Classical singing is known to be defined with a scholarly tradition. This vocal technique is primarily written transmitted, while modern singing variety is essentially composed by oral tradition and transmission. Traditional singing contained various popular cultures: its transmission is essentially spontaneous and oral. Contemporary music, initially music for only ”expert” people, and with written transmission, often borrows from other technical characteristics, particularly at the level of the voice, as we will illustrate with some examples. Scientific research focuse on the acoustic, physiological and perceptual descriptions: - of the breath apparatus through the measurement of subglottic pressure, flow and the voice efficiency. - The voice description concerns also the vibrator, which contained the vocal folds, the larynx - The voice description concerns also the resonators. Classical singing requires "legato" that is to say a smooth voice output throughout its overall range, so classical singers will "hide the passaggio." In contrast, the Austrian and the Aka Pygmies who practice Yodel will voluntarily show this break between two laryngeal mechanisms as we can hear here with a child vocal production. Jazz also operates this way of singing. In any vocal or instrumental music, an ornament is « side notes whose function is to "beautify the main melodic line." » Many vocal techniques use these ornaments, especially those concerning our project Cantu a Tenore and Cantu in Paghjella. No study has claimed that these ornaments used different laryngeal mechanisms in these two vocal techniques. But how timbre and harmonic distribution vary depending on the vocal techniques? Here are two examples : the first example is Sardinian singing : this polyphonic song in four parts but the harmonic properties of vocalisations four singers allow the listener to hear a "fifth voice", the Quintina. The “harmonic game” can also be applied to another singing technique called "overtone singing", where the listener hears two sounds simultaneously produced by a singer. This technique is especially developed in Russia and Mongolia. Finally, concerning articulation, the vowels may lose their intelligibility if the intensity and fundamental frequency increase (for example in the opera singing), so the singer is obliged to further open the mouth usually closed as the vowels [i], [y] or [u]: in this case, it will be difficult to recognize perceptively these vowels.