In a message dated 1/24/2001 12:39:59 AM Eastern Standard Time, michael.chesebro@w... writes:
<< This: > the thing you are talking about, kayes calls (ala estill) the 'twanger'. > for those of you who do not (and will never) have the book, it is described >as the aryepiglottic muscles squeezing the epiglottis into a tube that is >narrower than the rest of the throat. according to kayes, estill says this >creates a...uh...er...'ratio effect' (and i make fun of corelli?) that >creates the 'twang', ping, singer's formant, "tickles my nose", etc. >
From where does she gain such information? This sounds suspiciously like something hitting the stable floor again. >>
michael,
gillyanne kayes wrote her book 'singing and the actor' under the guidance of meribeth bunch and jo estill. the 'twanger' idea (the notion that 'twang', 'ping', 'singer's formant', etc., comes from the aryepiglottic muscles curling the epiglottis into a tube) comes from estill. you can see her references at http://www.evts.com (it seems that most of her references refer to studies conducted by herself with a gentleman whose name now escapes me. they may indeed have conducted their research in a stable setting.)
mike
|
| |