RESUMO
Introducción: El método de calistenia gimnástica se configura como una modalidad de ejercicios específicos que involucra la adopción de posturas artificiales a través de movimientos particulares. Estos movimientos están diseñados para producir efectos higiénicos y educativos claramente definidos. Esta modalidad de ejercicio guarda notables similitudes con el modus operandi de los vocalise en la pedagogía vocal. Objetivo: El objetivo de este trabajo es investigar las relaciones potenciales entre los principios técnico-científicos que guían el sistema de calistenia gimnástica y los principios técnico-pedagógicos que rigen los ejercicios vocales realizados por cantantes durante su proceso de enseñanza-aprendizaje. Asimismo, se busca explorar las conexiones entre los objetivos y propósitos del sistema de calistenia gimnástica y los de los ejercicios vocales en dicho proceso. Método: Para abordar este objetivo, se llevó a cabo una investigación bibliográfica que implicó el análisis detallado de fuentes pertinentes. Se examinaron publicaciones académicas y literatura especializada relacionada con la calistenia gimnástica y la pedagogía vocal. Reflexión: La calistenia gimnástica y los ejercicios vocales comparten una estructura fundamental de ejercicios específicos que implican posturas artificiales y movimientos específicos. Ambos buscan un refinamiento en la higienización y educación, permitiendo a los individuos, ya sea en el ámbito físico o vocal, desarrollarse de manera adecuada y saludable. Conclusión: A partir de la investigación bibliográfica, se concluye que los ejercicios vocales en el proceso de enseñanza-aprendizaje de los cantantes pueden considerarse una suerte de calistenia vocal. Esta conclusión se fundamenta en las relaciones intrínsecas observadas entre los principios y objetivos del sistema de calistenia gimnástica y el modus operandi de los ejercicios vocales. Esta reflexión aporta perspectivas valiosas a la pedagogía vocal, con el fin de ofrecer una comprensión más específicamente fisiológica y biomecánica de los ejercicios vocales, orientando mejor la aplicación de las vocalizaciones en el proceso de educación y entrenamiento vocal.
Introduction: The gymnastic calisthenics method is configured as a specific form of exercises involving the adoption of artificial postures through specific movements. These movements are designed to produce clearly defined hygienic and educational effects. This mode of exercise bears notable similarities to the modus operandi of vocalises in vocal pedagogy. Objective: The objective of this work is to investigate the potential relationships between the technical-scientific principles that guide the gymnastic calisthenics system and the technical-pedagogical principles governing vocal exercises practiced by singers during their teaching and learning process. Additionally, it aims to explore the connections between the objectives and purposes of the gymnastic calisthenics system and those of vocal exercises in this process. Method: To address this objective, a bibliographic research was conducted, involving a detailed analysis of relevant sources. Academic publications and specialized literature related to gymnastic calisthenics and vocal pedagogy were examined. Reflection: Gymnastic calisthenics and vocal exercises share a fundamental structure of specific exercises involving artificial postures and specific movements. Both seek refinement in hygiene and education, enabling individuals, either in the physical or vocal realm, to develop appropriately and healthily. Conclusion: Based on the bibliographic research, it is concluded that vocal exercises in the teaching and learning process of singers can be considered a form of vocal calisthenics. This conclusion is based on the intrinsic relationships observed between the principles and objectives of the gymnastic calisthenics system and the modus operandi of vocal exercises. This reflection provides valuable insights into vocal pedagogy, aiming to offer a more specifically physiological and biomechanical understanding of vocal exercises. This effectively guides the application of vocalizations in the process of vocal education and training.
RESUMO
The distorted voices, commonly called vocal drives in Brazil and in some other South American countries, are vocal ornaments belonging to the aesthetics of popular singing and desired by singers of different styles. The advances in vocal sciences have allowed the demystification of this type of technique in the last four decades, classifying them as glottal, supraglottic or mixed distortions/drives. The interdisciplinary approach in the evaluation of singers who use glottal distortions is fundamental for a broad understanding of the particularities of each case. The present study has as main objective to describe the anatomophysiological and spectral findings of the glottal distortions, identified in the practice of many singers. A sample of three singers in a sung emission with and without vocal distortions was collected. PreSonus® AudioBox Studio One kit was used to record the voice during the nasolaryngoscopic evaluation. The singers underwent vocal warm-up and functional evaluation of the larynx based on two studies on contemporary singers. The singers performed the Snarl Voice and Phaser distortions and both showed particular anatomophysiological behaviors. The larynx was low in the first distortion and the level of the clean voice in the second, with the posterior opening of the glottis in both distortions being observed, with opening of the middle third of the glottis for the first as well. Formants vary according to the vocal tract settings used for the distortions. The glottic distortions present a complex anatomophysiological behavior in their composition, with fundamental participation of the transverse interarytenoid muscle and lateral cricoarytenoids, as well as the the participation of the vocal fold in the frequency break. F3 varied according to the longitudinal length and F4 with the diameter, both being related to the three-dimensional adjustments of the vocal tract.
