Inter- and intrasubject changes in vibrato: Perceptual and acoustic aspects

Recent papers by Rothman and Timberlake (1), Rothman (2), Rothman and Arroyo (3), and Keidar, Titze, and Timberlake (4) have focused on the pulse rate, frequency extent, and amplitude extent of vibrato. Some of the emphases of these papers were attempts to clarify the acoustic and perceptual correlates of vibrato, tremolo, and wobble. Rothman and Arroyo (3) speculated that the shape of the frequency variation waveform may be indicative of vocal problems. In order to verify this, we examined recorded segments of sung samples produced by different singers and samples taken from the early and late stages of singers' careers. Some singers had a relatively short career before exhibiting vocal problems. Others had relatively long careers before showing evidence of vocal decline. Many, but not all, of the singers' late career recordings represent examples generally acknowledged to evidence vocal problems/decline. Each sample was digitized at a sampling frequency of 10 kHz, stored, and analyzed using programs reported on by Rothman and Arroyo (3). Data analysis revealed that some parameters can distinguish between good and bad vibrato despite the variance in listener judgments. Furthermore, evidence of vocal decline is not always due to changes in singers' vibrato.     

Comparing historical and contemporary opera singers with historical and contemporary Jewish cantors

This study is an attempt to ascertain if singers from different traditions and milieus follow similar aesthetic trends regardless of training and/or background. Cantors who sang the Jewish synagogue liturgy during the Golden Age of cantorial singing prior to World War II came from Eastern and Central Europe. For the most part, they were not trained in the classical Western opera tradition. They received training from choir leaders and other cantors and the training was primarily in the modes of synagogue chant. Cantors today receive the same kinds of training that opera singers receive, often from the same teachers. Four groups of singers, consisting of four singers in each group, were utilized in this study. The four groups are: historical opera singers, contemporary opera singers, historical cantors, and contemporary cantors. The historical opera singer recordings date from as early as 1909 to as late as 1939. It was not possible to determine the dates of the historical cantor recordings. However, the four cantors chosen for this group were active only to the 1940s. Contemporary samples were taken from CDs and/or live recordings and all the singers from the contemporary groups are either still active or were active in the 1960s through the 1980s and all of them are considered to be premier-level singers in their respective areas. The variables analyzed were: vibrato pulse rate, frequency variation of the vibrato pulse above and below the mean sustained sung frequency in percent, the mean amplitude variation of the amplitude vibrato pulse above and below the mean sustained amplitude in percent and the fast Fourier transform (FFT) power spectrum of the sustained samples. Results indicate that most of the significant differences were found between eras and not between groups within a time period.     

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.     

The time-frequency characteristics of violin vibrato: modal distribution analysis and synthesis

A high-resolution time-frequency distribution, the modal distribution, is applied to the study of violin vibrato. The analysis indicates that the frequency modulation induced by the motion of the stopped finger on the string is accompanied by a significant amplitude variation in each partial of that note. Amplitude and frequency estimates for each partial are extracted from the modal distribution of ten pitches that span the range of the violin instrument. The frequency modulation is well-represented by a single sinusoid with a mean rate of 5.9 Hz and a mean excursion of +/- 15.2 cents. A spectral decomposition of the amplitude envelopes of the partials shows that the peaks lie primarily at integer multiples of the vibrato rate. These amplitude and frequency estimates are used in an additive synthesis model to generate synthetic replicates of violin vibrato. Simple approximations to these estimates are created, and synthesized sounds using these are evaluated perceptually by seven subjects using discrimination, nonmetric multidimensional scaling (MDS), and sound quality scoring tasks. It is found that the absence of frequency modulation has little effect on the perceptual response to violin vibrato, while the absence of amplitude modulation causes marked changes in both sound quality and MDS results. Low-order spectral decompositions of the amplitude and frequency estimates also occupy the same perceptual space as the original recording for a subset of the pitches studied.     

An electroglottographic study of vocal vibrato

This study investigated vocal vibrato in trained singers through the use of electroglottography (EGG). Ten adult trained singers (7 women, 3 men) were each required to produce four singing tasks. The tasks involved the production of /a/ during an ascending interval of a third in both chest and falsetto registers, once with and once without vibrato. Audio and EGG output during these tasks were directly digitized for subsequent analysis. Results pertaining to changes in the EGG waveform as a function of the singer's gender, the vocal register and the vibrato condition are discussed. A major finding was the apparent absence of consistent, distinctive differentiation in the EGG waveforms when comparing the vibrato and vibrato-inhibited conditions for the majority of subjects. Possible explanations for the majority findings, as well as comment on the feasibility of the EGG for investigating vocal vibrato, are discussed.     

Vocal warm-up produces acoustic change in singers' vibrato rate

Vibrato rate and vibrato extent were acoustically assessed in 12 classically trained female singers before and after 25 minutes of vocal warm-up exercises. Vocal warm-up produced three notable changes in vibrato rate: (1)?more regularity in the cyclic undulations comprising the vibrato rate of a note, (2) more stability in mean vibrato rates from one sustained note to the next, and (3) a moderating of excessively fast and excessively slow mean vibrato rates. No significant change was found for vibrato extent. The findings indicate that vocal warm-up may regulate vibrato rate. Thus tone quality, which is strongly linked to vibrato characteristics, may undergo positive change as a result of vocal warm-up.     

Effects of Professional Singing Education on Vocal Vibrato—A Longitudinal Study

Vocal vibrato is regarded as one of the essential characteristics of voice quality in classical singing. Professional singers seem to develop vibrato automatically, without actively striving to acquire it. In this longitudinal investigation, the vocal vibrato of 22 singing students was examined at the beginning of and after 3 years of professional singing education. Subjects sang an ascending-descending triad pattern in slow tempo on vowel [a:] at a comfortable pitch level twice at soft (piano) and twice at medium (mezzoforte) loudness. The top note of the triad pattern was sustained for approximately 5s. The mean and the standard deviation (SD) of the vibrato rate were measured for this note. Results revealed that after 3 years of training, voices with vibrato slower than 5.2 Hz were found to have a faster vibrato, and voices with vibrato faster than 5.8 Hz were found to have a slower vibrato. Standard deviation of vibrato rate was higher in soft than in medium loudness, particularly before the education. Also high values of SD of vibrato rate, exceeding 0.65 Hz, had decreased after the education. These findings confirm that vibrato characteristics can be affected by singing education.     

Comparative measures of vocal tremor and vocal vibrato

Acoustic analyses were carried out on vocal vibrato produced by nine opera singers and vocal tremor accompanying the sustained phonation of patients with the following diagnoses: Parkinson's disease, amyotrophic lateral sclerosis, spinal muscular atrophy, essential tremor, and adductor spastic dysphonia. While vocal tremor on average had a faster oscillatory rate and greater amplitude extent when compared to vocal vibrato, only the cycle to cycle measures of shimmer and jitter differed significantly between these groups. However, these differences existed even when the effect of the oscillation was removed. These data are consistent with the hypothesis that vocal vibrato in singers and vocal tremor in patients may be part of the same continuum.     

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.     

Effects of vocal training on the acoustic parameters of the singing voice

Vocal training (VT) has, in part, been associated with the distinctions in the physiological, acoustic, and perceptual parameters found in singers' voices versus the voices of nonsingers. This study provides information on the changes in the singing voice as a function of VT over time. Fourteen college voice majors (12 females and 2 males; age range, 17–20 years) were recorded while singing, once a semester, for four consecutive semesters. Acoustic measures included fundamental frequency (F₀) and sound pressure level (SPL) of the 10% and 90% levels of the maximum phonational frequency range (MPFR), vibrato pulses per second, vibrato amplitude variation, and the presence of the singer's formant. Results indicated that VT had a significant effect on the MPFR. F₀ and SPL of the 90% level of the MPFR and the 90–10% range increased significantly as VT progressed. However, no vibrato or singers' formant differences were detected as a function of training. This longitudinal study not only validates previous cross-sectional research, ie, that VT has a significant effect on the singing voice, but also it demonstrates that these effects can be acoustically detected by the fourth semester of college vocal training.     

The role of auditory feedback in sustaining vocal vibrato

Vocal vibrato and tremor are characterized by oscillations in voice fundamental frequency (F0). These oscillations may be sustained by a control loop within the auditory system. One component of the control loop is the pitch-shift reflex (PSR). The PSR is a closed loop negative feedback reflex that is triggered in response to discrepancies between intended and perceived pitch with a latency of approximately 100 ms. Consecutive compensatory reflexive responses lead to oscillations in pitch every approximately 200 ms, resulting in approximately 5-Hz modulation of F0. Pitch-shift reflexes were elicited experimentally in six subjects while they sustained /u/ vowels at a comfortable pitch and loudness. Auditory feedback was sinusoidally modulated at discrete integer frequencies (1 to 10 Hz) with +/- 25 cents amplitude. Modulated auditory feedback induced oscillations in voice F0 output of all subjects at rates consistent with vocal vibrato and tremor. Transfer functions revealed peak gains at 4 to 7 Hz in all subjects, with an average peak gain at 5 Hz. These gains occurred in the modulation frequency region where the voice output and auditory feedback signals were in phase. A control loop in the auditory system may sustain vocal vibrato and tremorlike oscillations in voice F0.     

The effects of crescendo on vocal vibrato

The purpose of this research was to investigate the effects of crescendo and decrescendo on the width of vocal vibrato. A second interest was whether the frequency at which the crescendo or decrescendo occurred would be a factor. Nine singers each produced nine phonations. The first set of three phonations was crescendo from pp to ff at low, medium, and high frequency. The second set of three was decrescendo from ff to pp at the three frequencies and the third set was from pp to ff to pp at each frequency. The vibrato width during each phonation was measured via a Kay Visipitch. The results generally indicated that vibrato width increased with increasing crescendo. With decrescendo, however, the vibrato width tended to remain constant even though the intensity was decreasing. The greatest vibrato width occurred at the middle frequencies.     

Comparisons of jitter, shimmer, and signal-to-noise ratio from directly digitized versus taped voice samples

The purpose of this study was to compare jitter, shimmer, and signal-to-noise ratio (SNR) measures obtained from tape-recorded samples with the same measures made on directly digitized voice samples, with use of the CSpeech acoustic analysis program. Subjects included 30 young women who phonated the vowel /a/ at a comfortable pitch and loudness level. Voice samples were simultaneously recorded and digitized, and the resulting perturbation measures for the two conditions were compared. Results indicated that there were small but statistically significant differences between percent jitter, percent shimmer, and SNR calculated from taped samples compared with the same measures calculated from directly digitized samples. It was concluded that direct digitization for clinical measures of vocal perturbation was most desirable, but that taped samples could be used, if necessary, with some caution.     

Acoustical Comparison Between Samples of Good and Poor Vibrato in Singers

The purpose of this research was to analyze samples of frequency vibrato taken from recordings of eight different singers, which were classified as examples of good or poor singing. The samples were analyzed by a software package, which makes use of the linear prediction coding (LPC) method to determine the time varying rate and extent of the frequency vibrato wave. Four parameters, which relate to the periodicity of the samples, were extracted from the time varying rate and extent and investigated in order to verify or reject the hypothesis that the best vibrato samples were the most symmetric ones. Ten samples per singer were analyzed, 5 good and 5 poor, for a total of 80 samples. The results show that the samples judged as good were the most periodic ones.     

Acoustic properties of straight tone, vibrato, trill, and trillo

Recordings were made of four internationally acclaimed early music singers (two women, two men) as they sustained phonation at target frequencies while producing the vocal ornaments straight tone, vibrato, trill, and trillo. Recordings were analyzed for the presence and amount of fundamental frequency oscillation and the frequency location of the vocal ornament performed with respect to the target tone. Results showed great variability between singers in all measured parameters.     

Vibrato and pitch transitions

There are at least two timing variables to be considered in vocal music performance. The first is the note changes associated with the meter signature (4/4, 2/4, etc.) and the second is the vibrato rate of the performer. Because the probability is not great that these two temporal variables will always be in perfect synchrony, it was the purpose of this investigation to determine what singers do when these two timing variables come into conflict during singing. Six singers recorded a series of alternating upward and downward interval shifts of a third while singing whole notes, half notes, quarter notes and eighth notes. The same notes were then recorded with intervals of a fifth. The recorded samples were converted to a visual trace and examined for interactions between vibrato and meter. Analysis of the tracings indicated that, in the majority of the cases, the singers would alter their vibrato in order to adhere to the timing of the musical line.     

Vibrato of saxophones

Several alto saxophone players' vibratos have been recorded. The signals are analyzed using time-frequency methods in order to estimate the frequency modulation (vibrato rate) and the amplitude modulation (vibrato extent) of each vibrato sample. Some parameters are derived from the results in order to separate the two ways of vibrato playing: vibrato "à la machoire" and vibrato "sur l'air." Moreover, time domain simulations of single-reed instrument vibratos are created. The model is controlled by two parameters: the mouth overpressure and a parameter characterizing the reed-mouthpiece system. Preliminary comments and comparisons between the simulated vibratos and recorded vibratos results are made.     

Modal Distribution Analysis, Synthesis, and Perception of a Soprano''s Sung Vowels

A high-resolution time-frequency analysis technique, the modal distribution, is applied to sung vowels from a soprano singer. Parameters are estimated for each partial component of notes analyzed with the modal distribution. These estimates are used in an additive synthesis model to generate replicates of the original recording, using a series of time-varying sinusoids. Additionally, a source-filter model is applied to create synthetic signals, where pitch- and vowel-specific filters and driving functions are constructed from the amplitude and frequency estimates obtained. Different driving functions, which sample the range of this singer's rate and excursion variation, are transposed and filtered to create synthetic signals. The perceptual salience of the different rates and excursions is then determined via a paired-comparison listening experiment. It is found that listeners are sensitive to small variations in both average vibrato rate and average vibrato excursion. However, the perceived amount of vibrato excursion varies somewhat depending upon the pitch at which the vibrato is “played” synthetically. Finally, the naturalness and sound quality of these synthetic examples is determined through both paired-comparison and single-note sound quality scaling listening experiments.     

Average speaking fundamental frequency in soprano singers with and without symptoms of vocal attrition

Nineteen trained soprano singers aged 18–30 years vocalized tasks designed to assess average speaking fundamental frequency (SFF) during spontaneous speaking and reading. Vocal range and perceptual characteristics while singing with low intensity and high frequency were also assessed, and subjects completed a survey of vocal habits/symptoms. Recorded signals were digitized prior to being analyzed for SFF using the Kay Computerized Speech Lab program. Subjects were assigned to a normal voice or impaired voice group based on ratings of perceptual tasks and survey results. Data analysis showed group differences in mean SFF, no differences in vocal range, higher mean SFF values for reading than speaking, and 58% ability to perceive speaking in low pitch. The role of speaking in too low pitch as causal for vocal symptoms and need for voice classification differentiation in vocal performance studies are discussed.     

Spastic/spasmodic vs. tremulous vocal quality: motor speech profile analysis

Strained, strangled, and tremulous vocal qualities that are typically seen in adductor spasmodic dysphonia (ADSD), voice tremor (Tremor), and the spastic dysarthria of amyotrophic lateral sclerosis (ALS) may sound similar and be difficult to differentiate. The purpose of this study was to determine if these vocal qualities of neurologic origin could be differentiated on the basis of acoustic and motor speech parameters. Three groups of subjects (ADSD, ALS, and Tremor) were analyzed by the Motor Speech Profile System (Kay Elemetrics, Lincoln Park, NJ) for fundamental frequency (Fo), standard deviation of Fo, diadochokinetic rate (ddk), standard deviation of ddk, mean intensity and standard deviation of ddk, frequency and amplitude variability in connected speech, and speaking rate in connected speech. Profiles of the three groups are presented with the significant features that differentiated one from the other.