The main differences that can be noticed in the use of voice for speech and song are that the isochronism of vibration is never prolonged in speech so as to make it understandable as a musical note. Secondly, the control of the breath flow is more delicate in voice production for song as the singer has to sustain a note for a long period and must execute lengthy musical phrases. Thirdly, in speech, only one-third of the compass that lies below the centre of the complete vocal range is utilised, whereas in a song, the middle and upper registers that lie mostly above the centre of the compass are used profusely. In singing, a wide compass of two and a half octaves are made use of, whereas even in oratory, the range of the voice extends only up to one and a half octaves. Fourthly, in speaking, no fixed scale is adhered to whereas singing does not exist without a scale. Finally, in speaking, the voice inflection falls in glides and is not controlled voluntarily, whereas in singing, the vocal inflections and modulations are produced artistically through defined steps or musical intervals.

The quality of the voice in singing cannot be entirely different from the natural quality of the speaking voice. No doubt, the voice mechanism is first put into use in the process of speaking before a man attempts to sing. The speech organs, therefore, establish the habits for themselves. Perfection of speaking precedes the development of singing. Distinct and clear articulation of vowels and consonants influence the quality of voice in speaking. Singing also requires perfect articulation of vowels as they accompany the musical note throughout its length and good pronunciation of consonants to enunciate the words of the song distinctly. The anatomical peculiarities, language, culture and civilization condition the quality of the voice in speech and song. Firstly, this instrument is fixed within the human body. Hence the physiological set up of the laryngeal mechanism, breathing mechanism and resonators play a vital role in determining the quality of the voice.

Secondly, the tonal quality is partly dependent upon the structure of the voice mechanism and partly on the way we operate the mechanism. The operational methods vary with the structure of the language. For instance, a language which contains more nasalized consonants call for the decided nasal resonance in tone production. As voice production is based upon motor act and becomes habitual by repetition, the abundance of nasalized consonants of that particular language tempts the person to phonate even the vowels with a nasalized tone. The habituation of speaking with a nasalized voice in turn influences the quality of the voice in singing. Research survey by the present writer, on the influence of one's mother tongue upon the quality of the voice in singing, reveals that fourteen persons out of twenty produce their voice in singing as they pronounce the vowels and consonants of their mother tongue. A Keralite, whose mother tongue is Malayalam that consists of more consonants, sings with a nasal tone, whereas a native of Andhra Pradesh whose mother tongue is Telugu that contains more vowels sings with full-throated richness without any nasality. 

Sir Stuart Wilson had illustrated at the Music Academy Conference at Madras, in 1956, that languages like French, Italian, German and English influence the quality of the voice while singing. With a little care, one may improve the forms of pronunciation, but the general habits are so deep rooted as to become part of the acquired nature of the voice. Hence it may be said that language and speech have an indirect impact upon the quality of the voice. Language and speech also affect the studying of songs where consonants are concerned. For instance, a Tamilian pronounces the consonant bha as ba and dha as da because he is not used to pronounce the mahapranah (aspirates) which the Tamil language does not make use of. Lastly culture and civilization largely influence voice production. The primitive people produce their voice with hoarseness and only with the advancement of civilization, men are trained to use their voice in an artistic manner in speech and song.

Dr. Durga is an internationally well-known voice training specialist for singers. She received her research degree M.Litt., from the Madras University, for her thesis on Voice-Culture. Indian Musicological Society, Baroda, has brought out her book on Voice Culture. Carnatica, Chennai, has brought a video out titled "The Ideal Voice" with her presentation on Voice Culture. She has conducted many workshops on Voice-Culture in India including the Shibir for Gujarat - Sangeet Natak Academy, India, and in other foreign countries including Bharathiya Vidhya Bhavan, London. Dr. Durga is a visiting professor for Voice Culture at S.N.D.T., Women's University, Bombay and The Music Academy, Madras.

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