Question: What term, more masculine than falsetto, refers to the optimal combination of airflow and glottal tensions that yields maximum vibration?

full_context: Document 1: Soprano: A soprano ] is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C) = 261 Hz to "high A" (A) =880 Hz in choral music, or to "soprano C" (C, two octaves above middle C) =1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody.
Document 2: Soprano sfogato: Soprano sfogato ("Vented" soprano) is a term which, in the art of singing, designates a contralto or mezzo-soprano who is capable—by sheer industry or natural talent—of extending their upper range and being able to encompass the coloratura soprano tessitura. An upwardly extended "natural" soprano is sometimes called "soprano assoluto."
Document 3: Castrato: A castrato (Italian, plural: "castrati") is a type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice is produced by castration of the singer before puberty, or it occurs in one who, due to an endocrinological condition, never reaches sexual maturity.
Document 4: Modal voice: Modal voice is the vocal register used most frequently in speech and singing in most languages. It is also the term used in linguistics for the most common phonation of vowels. The term "modal" refers to the resonant mode of vocal cords; that is, the optimal combination of airflow and glottal tension that yields maximum vibration.
Document 5: Voice type: A voice type is a particular human singing voice identified as having certain qualities or characteristics of vocal range, vocal weight, tessitura, vocal timbre, and vocal transition points ("passaggio"), such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal register. A singer's voice type is identified by a process known as voice classification, by which the human voice is evaluated and thereby designated into a particular voice type. The discipline of voice classification developed within European classical music and is not generally applicable to other forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. Several different voice classification systems are available to identify voice types, including the German "Fach" system and the choral music system among many others; no system is universally applied or accepted.
Document 6: Baritone: A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice types. It is the most common male voice. Originally from the Greek βαρύτονος ("barýtonos") , meaning "deep (or heavy) sounding", music for this voice is typically written in the range from the second F below middle C to the F above middle C (i.e. F–F) in choral music, and from the second A below middle C to the A above middle C (A to A) in operatic music, but can be extended at either end. The baritone voice type is generally divided into the baryton-Martin baritone (light baritone), lyric baritone, "Kavalierbariton", Verdi baritone, dramatic baritone, "baryton-noble" baritone, and the bass-baritone.
Document 7: Sopranist: A sopranist (also, sopranista or male soprano) is a male singer who is able to sing in the vocal tessitura of a soprano usually through the use of falsetto vocal production. This voice type is a specific kind of countertenor. In rare cases an adult man may be able to sing in the soprano range using his normal or modal voice and not falsetto due to endocrinological reasons, like Radu Marian, or as a result of a larynx that has not completely developed as in the case of Michael Maniaci.
Document 8: Sprechgesang: Sprechgesang (] , "spoken singing") and Sprechstimme (] , "spoken voice") are expressionist vocal techniques between singing and speaking. Though sometimes used interchangeably, "Sprechgesang" is directly related to the operatic "recitative" manner of singing (in which pitches are sung, but the articulation is rapid and loose like speech), whereas "Sprechstimme" is closer to speech itself (because it does not emphasise any particular pitches).
Document 9: Vocal weight: Vocal weight refers to the perceived "lightness" or "heaviness" of a singing voice. This quality of the voice is one of the major determining factors in voice classification within classical music. Lighter voices are often associated with the term "lyric" and are usually brighter and more agile; heavier voices are often associated with the term "dramatic" and are usually powerful, rich, and darker. Other voice types like the spinto have a more medium vocal weight. Vocal weight can also affect overall vocal agility; heavier voices often have more difficulty maneuvering through florid coloratura passages than their lighter counterparts, as their weight and power compromises agility. Likewise, dramatic roles are often written with larger orchestras in mind as dramatic voices can carry more easily over larger ensembles.
Document 10: Falsettone: Falsettone is a term used in modern Italian musicology to describe a vocal technique used by male opera singers in the past, in which the fluty sounds typical of falsetto singing are amplified by using the same singing technique used in the modal voice register. The result is a bright, powerful tone, often very high-pitched, although the sound is still different from and more feminine than what is produced by the modal voice. The term "falsettone" is also used for the mixed vocal register that can be achieved using this technique.
Document 11: Countertenor: A countertenor (or contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around G to D or E, although a sopranist (a specific kind of countertenor) may match the soprano's range of around C to C. Countertenors often are baritones or tenors at core, but rarely use this vocal range in performance.
Document 12: Lyric soprano: A lyric soprano is a type of operatic soprano voice that has a warm quality with a bright, full timbre that can be heard over an orchestra. The lyric soprano voice generally has a higher tessitura than a soubrette and usually plays ingenues and other sympathetic characters in opera. Lyric sopranos have a range from approximately middle C (C4) to "high D" (D6). This is the most common female singing voice. There is a tendency to divide lyric sopranos into two groups, light and full.
Document 13: Michael Maniaci: Michael Maniaci (born in 1976 May 3) is an American opera singer. Possessing a male soprano voice, Maniaci is noted for his claim to be able to sing into the upper soprano register without using falsetto, an otherwise common phonation for men who sing in high registers, such as countertenors. Although this was possible for castrati, because of the hormonal imbalance following castration, Maniaci claims that, for some unknown reason, his larynx did not develop and lengthen completely, causing his voice not to "break" in the usual manner. Maniaci claims that this physical particularity has given him the ability to sing in the soprano register without sounding like a typical countertenor or a female singer. There are, however, critics who claim that Maniaci actually sings in falsetto.
Document 14: Spinto: Spinto (from Italian, "pushed") is a vocal term used to characterize a soprano or tenor voice of a weight between lyric and dramatic that is capable of handling large musical climaxes in opera at moderate intervals. (Sometimes the terms "lirico-spinto " or "jugendlich-dramatisch " are used to denote this category of voice.)
Document 15: Tessitura: In music, tessitura (] , pl. "tessiture", "texture"; ) is the most esthetically acceptable and comfortable vocal range for a given singer or, less frequently, musical instrument; the range in which a given type of voice presents its best-sounding (or characteristic) timbre. This broad definition is often interpreted to refer specifically to the pitch range that most frequently occurs within a given part of a musical piece. Hence, in musical notation, "tessitura" is the ambitus in which that particular vocal (or less often instrumental) part lies—whether high or low, etc.
ground_truth: Modal voice