Guzman Marco, Ortega Andres, Olavarria Christian, Muñoz Daniel, Cortés Pedro, Azocar Maria Josefina, Cayuleo David, Quintana Felipe, Silva Catalina
Department of Communication Sciences, University of Chile, Santiago, Chile; Department of Otolaryngology, Voice Center, Las Condes Clinic, Santiago, Chile.
Voice Center, Department of Otolaryngology, Las Condes Clinic, Santiago, Chile.
J Voice. 2016 Nov;30(6):767.e1-767.e8. doi: 10.1016/j.jvoice.2015.10.017. Epub 2015 Dec 22.
The present study aimed to assess supraglottic activity in theater actors and to observe whether they present differences compared with subjects with no voice training. Acoustic and perceptual analyses were also performed.
A total of 20 participants were divided into two groups: an experimental group of trained theater actors, and a comparative group of subjects with no voice training. Absence of laryngeal pathology was confirmed by rigid videostroboscopy. Flexible laryngoscopy was performed to assess supraglottic activity during speaking phonatory tasks. Voice recording was also carried out. Four blinded judges were asked to assess laryngoscopic and perceptual variables using a visual analog scale. A comparison between groups, phonatory tasks, and loudness levels was performed.
Multivariate linear regression showed that trained participants had a higher degree of both laryngeal and pharyngeal activities compared with untrained participants. Moreover, phonatory tasks at high intensity showed higher activity than those at medium and low intensities for most phonatory tasks and laryngoscopic parameters. Vocally trained participants evidenced higher values for all spectral variables compared with untrained participants.
Actors have a greater degree of both laryngeal and pharyngeal activities than vocally untrained subjects. Apparently, this higher activity is associated to speaking voice training and not to a hyperfunctional vocal behavior. Anterior-posterior laryngeal compression is greater than medial compression. Intensity and phonatory tasks have an effect on all laryngoscopic variables. Supraglottic activity during professional speaking voice may be not necessarily a hyperfunctional behavior, but a strategy to avoid vocal fold damage while producing the desired voice quality.
本研究旨在评估戏剧演员的声门上活动，并观察他们与未接受过嗓音训练的受试者相比是否存在差异。同时还进行了声学和感知分析。
共有20名参与者被分为两组：一组是经过训练的戏剧演员实验组，另一组是未接受过嗓音训练的受试者对照组。通过硬性视频频闪喉镜检查确认无喉部病变。进行软性喉镜检查以评估发声任务期间的声门上活动。还进行了语音录制。邀请四名不知情的评委使用视觉模拟量表评估喉镜和感知变量。对两组、发声任务和响度水平进行了比较。
多元线性回归显示，与未训练的参与者相比，训练有素的参与者的喉部和咽部活动程度更高。此外，对于大多数发声任务和喉镜参数，高强度发声任务的活动高于中低强度发声任务。与未训练的参与者相比，经过嗓音训练的参与者在所有频谱变量上的值更高。
与未经过嗓音训练的受试者相比，演员的喉部和咽部活动程度更高。显然，这种更高的活动与发声训练有关，而不是与发声功能亢进行为有关。喉的前后压缩大于内侧压缩。强度和发声任务对所有喉镜变量都有影响。专业发声时的声门上活动不一定是发声功能亢进行为，而是在产生所需音质时避免声带损伤的一种策略。
