Speech apparatus defects
The speech apparatus is a set of organs that are involved in sound pronunciation and speech formation. It consists of 2 sections: central and peripheral. The central part includes the brain, and the peripheral part includes muscles, bones, cartilage, and ligaments. Therefore, when we talk about disorders in the peripheral region, we are talking about the tongue, lips, soft palate and lower jaw. Disruption of the functioning of one or several organs of the speech apparatus at the same time leads to the appearance of speech disorders.
Defects of the speech apparatus, from a diagnostic point of view, can be divided into 2 groups. The first group will include disorders that are diagnosed at an early age; more often, already in the first month of a child’s life, examination reveals disorders that can only be corrected surgically.
The second group includes disorders that cannot be diagnosed at an early age. Their presence becomes known during the development of speech, most often at 2-2.5 years. In this case, you should seek help from a pediatric speech therapist. At the first consultation, the speech therapist will diagnose the disorders and, if necessary, refer you to related specialists.
If the first symptoms of speech disorders occur, you should immediately contact a speech therapist for diagnosis and selection of a correct and effective correction program.
Parents should contact a specialist if they notice:
- Stuttering or pronunciation of words too slow/fast, pauses between words;
- Voice disturbances, nasality, changes in voice timbre;
- Distortion or “swallowing” of sounds, inaudible speech, and others.
Our center’s specialists successfully work with speech apparatus defects; the following methods are most often used to correct speech disorders:
- Speech therapy massage;
- Special speech therapy exercises;
- DENAS therapy;
- Classes using Forbrain (the device can also be purchased for home use);
- Exercises for speech breathing and others.
The most common speech apparatus defects and methods of their correction:
Dysphonia (aphonia) is popularly called “voice disorder” or “vocal disorder”. Signs: lack of phonation or changes in the strength and timbre of the voice, nasality or hoarseness. Requires urgent correction, since with age the symptoms intensify and are less amenable to correction. In the treatment of dysphonia, articulation and breathing exercises, massage of the collar area, and exercises with the DENAS apparatus are most often used.
Stuttering is a disturbance in the tempo, rhythm and fluency of speech caused by convulsions of the speech apparatus. In children, it most often occurs during the development of phrasal speech. In the absence of timely correction, stuttering can accompany a person into adulthood. This disorder is difficult to correct due to its obsessive nature. Treatment of stuttering at the Ember Center is aimed at eliminating the pathological factors that led to the onset of stuttering, as well as neutralizing its consequences, fear of speech - logophobia. It is thanks to an integrated approach that it is possible to get rid of stuttering not temporarily, but forever.
A short frenulum is a defect of the oral cavity, which, as a rule, is congenital. With this disorder, the child cannot pronounce some sounds. Often, with a short frenulum, it is recommended to solve the problem surgically, especially at an early age, when the work of a speech therapist is not yet possible. But this can often be avoided with timely contact with a speech therapist. With the help of special exercises, you can stretch the frenulum, thereby solving this problem.
A dome-shaped palate is a defect of the speech apparatus caused by the incorrect structure of the oral cavity. The speech therapist teaches how to pronounce sounds that are inaccessible to the client, which will not differ from traditional ones by ear.
Rhinolalia (cleft palate) is characterized by a defective structure and functioning of the speech apparatus. A cleft palate interferes with normal voice production. A person with such a defect grossly distorts sounds, pronounces words nasally, and his voice timbre changes. In the treatment of such disorders, a surgical method is often used, after which a course of sessions with a speech therapist is required.
Dysarthria is a violation of the muscle tone of the articulatory apparatus, which contributes to the development of speech production disorders. With dysarthria, speech motor skills, breathing, voice and pronunciation of sounds are impaired. In this case, correctional classes with a speech therapist are aimed at eliminating the cause of the violations. The specialist uses articulation gymnastics, speech therapy massage, and DENAS therapy.
Defects of the speech apparatus are often found in people, but it is in childhood that they can be most effectively treated. With age, correction of these violations becomes more difficult and time-consuming.
Correction of speech apparatus defects at the Ember center is carried out according to an individually developed program. For complex disorders, we recommend a joint consultation with several specialists: a clinical psychologist, a speech pathologist, a special education teacher, and a neuropsychologist. An integrated approach helps to accurately determine the diagnosis and its causes, develop a correction route, without missing important details.
If your child has a speech defect that interferes with normal speech, sign up for a consultation by calling +7 (812) 642-47-02 or leave a request on the website.
CHAPTER 1 Basic mechanisms of oral speech
1.1 Anatomical and physiological mechanisms of speech
Speech is a product of human mental activity and the result of a complex interaction of different brain structures. The implementation of oral speech occurs thanks to the coordinated work of the peripheral motor apparatus, which is provided by the central nervous system.
The respiratory, phonatory and articulatory sections of the peripheral speech apparatus are involved in speech production.
The respiratory section of the peripheral speech apparatus forms the energetic basis of speech, providing the so-called speech breathing. Anatomically, this section is represented by the chest, lungs, intercostal muscles and muscles of the diaphragm. The lungs provide a certain subglottic air pressure. It is necessary for the functioning of the vocal folds, voice modulations and changes in its tonality.
During physiological breathing (i.e., outside of speech), inhalation occurs actively due to contraction of the respiratory muscles, and exhalation occurs relatively passively due to the lowering of the chest walls and the elasticity of the lungs. The inhalation and exhalation phases at rest differ little in duration. According to the method of preferential expansion of the thoracic cavity, physiological breathing is divided into various types: 1) costal (chest); 2) abdominal; 3) mixed (thoracic-abdominal). In turn, costal breathing comes in three varieties: a) clavicular; b) upper costal; c) lower costal. Clavicular and upper costal breathing refers to irrational breathing methods, since the expansion of the chest is limited due to the low mobility of the costal walls. With abdominal breathing, the tidal volume does not differ significantly from that with lower costal breathing, but the respiratory movements are more flexible. More rational is thoraco-abdominal breathing, which is often called diaphragmatic in practice. This type of breathing ensures not only a sufficient volume of air, but also optimal plasticity of respiratory movements. This type of breathing is most adequate for phonation.
During speech, the functional significance of the exhalation phase increases significantly. Before speaking, a quick and deeper breath is usually taken than at rest. Speech inhalation is carried out through the nose and mouth, and in the process of speech exhalation, the air flow goes only through the mouth. “Speech” inspiration is characterized by the presence of a certain volume of air that can ensure maintenance of ligamentous pressure. A rational way of using the air stream is of great importance for voicing a statement. The exhalation time is extended as much as the sound of the voice is necessary during the continuous pronunciation of an intonation-logically completed segment of the utterance (i.e., syntagm).
The phonatory section of the peripheral speech apparatus is anatomically represented by the larynx and its vocal folds. Outside of speech, the folds are moved apart. During phonation, the vocal folds tense, close and produce oscillatory movements. It is the oscillatory movements of the vocal folds that generate sound waves.
The frequency and power characteristics of the human voice are a reflection of the amplitude and frequency of vibration of the vocal folds.
The main and additional tones of the voice are modulated by a system of resonators. The main resonators of the human voice are the pharynx, oral cavity and nasal cavity with its paranasal sinuses, as well as the frontal cavity. In addition, the cavities of the trachea and bronchi, the chest as a whole, and the laryngeal cavity give a certain timbre to the voice. Resonators differ among individual people in shape, volume, and the characteristics of their use during speech, which gives the voice an individual timbre coloring.
The soft palate and those muscles that cover the space between the nasopharynx and oropharynx take a special part in the resonance effect.
The resonators that are formed by the bones of the skull, namely the nasal cavity, the frontal cavity, do not change their volume, therefore they generate sounds in a very narrow range.
The frequency range of the human voice is measured in hertz. The frequency range of the spoken voice is only 1/10 of the total voice range. In men, the frequency range of the voice is 80-150 Hz, in women - 120-400 Hz, in children it is much higher. Since human hearing is unequally sensitive to sounds of different frequencies, the perceived loudness of a voice depends not only on the absolute strength, but also on its frequency characteristics. High-pitched voices feel louder.
The color of the voice reflects the emotional state of the speaker and even the mental state of the individual in the broadest sense of the word.
There are timbre differences in the vocal range, which, by analogy with musical instruments, are called vocal registers. There are three registers in the human voice: chest, head and middle (mixed).
Abstract “The structure of the voice apparatus and the principles of its operation”
Fayzullina Liya
Abstract “The structure of the voice apparatus and the principles of its operation”
VOICE MACHINE DEVICE
AND THE PRINCIPLES OF ITS WORK.
INTRODUCTION
The human voice is a unique phenomenon in its own way, both as an acoustic phenomenon and as an anatomical and physiological action, and also due to its social significance. The voice is as unique as fingerprints or the structure of the retina. A person's character is judged by his voice. It is known that the general impression of a person depends 55% on facial expressions, 38% on voice and only 7% on what this person says. When a man was once brought to Socrates, about whom he had to express his opinion, the sage looked at him for a long time, and then exclaimed: “Speak, finally, so that I can see you!” And indeed, how much meaning, in addition to words, lies in the very sound of the voice! Listen to the sounds of a stranger's speech. Don't the timbre of his voice, his manner of speaking, his intonation tell you a lot about his feelings and character? After all, the voice can be warm and soft, rough and gloomy, frightened and timid, jubilant and confident, malicious and insinuating, firm, lively, triumphant and with a thousand other shades, expressing the most diverse feelings, moods of a person and even his thoughts. The ability to speak and express one’s thoughts characterizes a person as a person. From a social point of view, the voice is not only a means of information and communication between people, but also a valuable capital if professional activities involve the use of the voice (for example, singers, spoken word artists, entertainers, onomatopoeic parodists, radio and television announcers, etc.). etc., as well as a kind of “instrument of production” (for school teachers, teachers of institutes and universities, lecturers, speakers, tour guides, dispatchers, telephone operators of help desks and people of many other professions). By the modulation of the voice, we can judge the mental state of a person, his behavior in various situations.The voice most fully reveals the character, mood and even spiritual properties of a person
VOICE MACHINE DEVICE
The human vocal apparatus is a complex multi-stage system.
a topic on the characteristics of which voice formation depends.
Voice is any set of sounds formed by the human vocal apparatus
(screaming, crying, laughing, speaking, singing). It is a complex of organs and systems involved in voice formation.
The mechanism of voice formation is centrally determined, i.e. in the cerebral cortex
there is a center of vocalization, but for the formation of a voice a stream of air is necessary
ha, without which the vibrations of the vocal folds are silent. The voice apparatus has
three peripheral sections interconnected and regulated by the cortex
brain: respiratory organs (lungs, bronchi, trachea, larynx with vocal folds (a weak primary tone of voice is formed in the larynx, supernasal tube (oral cavity, nose, pharynx, paranasal sinuses
BREATHE-HELPING MACHINE
The breathing apparatus consists of lungs, which are inflatable air reservoirs; respiratory tract - bronchi and trachea, i.e. windpipe; diaphragm is a muscle that separates the chest cavity from the abdominal cavity and is attached partly to the lower ribs and partly to the spine.
At rest (during exhalation), the diaphragm rises upward with a double-headed dome; when inhaling, it flattens, lowers, and the lungs fill with air. The ability to control the diaphragm is very important for singers. Thanks to its activity, professional vocalists have such characteristics as breathing support, singing vibrato, etc. Breathing also involves the abdominal muscles, which put pressure on the diaphragm during exhalation and the intercostal muscles of the chest, from the contraction of some of which the chest is compressed , from the contraction of others - expansion and inhalation.
Types of breathing
Depending on the participation of certain muscles in respiratory movements and during singing, they distinguish: thoracic, abdominal and mixed types of breathing.
Thoracic type - respiratory movements are carried out mainly due to contraction of the intercostal muscles. In this case, during inhalation, the chest expands and rises slightly, and during exhalation, it narrows and falls slightly. This type of breathing is typical for women.
Abdominal type - breathing movements are carried out mainly due to contraction of the muscles of the diaphragm and the muscles of the abdominal wall. The movement of the diaphragm muscles increases intra-abdominal pressure and when inhaling, the abdominal wall moves forward. When you exhale, the diaphragm relaxes and rises, which moves the abdominal wall back. This type of breathing is also called diaphragm breathing. It occurs predominantly in men.
Mixed type - breathing movements are performed simultaneously with the help of contraction of the intercostal muscles and the diaphragm. This type is most often found in athletes and singers.
LARYNX.
The larynx has a triple function - respiratory, protective and vocal. The larynx is a tube connecting the trachea to the pharynx. It occupies the front of the neck. The larynx consists of 5 cartilages and muscles. The largest cartilage of the larynx is the thyroid, and its size determines the size of the larynx. Low male voices are characterized by a large larynx, protruding on the surface of the neck in the form of an Adam's apple.
The upper opening of the larynx, the so-called entrance to the larynx, is formed by movable laryngeal cartilage - the epiglottis. When breathing, the larynx is free, and when swallowing, the free edge of the epiglottis bends back, closing the opening of the larynx. During singing, the entrance to the larynx is covered by the epiglottis. The larynx tends to be mobile, mainly in the vertical plane. The extrinsic laryngeal muscles raise, lower, or stabilize the larynx. These properties of the larynx are very important especially for opera singers.
In the middle, the larynx narrows, and at the narrowest point there are two horizontal folds, or ligaments. The opening between them is called the glottis. Above the vocal cords are the ventricles of the larynx, above each of which there is a fold parallel to the vocal cords. The superior ventricular folds are called false folds and consist of loose connective tissue, glands and poorly developed muscles. The glands in these folds provide hydration to the vocal folds, which is very important for the singing voice. During sound production, the vocal folds join or close and the gap closes. The ligaments are covered with dense, pearl-colored fabric. The ligaments can change their length, thickness, and vibrate in parts, which gives the singer’s voice a variety of colors, richness of sound and mobility. The sound resonates in the cavity above the larynx, in the pharynx.
The pharynx is quite voluminous and irregular in shape. The pharynx is separated from the palate by the so-called velum palatine. A small tongue at the back of the palate seems to form a double arch. The size of the pharynx can change due to movements of the velum and tongue. Articulation is also important for proper sound production. The structure of the vocal apparatus has individual characteristics in each individual case. Therefore, the pedagogical approach to each vocalist is very individual. When working with a singer, the physical state of the vocal apparatus, physiological structure and personal characteristics of the singer, psychological and emotional states are taken into account first of all. And based on the received idea, an individual program is drawn up.
The main task of the teacher is to select for each singer from his usual set of exercises exactly what he needs at the moment. Or, if none of these exercises are perceived correctly by the student, improvise on the fly exactly what will be understandable for a novice singer. It is important that the singer feels that he can achieve the right result, that his voice sounds better. He should enjoy his vocal lessons. Undoubtedly, the teacher must be careful not to force a successful result. The main thing is that the student realized and remembered the pleasant feeling when singing and felt his capabilities. Next time he will try to remember and reproduce all his successful moments.
RESONATOR AREA.
Resonators.
In acoustics, a resonator is a cavity enclosed in elastic walls, having an entrance hole and responding to certain sound tones. The system of cavities located above the larynx is called the supernatant. It includes the pharyngeal cavity, oral, nasal and paranasal cavities. Due to the resonance of these cavities, the timbre of the sound changes. These are the upper resonators. The lower resonators are the trachea and bronchi. They also affect the timbre of the voice. The feeling of the vibrations of the chest resonator by the singer indicates the fullness of the sound of the voice, especially its lower tones.
The sounds made by the vocal cords can be compared to a tuning fork. After the strike, the tuning fork is brought to the ear to hear, since the tuning fork sounds very quietly. But if you bring a resonator, for example, a glass jar, to the tuning fork, the sound will intensify. This example can be transferred to the sound of the voice: the ligaments are a tuning fork, and the head and chest act as resonators.
If we talk about the human voice as an instrument, then resonators are cavities surrounded by bone boundaries. Above the larynx are the cavities of the pharynx, mouth, and nose. In these cavities, resonance occurs, that is, the sound that appears in the larynx and comes from the vocal cords is amplified.
The cavities of the pharynx, mouth, and nose are like a continuation of the larynx and are called the “extension tube.” These are the so-called upper (head) resonators.
Those resonators that are located below the larynx are in the chest - the trachea, the bronchi are the lower resonators (thoracic).
A beginning performer needs an understanding of the nature of the origin and formation of sound. But understanding requires knowledge. Vocal teachers should explain these points to students. And to explain, you should yourself have an idea of the processes of sound formation. You can demand for a long time and to no avail that the student raise the upper palate when singing. Or you can figure out for yourself that only the soft palate can be raised, and it is located further than the hard palate. Why "soft"? Yes, because it is really soft to the touch. And it can take the form of a yawn. And the hard palate is bone. And say it, don’t say it, it still won’t rise. And all this needs to be explained to a beginning vocalist. Explain that by nature one can have a very beautiful voice, a rich timbre. But there is the concept of “school”, “vocal school”. There are certain rules that a beginning vocalist needs to know. And in particular, know about resonators. And not only know, but be able to use them.
Registers
Resonators not only amplify the sound, but also give the voice a certain coloring - timbre, due to which the voices differ from each other. The upper part of our voice range is associated with the use of head resonators. Thanks to the head resonator, the sound becomes more flighty and sonorous. The lower part of the vocal range is associated with the use of chest resonators, thanks to which the sound becomes more spacious and compact. In the middle part of the range, the properties of both the head and chest resonators are mixed - this is the middle resonator.
Register is a part of the vocal range, the sounds of which are formed in a certain way and have a uniform color. And the vocal range is the volume of sounds from the lowest to the highest sound that the performer sings. The name of the register corresponds to the resonators that the singer uses when singing a certain part of the range. When singing high sounds, head resonators are used, and therefore this part of the range is called the head register. Low range sounds are sung using a chest resonator and are called the lower or chest register. When singing mid-range sounds, both head and chest resonators are used simultaneously and mixing occurs. This is the middle or mixed register, or, as they also say, “mixed” (for female voices)
Sound shaping
Sound originates in the larynx, but is formed in the resonator cavities due to the shape of the oropharyngeal canal and the resonance of the pharynx and oral cavity. That is, in order for the emerging sound to turn into various vowels that we can distinguish by ear, the resonating cavities must take on a certain shape corresponding to each vowel.
The nasal cavity does not change in shape, and the resonance, that is, the amplification of sound, does not change for this reason either. If you direct a stream of air into the nasal cavity when singing, the sound will become nasal. This is where the expression “singing through your nose” comes from.
The position of the oral cavities and pharynx can be changed using the articulatory apparatus - tongue, soft palate, lips. Therefore, the resonance of the oral cavity and pharynx can be changed.
The position of the larynx should not change when changing register. The larynx should be free, without tension. If this rule is followed, the sound of the voice in any range will be balanced, and not motley and motley.
To develop head resonance, sonorant consonants - l, m, n, r and vowel sounds - i, e, u, as well as the vowel e in combination with sonorous n, r, m - ne, me, re, help.
Operation of resonators
You need to know how to use resonators. How to check the correct operation of the resonators? If you use chest resonators, the chest cavity vibrates. You can feel the vibration by placing your hand on your chest. When using the head resonator, the bridge of the nose vibrates. You can touch the bridge of your nose and feel its vibrations.
These are physical sensations. But the vocalist must also develop imaginative thinking. Let's look at a few examples. We already know that
The voice appears in the larynx, but it should not be felt in the larynx, since in this case the sound will be compressed, guttural. You need to imagine that the sound originates in the chest, and then comes out. When singing high sounds there should be a feeling of lightness and flight. Imagine that the sound penetrates the soft palate and emerges from the crown and back of the head - this is the head voice. When singing medium sounds, imagine that the sound is flying out of the forehead, and low sounds are flying out of the mouth. The performer determines the point of the required resonator and mentally directs the sound to it. At this point, the sound figuratively gathers into a beam, into a cone. But these are all the figurative sensations of the performer.
Using resonators
The skill of using resonators correctly comes with experience, when the performer develops his hearing and learns to control his singing.
The ability to use resonators is the ability to direct sound to the required point where the voice sounds best: with head resonance, the voice acquires flight and singing in a high position - something that is valuable in the sound of the voice. Head resonance provides endurance to the voice. When singing using chest resonators, power, strength and concentration of sound appear.
When a teacher wants to achieve singing using upper, head resonators, he talks about the need to “sing into a mask.” Where is this mask located? Imagination comes to the rescue again. Imagine carnival participants whose faces are covered with masks. It is to this part of the face that you need to mentally direct the sound. To feel the mask, exercises will help - intonation with the sounds “m”, “n”. These consonant sounds, as well as singing with your mouth closed, will cause a vibration sensation on the lips and bridge of the nose.
There is an expression in the vocals - a fulcrum. What is it? Singing using upper, head resonators, ensuring singing in a high position - this is the highest fulcrum of sound.
And singing using the lower, chest resonators with proper singing breathing is the lowest point of support.
Correct voice formation requires the ability to use resonators. And for this you need the necessary knowledge that should be applied in practice.
STRUCTURE OF A CHILD'S VOICE APPARATUS
The development and structure of individual organs of the child’s vocal apparatus has a number of features that affect their functions. These features are:
— disproportion in the development of individual organs of the vocal apparatus;
- lack of gradual development and the presence of leaps in this process;
- the presence in the period of general development of the vocal apparatus of such intervals when the development of individual organs proceeds almost imperceptibly;
- different timing of the end of growth of different organs of the vocal apparatus.
The larynx of newborns of both sexes grows rapidly only in the first year of life. In boys, this is especially noticeable in the first 3 months, as well as in the 8th and 9th months after birth. In girls - during the 1st, and then at 4-7 months of the first year of life.
The true vocal folds behave differently from the larynx as they grow. The vocal folds grow rapidly until the end of the first year of life. Due to the uneven growth of various parts of the vocal apparatus, the child’s voice changes in its basic qualities - pitch, volume, timbre, range, registers, duration of sound.
There are two mechanisms of voice formation in ontogenesis: from 7 to 10 years in children, the falsetto mechanism predominates, in the implementation of which the anterior cricothyroid muscle takes a major part. Actually, the vocal muscle is not involved in the falsetto mechanism. It is in the formative stage.
From about 10 years of age, the internal thyroarytenoid muscle (vocal muscle) becomes independent and takes an active part in controlling the vocal folds. Thus, another phonation mechanism appears (chest, which is partially used at first. In children of this age, the so-called mixed mixed mechanism predominates in the formation of sound. In this case, the chest sound begins to emerge on the lower notes of the range, and the falsetto register is used on the upper notes. Vocal folds on the lower notes they completely close, but when moving to the upper notes, a narrow linear gap remains, characteristic of falsetto.
From this age period, the internal vocal muscles, as well as the external muscles of the larynx, are the main ones in the process of controlling the vocal folds. The anterior thyroid cricoid muscles also take a large part in this. They regulate the clearance of the glottis during phonation, change the sound quality by contracting and tensioning the vocal folds as a whole or their individual parts. Other muscles of the larynx also participate in this act to one degree or another, receiving impulses from the central nervous system in accordance with one or another task.
The anatomical and physiological features of the children's vocal apparatus also include a rather high position of the larynx; a large number of mucous glands in all parts of the larynx, as well as lymphatic and connective tissue, which at an early age replaces the missing internal vocal muscles.
The voice of a newborn, obeying unconditional reflex mechanisms, varies in strength, but is always the same in pitch and almost does not differ in timbre in all children of both sexes (asexuality). During this period, maternal hormones circulate in the body. The main color of a child's voice is its “silverness”. Every 2-3 years, the voice changes its qualities from “silver” with a sound range of 5-6 notes; it becomes rich, acquires a full sound, a “metallic” tint, the range increases to 11-12 notes, and in the 6th year it is equal to a seventh .
