryngeal coordination in airflow conservation and reduction of respiratory effort of phonation. Journal of Voice, 30(6), 760.e7–760.e13. https://doi.org/10.1016/j.jvoice.2015.09.015
