ð€ ããã¯ã¹ãã€ã¹ãã§ããªããšãã®"çç¶å¥"æ¹åã¬ã€ã
ãããã¯ã¹ãã§ããªãããé«é³ãèŠãããã声ãè£è¿ããââå®ã¯ãããã¯ççåŠçã«èª¬æã§ããçŸè±¡ã§ããè¿å¹Žã®ç ç©¶ã§ã¯ãããã¯ã¹ãã€ã¹ã¯èžå£°ãè£å£°ãšã¯ç°ãªã**"ç¬ç«ããçºå£°ã¡ã«ããºã "**ãæã€ããšã瀺ãããŠããŸãã1ãã
ããªãã®çç¶ã¯ã©ãã«åœãŠã¯ãŸããŸããïŒ
ð¬ïž â è£å£°ã匱ããŠããã¯ã¹ãã€ã¹ã«ãªããªã
ð åå
ããã¯ã¹ãã€ã¹ã¯ãèžå£°ãšè£å£°ã®äžéçãªå£°åž¯æ¯åãã¿ãŒã³ãæã€ã1ã
声垯ééçïŒOpen QuotientïŒã¯èžå£°ããé«ããè£å£°ããäœããäžéå€ãããšãã®ãç¹åŸŽã1ã
ã¬ãžã¹ã¿ãŒïŒå£°åºïŒã®ç§»è¡ã«ã¯ãå鳿§é ã®åçãªå€åã䌎ãã2ã
ð è£å£°ãæ¯ã£ãœããããšãããã¯ã¹ã«å¿ èŠãª"é©åºŠãªéé"ãäœããã声ãã¹ã«ã¹ã«ã«ãªããŸãã
ð æ¹åç
â æ¯ãæžãããè£å£°ç·Žç¿åãè©°ããã«ãè¯ã®ããè£å£°ïŒããããã€ã¹ïŒãç®æããŸãããã
â ãªããããŒã«å£°åž¯ã®ééãã©ã³ã¹ã匷å¶çã«æŽãã广ããããŸãã
â å°é³éã§ã®ãã¬ãŒãã³ã°æ¯åãåäžåããééã®å®å®ãå³ããŸãã
ðš â¡ æ¯ãå€ãããŠå£°ãæãã
ð åå
åŒæ°å§ã匷ããããšãã¬ãžã¹ã¿ãŒïŒå£°åºïŒã®ç¶æ ãäžå®å®ã«ãªãã3ã
ããã¯ã¹ãã€ã¹ã¯ãå®ã¯èžå£°ãããäœãåŒæ°å§ã§æç«ããåŸåãããã1ã
声垯ã®ééã匱ããšãæ¯ãè¶³ããªãããšé¯èŠããäœèšã«æ¯ãåããŠããŸãæªåŸªç°ã«é¥ãã4ã
ð ãæ¯äžè¶³ãã®æ£äœã¯ãèºæŽ»éã§ã¯ãªãã声垯ã®ãã«ãæ©èœãã®æªçºéã§ããããšãå€ãã§ãã
ð æ¹åç
â æ¯ãæŒããªãåãæ¯ã®éãååã«ããæèãæã¡ãŸãããã
â ããã³ã°ïŒéŒ»æïŒéŒ»è å ±é³Žãå©çšããæå°éã®æ¯ã§é³ŽããæèŠãæŽã¿ãŸãã
ð ⢠é«é³ãèŠããã»åãè©°ãŸã
ð åå
ããã¯ã¹ãã€ã¹ã¯ãåŒæ°å§ãšå£°åž¯ééã®æ¥µããŠç¹çްãªããã©ã³ã¹ç¶æ ãã§æç«ããã3ã
é«é³åã§ã¯ãåãè©°ããã®ã§ã¯ãªãã声éå ±é³ŽïŒVocal Tract ResonanceïŒãã®èª¿æŽãäžå¯æ¬ ã5ã
èžå£°åªäœïŒåŒµãäžãïŒã§ã®é«é³çºå£°ã¯ã声垯ãžã®èº«äœçãªã¹ã¯ãéåžžã«é«ãã6ã
ð 匵ãäžãã¯ãç§åŠçã«ããçè²»ãæªããæ éãããããçºå£°ã§ãã
ð æ¹åç
â é³éãäžããç©ççã«åŒµãäžããããªãé³éã§ç·Žç¿ããŸãããã
â æ¯é³èª¿æŽïŒVowel ModificationïŒé«é³ã§æ¯é³ãå°ãå€åãããå ±é³Žãæé©åããŸãã
ð ⣠声ãéåããã»ç¹ãããªãïŒæå£°ç¹ã®åé¡ïŒ
ð åå
ãã¬ãžã¹ã¿ãŒãã®æŠå¿µã¯æŽå²çã«æ··ä¹±ããŠããããç©ççã«ã¯å£°åž¯ã®æ¯åã¢ãŒãã®åãæ¿ããæãã7ã
ç§»è¡æã«ã¯åé³ãã©ã³ã¹ãå€åãããããè³ããé³è²ã®å·®ããææã«å¯ç¥ããŠããŸãã2ã
æ»ãããªç§»è¡ïŒããªããžïŒãã§ãããã©ããã¯ãçºå£°ã®çé床ã瀺ãéèŠãªææšã§ããã2ã
ð ç¹ãããªãã®ã¯æèœã®æ¬ åŠã§ã¯ãªããçèã®ãåãæ¿ã調æŽããæªç¿çãªã ãã§ãã
ð æ¹åç
â ãµã€ã¬ã³é³ç·Žç¿äžããäžãŸã§ãé³ãéåããããã«ã¹ã©ã€ããããŸãããã
â é³éäžå®ç·Žç¿äœé³ããé«é³ãŸã§åãé³éãããŒãããæ¥æ¿ãªå§ã®å€åãæããŸãã
ð¯ ãŸãšã
ããã¯ã¹ãã€ã¹ãã§ããªãäž»ãªåå ã¯ãåŒæ°å§ã»å£°åž¯ééã»å ±é³Žã®ãã©ã³ã¹äžå šã§ãã
ããããåå¥ã«æŽããããšã§ãã»ãšãã©ã®ã±ãŒã¹ã¯æ¹åå¯èœã§ãïŒ
èªåã®çç¶ãã©ãã«åœãŠã¯ãŸãããã§ãã¯ããŠãé©åãªç·Žç¿æ³ã詊ããŠã¿ãŠãã ãããã
ð åèæç®
Lee, Y., et al. (2021). Differences Among Mixed, Chest, and Falsetto Registers: A Multiparametric Study. Journal of Voice.
Elbarougy, R. (2019). Acoustic Analysis for Chest-to-Head Register Transition in Singing Voice.
Titze, I. (2014). Bi-stable vocal fold adduction: a mechanism of modal-falsetto register shifts. JASA.
Sandage, M. J., & Emerich, K. (2002). Singing Voice: Special Considerations for Evaluation and Treatment.
Kob, M., et al. (2011). Analysing and Understanding the Singing Voice.
Spencer, M. L. (2009). Integration of Singing into Voice Therapy.
Henrich, N. (2006). Mirroring the voice from Garcia to the present day.
ðµ æåŸã«
ãããŸã§èªãã§ããã ããããããšãããããŸãã
çºå£°ãæã®æ©ã¿ã¯ããããã®æ å ±ã ãã§ã¯ãåãã£ãæ°ã«ãªããããšã¯ãã£ãŠããå®éã«èªåã®å£°ã§äœæããããšãäœãã倧åã§ãã
ã»ãã®å°ãã®èª¿æŽã§ãããããªã«æ¥œã«åºããã ããä»ãŸã§ã®èŠããã¯äœã ã£ããã ããããšæããç¬éããå¿ ããããŸãã
ð çŸåšãæ°äººè¬åž«ã»YUYAå çã®ç¡æäœéšã¬ãã¹ã³ããæ¡å ããŠããŸã
YUYAå çã¯ã
â äžå¯§ã§åãããããæå°
â åå¿è ã«ãå¯ãæ·»ãã¬ãã¹ã³
â ç·åŒµãã«ããæãããé°å²æ°
ãç¹åŸŽã®å çã§ãã
ããããªãããã©ã³ã®å çã¯å°ãç·åŒµããâŠãããŸãã¯æ°è»œã«äœéšããŠã¿ããã
ãããªæ¹ã«ãŽã£ããã®æ©äŒã§ã ð
ãã¡ãããç¡çãªå§èªãªã©ã¯äžåãããŸããããŸã㯠"èªåã®å£°ãå€ããæèŠ" ãäœéšããŠã¿ãŠãã ããã
ããªãã®äžæ©ããæãããšããã£ãšæ¥œãããã®ã«å€ãããã£ããã«ãªããŸã ð¶
ð© ç¡æäœéšã¬ãã¹ã³ã®ãäºçŽã¯ãã¡ããã
ïŒâ»æ ã«éãããããŸãã®ã§ãæ©ãã«ïŒ
ãäŒãã§ããã®ã楜ãã¿ã«ããŠããŸã âš



