Effect of the glottal source and the vocal tract on the partials amplitude of vibrato in male voices

In this paper the production of vocal vibrato is investigated. The most relevant features of the acoustical vibrato signal, frequency and amplitude variations of the partials, will be related to the voice production features, glottal source GS and vocal tract response VTR . Unlike previous related works, in this approach, the effect on the amplitude variations of the partials of each one of the above-mentioned voice production features will be identified in recordings of natural singing voice. Moreover, we will take special care of the reliability of the measurements, and, to this aim, a noninteractive vibrato production model will be also proposed in order to describe the vibrato production process and, more importantly, validate the measurements carried out in natural vibrato. Based on this study, it will be shown that during a few vibrato cycles, the glottal pulse characteristics, as well as the VTR, do not significantly change, and only the fundamental frequency of the GS varies. As a result, the pitch variations can be attributed to the GS, and these variations, along with the vocal tract filtering effect, will result in frequency and amplitude variations of the acoustic signal partials.This work was supported in part by the Ministerio de Educación y Ciencia under Grant FPU, AP2000-4674. The Gobierno de Navarra and the Universidad Pública de Navarra are gratefully acknowledged for financial support

The Effect of Timbre and Vibrato on Vocal Pitch Matching Accuracy

Research has shown that singers are better able to match pitch when the target stimulus has a timbre close to their own voice. This study seeks to answer the following questions: 1. Do classically trained female singers more accurately match pitch when the target stimulus is more similar to their own timbre? 2. Does the ability to match pitch vary with increasing pitch? 3. Does the ability to match pitch differ depending on whether the target stimulus is produced with or without vibrato? 4. Are mezzo sopranos less accurate than sopranos? Stimuli: Source signals were synthesized with a source slope of -12dB/octave using vibrato and without vibrato at each of the frequencies, C4, B4 and F5. These source signals were filtered using 5 formant patterns (A-E) of vowel /a/ constituting a total of 30 stimuli (5 formant patterns*3pitches*2 vibrato conditions). Procedure: Ten sopranos and 10 mezzo-sopranos with at least 3 years of individual voice training were recruited from the University Of Tennessee School Of Music and the Knoxville Opera Company. Each singer attempted to vocally match the pitch of all 30 stimuli presented twice in a random order. Analysis and results: Pitch matching accuracy was measured in terms of the difference in cents between the target and the experimental productions at two locations, (1) pre-phonatory set (2) mid-point of the vowel. Accuracy of pitch matching was compared across vibrato and nonvibrato conditions. Results indicated that there was no significant effect of formant pattern on pitch matching accuracy. With increasing pitch from C4 to F5, pitch matching accuracy increased in mid-point of the vowel condition but not in pre-phonatory set condition. Mezzosopranos moved towards being in tune from pre-phonatory to mid-point of the vowel. However, sopranos at C4, sang closer to being in tune at pre-phonatory, but lowered the pitch at the midpoint of the vowel. Presence or absence of vibrato did not affect the pitch matching accuracy. However, the interesting finding of the study was that singers attempted to match the timbre of stimuli with vibrato. Results are discussed in terms of interactions between pitch and timbre from auditory perceptual as well as physiological point of view and how current theories of pitch perception relate to this phenomenon. Neither physiological nor auditory perceptual mechanisms provide complete explanations for the results obtained in the study. From a perceptual point of view, an interaction between pitch and timbre seems to be more complex, for spectral and temporal theories are limited in explaining these interactions. Also, possible explanations for the phenomenon of timbre matching are provided

It Sounds like It Feels: Preliminary Exploration of an Aeroacoustic Diagnostic Protocol for Singers

To date, no established protocol exists for measuring functional voice changes in singers with subclinical singing-voice complaints. Hence, these may go undiagnosed until they progress into greater severity. This exploratory study sought to (1) determine which scale items in the self-perceptual Evaluation of Ability to Sing Easily (EASE) are associated with instrumental voice measures, and (2) construct as proof-of-concept an instrumental index related to singers’ perceptions of their vocal function and health status. Eighteen classical singers were acoustically recorded in a controlled environment singing an /a/ vowel using soft phonation. Aerodynamic data were collected during a softly sung /papapapapapapa/ task with the KayPENTAX Phonatory Aerodynamic System. Using multi and univariate linear regression techniques, CPPS, vibrato jitter, vibrato shimmer, and an efficiency ratio (SPL/PSub) were included in a significant model (p < 0.001) explaining 62.4% of variance in participants’ composite scores of three scale items related to vocal fatigue. The instrumental index showed a significant association (p = 0.001) with the EASE vocal fatigue subscale overall. Findings illustrate that an aeroacoustic instrumental index may be useful for monitoring functional changes in the singing voice as part of a multidimensional diagnostic approach to preventative and rehabilitative voice healthcare for professional singing-voice users

Interjudge Reliability in the Measurement of Pitchmatching

In the clinical analysis and treatment of voice disorders, software packages allow the extraction of acoustic voice parameters, such as fundamental frequency, from patient vocal productions. The utility of such software packages in the clinical situation, however, is dependent upon consistency in their use and in interpretation of the analyses they provide. The present study focused on the extraction and interpretation of voice pitch data. Samples from eight trained singers who were asked to match the pitch of both pure tones and synthesized human voice were submitted to the Kay Elemetrics Computerized Speech Lab for analysis. Estimates of voice pitch were made by three judges, and the inter-rater reliability was measured. Results indicated that judges were very consistent in the estimation of token duration but varied widely in estimates of fundamental frequency. These results have important implications for use of such software packages in clinical diagnosis and treatment.ASC Undergraduate Research ScholarshipSBS Undergraduate Research Scholarshi

The Flute Inside-Out: Tracking Internal Movements in Flute Playing

Analyses in the past have revealed that flute sound production is a complex procedure involving internal movements of the body. The larynx and pharynx in particular play a crucial role. Some authors, advocate for the abdominal muscles, while others, draw attention to the lips and the oral cavity. However, despite the various studies, the physiology of flute playing is limited by lack of empirically-derived information about what happens when a player carries out musical tasks. The present study is an empirical investigation of the role of the larynx and pharynx in flute playing from the perspective of a flute specialist. Specifically, the study aims to determine vocal fold involvement in vibrato, epiglottis movements, arytenoids and epiglottis involvement in articulation, and glottal aperture in tone and dynamics production (soft to loud, loud to soft). A detailed analysis of the relationship between standard flute techniques and the larynx and pharynx mechanisms is presented, making a significant contribution to the flute pedagogical literature. Two male and three female experienced players (referred to in the study as “the participants”) participated in a video-nasendoscopy procedure. The behaviour of the participants’ larynxes and pharynxes while playing a performance protocol specifically designed for this research was observed by a qualified speech pathologist. Specifically, the observer analysed true vocal fold adduction, false vocal fold adduction, laryngeal height, pharyngeal space, epiglottis movement, and arytenoid adduction. This study reveals that laryngeal/pharyngeal participation in flute playing is not limited to vibrato production or specific techniques, such as singing and playing or flutter tongue (tongue rolling effect while playing). The larynx plays a major role in producing flute tone and dynamics and should be considered by pedagogues, performers and health specialists. These findings can assist flute professionals in their daily practice, performances and teaching. Knowing the role of the larynx in vibrato, articulation, pitch control, and dynamics control, reveals a new tool for flute players to use with assurance when preparing any piece of the standard repertoire, or teaching a student

Healthy belting for the classically trained singer

This treatise explores the history of belting, the differences in types of belting, belting registers, exploring a methodology of healthy, and stylistically correct belt. The ability to sing musical theatre style has become high in demand from both Broadway and Opera companies. About more than half of Young Artist Programs, pay to sings, and apprenticeships put on at least one musical theater show a season. Those on the audition panel now ask in the audition requirements for at least one musical theatre piece to perform for them. Having the knowledge of how to properly belt will help the performer have more opportunities than other singers who only know how to sing bel canto style. This treatise will include a new methodology that will address a belting technique through the lens of a classically trained singer and how to transfer elements from bel canto technique into a belting technique. The questions that will be addressed in this treatise are as follows: 1. What quality and stylistic elements does belting require? 2. What is the difference between the contemporary commercial music methodology (CCM) and musical theatre methodology on belting? 3. Why is it important to learn how to belt as a classical singer? The author will answer these questions by providing information from sources of both professional teachers in the classical singer industry as well as professional teachers in the musical theater industry. Proper vocal exercises with detailed instructions are also provided to help the classically trained singer navigate their voice in belting. The relevance of this topic is very strong right now, this is a need that people are trying to educate themselves by watching Youtube tutorials, reading inaccurate literature on belting, and trying to do it on their own with no proper knowledge on the subject. If belting improperly, a singer is susceptible to injuring their voice. It is time to break the myths and cautions on belting and make it known that there is a healthy and stylistically appropriate way to belt.Musi

Respiration in operatic singing: Intention to communicate

Professional operatic singing can be performed technically for practice and rehearsal, or with heightened emotion through intention to communicate with an audience. Previous studies of respiration in operatic singing have not taken into account the professional performer's ability to differentiate at will between rehearsal and performance modes of singing. The aim of this thesis is to investigate the differences between singing 'with intention to communicate' (as if performing) and singing 'technically' (as if in rehearsal). The hypothesis is that this specified change of condition would change the respiratory patterns employed by the singers. Estimation of respiratory patterns was obtained using magnetometers. Performance singing was labelled 'IC' (intention to communicate). Rehearsal singing was labelled 'T' (technical) and also included 'TL' (technical loud) and 'TS' (technical soft). Each of the five singers performed two tasks (a free choice aria in Italian, and a set song). Only intra-subject analysis was used. One thousand and one breaths were analysed. These were then matched, so that only complete musical phrases (sung six times by the same singer) were compared with each other. Seven hundred and sixty-two matched phrases were analysed in this way. Measured variables were initiation lung volume (ILV), termination lung volume (TLV), the amount of lung volume expired (LVE), %VC released per second (Flow), the expiratory time (Te), and inspiratory time (Ti). Sound pressure level (SPL) was measured. This study also examined the ability of experienced listeners to distinguish between the T and IC performances from DAT recordings. Findings show that in comparison with T singing, IC singing used more air, with a greater percentage of vital capacity expired per second, but without a simple association with sound pressure level or expiratory time. Listeners were able to distinguish IC from T performances, demonstrating a perceived difference in the quality of the vocal output. These results demonstrate that performance intention to communicate, compared to rehearsal, results in a measurable difference in respiratory parameters, and therefore needs to be specified in future research

Focus of attention affects singer's tone production

textIt is now well understood that skilled motor behavior is affected by performers' focus of attention. This effect has been demonstrated in numerous and varied motor tasks, from golf-putting to piano playing. I conducted two experiments with college-aged singers to test the extent to which trained singers' vocal tone is affected by their focus of attention while singing. In Experiment 1 (N = 11) participants sang a 3-note sequence and an excerpt of a well-learned melody under six different focus conditions. In Experiment 2 (N = 20) participants sang 3-note sequences in both high and low vocal registers, a well-learned melody, and an unpracticed, familiar melody under seven different focus conditions. Focus of attention affected participants' vocal tone in all of the singing tasks. The results of the two experiments are consistent with the results of related investigations of attentional focus in motor skill performance. Singers' tone was rated most highly and described most positively by expert listeners when singers' focused their attention on external rather than internal targets. Focusing on distal targets (i.e., targets that were far removed from the vocal mechanism) in particular was associated with high ratings and positive descriptions of vocal tone.Musi

Loudness of the singing voice: A room acoustics perspective

This thesis is examining ectophonic (sounds created outside the human body) and autophonic (sound from one’s own voice) loudness perception for the operatic voice, within the context of room acoustics. Ectophonic loudness perception was modelled within the context of room acoustics for the operatic voice in chapter two. These models were then used to explore the loudness envelope of the messa di voce (MDV), where psychoacoustically based measures were shown to perform better than physical acoustic measures used in previous studies. The third chapter addressed autophonic loudness perception, while presenting limitations in modelling it in a manner similar to ectophonic loudness models. Some of these limitations were addressed in chapter four with two experiments where autophonic loudness of opera singers was explored using direct psychoacoustical scaling methods, within simulated room acoustic environments. In the first experiment, a power law relationship between autophonic loudness and the sound pressures produced was noticed for the magnitude production task, with different power law exponents for different phonemes. The contribution of room acoustics for autophonic loudness scaling was not statistically significant. Lombard slope, as it applies to autophonic perception and room acoustics was also studied, with some evidence found in support. The second experiment in chapter four explored autophonic loudness for more continuous vocalisations (crescendi, decrescendi, and MDV) using adapted direct scaling methods. The results showed that sensorimotor mechanisms seem to be more important than hearing and room acoustics in autophonic loudness perception, which is consistent with previous research. Overall, this thesis showed that the room acoustics effect on the loudness of the singing voice needs to be assessed based on the communication scenario. This has relevance for voice analysis, loudness perception in general, room acoustics simulation, and vocal pedagogy

Acoustic Measures of the Singing Voice in Secondary School Students

Descriptions of voice quality in vocal and choral music often rely on subjective terminology, which may be perceived differently between individuals. As access to software used in acoustic measurement becomes more widespread and affordable, music educators can potentially combine traditional descriptive terminology with objective acoustic descriptors and data, which may improve both teaching and singing. The secondary school choral music educator has specific challenges, in that they teach students who experience drastic physical and acoustic changes of the voice as they grow from children to adults. The purpose of this study was to objectively analyze various acoustic characteristics of the singing voice in secondary school students. In this study, secondary school students (N = 157) from three different schools who were enrolled in choir (n = 89) or instrumental music classes (n = 68) recorded voice samples singing five vowels, /i/, /e/, /a/, /o/, and /u/. Research questions investigated (a) descriptive statistics for vibrato rate, vibrato extent, singing power ratio, and amplitude differences between specific harmonic pairs; (b) differences in vibrato rate and extent between students enrolled in choir and students not enrolled in choir; (c) between-subjects and within-subjects comparisons in singing power ratio (SPR) between singers based on choir enrollment and voice part for five different vowel productions; and (d) between-subjects and within-subjects comparisons for differences in amplitude between specific harmonics between singers based on choir enrollment and voice part for five different vowel productions. Vibrato rate (M = 4.58 Hz, SD = 1.45 Hz ), vibrato extent (M = 1.45% or 25 cents, SD = 0.86% or 15 cents), and SPR (M = 24.67 dB, SD = 10 dB), and various amplitude differences were not different between students enrolled in choir and students not enrolled in choir. There were significant within-subjects differences for singers by vowel, as well as significant within-subjects interactions for vowel and voice part with SPR and amplitude differences between harmonic pairs. There were also significant differences between voice parts for amplitude difference between harmonic pairs. Implications for choral music educators and suggestions for further research based on these findings were discussed in Chapter 5