Hmmmm.... I got the impression that it was rather singers who raised the confusion between head and falsetto and that scientists were rather clearer.
As I understand the neat 'scientific' view:- Chest - firm adduction of the chords, vibration along the whole length. Head - less firm adduction of the chords, vibration along part of their length. Falsetto - No adduction of the chords, vibration along the whole length.
The problems seem to come from singers equating this neat division of the chord resonance into sound or resonance perceptions.
One of the fantastic properties of the human voice is it's flexibility. Hence falsetto voices that sound/feel full and rich and chest voices that sound/feel light and breathy. Clearly colour and balance of overtones etc.. comes not only from the chords. The perception on the part of the singer or listener does not necessarily equate with the mechanism of vibration being employed in the chords. Thus the need to have a trained listener (teacher) to help figure out what the voice is doing and what it needs to do that it isn't.
I guess it depends upon whether the chest/head/falsetto division is defined by mechanics in the chords or perception on the part of the singer. I choose the mechanical theory of the scientist for description and the perceptual feel for actually trying to make the noises. :-)
Kevin. (Computer programmer, singer, physicist - hopefully the order will change over time !)
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