RESUMO
Voice clinicians, as well as singers, always correlate the assessment of the singing voice to the vocal and corporal gestures that model singing, and among these parameters, especially timbre. The authors have shown how and what to see in the timbre; first of all, through analysis of the voice by oscillography and sonagraphy, then through observation of the singing act in artists, with special interest for dynamic recordings by vuccal and nasal fibroscopy. In this manner, each variation of the timbre heard clearly corresponds to modifications of the glottic vibratory cycle, volume changes of the resonators, pharynx, oropharynx and buccal cavity. The analysis of the action of the different muscles coming into play in singing, their synergies and their antagonistic effects, give a physiological basis to the singer's vocal work. This analysis also makes it possible to more effectively guide the rehabilitation of dysacusia which effect the timbre.
