Formant and resonance in western and Kunqu opera singing, litterature

http://somaticvoicework.com/resonance-strategies-and-formant-tuning/
blog讲了美声应该调整比如第一formant适应基频，第二formant来适应第二谐波。塑造音色的靠前5个formants。但是跟学生讲这些jargon是没有用的，因为学生不知道怎么做。调整声音的变量特别多，比如：

The formants align because of the pitch, the volume and the vowel sound, and the shape we make while singing one. There are multitudes of possibilities with vowel sound shapes and very small differences can make the sound “maximally efficient” or not quite “good enough”. The jaw, the tongue, the mouth/lips, the back of the mouth (velo-pharyngeal port), the height of the back of the tongue, the height of the larynx and the amount of open/closed quotient as well as the depth of the vocal folds during vibration all play a part in the overall sound we hear when someone sings. The “at rest” position of the length of the folds, the size of the larynx, the size (both diameter and length of the vocal tract) of the throat and mouth cavities, and the bones of the head and face all play a part as well. And “resonance” as a destination isn’t needed in anything but classical repertoire and some kinds of music that might be done acoustically.

blog指出找到好音色的方法还是学生跟着老师不断练习。老师要通过学生演唱的听觉和视觉信息来纠正。就好比老师是一个函数，输入是学生的演唱音频和视频，输出是如何纠正与提高的方法。

https://www.ncbi.nlm.nih.gov/pubmed/23453594
Sundberg讨论第一共振峰的位置和基音的关系。他测量了美声和非美声歌手唱几个不同的vowel，不同的频率，并没有发现共振峰跟随基音有系统性的改变。同时，高阶的共振峰也没有发现跟随基音有系统改变。

https://www.ncbi.nlm.nih.gov/pubmed/24902631
CONCLUSIONS: Formant tuning may be applied by a singer of the OM (old man) role, and both CF (color face) and OM role singers may use a rather pressed type of phonation, CF singers more than OM singers in the lower part of the pitch range. Most singers increased glottal adduction with rising F0.

https://www.ncbi.nlm.nih.gov/pubmed/24131362
测量了10个昆曲演员的long-term-average-spectrum，5个行当。没有发现singing formant, 发现花脸在3kHz位置有speaker formant. LTAS跟普通说话人的差别很大，跟美声的差别也很大。