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Modifications of Breathing for Phonation

Donald F. Proctor

10.1002/cphy.cp030333

Source: Supplement 12: Handbook of Physiology, The Respiratory System, Mechanics of Breathing

Originally published: 1986

Published online: January 2011

Full Article on Wiley Online Library



Abstract

The sections in this article are:

1 Laryngeal Function
2 Breathing for Phonation
3 Summary
Figure 1. Figure 1.

Factors influencing voice pitch. Equation denotes that fundamental frequency equals constant times square root of elastic forces in vocal folds divided by mass per unit length. Left, fold for low pitch. Right, fold for high pitch.

From Proctor 42
Figure 2. Figure 2.

Cord lengthening by the cricothyroid muscles drawing thyroid cartilage forward and approximating its anterior aspect to cricoid.

From Proctor 42
Figure 3. Figure 3.

Relative changes in lung volume, subglottic pressure, and airflow in quiet breathing, speech, and song. VC, vital capacity; RV, residual volume; FRC, functional residual capacity; TLC, total lung capacity.

From Wyke 54
Figure 4. Figure 4.

Subglottic pressures that can be produced with maximum expiratory effort at various lung volumes.

Data from Rahn et al. 56
Figure 5. Figure 5.

Lung volume and airflow changes during various phonatory maneuvers.

From Proctor 42
Figure 6. Figure 6.

Final phrase in Zueignung by Richard Strauss. Dotted line, subglottic pressure; solid line, lung volume.

From Proctor 42
Figure 7. Figure 7.

Volume changes during singing sustained tone of moderate intensity from near top of vital capacity (VC) to near residual volume.
Figure 8. Figure 8.

Pressure‐volume diagram showing elastic forces of chest (C), lung (L), and their summation (solid line, open circles). Pressures required for soft tone (pp) and loud tone (ff) are indicated. Hatched areas, inspiratory and expiratory effort required for soft tone. Z, point where elastic force exactly equals demand; R, sum of subglottic pressure available from chest and lung elastic force. Data obtained from working with J. Mead and A. Bouhuys, Harvard University.

From Proctor 42
Figure 9. Figure 9.

Volume change with sustained tone (A), airflow (B), time in 10‐s intervals (C), and muscle activity as indicated by electromyograph of diaphragm (D), external intercostals (E), internal intercostals (F), abdominal external oblique (G), rectus abdominis (H), and latissimus dorsi (I).

Adapted from Ladefoged 28
Figure 10. Figure 10.

Recording of transdiaphragmatic pressure during singing single tone and performance of slow expiratory vital capacity.

From Wyke 54
Figure 11. Figure 11.

Changes in abdominal (right) and chest (left) girth as seen through pneumographs. Dotted lines, performing vital capacity; solid lines, singing sustained tone. In singing, after the initial fall in abdominal girth, no further change occurs until the midpoint of vital capacity.

From Wyke 54


Figure 1.

Factors influencing voice pitch. Equation denotes that fundamental frequency equals constant times square root of elastic forces in vocal folds divided by mass per unit length. Left, fold for low pitch. Right, fold for high pitch.

From Proctor 42


Figure 2.

Cord lengthening by the cricothyroid muscles drawing thyroid cartilage forward and approximating its anterior aspect to cricoid.

From Proctor 42


Figure 3.

Relative changes in lung volume, subglottic pressure, and airflow in quiet breathing, speech, and song. VC, vital capacity; RV, residual volume; FRC, functional residual capacity; TLC, total lung capacity.

From Wyke 54


Figure 4.

Subglottic pressures that can be produced with maximum expiratory effort at various lung volumes.

Data from Rahn et al. 56


Figure 5.

Lung volume and airflow changes during various phonatory maneuvers.

From Proctor 42


Figure 6.

Final phrase in Zueignung by Richard Strauss. Dotted line, subglottic pressure; solid line, lung volume.

From Proctor 42


Figure 7.

Volume changes during singing sustained tone of moderate intensity from near top of vital capacity (VC) to near residual volume.



Figure 8.

Pressure‐volume diagram showing elastic forces of chest (C), lung (L), and their summation (solid line, open circles). Pressures required for soft tone (pp) and loud tone (ff) are indicated. Hatched areas, inspiratory and expiratory effort required for soft tone. Z, point where elastic force exactly equals demand; R, sum of subglottic pressure available from chest and lung elastic force. Data obtained from working with J. Mead and A. Bouhuys, Harvard University.

From Proctor 42


Figure 9.

Volume change with sustained tone (A), airflow (B), time in 10‐s intervals (C), and muscle activity as indicated by electromyograph of diaphragm (D), external intercostals (E), internal intercostals (F), abdominal external oblique (G), rectus abdominis (H), and latissimus dorsi (I).

Adapted from Ladefoged 28


Figure 10.

Recording of transdiaphragmatic pressure during singing single tone and performance of slow expiratory vital capacity.

From Wyke 54


Figure 11.

Changes in abdominal (right) and chest (left) girth as seen through pneumographs. Dotted lines, performing vital capacity; solid lines, singing sustained tone. In singing, after the initial fall in abdominal girth, no further change occurs until the midpoint of vital capacity.

From Wyke 54
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Article Title: Modifications of Breathing for Phonation
 

How to Cite

Donald F. Proctor. Modifications of Breathing for Phonation. Compr Physiol 2011, Supplement 12: Handbook of Physiology, The Respiratory System, Mechanics of Breathing: 597-604. First published in print 1986. doi: 10.1002/cphy.cp030333