Although all the types of vocal practice have a peculiarity evident in perceptual dimension, all these types of vocal practice and each of the sound quality produced by these practices in specifically, have also an characteristic shared by all others. Following Malinowski’s functionality theory, we can that, all types of vocal practice and each of the sound quality produced by these practices, at least at beginning, has been came out in order to do a function and shaped by the anxiety of to meet certain necessities. The concern that creates this situation is similar in important level too: the desire to hear by the very most people and/or to be hearable to much more distance points. While, opera singers attained this goal with the techniques that has related with the singer’s formant and formant tuning concepts, it seen that, in non-operatic vocal performance types, an another phenomenon has been put into use, that named as speaker’s or actor’s formant. This acoustical phenomenon that located in a frequency region that hearing sensitivity maximized functions like singer’s formant belonged to opera singing genre, but for non-operatic types in this case. Although it seen that, the studies concerned with the speaker’s/actor’s formant topic has been increased in last decades, it appears that, this increase is not sufficient to say something definitely in very much dimension of this phenomenon. However, dates that be acquired about this phenomenon, will aid the search in relation to techniques that can be applied in non-operatic vocal performance types.
Speaker’s Formant, Actor’s Formant, Voice Training, Training in Traditional Singing Styles, Function