Study on some aspects of the “singer's formant” in north indian classical singing

This article deals with a spectrographic analysis of the singer's formant as occurred during singing of the vowels /a/, /i/, and /o/ in North Indian classical vocal music. The resonance balance, center frequency, and band-width are shown as a function of fundamental frequency for eight singers.Two new parameters have been defined viz. asymmetry parameter (A) and spectral energy balance (W). Their variation with fundamental frequency is shown.     

Comparison of Singer's Formant, Speaker's Ring, and LTA Spectrum Among Classical Singers and Untrained Normal Speakers

Many studies have described and analyzed the singer's formant. A similar phenomenon produced by trained speakers led some authors to examine the speaker's ring. If we consider these phenomena as resonance effects associated with vocal tract adjustments and training, can we hypothesize that trained singers can carry over their singing formant ability into speech, also obtaining a speaker's ring? Can we find similar differences for energy distribution in continuous speech? Forty classically trained singers and forty untrained normal speakers performed an all-voiced reading task and produced a sample of a sustained spoken vowel /a/. The singers were also requested to perform a sustained sung vowel /a/ at a comfortable pitch. The reading was analyzed by the long-term average spectrum (LTAS) method. The sustained vowels were analyzed through power spectrum analysis. The data suggest that singers show more energy concentration in the singer's formant/speaker's ring region in both sung and spoken vowels. The singers' spoken vowel energy in the speaker's ring area was found to be significantly larger than that of the untrained speakers. The LTAS showed similar findings suggesting that those differences also occur in continuous speech. This finding supports the value of further research on the effect of singing training on the resonance of the speaking voice.     

The sound level of the singer's formant in professional singing

The relative sound level of the "singer's formant," measured in a 1/3-oct band with a center frequency of 2.5 kHz for males and of 3.16 kHz for females, has been investigated for 14 professional singers, nine different modes of singing, nine different vowels, variations in overall sound-pressure level, and fundamental frequencies ranging from 98 up to 880 Hz. Variation in the sound level of the singer's formant due to differences among male singers was small (4 dB), the factors vowels (16 dB) and fundamental frequency (9-14 dB) had an intermediate effect, while the largest variation was found for differences among female singers (24 dB), between modes of singing (vocal effort) (23 dB), and in overall sound-pressure level (more than 30 dB). In spite of this great potential variability, for each mode of singing the sound level of the singer's formant was remarkably constant up to F0 = 392 Hz, due to adaptation of vocal effort. This may be explained as the result of the perceptual demand of a constant voice quality. The definition of the singer's formant is discussed.     

Acoustic comparison of voice use in solo and choir singing

An experiment was carried out in which eight bass/baritone singers were recorded while singing in both choral and solo modes. Together with their own voice, they heard the sound of the rest of the choir and a piano accompaniment, respectively. The recordings were analyzed in several ways, including computation of long-time-average spectra for each passage, analysis of the sound levels in the frequency ranges corresponding to the fundamental and the "singer's formant," and a comparison of the sung levels with the levels heard by the singers. Matching pairs of vowels in the two modes were inverse filtered to determine the voice source spectra and formant frequencies for comparison. Differences in both phonation and articulation between the two modes were observed. Subjects generally sang with more power in the singer's formant region in the solo mode and with more power in the fundamental region in the choral mode. Most singers used a reduced frequency distance between the third and fifth formants for increasing the power in the singer's formant range, while the difference in the fundamental was mostly a voice source effect. In a choral singing mode, subjects usually adjusted their voice levels to the levels they heard from the other singers, whereas in a solo singing mode the level sung depended much less on the level of an accompaniment.     

Formant frequencies in Estonian folk singing.

Formant frequencies in an old Estonian folk song performed by two female voices were estimated for two back vowels /a/ and /u/, and for two front vowels /e/ and /i/. Comparison of these estimates with formant frequencies in spoken Estonian vowels indicates a trend of the vowels to be clustered into two sets of front and back ones in the F1/F2 plane. Similar clustering has previously been shown to occur in opera and choir singing, especially with increasing fundamental frequency. The clustering in the present song, however, may also be due to a tendency for a mid vowel to be realized as a higher-beginning diphthong, which is characteristic of the North-Estonian coastal dialect area where the singers come from. No evidence of a "singer's formant" was found.     

Long-Term-Average Spectrum Characteristics of Country Singers During Speaking and Singing

Five premier male country singers involved in our previous studies spoke and sang the words of both the national anthem and a country song of their choice. Long-term-average spectra were made of the spoken and sung material of each singer. The spectral characteristics of county singers' speech and singing were similar. A prominent peak in the upper part of the spectrum, previously described as the "speaker's formant," was found in the county singers' speech and singing. The singer's formant, a strong spectral peak near 2.8 kHz, an important part of the spectrum of classically trained singers, was not found in the spectra of the country singers. The results support the conclusion that the resonance characteristics in speech and singing are similar in country singing and that county singing is not characterized by a singer's formant.     

An investigation of the laryngeal system as the resonance source of the singer''s formant

Since its introduction, the Sundberg model of the laryngeal system as the resonance source of the singer's formant has gained wide acceptance. However, no studies directly testing this hypothesis in vivo have previously been reported. Thus, the present study was undertaken to test this hypothesis on three classically trained professional male singers. The vocal behaviors of the singer-subjects were evaluated during modal and pulse register phonation via magnetic resonance imaging, strobolaryngoscopy, and acoustic analysis. Results indicated the subjects did not achieve the laryngopharyngeal/laryngeal outlet cross-sectional area ratio requisite to the model and that the formant remained robust in pulse register phonation. It was concluded that these subjects' behaviors were not consistent with Sundberg's model and that the model was inadequate to account for the generation of the singer's formant in these three subjects.     

Comparison of the Produced and Perceived Voice Range Profiles in Untrained and Trained Classical Singers

Frequency and intensity ranges (in true decibel sound pressure level, 20 microPa at 1 m) of voice production in trained and untrained vocalists were compared with the perceived dynamic range (phons) and units of loudness (sones) of the ear. Results were reported in terms of standard voice range profiles (VRPs), perceived VRPs (as predicted by accepted measures of auditory sensitivities), and a new metric labeled as an overall perceptual level construct. Trained classical singers made use of the most sensitive part of the hearing range (around 3-4 kHz) through the use of the singer's formant. When mapped onto the contours of equal loudness (depicting nonuniform spectral and dynamic sensitivities of the auditory system), the formant is perceived at an even higher sound level, as measured in phons, than a flat or A-weighted spectrum would indicate. The contributions of effects like the singer's formant and the sensitivities of the auditory system helped the trained singers produce 20% to 40% more units of loudness, as measured in sones, than the untrained singers. Trained male vocalists had a maximum overall perceptual level construct that was 40% higher than the untrained male vocalists. Although the A-weighted spectrum (commonly used in VRP measurement) is a reasonable first-order approximation of auditory sensitivities, it misrepresents the most salient part of the sensitivities (where the singer's formant is found) by nearly 10 dB.     

Level and Center Frequency of the Singer''s Formant

The "singer's formant" is a prominent spectrum envelope peak near 3 kHz, typically found in voiced sounds produced by classical operatic singers. According to previous research, it is mainly a resonatory phenomenon produced by a clustering of formants 3, 4, and 5. Its level relative to the first formant peak varies depending on vowel, vocal loudness, and other factors. Its dependence on vowel formant frequencies is examined. Applying the acoustic theory of voice production, the level difference between the first and third formant is calulated for some standard vowels. The difference between observed and calculated levels is determined for various voices. It is found to vary considerably more between vowels sung by professional singers than by untrained voices. The center frequency of the singer's formant as determined from long-term spectrum analysis of commercial recordings is found to increase slightly with the pitch range of the voice classification.     

Therelationship between professional operatic soprano voice and high range spectral energy

Operatic sopranos need to be audible over an orchestra yet they are not considered to possess a singer's formant. As in other voice types, some singers are more successful than others at being heard and so this work investigated the frequency range of the singer's formant between 2000 and 4000 Hz to consider the question of extra energy in this range. Such energy would give an advantage over an orchestra, so the aims were to ascertain what levels of excess energy there might be and look at any relationship between extra energy levels and performance level. The voices of six operatic sopranos (national and international standard) were recorded performing vowel and song tasks and subsequently analyzed acoustically. Measures taken from vowel data were compared with song task data to assess the consistency of the approaches. Comparisons were also made with regard to two conditions of intended projection (maximal and comfortable), two song tasks (anthem and aria), two recording environments (studio and anechoic room), and between subjects. Ranking the singers from highest energy result to lowest showed the consistency of the results from both vowel and song methods and correlated reasonably well with the performance level of the subjects. The use of formant tuning is considered and examined.     

Velum Behavior in Professional Classic Operatic Singing

The velopharyngeal opening (VPO) is analyzed in 17 professional operatic singers, 3 high sopranos, 3 sopranos, 2 mezzo-sopranos, 3 tenors, 2 baritones, 2 bass-baritones, and 2 basses singing the vowels [a, i, u] at middle degree of vocal loudness at different pitches throughout their pitch range. Three methods were used for detection of a VPO. One was nasofiberscopy, which revealed VPO of various shapes in several singers. Another method was recording nasal and oral airflow by means of a divided flow mask. These measurements showed a nasal DC airflow at least at some pitches in a majority of the singers. A third method was a comparison of the level of the fundamental in the nasal and oral airflow signals; this level difference was less than 15 dB in cases where a nasal DC airflow was observed. Values less than 15 dB were observed in some cases, thus suggesting the presence of a VPO. The tokens produced by the singers were assessed by an expert panel with respect to nasal quality of the vowel timbre; no correlation was found between rated nasal quality and the presence of a VPO.     

Perceptual and acoustic study of professionally trained versus untrained voices

Acoustic and perceptual analyses were completed to determine the effect of vocal training on professional singers when speaking and singing. Twenty professional singers and 20 nonsingers, acting as the control, were recorded while sustaining a vowel, reading a modified Rainbow Passage, and singing "America the Beautiful." Acoustic measures included fundamental frequency, duration, percent jitter, percent shimmer, noise-to-harmonic ratio, and determination of the presence or absence of both vibrato and the singer's formant. Results indicated that, whereas certain acoustic parameters differentiated singers from nonsingers within sex, no consistently significant trends were found across males and females for either speaking or singing. The most consistent differences were the presence or absence of the singer's vibrato and formant in the singers versus the nonsingers, respectively. Perceptual analysis indicated that singers could be correctly identified with greater frequency than by chance alone from their singing, but not their speaking utterances.     

Vocal Tract Area Function for Vowels Using Three-Dimensional Magnetic Resonance Imaging. A Preliminary Study

OBJECTIVE: To assess whether magnetic resonance imaging (MRI) allows the vocal tract (VT) area function to be determined for a normal male speaker. METHOD: VT shapes were acquired using MRI during sustained production of French points vowels: /i/, /a/, /u/. Cross-sectional areas were measured from a series of planes spaced at intervals of 1 cm along the length of the VT and were used as input in a previously described VT model to simulate the vowels. The first three formant frequencies, F1, F2, and F3, computed from the MRI-measured VT model were compared with subject's natural formant frequencies. RESULTS: Including piriform sinuses, calculated formants differed from measured formants F1, F2, and F3, respectively, for /i/ by -3.5%, +7.7%, and +27.5%; for /a/ by +11% +19.5%, and -4.3%; and for /u/ by +.9%, +23.4%, and +9.6%. Excluding piriform sinuses, calculated formants differed from measured formants F1, F2, and F3, respectively, for /i/ by -3.5%, +12%, and +28%, and for /u/ by +10.1%, +26.8%, and +13.7% The piriform sinuses were not visualized for /a/ on MRI. CONCLUSIONS: MRI is a noninvasive technique that allows VT imaging and determination of VT area function for a normal male speaker. Several possible sources of discrepancies are as follows: variability of the articulation, difficulties in assessment of VT wall boundaries, role of the piriform sinuses, and VT length.     

The contribution of aryepiglottic constriction to “ringing” voice quality—A videolaryngoscopic study with acoustic analysis

Fiberscopic video laryngoscopy was performed on five professional singers to determine the presence or absence of aryepiglottic narrowing as a function of voice quality. Each sang “Happy Birthday” and parts of the “Star Spangled Banner” in six different voice qualities: speech, falsetto, sob (a low larynx with a vocal tract expanded by relaxing the middle constrictors), twang, belting, and opera. Several features were found to be common among the subjects and related to specific qualities. Aryepiglottic constriction was present in all singers in twang, belting, and opera qualities. Spectrographic analysis related the constriction to the presence of the “singer's formant.” The presence of this type of constrictive behavior will require further research to ascertain the possible benefits to those for whom a louder voice is essential and to understand the relationship of this constrictive maneuver to the natural closure functions of the larynx.     

Long-Term Horizontal Vocal Directivity of Opera Singers: Effects of Singing Projection and Acoustic Environment

Vocal directivity refers to how directional the sound is that comes from a singer's mouth, that is, whether the sound is focused into a narrow stream of sound projecting in front of the singers or whether it is spread out all around the singer. This study investigates the long-term vocal directivity and acoustic power of professional opera singers and how these vary among subjects, among singing projections, and among vastly different acoustic environments. The vocal sound of eight professional opera singers (six females and two males) was measured in anechoic and reverberant rooms and in a recital hall. Subjects sang in four different ways: (1) paying great attention to intonation; (2) singing as in performance, with all the emotional connection intended by the composer; (3) imagining a large auditorium; and (4) imagining a small theatre. The same song was sung by all singers in all conditions. A head and torso simulator (HATS), radiating sound from its mouth, was used for comparison in all situations. Results show that individual singers have quite consistent long-term average directivity, even across conditions. Directivity varies substantially among singers. Singers are more directional than the standard HATS (which is a physical model of a talking person). The singer's formant region of the spectrum exhibits greater directivity than the lower-frequency range, and results indicate that singers control directivity (at least, incidentally) for different singing conditions as they adjust the spectral emphasis of their voices through their formants.     

Acoustic analysis of the singing and speaking voice in singing students

The singing power ratio (SPR) is an objective means of quantifying the singer's formant. SPR has been shown to differentiate trained singers from nonsingers and sung from spoken tones. This study was designed to evaluate SPR and acoustic parameters in singing students to determine if the singer-intraining has an identifiable difference between sung and spoken voices. Digital audio recordings were made of both sung and spoken vowel sounds in 55 singing students for acoustic analysis. SPR values were not significantly different between the sung and spoken samples. Shimmer and noise-to-harmonic ratio were significantly higher in spoken samples. SPR analysis may provide an objective tool for monitoring the student's progress.     

Simulation and analysis of nasalized vowels based on magnetic resonance imaging data

In this study, vocal tract area functions for one American English speaker, recorded using magnetic resonance imaging, were used to simulate and analyze the acoustics of vowel nasalization. Computer vocal tract models and susceptance plots were used to study the three most important sources of acoustic variability involved in the production of nasalized vowels: velar coupling area, asymmetry of nasal passages, and the sinus cavities. Analysis of the susceptance plots of the pharyngeal and oral cavities, -(B(p)+B(o)), and the nasal cavity, B(n), helped in understanding the movement of poles and zeros with varying coupling areas. Simulations using two nasal passages clearly showed the introduction of extra pole-zero pairs due to the asymmetry between the passages. Simulations with the inclusion of maxillary and sphenoidal sinuses showed that each sinus can potentially introduce one pole-zero pair in the spectrum. Further, the right maxillary sinus introduced a pole-zero pair at the lowest frequency. The effective frequencies of these poles and zeros due to the sinuses in the sum of the oral and nasal cavity outputs changes with a change in the configuration of the oral cavity, which may happen due to a change in the coupling area, or in the vowel being articulated.     

Movement of the velum during speech and singing in classically trained singers

The present study addresses two questions: (a) Is the action and/orposture of the velopharyngeal valve conducive to allow significant resonance during Western tradition classical singing? (b) How do the actions of the velo-pharyngeal valve observed in this style of singing compare with normal speech? A photodetector system was used to observe the area function of the velopharyngeal port during speech and classical style singing. Identical speech samples were produced by each subject in a normal speaking voice and then in the low, medium, and high singing ranges. Results indicate that in these four singers the velopharyngeal port was closed significantly longer in singing than in speaking samples. The amount of time the velopharyngeal port was opened was greatest in speech and diminished as the singer ascended in pitch. In the high voice condition, little or no opening of the velopharyngeal port was measured.     

Evaluating the Influence of Warmup on Singing Voice Quality Using Acoustic Measures

Vocal warmup is generally accepted as vital for singing performance. However, only a limited number of studies have evaluated this effect quantitatively. In this study, we evaluated the effect of vocal warmup on voice production, among young female singers, using a set of acoustic parameters. Warmup reduced frequency-perturbation (p < 0.001) and amplitude-perturbation values (p < 0.05). In addition, warmup increased singer's formant amplitude (p < 0.05) and improved noise-to-harmonic ratio (p < 0.05). Tone-matching accuracy, however, was not affected by warmup. The effect of vocal warmup on frequency-perturbation parameters was more evident among mezzo-soprano singers than it was among soprano singers. It was also more evident in the low pitch-range than in the higher pitch-ranges (p < 0.05). The results of this study provide valid support for the advantageous effect of vocal warmup on voice quality and present acoustic analysis as a valuable and sensitive tool for quantifying this effect.     

Velopharyngeal aerodynamics of /m/ and /p/ in tracheoesophageal speech

The purpose of this study was to compare oral pressure (P_o), nasal airflow (V_n), and velopharyngeal (VP) orifice area estimates from 12 tracheoesophageal (TE) and 12 laryngeal speakers as they produced /p/ and /m/ in syllable series. The findings were as follows: (1) TE speakers produced greater P_o than the laryngeal speakers; (2) for /p/, TE speakers generated V_n, and VP orifice area estimates comparable with, or less than, the laryngeal speakers; and (3) for /m/, TE speakers had V_n and VP orifice area estimates greater than the laryngeal speakers. The elevated P_o could be the result of several factors such as high source driving pressures and vocal tract volume changes postlaryngectomy. Attempts at more precise articulation, and subsequently less coarticulation, by the TE speakers may explain the V_n and VP orifice area estimates for /p/ and /m/. TE speakers may be limiting the oral-nasal cavity coupling for /p/ (smaller VP gap, less V_n) in an attempt to produce a very precise oral /p/. For /m/, TE speakers may be attempting to overtly mark the consonant as a nasal (greater V_n, larger VP gap). Further studies are needed to confirm/refute the explanations postulated here regarding the VP aerodynamic differences that were identified.