Koufman J A, Radomski T A, Joharji G M, Russell G B, Pillsbury D C
Center For Voice Disorders of Wake Forest University, Bowman Gray School of Medicine, Wake Forest University Medical Center, Winston-Salem, NC 27157-1034, USA.
Otolaryngol Head Neck Surg. 1996 Dec;115(6):527-37. doi: 10.1016/S0194-59989670007-4.
By transnasal fiberoptic laryngoscopy, patients with functional voice often demonstrate abnormal laryngeal biomechanics, commonly supraglottic contraction. Appropriately, such conditions are sometimes termed muscle tension dysphonias. Singers working at the limits of their voice may also transiently demonstrate comparable tension patterns. However, the biomechanics of normal singing, particularly for different singing styles, have not been previously well characterized. We used transnasal fiberoptic laryngoscopy to study 100 healthy singers to assess patterns of laryngeal tension during normal singing and to determine whether factors such as sex, occupation, and style of singing influence laryngeal muscle tension. Thirty-nine male and 61 female singers were studied; 48 were professional singers, and 52 were amateurs. Examinations of study subjects performing standardized and nonstandardized singing tasks were recorded on a laser disk and subsequently analyzed in a frame-by-frame fashion by a blinded otolaryngologist. Each vocal task was graded for muscle tension by previously established criteria, and objective muscle tension scores were computed. The muscle tension score was expressed as a percentage of frames for each task with one of the laryngeal muscle tension patterns shown. The lowest muscle tension scores were seen in female professional singers, and the highest muscle tension scores were seen in amateur female singers. Male singers (professional and amateur) had intermediate muscle tension scores. Classical singers had lower muscle tension scores than nonclassical singers, with the lowest muscle tension scores being seen in those singing choral music (41%), art song (47%), and opera (57%), and the highest being seen in those singing jazz/pop (65%), musical theater (74%), bluegrass/country and western (86%), and rock/gospel (94%). Analyzed also were the influences of vocal nodules, prior vocal training, number of performance and practice hours per week, warm-up before singing, race, smoking, and alcohol consumption.
通过经鼻纤维喉镜检查发现，功能性嗓音障碍患者常表现出异常的喉生物力学特征，常见的是声门上收缩。相应地，此类情况有时被称为肌肉紧张性发声障碍。在嗓音极限状态下工作的歌手也可能会短暂表现出类似的紧张模式。然而，正常歌唱的生物力学，尤其是不同歌唱风格的生物力学，此前尚未得到很好的描述。我们使用经鼻纤维喉镜检查对100名健康歌手进行研究，以评估正常歌唱时的喉紧张模式，并确定性别、职业和歌唱风格等因素是否会影响喉肌紧张度。研究对象包括39名男性歌手和61名女性歌手；其中48名是职业歌手，52名是业余歌手。对研究对象执行标准化和非标准化歌唱任务的检查被记录在激光盘上，随后由一位不知情的耳鼻喉科医生逐帧进行分析。根据先前确定的标准对每个发声任务的肌肉紧张度进行分级，并计算客观的肌肉紧张度评分。肌肉紧张度评分以显示有喉肌紧张模式之一的每个任务的帧数百分比来表示。女性职业歌手的肌肉紧张度评分最低，而业余女性歌手的肌肉紧张度评分最高。男性歌手（职业和业余）的肌肉紧张度评分居中。古典歌手的肌肉紧张度评分低于非古典歌手，其中合唱音乐（41%）、艺术歌曲（47%）和歌剧（57%）演唱者的肌肉紧张度评分最低，而爵士/流行音乐（65%）、音乐喜剧（74%）、蓝草/乡村和西部音乐（86%）以及摇滚/福音音乐（94%）演唱者的肌肉紧张度评分最高。我们还分析了声带小结、先前的声乐训练、每周演出和练习时间、歌唱前的热身、种族、吸烟和饮酒的影响。
