Vocology is the science and practice of vocal habilitation. Its concerns include the nature of speech and language pathology, the defects of the vocal tract (laryngology), the remediation of speech therapy, and the voice training (voice therapy) and voice pedagogy of song and speech . In its broadest sense, vocology is the study of voice, but as a professional discipline it has a narrower focus: the science and practice of voice habilitation, which includes evaluation, diagnosis, and intervention.,

Human voice production :

The human voice produces sounds in the following manner:

1. Air pressure from the lungs creates a steady flow of air through the trachea (windpipe), larynx (voice box) and pharynx (back of the throat).The vocal folds in the larynx vibrate, creating fluctuations in air pressure that are known as sound waves.
2. Resonances in the vocal tract modify these waves according to the position and shape of the lips, jaw, tongue, soft palate, and other speech organs, creating formant regions and thus different qualities of sonorant (voiced) sound.Mouth and nose openings radiate the sound waves into the environment

Voice analysis :
Voice analysis is the study of speech sounds for purposes other than linguistic content, such as in speech recognition. Such studies include mostly medical analysis of the voice i.e. phoniatrics, but also speaker identification. More controversially, some believe that the truthfulness or emotional state of speakers can be determined using Voice Stress Analysis or Layered Voice Analysis.

Analysis methods
Voice problems that require voice analysis most commonly originate from the vocal folds or the laryngeal musculature that controls them, since the folds are subject to collision forces with each vibratory cycle and to drying from the air being forced through the small gap between them, and the laryngeal musclature is intensely active during speech or singing and is subject to tiring. However, dynamic analysis of the vocal folds and their movement is physically difficult. The location of the vocal folds effectively prohibits direct, invasive measurement of movement. Less invasive imaging methods such as x-rays or ultrasounds do not work because the vocal cords are surrounded by cartilage which distort image quality. Movements in the vocal cords are rapid, fundamental frequencies are usually between 80 and 300 Hz, thus preventing usage of ordinary video. Stroboscopic, and high-speed videos provide an option but in order to see the vocal folds, a fiberoptic probe leading to the camera has to be positioned in the throat, which makes speaking difficult. In addition, placing objects in the pharynx usually triggers a gag reflex that stops voicing and closes the larynx. In addition, stroboscopic imaging is only useful when the vocal fold vibratory pattern is closely periodic.

The most important indirect methods are currently inverse filtering of either microphone or oral airflow recordings and electroglottography (EGG). In inverse filtering, the speech sound (the radiated acoustic pressure waveform, as obtained from a microphone) or the oral airflow waveform from a circumferentially vented (CV) mask is recorded outside the mouth and then filtered by a mathematical method to remove the effects of the vocal tract. This method produces an estimate of the waveform of the glottal airflow pulses, which in turn reflect the movements of the vocal folds. The other kind of noninvasive indirect indication of vocal fold motion is the electroglottography, in which electrodes placed on either side of the subject’s throat at the level of the vocal folds record the changes in the conductivity of the throat according to how large a portion of the vocal folds are touching each other. It thus yields one-dimensional information of the contact area. Neither inverse filtering nor EGG are sufficient to completely describe the complex 3-dimensional pattern of vocal fold movement, but can provide useful indirect evidence of that movement.

Ways to develop your singing voice
Singing is a skill that requires highly developed muscle reflexes. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Vocal pedagogists instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing. Vocal exercises have several purposes, including warming up the voice; extending the vocal range; “lining up” the voice horizontally and vertically; and acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to sing wide intervals comfortably, singing trills, singing melismas and correcting vocal faults.

Ways to improve your voice
By doing 15 minutes pranayama (breathing exercise) and 15 minutes warming up
exercises every day early morning will keep your voice in good shape

The best posture to take while singing
There are eight components of the ideal singing posture: Feet slightly apart, Legs straight but knees unlocked, Hips facing straight forward, Spine aligned, Abdomen flat, Chest comfortably forward, Shoulders down and back, Head facing straight forward.

Voice  culture :Tips on voice care

Culturing the voice depends on the inherent texture of the voice and the genre of singing as in classical (Indian, Western), folk, light. The singing voice and the voice with which we speak aren’t the same. While speaking is an action that doesn’t need any conscious effort (Do not refer to speaking as in stage orations), singing does demand. The technique of bringing the voice under our command is termed as “voice culture”. This comes with breath control techniques, healthy body, and more importantly a sound and focused mind.
While for an instrument, oiling, tuning, selecting the instruments made out of the right materials (depending on the instrument kind – percussion, string, air instrument) etc. would matter, culturing a voice needs an ardent effort and a personal care. Every voice is unique and beautiful. The voice needs to be understood by its owner to nourish and culture it in a way that it gets strengthened. Each voice has its traits and limitations. Voice culture must aim at reducing the shortcomings and enhance the impressive traits of the voice.

Dos and DONTs:
• Practicing early in the morning, soon after waking up may not suit everyone. Give sufficient time to your voice to even out. Warm water gargling would help. Talk to people. Get your tongue to movement and leave your voice chords moist before you start the first practice for the day.
• DO NOT practice at (very) high pitch (Shruthi) when the sun is right on head (that’s between 12 and 4) i.e., in the noon . If your pitch is five and half, it will do good to stick to five (say half a pitch lower than yours) at this time of the day. This would avoid ware and tear.
• Every saadakam (practice) should start with a varnam preferably; varnams are structured in a way that would exercise the voice from all possible angles.
• Learn to modulate the voice. DO NOT sing with the maximum voice beyond upper sthayi rishabham. Soften the voice to reduce the stress on the vocal chord. This doesn’t mean you bring in false voice. Using false voice may help in effortless singing but wouldn’t reach the audience in effect. Know the difference between singing with open voice and singing loudly and the difference between singing with a false voice and singing softly.
• Proper physical posture is required for a good voice production. Certain voice types would get strained with 2-3 hours of practice but some people can go upto 5-6 hours in one stretch. It is important that you understand the nature of your voice and its limitations. One should know his/her own competence to practice and NOT overdo! If the posture and the singing technique followed are acceptable, at the end of the practice session, the abdominal muscles should get strained and not the voice chords. This could be a self check. (Nabhi hruth khanta rasana-Origin of voice is from the abdomen)
• Nasal touch is required for a proper alignment with Shruthi, but nasal twang shouldn’t inhabit your voice completely. Open mouth singing helps reduce the nasal twang.
• Diet plays an important role in maintaining the voice health. Drinking warm water helps; hot tea, clove in honey, ginger kashayam, and pepper milk do wonders and soften the voice. Avoid road-side food, oily food, and cold items.
• Avoid overuse of the voice- don’t scream; talk softly; have limited talks; Last and the most important being “Get rid of the fear of falling sick!” Have a strong mind and a committed soul.