A study on structure and functions of organs involved in the formation of Mongolian Khuumii sound

Khuumii (throat or overtone singing) is a unique form of art derived from the nomadic population of Central Asia, which is a type of singing in which the singer manipulates the resonances (or formants) created as air travels from the lungs, past the vocal folds, and out of the lips to produce a melody. A total of 60 participants, aged 18-60 years (54 men and 6 women), were selected by non-random sampling method using cross-sectional study. X-ray, endoscopy, and sound research method were used in the study, and the composition of blood gas was analysed. X-ray examination determined the state during each different types of Khuumii; Shakhaa and Kharkhiraa. As the basic timbre of Shakhaa Khuumii went up progressively the larynx grew and the compression strength increased, while the basic timbre went down, and the larynx became lower. In the case of Kharkhiraa Khuumii, the larynx position was elevated to a relatively small extent compared to Shakhaa Khuumii and the distance between the sublingual bone and the larynx was large. The sublingual bone trunk lowered during Shakhaa Khuumii, while it was slightly elevated during Kharkhiraa Khuumii. The laryngeal endoscopy evaluated the movement of true and false vocal chords, glottal volume, movements of epiglottis and arytenoid cartilage, and mucosa. Furthermore, the sound frequency is 2-4 times higher than that of normal speech, and sound volume is 0.5-1 times higher. The blood gas composition test showed partial pressure (pO2), and saturation of oxygen (SaO2) decreased after performing Khuumii. In the case of Shakhaa and Kharkhiraa Khuumi, it is appropriate to divide Khuumii into two main types according to structural and functional changes in the organs involved

Timbre-based composition:exploration of drone-overtone singing with reference to Tuvan and Mongolian sonorities and its integration into Western contemporary compositions.

This doctoral research in composition focuses on investigating Tuvan throat singing (khöömei), in comparison with Mongolian throat singing (khöömii) and its application in Western contemporary classical composition. This has been achieved through a survey ofethnomusicology and the inclusion of timbre-centrism in my compositions. The ethnomusicological angle aims to discover exemplary research methods for khöömei bridging the oppositions of outsider (etic) and insider (emic) perspectives. Based on this goal, this research explores two examples of research approaches: an etic approach by A. N. Aksenov and the combination of etic and emic approach by Theodore Levin with Valentina Süzükei. Ultimately, this exploration underlines the importance of combining etic and emic approaches giving priority to emic perspective in the research of khöömei and its integration into experimental compositional practices. Additionally, this research finds that the political changes in Inner Asia have influenced the cultural maintenance transforming the art form and practice of khöömei. This ends up with developing khöömei as state or national art in each state that practises khöömei. This actuality is investigated not only by noticing the dispute over the ownership of khöömei among its holders but also by looking into the stylistic difference between Tuva Republic and Mongolia. However, this research concentrates more on intrinsic personal diversity and creativity of khöömei performance supporting this idea with graphic analyses, which have become an influential vehicle in my music-making process. Finally, an in-depth study of Tuvan aesthetic in music “timbre-centred listening” is undertaken, and then methods of imbuing the sounds of nature into European-style composition are minutely traced.On the compositional side, Tuvan ethnomusicologist Valentina Süzükei’s theory “timbrecentralism” has been tested as a valid musical system for contemporary classical music looking at the potential that hybrid music surmounts cultural appropriation. Various musical experiments with khöömei have been conducted in practical ways based on Tuvan musical aesthetics, new notation and technique applications, interdisciplinary approaches, and becoming a khöömei practitioner myself. Additionally, other ethnic and extended vocal techniques such as the Inuit vocal game katajjaq, vocal fry and "drone-partials vocal technique" (see Pegg 2024 forthcoming for the latter), as Stockhausen demands in his piece Stimmung, have been experimented with by myself and versatile vocalists within my compositions. This practical research is demonstrated in the concert recordings that accompany and should be considered as a part of this portfolio

Physiologie de la voix chantée: vibrations laryngées et adaptations phono-résonantielles

Format Broché, 155 pages ISBN 978-2-84023-772-3National audienceNous possédons chacun dès notre naissance un instrument vocal, unique et personnel. Il nous sert à nous exprimer, à communiquer avec l'autre. Il est aussi instrument de musique, aux multiples possibilités d'expression en hauteur et en timbre. Dans ce chapitre qui fait suite au chapitre sur la physiologie de la voix parlée, nous allons explorer la voix dans ses expressions musicales. Que notre voix soit parlée ou chantée, nous faisons usage du même instrument. Les différences entre voix parlée et voix chantée ne sont donc pas anatomiques. Elles proviennent du contrôle de l'instrument, de l'exploration de ses possibles, de la conscientisation de son usage. Il faudrait tout un livre pour décrire les propriétés physiologiques de l'instrument vocal en voix chantée. Nous faisons le choix ici de résumer certains aspects, à partir de la littérature et de nos recherches propres. Nous nous intéressons aux questions de contrôle de la hauteur et de gestion du timbre, en laissant de côté les aspects de physiologie respiratoire et de neurophysiologie

Bi-phonic voice: a study of the potential for using the extended vibrational qualities of overtone chanting and singing as an intervention in training the speaking voice

Research report submitted in partial fulfilment of the requirements for the degree of Master of Arts by Coursework and research report School of Arts, Drama Division University of the Witwatersrand, Johannesburg, South AfricaThis study examines human vocal production through the lens of vibration. The needs of the speaking voice in terms of communication are explored, with particular emphasis on the vocal needs of the professional speaker, where extended range and resonance will ensure optimum communicative effect. As this goal may require training, a comparative study is presented of approaches to vocal training that have the aim of improving resonance and range while minimising damage to the vocal apparatus. These approaches include the quest to overcome physical, societal and emotional blocks to effective vocal production. This comparative study is based on the writings of a selection of popular vocal training theorists’ writings. To enhance the study of effective vocal production, the physical and physiological means of meeting the needs of producing voice are explored, by an interrogation of what vibration is in terms of vocal production. To investigate this, I have examined the physical nature of vibration, followed by the physiological aspect of this vibration as it relates to vocal production. Included in this investigation is an appreciation of what might affect the vibrations of speech that relate to resonance and range, to either enhance or hinder them. Because Bi-phonic voice, or Overtone singing and chanting, uses extended vibrational qualities, this study explores the possibility of using these vibrational qualities in vocal training to extend range and resonance. A brief ethnological study of Bi-phonic voice is presented followed by an examination of its functioning with emphasis on the manner in which the vibrations used may differ from those in western vocal techniques. Experiential reports of Bi-phonic vocal production, obtained through interviews, are presented, which in conjunction with literature on the practice will contribute to ascertaining whether there is in fact potential for using the techniques, without endangering the vocal apparatus, as an adjunct to current vocal training trends

DRIVES VOCAIS GLÓTICOS: ANÁLISE NASOLARINGOSCÓPICA E ESPECTRAL DAS MUDANÇAS ANATOMOFISIOLÓGICAS NA VOZ CANTADA

TCC(graduação) - Universidade Federal de Santa Catarina. Centro de Ciências da Saúde. Fonoaudiologia.Resumo: Os drives vocais são ornamentos vocais pertencentes à estética do canto popular e almejados por cantores de diversos estilos. Os avanços das ciências vocais permitiram a desmistificação desse tipo de técnica nas ultimas quatro décadas, classificando-os como drives glóticos, supraglóticos ou mistos. A abordagem interdisciplinar na avaliação de cantores que usam drives glóticos é fundamental para a compreensão ampla das particularidades de cada caso. O presente estudo tem como principal objetivo descrever os achados anatomofisiológicos e espectrais dos drives glóticos, identificados na prática de muitos cantores. Métodos. Foi coletada a amostra de três cantores em emissão cantada com e sem drives. Foi utilizado o kit AudioBox Studio One da PreSonus® para gravar a voz durante a avaliação nasolaringoscópica. Os cantores passaram por aquecimento vocal e avaliação funcional da laringe baseados em dois estudos sobre cantores contemporâneos. Resultados. Os cantores executaram os drives Power Creaky Voice e Phaser e ambos apresentaram comportamentos anatomofisiológicos particulares. A laringe foi baixa no primeiro drive e no nível da voz limpa no segundo, sendo observada a abertura posterior da glote nos dois drives, com abertura do terço médio para o primeiro também. Os formantes apresentam variação conforme os ajustes de trato vocal utilizados para os drives. Conclusões. Os drives glóticos apresentam comportamento anatomofisiológico complexo em sua composição, com participação fundamental do músculo interaritenóideo transverso e cricoaritenoideos laterais. F3 variou de acordo com o comprimento longitudinal e F4 com o diâmetro, sendo ambos relacionados com os ajustes tridimensionais do trato vocal

Ihmisen äänentuoton analysointi käänteissuodatuksen, suurnopeuskuvauksen ja elektroglottografian avulla

Human voice production was studied using three methods: inverse filtering, digital high-speed imaging of the vocal folds, and electroglottography. The primary goal was to evaluate an inverse filtering method by comparing inverse filtered glottal flow estimates with information obtained by the other methods. More detailed examination of the human voice source behavior was also included in the work. Material from two experiments was analyzed in this study. The data of the first experiment consisted of simultaneous recordings of acoustic speech signal, electroglottogram, and high-speed imaging acquired during sustained vowel phonations. Inverse filtered glottal flow estimates were compared with glottal area waveforms derived from the image material by calculating pulse shape parameters from the signals. The material of the second experiment included recordings of acoustic speech signal and electroglottogram during phonations of sustained vowels. This material was utilized for the analysis of the opening phase and the closing phase of vocal fold vibration. The evaluated inverse filtering method was found to produce mostly reasonable estimates of glottal flow. However, the parameters of the system have to be set appropriately, which requires experience on inverse filtering and speech production. The flow estimates often showed a two-stage opening phase with two instants of rapid increase in the flow derivative. The instant of glottal opening detected in the electroglottogram was often found to coincide with an increase in the flow derivative. The instant of minimum flow derivative was found to occur mostly during the last quarter of the closing phase and it was shown to precede the closing peak of the differentiated electroglottogram.Ihmisen puheentuottoa tutkittiin kolmella menetelmällä: käänteissuodatuksella, äänihuulten digitaalisella suurnopeuskuvauksella ja elektroglottografialla. Päätavoitteena oli tarkastella erään käänteissuodatusmenetelmän toimintaa vertailemalla näillä menetelmillä saatua informaatiota äänihuulten värähtelystä. Lisäksi tutkittiin tarkemmin eräitä äänilähteen käyttäytymisen yksityiskohtia. Tutkimuksessa analysoitiin aineistoa kahdesta koejärjestelystä. Ensimmäisessä kokeessa tallennettiin samanaikaisesti äänisignaali, elektroglottogrammi ja suurnopeuskuvamateriaalia äänihuulista koehenkilöiden tuottaessa pitkiä vokaaleita. Käänteissuodatuksella saaduista glottisvirtausestimaateista sekä kuvamateriaalin ilmaisemasta ääniraon pinta-alavaihtelusta laskettiin pulssiparametreja, joiden avulla vertailtiin virtauksen ja ääniraon pinta-alan käyttäytymistä. Toisen koejärjestelyn aineisto koostui äänisignaalista ja elektroglottogrammista, jotka oli tallennettu vokaaliääntöjen aikana. Tämän materiaalin perusteella analysoitiin ääniraon avautumis- ja sulkeutumisvaihetta. Tarkastellun käänteissuodatusmenetelmän todettiin tuottavan enimmäkseen luotettavia virtausestimaatteja edellyttäen, että menetelmän parametrit asetetaan tarkoituksenmukaisesti, mikä vaatii käyttäjältä kokemusta käänteissuodatuksesta ja ihmisen puheentuotosta. Glottisvirtauksen avautumisvaiheen havaittiin olevan useissa virtausestimaateissa kaksivaiheinen siten, että virtauksen kasvu voimistuu nopeasti kahdessa kohdassa sulkeutumisen ja maksimivirtauksen välillä. Virtauksen kasvun todettiin usein voimistuvan elektroglottogrammista tunnistetun ääniraon avautumishetken lähellä. Virtauksen derivaatan minimikohdan havaittiin sijoittuvan enimmäkseen virtauksen sulkeutumisvaiheen viimeiseen neljännekseen, ja sen osoitettiin esiintyvän ennen elektroglottogrammin derivaatan minimikohtaa