Ambulatory phonation monitor study

"A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2009."Includes bibliographical references.Thesis (B.Sc)--University of Hong Kong, 2009.published_or_final_versionSpeech and Hearing SciencesBachelorBachelor of Science in Speech and Hearing Science

Perceptions of Ambient Noise Levels and Vocal Effort When Working as a Fitness Instructor

There are 373,700 fitness instructors employed in the United States as of 2019. The percent change in employment from 2019 to 2029 is projected to increase by 15% (U.S. Bureau of Labor Statistics, 2020). It is important to know if this population is aware of the possibility of auditory damage due to exposure to high sound levels or are aware of the potential risk of laryngeal damage, such as vocal fatigue, when instructing a fitness class. The objectives for this project were to investigate the knowledge, attitudes, and self-reported behaviors relating to sound levels and vocal effort and describe the potential for laryngeal and/or auditory damage when working as a fitness instructor. In addition, another objective was to investigate symptoms of auditory or vocal damage fitness instructors have experienced immediately following fitness class instruction. Twenty-five fitness instructors completed an online questionnaire that contained 76 questions. Participants answered questions about their knowledge, attitudes, and self-reported behaviors regarding fitness class sound levels and vocal effort as well as their perceptions regarding any potential risks of hearing and laryngeal damage. Results suggested fitness instructors had some knowledge when it came to identifying what types of sounds were typically loud enough to potentially damage their ears and how to protect their ears when around loud sounds. However, the fitness instructors appeared to be lacking in their ability to identify where the damage occurred in their ears and what level of sound was high enough to cause hearing loss. Gym management and fellow instructor standards were not as important as their personal preferences or the class participants preferences when determining the volume setting of the music played during fitness classes. Fitness instructors were aware the fitness studio had high sound levels; however, they were not willing to protect their ears as 100% of the participants reported not utilizing hearing protection when instructing a fitness class and when asked if they would do something to protect their ears when around loud sounds during their next fitness class the majority (58.33%) reported “probably no.” Participants seemed to have adequate knowledge about vocal effort and potential of laryngeal damage as all, but two participants reported appropriate methods when asked about ways they can preserve their voice after instruction. Most participants were correct when identifying symptoms of vocal problems, with the majority selecting hoarse voice and raspy voice, followed by coughing. However, over half (66.7%) reported they do not consider the risk of vocal fatigue when selecting the music volume for their classes. The average amount of participants reported utilizing a “somewhat severe-severe” vocal effort when instructing and 32% reported they never utilized a microphone. Over half (56%) of participants had experienced vocal problems after teaching and only five participants out of the 56% were adjusting their teaching methods due to their vocal problems. Overall, the study outcomes suggested many fitness instructors had adequate knowledge about sound levels and the risk of hearing damage as well as vocal effort and potential risk of laryngeal damage but they did not feel the necessity to develop behaviors or change their attitudes with regard to protecting their hearing or voice. The results from this study suggested fitness instructors could benefit from greater education and health promotion to increase their knowledge to possibly change their attitudes and behaviors to ones that could appropriately care for their hearing and vocal health

Emotion expression in the singing voice : testing a parameter modulation technique for improving communication of emotions through voice qualities

Tässä tutkimuksessa tarkastellaan tunneilmaisua lauluäänessä ja sen opetettavuutta parametrimodulaatiotekniikan avulla. Tutkimus on kokeellinen vertailututkimus, jossa käytetään kuuntelijoiden arvioita, akustisia analyysejä ja tilastollista päättelyä lauluäänen tunneilmaisevuuden arvioimiseksi lyhyistä vokaalinäytteistä ja lauletuista fraaseista. Tutkimus koostuu kolmesta osatutkimuksesta, joista ensimmäisessä selvitetään kuulonvaraista tunteen tunnistamista klassisella ja ei-klassisella laulutekniikalla lauletuista näytteistä kolmelta eri sävelkorkeudelta laulettuna. Toinen tutkimus vertailee tunneilmaisun akustisia parametreja klassisessa ja ei-klassisessa laulutekniikassa akustisen analyysin keinoin. Kolmas osatutkimus keskittyy parametrimodulaatio-tekniikan opettamiseen näyttelijäntyön opiskelijoille. Siinä vertaillaan tunneilmaisun selkeyttä opetusta saavan ja verrokkiryhmän välillä ennen ja jälkeen koulutusintervention. Tunneilmaisun selkeyden mittareina tässä tutkimuksessa pidetään tunneilmaisun kuulonvaraista tunnistamista ja ääniparametrien vaihtelua eri tunneilmaisujen välillä. Tutkimukseen osallistui 29 (tutkimus I) ja 32 (tutkimus III) ääninäytteiden kuuntelijaa, 11 naislaulajaa (6 klassisen laulutekniikan koulutuksen ja 5 populaarimusiikin laulutekniikan koulutuksen saaneita) (tutkimukset I & II), 2 mieslaulajaa (1 klassisen laulutekniikan koulutuksen ja 1 populaarimusiikin laulutekniikan koulutuksen saanut)(tutkimus I) sekä 6 + 6 laulunäytteitä antanutta näyttelijäopiskelijaa, joista toinen ryhmä osallistui parametrimodulaatiokoulutukseen ja toinen ryhmä sai tavanomaista laulukoulutusta (tutkimus III). Kuuntelijat tunnistivat neutraaleja ilmaisuja ja ilon, lempeyden, surun ja vihan tunteiden ilmaisua lyhyistä vokaalinäytteistä ja fraaseista. Laulajat ilmaisivat tunteita lyhyisiin (16-tahtia tutkimuksissa I & II & 8-tahtia tutkimuksessa III) melodioihin, joista ääninäytteet leikattiin. Pitkät [a:]-vokaalinäytteet analysoitiin Praat-äänenanalyysiohjelmalla. Äänestä mitattiin perustaajuus (fo), äänenpainetaso (SPL), formanttitaajuudet (F1-F5), hälyn suhde periodiseen ääneen (HNR), energian suhde spektrin ylempien ja alempien taajuuksien välillä (Alpha ratio), epäsäännöllinen syklinen variaatio perustaajuudessa (Jitter rap & ppq5), epäsäännöllinen syklinen variaatio amplitudissa (Shimmer apq3 ja apq5), vibratot (fo-vaihtelun taajuus ja laajuus & amplitudivaihtelun taajuus ja laajuus) sekä amplitudikontuurin muoto (äänen voimakkuuskäyrän muoto vokaalin aikana): isku, pidätys ja haipuminen (attack, sustain, release). Tutkimuksen tulokset osoittivat, että tunneilmaisu on mahdollista tunnistaa lauluäänestä, kun laulajat ilmaisevat tunnetta (tutkimukset I & III). Tässä tutkimuksessa tunneilmaisun tunnistaminen tuli helpommaksi sen jälkeen, kun laulajat saivat ohjeet parametrimodulaatiotekniikan käytöstä (tutkimus III). Tunneilmaisu tunnistettiin paremmin ei-klassisella tyylillä lauletuista laulunäytteistä (tutkimus I). Äänenkorkeudella, äänenpaineen tasolla sekä tunteen valenssilla (positiivinen/negatiivinen) ja aktivaatiotasolla (korkea/matala) oli vaikutusta tunteen tunnistamiseen (tutkimukset I-III). SPL, Alpha ratio ja HNR arvot kohosivat korkean aktiviteetin tunteissa (viha ja ilo) ja laskivat matalan aktiviteetin tunteissa (suru ja lempeys), mikä viittaa suurempaan lihasaktiivisuuteen ja tiukempaan äänihuulisulkuun korkean energian tunteissa (tutkimukset II & III). Formantit pakkautuivat korkean energian tunteissa ja sirottuivat matalan energian tunteissa, joka viittaa ääntöväylän muokkaukseen tunneilmaisussa (tutkimukset II & III). Jitteriä ja shimmeriä esiintyi enemmän matalan energian tunteissa, joka viittaa matalampaan lihasaktiivisuuteen (tutkimus II), fo-vibrato oli hitaampaa klassisesti koulutetuilla laulajilla (tutkimus II), kun taas ei-klassisilla laulajilla amplitudivibrato erotteli tunteita (tutkimus II). Äänen lopetukset olivat tilastollisesti merkitseviä tunneilmaisun kannalta ei-klassisella laulutekniikalla laulavilla laulajilla (tutkimus II). Tutkimuksen pääkysymys oli, onko mahdollista integroida vokologista tutkimustietoa tunneilmaisun akustisista parametreista laulunopetukseen ja sillä tavoin tehostaa tunneilmaisua lauluäänessä. Käytimme tutkimuksessa parametrimodulaatiotekniikkaan keskittyvää seitsemän viikon harjoitusohjelmaa, jossa opetettiin erilaisten äänenlaatujen käyttöä näyttelijäopiskelijaryhmälle. Samanlainen näyttelijäopiskelijaryhmä, joka ei saanut erityiskoulutusta, toimi kontrolliryhmänä. Testiryhmä lisäsi erilaisten äänenlaatujen käyttöä tunneilmaisun välineenä koulutuksen jälkeen. Tämä tulos vahvistettiin kuuntelijoiden arvioinneilla ja akustisilla analyyseillä. Tällaista vaikutusta ei näkynyt kontrolliryhmällä. Koulutuksen jälkeen testiryhmä näytti käyttävän taktisesti systemaattisemmin ensimmäistä formanttitaajuutta, äänenpainetasoa, hälyn määrää äänessä ja Alpha ratiota tunneilmaisuun. Tutkimus osoitti, että äänenpainetaso ja tapa, jolla energia jakautuu äänispektrissä, olivat kaksi tyypillisintä äänen tunnepiirteiden indikaattoria. Tutkimuksessa todetaan, että erilaisten äänenlaatujen kouluttaminen voi auttaa ilmaisemaan tunteita lauluäänessä.This study examines emotional expression in singing and its teachability using a novel parameter modulation technique. The work is an experimental comparative study using listener evaluations, acoustic analyses, and statistical deduction to assess the emotional expressiveness of the singing voice from short vocal samples and sung phrases. The investigation consists of three sub-studies, the first of which explores the auditory recognition of emotion from samples sung with Classical and non-Classical singing techniques at three different pitches. The second study compares the qualitative features of emotional expression in Classical and non-Classical singing techniques by means of acoustic analysis. The third sub-study focuses on teaching the parameter modulation technique to acting students. It compares the clarity of emotional expression between the instructional and control groups before and after the training intervention. The measures of emotional expression clarity in this study are considered to be the auditory recognition of emotional expression and the qualitative variation of the voice between different emotional expressions. The study involved 29 (Study I) and 32 (Study III) listeners of sound samples, 11 female singers (six with Classical singing technique training and five with popular music singing technique training) (Studies I & II), two male singers (one with Classical singing technique training and one with popular singing technique training) (Study I), and six + six acting students who gave song samples, one group of whom participated in the parameter modulation training while the other group received standard singing training (Study III). Listeners were to classify samples into neutral expressions and expressions of joy, tenderness, sadness, and anger from short vowel samples and phrases. The emotions were chosen because of their opposite positioning on the valence-activation scale. Singers sang spontaneous emotional expression into short melodies (16 bars in Studies I & II & 8 bars in Study III) from which sound samples were cut. Samples of the sung [a:] vowel were analyzed with the Praat sound analysis program. The samples were analyzed for fundamental frequency (fo), sound pressure level (SPL), formant frequencies (F1-F5), harmonics- to-noise ratio (HNR), energy ratio between upper and lower frequencies of the spectrum (Alpha ratio), irregular cycle-to-cycle variation of fundamental frequency (Jitter rap & ppq5), irregular cycle-to-cycle variation of amplitude (apq3 & apq5), vibratos (fo rate and extent & rate and extent of amplitude), and amplitude contour: attack, sustain, release. The results of the study showed that emotional expression can be identified from the singing voice when singers express emotion spontaneously (Studies I & III). In this study, the identification of emotional expression became easier after singers received instructions on the use of the parameter modulation technique (Study III). Emotional expression was better identified from song samples sung in a non-Classical style (Study I). Pitch, SPL, emotional valence (positive / negative), and activation level (high / low) had an effect on emotional recognition (Studies I-III). SPL, Alpha ratio, and HNR values increased in expressions of high activity emotions (anger and joy) and decreased in expressions of low activity emotions (sadness and tenderness), suggesting increased muscle activity and tighter vocal fold adduction in high energy emotions (Studies II & III). Formants packed in high-energy emotions and scattered in low-energy emotions, suggesting a modification of the vocal tract for the expression of different emotions (Studies II & III). Jitter and shimmer were more prevalent in low-energy emotions, suggesting lower muscle activity (Study II). Fundamental frequency vibrato was slower in Classically trained singers (Study II), whereas in non-Classical singers, amplitude vibrato was statistically significant in differentiating emotions (Study II). Vocal offsets were statistically significant in terms of emotional expression in singers singing with a non-Classical singing technique (Study II). The main question of the study was whether it is possible to integrate vocological research data on the acoustic parameters of emotional expression into practical singing exercises and thus enhance emotional expression in the singing voice. In the study, we used a seven-week training program focusing on parameter modulation techniques that taught the use of different sound qualities to a group of acting students. A similar group of acting students who did not receive special training served as a control group. The test group increased the use of different sound qualities as a means of emotional expression after training. This result was confirmed by acoustic analyses and improved recognition of emotions by the listeners. The control group did not show such an effect. After training, the test team appeared to use F1, SPL, HNR, and alpha ratio for emotional expression more systematically. The study showed that the sound pressure level and the way energy is distributed in the sound spectrum were the two most typical indicators of the emotional characteristics of sound. The study finds that training in different sound qualities can help with the expression of emotions in the singing voice

Evaluating the translational potential of relative fundamental frequency

Relative fundamental frequency (RFF) is an acoustic measure that quantifies short-term changes in fundamental frequency during voicing transitions surrounding a voiceless consonant. RFF is hypothesized to be decreased by increased laryngeal tension during voice production and has been considered a potential objective measure of vocal hyperfunction. Previous studies have supported claims that decreased RFF values may indicate the severity of vocal hyperfunction and have attempted to improve the methods to obtain RFF. In order to make progress towards developing RFF into a clinical measure, this dissertation aimed to investigate further the validity and reliability of RFF. Specifically, we examined the underlying physiological mechanisms, the auditory-perceptual relationship with strained voice quality, and test-retest reliability. The first study evaluated one of the previously hypothesized physiological mechanisms for RFF, vocal fold abduction. Vocal fold kinematics and RFF were obtained from both younger and older typical speakers producing RFF stimuli with voiceless fricatives and stops during high-speed videoendoscopy. We did not find any statistical differences between younger and older speakers, but we found that vocal folds were less adducted and RFF was lower at voicing onset after the voiceless stop compared to the fricative. This finding is in accordance with the hypothesized positive association between vocal fold contact area during voicing transitions and RFF. The second study examined the relationship between RFF and strain, a major auditory-perceptual feature of vocal hyperfunction. RFF values were synthetically modified by exchanging the RFF contours between voice samples that were produced with a comfortable voice and with maximum vocal effort, while other acoustic features remained constant. We observed that comfortable voice samples with the RFF values of maximum vocal effort samples had increased strain ratings, whereas maximum vocal effort samples with the RFF values of comfortable voice samples had decreased strain ratings. These findings support the contribution of RFF to perceived strain. The third study compared the test-retest reliability of RFF with that of conventional voice measures. We recorded individuals with healthy voices during five consecutive days and obtained acoustic, aerodynamic, and auditory-perceptual measures from the recordings. RFF was comparably reliable as acoustic and aerodynamic measures and more reliable than auditory-perceptual measures. This dissertation supports the translational potential of RFF by providing empirical evidence of the physiological mechanisms of RFF, the relationship between RFF and perceived strain, and test-retest reliability of RFF. Clinical applications of RFF are expected to improve objective diagnosis and assessment of vocal hyperfunction, and thus to lead to better voice care for individuals with vocal hyperfunction.2021-09-25T00:00:00

Models and Analysis of Vocal Emissions for Biomedical Applications

The Models and Analysis of Vocal Emissions with Biomedical Applications (MAVEBA) workshop came into being in 1999 from the particularly felt need of sharing know-how, objectives and results between areas that until then seemed quite distinct such as bioengineering, medicine and singing. MAVEBA deals with all aspects concerning the study of the human voice with applications ranging from the neonate to the adult and elderly. Over the years the initial issues have grown and spread also in other aspects of research such as occupational voice disorders, neurology, rehabilitation, image and video analysis. MAVEBA takes place every two years always in Firenze, Italy

Respiratory Muscle Strength Training to Improve Vocal Function of Patients with Presbyphonia

Background: Presbyphonia is an age-related voice disorder characterized by vocal fold atrophy, and its effects on voice are potentially compounded by declines in respiratory function. We assessed: 1) the relationships between respiratory and voice function; 2) the effect of adding respiratory exercises to voice therapy; and 3) the impact of baseline respiratory function on the response to therapy in patients with presbyphonia. Methods: Twenty-one participants underwent respiratory and voice assessments, from which relationships were drawn. Ten of these participants were blocked-randomized to receive either voice exercises only, or voice exercises combined with inspiratory muscle strength training or expiratory muscle strength training, for a duration of four weeks. Results: FVC, FEV1, and MEP had an impact on phonation physiology through their effect on aerodynamic resistance and vocal fold pliability. Percent predicted values of FVC and FEV1 were strong predictors of perceived voice handicap. IMST induced the largest improvements in perceived handicap, and a lower baseline respiratory function was associated with a greater improvement, regardless of the intervention received. Conclusion: Respiratory function impacts voice and the response to behavioral voice therapy. Adding IMST to voice exercises improves self-reported outcomes even in patients with a normal respiratory function

Models and Analysis of Vocal Emissions for Biomedical Applications

The International Workshop on Models and Analysis of Vocal Emissions for Biomedical Applications (MAVEBA) came into being in 1999 from the particularly felt need of sharing know-how, objectives and results between areas that until then seemed quite distinct such as bioengineering, medicine and singing. MAVEBA deals with all aspects concerning the study of the human voice with applications ranging from the neonate to the adult and elderly. Over the years the initial issues have grown and spread also in other aspects of research such as occupational voice disorders, neurology, rehabilitation, image and video analysis. MAVEBA takes place every two years always in Firenze, Italy. This edition celebrates twenty years of uninterrupted and succesfully research in the field of voice analysis

EFFECTS OF VOCAL INTENSITY AND PHYSICAL ACTIVITY LEVELS ON PHONATORY AND RESPIRATORY FUNCTION

The vocal folds act as gatekeeper to the flow of air into and out of the lower airway. Another function of the vocal folds is that of oscillating sound source. To date, research has shown that under high respiratory drive (HRD) conditions voice is breathy, suggesting respiratory function will be favored over voice as physiologic needs increase. The problem is for physically active voice users, acoustic goals are relatively fixed. This study used a “physiology of activity” paradigm within action theory to investigate the extent to which phonatory and respiratory functions may be affected by systemically varying vocal and metabolic goals. Thirty-two English-speaking females, ages 18-35 years, who were vocally untrained and recreationally active, participated in the study. Participants produced sets of seven consonant-vowel syllables, at rest, using a pre-determined pitch at a comfortable loudness and in a loud voice. Following, participants walked on a treadmill to achieve low and high workloads at established speed and grade adjustments. The same speech task was repeated, using the same vocal intensities. Order of vocal and exercise intensities were counterbalanced. In terms of phonatory function, Rlaw increased significantly more from a baseline of spontaneous voice at rest during loud voice compared to spontaneous voice, mediated by an increase in Ps. Moreover, Rlaw decreased significantly more from baseline with an increase in workload, resulting in increases in metabolic variables. The decrease in Rlaw coincided with numerical increases in airflow. Voice production, as compared to breathing, reduced Ve, interfering with gas exchange. No differences existed for metabolic variables between voice conditions. This study reflected an attempt to understand the impact of goal-oriented behavior on phonatory and respiratory functions during HRD by manipulating acoustic and metabolic goals. Consistent with prior research, voice, as opposed to breathing, resulted in airflow limitation during HRD, reducing ventilation and CO2 clearance. Extreme respiratory perturbations lead to decreases in phonatory function to support metabolic needs. As predicted by action theory, loud voice appeared to favor phonatory function when acoustic goal was specified, at least in the short term. Conversely, spontaneous voice demonstrated deference to respiratory function when acoustic goals remained unspecified