Examples of phonation

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I consider pitch production with modal phonation and pitch production with breathy phonation.
In either case, non-modal phonation is realised primarily in the first portion of the vowel, actually beginning toward the end of any prevocalic sonorant.
Artefacts can also be introduced by air volume changes in the pharynx during phonation.
In the adolescent singer, they can cause air to leak through the folds during phonation, resulting in a temporary breathy tone quality.
The story becomes rather more complex when considering vowels that possess both contrastive phonation and contrastive tone.
The unpleasant voice is found to suffer from pressed phonation, lack of a singer's formant, irregular vibrato and insufficient pitch accuracy.
Consequently, certain combinations of pitch and phonation are likely to be avoided in linguistic sound patterns.
A primitive protolanguage could not have sustained as many phonetic distinctions as these languages offer in their click accompaniments, phonation types and tones.
An initial assessment is made of sensory and motor function of the swallowing mechanisms, airways protection, phonation, volitional cough and the cough reflex.
In contrast, the lefthand form possesses a clear harmonic structure throughout, which is indicative of modal phonation.
In laryngeally complex languages, there is apparently a trade-off between the strength of non-modal phonation and its tendency to be sequenced.
However, the relatively light implementation of non-modal phonation does not render contrastive pitch unrecoverable.
If weakly implemented however, non-modal phonation may persist throughout the duration of the vowel without rendering unrecoverable concomitant tone.
These articulatory search movements are sometimes accompanied by phonation, and often enhanced by facial expression and limbic activity.
Note that these stipulated pauses in articulation are not accompanied by corresponding pauses in phonation.
Here, gestural sequencing is observed, so that strongly implemented non-modal phonation and robust tonal contrasts are saliently cued to the listener.
Alternatively, if subglottal pressure is compensatorily raised in the context of breathy and\\or voiceless phonation, a pitch rise may be the diachronic result.

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