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Klassisk Sång 1 SÅNGLÄRA 1.0 © Gunno Klingfors & Kulturkapital AB 2016 2 3 KULTURKAPITAL AB ISBN 978-91-87737-02-2 SÅNGLÄRA 1.0 © Gunno Klingfors & Kulturkapital AB 2016 Innehåll Resonanser ............................................31 Sångutbildningen ................................. 63 Sammanfattning ..................................31 Kastratsångarnas egenskaper ............... 64 DEL 1 RÖSTLÄRA Kastratinspelningarna från 1902-04 ..... 64 1. INLEDNING .....................................6 DEL 2 SÅNGSÄTT Franz Haböck ...........................................65 Män och kvinnor ......................................7 6. INLEDNING ...................................34 Nutida motsvarigheter? ........................ 65 När började människan sjunga? ............ 34 Sammanfattning ..................................65 2. ANDNING ........................................8 Är sång äldre än talspråk? ........................34 Andningsmusklerna ...................................8 Varför sjunger man? .............................. 34 DEL 4 BILAGOR Lågandning ..........................................10 Sång och genus .....................................35 Bilaga 1: ORDLISTA ................................68 Högandning ..........................................11 1900-talet ..............................................35 Bilaga 2: ”VETENSKAPLIGA” SÅNGSÄTT ....72 Diafragman (mellangärdesmuskeln) ......12 Bilaga 3: MER OM SÅNG OCH ANDNING ....73 7. NÅGRA SÅNGSÄTT .......................36 3. FONATION/TONBILDNING ..........14 Före 1850 .................................................73 Afrika....................................................36 Pulserande luftström ...............................14 Efter 1850 ................................................ 74 Egyptisk/arabisk sång ...........................37 Stämbandens rörelsemönster .................16 Högandningsskräck ................................. 74 Bollywood (indisk sång).........................38 Fyra fonationssätt .................................18 Bilaga 4: REGISTER ................................75 Kina, Japan & Korea ...............................39 Fonationsbyten (skarvar) .........................18 Tvåregisterteorin ...................................75 Japan........................................................39 Fyra fonationstyper ..............................22 Fyraregisterteorin ....................................75 Korea ........................................................39 Fonation och ljudstyrka ...........................22 Treregisterteorin ...................................75 Aboriginsk sång (Australien) ..................40 Vibrato .................................................23 Mixröst .....................................................75 Manlig vokalkvartett ............................41 Sammanfattning ..................................23 Sammanfattning ...................................75 Andra exempel .........................................41 Bilaga 5: KÄLLOR (urval) ........................76 4. RESONANS/SOUND .....................24 Klassisk sång .........................................42 Resonatorn = ansatsröret .......................24 Mikrofonsång .......................................43 Artikulatorerna ........................................25 Sammanfattning ..................................44 Grundprinciperna ..................................26 Artikulatorernas effekt på sång .............26 DEL 3 SÅNGHISTORIA Struphuvudsläget ....................................26 TIDSLINJE 1 ............................................46 Svalget .....................................................26 8. HISTORISK ÖVERSIKT ..................48 Gomseglet................................................26 Antiken (3000 f.Kr. – 300 e.Kr.) ...............48 Tungan .....................................................26 Äldre tid (400-1500) ...............................50 Underkäken .............................................27 Modern tid 1500-2000 ............................52 Munöppningen ........................................27 1500-talet ..............................................52 Läpparna ..................................................27 1600-talet............................................. 54 Samspel och helhet ..................................27 1700-talet ..............................................55 Före mikrofonen ....................................27 1800-talet............................................. 56 Formanter .............................................28 1900-talet ............................................. 58 Ramar ......................................................28 Övertonssång ...........................................29 9. KASTRATSÅNG .............................60 Kastratsångens historia ........................60 5. I PRAKTIKEN .................................30 Kastreringen .........................................62 Upplevd ljudstyrka ............................... 30 Konsekvenser ....................................... 62 Sammansatta toner .............................. 30 4 KULTURKAPITAL AB ISBN 978-91-87737-02-2 FÖRORD et här är första delen i en serie som Kompletterande material som filmer Dhandlar om sång. Del 2 Mikrofon– och bilder finns online och kräver sång kommer våren 2016, liksom del 3 internetuppkoppling. Nytt om gammal sång 2.0 som handlar Man når materialet antingen genom att om hur man sjungit i Europa genom tider- klicka på ”Film”-knapparna eller QR-mär- na. Del 4 om Kastraten Moreschi kom- kena. De senare kan mer i maj/juni 2016. dessutom läsas av Se vidare www.kulturkapital.se. QR-läsare i mobiler Människan har nog sjungit i tio tusentals och läsplattor. Ett bra år, så ämnet är gigantiskt. Det här materi- alternativ om man vill alet fokuserar på euro-amerikansk sång. sköta uppspelningen Vid 1900-talets början stod klassisk sång i på en enhet och läsa centrum och togs som utgångspunkt för på en annan. all sång. Men synen på sång förändrades Föredrar man pappersutskrift läser man under seklets gång, eftersom mikrofon- av QR-koderna med mobilen. sång blev en av 1900-talets mest omväl- Flera länkar med sångexempel går till vande musikuppfinningar med avgöran- filmer på Youtube så att man automa- de betydelse för musiklivet. tiskt får förslag på filmer med liknande Idag fokuserar man alltmer på mikrofon- innehåll. Men det finns mycket skräp, inte sång. Det har förvärrrat den begreppsför- minst vad gäller sångteknik. Var kritisk. virring som alltid präglat sång. Att det finns få exempel i del 3 (sånghis- För de gamla begreppen bygger på klas- toria) beror på att äldre tiders sångsätt sisk sång och passar inte i andra sam- ersattes av klassisk sång årtiondena manhang. Så det skapas nya begrepp och omkring år 1900. Det var ett uttalat syfte gamla får nya innebörder. Idag är man in- med införandet av klassisk sång liksom te ens överens om vad saker ska kallas. med förnyelsen av katolsk kyrkomusik vid Och eftersom sång produceras i kroppen samma tid. utgår sångare och sånglärare ofta från Nutidens ”tidstrogna” sångsätt bygger på hur något känns snarare än från hur det klassisk sång och är knappast historiskt faktiskt fungerar. relevanta. Det blir inte automatiskt Jag har utgått ifrån hur fonetiker förkla- 1600-talsmusik bara för att noterna är rar saker och ting (fonetik är läran om tal skrivna då. Se vidare filmen om Beate trill. och talljud). Där står vetenskapliga under- sökningar i centrum och forskarna är ofta överens om vad saker och ting ska kallas och hur de fungerar. Kap. 8 Beate Trill. 5 SÅNGLÄRA 1.0 © Gunno Klingfors & Kulturkapital AB 2016 DEL 1 RÖSTLÄRA DEL 1 RÖSTLÄRA 6 7 KULTURKAPITAL AB ISBN 978-91-87737-02-2 SÅNGLÄRA 1.0 © Gunno Klingfors & Kulturkapital AB 2016 Män och kvinnor 1. INLEDNING Män och kvinnor har olika förutsättningar för sång. Nedan redovisas de viktigaste skill- Rösten fungerar på samma sätt som andra musikinstrument: naderna efter pubertet och målbrott (uppgifterna är ungefärliga): 1. Generatorn skapar energi. Det sköts av andningsapparaten. Män Kvinnor 2. Vibratorn omvandlar energin till ljud. Det sker i struphuvudet. 3. Resonatorn formar ljudet. Det sker i utrymmet mellan struphuvud och läppar. Vitalkapacitet (lungvolym) 4,2 liter (ca. 25% större än kvinnors) 3,2 liter (ca. 25% mindre än mäns) Stämband 15–20 mm långa = lägre tonhöjd. 9–13 mm långa = högre tonhöjd. Grövre och sluter mer vid fonation. Tunnare och sluter mindre vid fonation. Glottis 20 mm i snitt 15 mm i snitt Svalget 23% större 23% mindre Munhålan 15% större 15% mindre Ansatsröret Längre Kortare Formantfrekvenser 17% lägre än hos kvinnor 17% högre än hos män Tonhöjd i tal 110 Hz (G#2 om A4 = 440 Hz) 200 Hz (G3 om A4 = 440 Hz) Övrigt Ibland sluts inte kvin- nors stämband helt under fonation. Det resulterar i svagare ljud och risk för heshet. Studier visar att kvin- nors röstorgan är käns- ligare än mäns och inte klarar lika hög belast- ning. Könsbetingade skillnader gör att mäns omfång är en oktav stör- re än kvinnors efter målbrottet. De kan sjunga lika högt med fal- sett och ungefär en oktav lägre. Män kan dessutom sjunga star- kare, och de kraftigare stämbanden tål högre belastning. Men variationerna är stora. En del kvinnor låter som män och vice versa. Kap. 1 Androgynt. 8 9 KULTURKAPITAL AB ISBN 978-91-87737-02-2 SÅNGLÄRA 1.0 © Gunno Klingfors & Kulturkapital AB 2016 2. ANDNING Kap. 2 Sammanfattning. ång kräver energi. Den skapas av Bilden nedan visar att många muskler är inblandade i andning (minst ett tjugotal). Det är viktigt att samspelet mellan musklerna
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