Дауыстың "бас" регистрі: анықтама мен түсіндірулер

Specific term regarding the human voice the definition of which can vary by art medium
Head voice is a term used within vocal music. The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regard to this term. Head voice can be used in relation to the following:
A particular part of the vocal range or type of vocal register
A vocal resonance area
A specific vocal timbre

The term goes back at least as far as the Roman tradition of rhetorical instruction. Quintilian (ca. AD 95) recommends teaching students ut quotiens exclamandum erit lateris conatus sit ille, non capitis ("that when the voice has to be raised the effort comes from the lungs and not from the head," Inst. 1.11.8, transl. Russell). The first recorded mention of the term in a musical context was around the 13th century, when it was distinguished from the throat and the chest voice (pectoris, guttoris, capitis—at this time it is likely head voice referred to the falsetto register) by the writers Johannes de Garlandia and Jerome of Moravia. The term was later adopted within bel canto, the Italian opera singing method, where it was identified as the highest of three vocal registers: the chest, passaggio and head registers. This approach is still taught by some vocal instructors today. However, as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal instructors have redefined or even abandoned the use of the term head voice. Clippinger claims that males and females switch registers at the same absolute pitches. He also states that at about E or E above middle C, the tenor passes from what is usually called open to covered tone, but which might better be called from chest to head voice. At the same absolute pitches, the alto or soprano passes from the chest to the middle register. According to Clippinger, there is every reason to believe that the change in the mechanism for male voices into head register is the same as that which occurs in the female voice as it goes into the middle register at the same pitches. The contemporary vocal pedagogy instructor Bill Martin seconds the view that the change from chest voice to head voice occurs at around E4 in all voices, including the bass, but Martin states that in the coloratura soprano, it is more likely to occur at F4. A recent book by a former teacher at Oberlin College Conservatory of Music and a vocal pedagogy teacher, Richard Miller, states that in the "tenore lirico," the higher part of the singing voice above the secondo passaggio at G4 extending upwards is referred to as "full voice in head," or voce piena in testa, effectively stating the head register begins at G4 in the "tenore lirico," not at E4. According to Singing For Dummies, the bass changes from chest voice into middle voice around A3 or A3 below Middle C and changes into his head voice around D4 or C4 above Middle C.

In the head register (which is above the chest register), some of the bottom end leaves the voice, but it's still, according to Martin, a voice capable of much power. Explanations for the physiological mechanisms behind the head voice can alter from voice teacher to voice teacher. This is because, according to Clippinger, "In discussing the head voice it is the purpose to avoid as much as possible the mechanical construction of the instrument". However, not all vocal teachers agree with this view. Thomas Appell's 1993 book Can You Sing a HIGH C Without Straining? aimed to refute the theory that all singers switch registers at the same absolute pitch. Appell defined chest voice as resonance below the vocal folds and head voice as resonance above the vocal folds. He recorded examples of male and female singers changing from chest voice to head voice at different pitches in an attempt to prove that the transition pitch is a function of the intensity of the vocal tone and is not absolute. At higher vocal cord tension (intensity of singing), Appell shows that the pitch at which a singer transitions from chest to head voice will be higher. At lower vocal cord tension (intensity of singing), Appell shows that the pitch at which a singer transitions from chest to head voice will be lower.

This view is that since all registers originate in laryngeal function, it is meaningless to speak of registers being produced in the head. The vibratory sensations which are felt in the head are resonance phenomena and should be described in terms related to resonance, not to registers. These vocal instructors prefer the term "head voice" over the term register and divide the human voice into four registers: the vocal fry register, the modal register, the falsetto register, and the whistle register. This view is more consistent with modern understandings of human physiology and in keeping with stroboscope videos of laryngeal function during vocal phonation. There are seven parts of the human body that act as resonators, and of those seven, the three most effective resonators that help amplify and create the most pleasing sounds are all located in the head: the pharynx, the oral cavity, and the nasal cavity. A strong falsetto is called a reinforced falsetto and a very light head voice is called "voce di testa bianca" or ''white head voice.'' High notes that are sung with balanced physiology do tend to have better resonance than falsetto or strained notes, so this definition doesn't usually contradict the other two.