1) In the linked post, I recommended a laryngeal position that is flexible and not rigid but I also spoke about one that was not pushed down too low. As practical as it is, it does not tell the singer how low is too low. Modern pedagogues like the late Richard Miller tend to take a practical position on the matter and I seemed to have advocated an even more practical approach, which puts me in the same category. But as I have often said, vocal science is a beginning! Singing requires something a bit less heady! More on this later!
2) Modern pedagogues are just as wary of the lowered larynx (AKA open throat) as they are of the term "Pure Vowels"! I have often said, there are no such things as pure vowels. The vowel quality changes on every pitch change. Yet I have also said if we think of changing the vowel actively we will tend to exaggerate and the result would be imprecise diction.
My point of view in recents months has been tweaked to reflect what I have often advocated here on this blo--that great singing is achieving a balance between what often appear to be contrary ideas. -- Indeed to many teachers the concepts of open throat and pure vowel are incompatible which is why singers often feel like a "yoyo" when they move from one teacher to another. Many ideas from the first teacher (if such ideas were one-sided) often prompts a contrary response from the second teacher (eg. If one teacher advocated pure vowels that causes a high larynx, then the next teacher might advocate a low larynx, citing necessary vowel modification resulting in dull vowels and imprecise diction).
The root of the problem is indeed at the "root" of the tongue, the so called hyoglossus muscle, which originates from the Hyoid bone and inserts at the base of the tongue.
My coach will have a field day with this video looking all of the bodily up and downs trying to connect to my breath! I post this quick example to illustrate my attempt at maintaining balance on a very difficult phrase. The richness and flexibility of the lower range is not quite mastered yet in the high range, so the high B although good can be improved on. When the structures are all refined, my body will be stiller and I won't worry so much about securing the top note. It is hard enough to practice one element, but amalgamating the different elements into a single sensation is what the singer's goal should be. Sometimes the elements can and should be practiced separately, but one should know that final results are never achieved in balance until all elements contribute together toward a flexible, centered whole.