在戲劇表演中，激烈的情緒可藉由炸音、吼音、沙音等來傳達，這類嗓音在中戲曲淨角、老生的唱唸中被妥善運用，成為某些表演流派不可或缺的要素。本文從音響學、生物學的角度來探討吼音，此類嗓音的頻譜特徵為在泛音之間出現了次泛音噪音等成分，這些聲音的雜質通常來自於聲門上構造的振動，或是聲帶的不規則振動。針對聲帶結節患者的研究顯示，常發出嘶吼的人傾向具有外向、擊性、感情用事、孩子氣等特質，這個臨床區現與架子花的性格十分吻合。架子花的表演藝術在以庶民文化為基質的花部亂彈中發展成熟，其性情反映著較為原始的人性面向。對於人類而言，吼音是攻擊的準備，因為以Valsalva maneuver來發出吼聲時會讓腹肌收縮，此舉有助於在攻擊時維持脊椎的穩定。

In theatre, excessive emotions can be expressed by growl voices. Such voices are appropriately used in speech and singing of the lau-sheng and jing roles in Chinese operas, being an integral part of certain performance schools. This paper accounts for growl voices in terms of acoustics and biology. Growl voices are characterized by the existence of subharmonics and noises in the spectrum, which are sound impurities and likely due to vibration of supraglotal structures or irregular vibration of the vocal folds. Previous investigations on vocal nodules suggested extravert, socially dominant, aggressive, and impulsive tendencies, as well as emotional coping strategies and immature behavior in people who often produce growl voices. This clinical finding surprisingly matches the personalbity traits of jia-tzi-hua roles. The performing art of jia-tzi-hua developed in flok-culutre-based hua-bu operas, as this role reflects a primitive facet of human nature. For human beings growl voices serve as a preparation of attack, because growling with Valsalva maneuver induces the contraction of abdominal muscles, thereby helping stabilize the spinal cord.