Some Phonatory and Resonatory Characteristics of the Rock, Pop, Soul, and Swedish Dance Band Styles of Singing

This investigation aims at describing voice function of four nonclassical styles of singing, Rock, Pop, Soul, and Swedish Dance Band. A male singer, professionally experienced in performing in these genres, sang representative tunes, both with their original lyrics and on the syllable /pae/. In addition, he sang tones in a triad pattern ranging from the pitch Bb2 to the pitch C4 on the syllable /pae/ in pressed and neutral phonation. An expert panel was successful in classifying the samples, thus suggesting that the samples were representative of the various styles. Subglottal pressure was estimated from oral pressure during the occlusion for the consonant [p]. Flow glottograms were obtained from inverse filtering. The four lowest formant frequencies differed between the styles. The mean of the subglottal pressure and the mean of the normalized amplitude quotient (NAQ), that is, the ratio between the flow pulse amplitude and the product of period and maximum flow declination rate, were plotted against the mean of fundamental frequency. In these graphs, Rock and Swedish Dance Band assumed opposite extreme positions with respect to subglottal pressure and mean phonation frequency, whereas the mean NAQ values differed less between the styles.     

Effects of lung volume on the glottal voice source

According to experience in voice therapy and singing pedagogy, breathing habits can be used to modify phonation, although this relationship has never been experimentally demonstrated. In the present investigation we examine if lung volume affects phonation. Twenty-four untrained subjects phonated at different pitches and degrees of vocal loudness at different lung volumes. Mean subglottal pressure was measured and voice source characteristics were analyzed by inverse filtering. The main results were that with decreasing lung volume, the closed quotient increased, while subglottal pressure, peak-to-peak flow amplitude, and glottal leakage tended to decrease. In addition, some estimates of the amount of the glottal adduction force component were examined. Possible explanations of the findings are discussed.     

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.     

Normalized amplitude quotient for parametrization of the glottal flow

Normalized amplitude quotient (NAQ) is presented as a method to parametrize the glottal closing phase using two amplitude-domain measurements from waveforms estimated by inverse filtering. In this technique, the ratio between the amplitude of the ac flow and the negative peak amplitude of the flow derivative is first computed using the concept of equivalent rectangular pulse, a hypothetical signal located at the instant of the main excitation of the vocal tract. This ratio is then normalized with respect to the length of the fundamental period. Comparison between NAQ and its counterpart among the conventional time-domain parameters, the closing quotient, shows that the proposed parameter is more robust against distortion such as measurement noise that make the extraction of conventional time-based parameters of the glottal flow problematic. Experiments with breathy, normal, and pressed vowels indicate that NAQ is also able to separate the type of phonation effectively.     

Voice Characteristics of Young Girl Role in Kunqu Opera

Three electroglottographic parameters, fundamental frequency, contact quotient, and speed quotient were analyzed for two singers of Young girl role in Kunqu Opera. Each singer performed three conditions, singing, stage speech, and reading lyrics. The phonation types adopted in different conditions were explored based on electroglottographic parameters. Fundamental frequency, contact quotient, and speed quotient showed different distributions among conditions. Five phonation types were used in singing and stage speech, which include (1) breathy voice, (2) modal voice with low degree of posterior glottal adduction, (3) modal voice, (4) falsetto, and (5) falsetto with high degree of posterior glottal adduction. The phonation strategies partly showed differences between singers. Different phonation type collocations were employed in singing and stage speech. The relationship between phonation types and pitch was complex. The phonation types actually used were different from and more complex than those in traditional Kunqu Opera singing theory.     

The Activity Patterns of Neck Muscles in Professional Classical Singing

The study aimed to characterize the activity patterns of neck muscles during classical singing. Muscle usage during inhalation and phonation and the relationship to changes in pitch and vocal loudness was of particular interest. Five professional opera singers (2 males, 3 females) participated. Surface electromyographic activity (EMG) was recorded from the upper trapezius (TR), the sternocleidomastoideus (STM), and the scalenus (SC) muscles and the muscles in the posterior neck region (PN). EMG activity in TR and STM was lowered by EMG biofeedback (BF), and the possible effect of lowered EMG activity in these muscles on the EMG activity of SC and PN was analyzed. A strain gauge sensor recorded the chest circumference of the thorax. Three singing tasks were performed. Each task was performed three times with variation in vocal loudness and pitch. After the first performance of the singing tasks, the BF session was carried out. Thereafter muscle activity was recorded in repeat performances of the same tasks, and the EMG amplitude of all muscles was compared before and after BF. We conclude that STM and SC showed correlated activity patterns during inhalation and phonation by classical singers. Second, substantial muscle activity was observed in PN during inhalation and phonation. BF performed on TR and STM had a secondary effect of lowering EMG activity in SC and PN. The activity of all neck muscles was markedly elevated when singing in the highest pitch. There was no consistent task-based difference in EMG amplitude for the other singing tasks.     

Relationship between aerodynamic measures of glottal efficiency and stroboscopic findings in asymptomatic singing students

Singing requires exquisite coordination between the respiratory and phonatory systems to efficiently control glottal airflow. Asymptomatic singing students underwent pulmonary function testing (PFT), videostrobolaryngoscopic examination, and measures of glottal efficiency (maximum phonation time [MPT], glottal flow rate [GFR], and phonation quotient [PQ]) performed in both a sung and spoken tone. Pulmonary function and glottal efficiency values were within reported normative data for professional singers. However, sung tones were made with significantly higher GFR and PQ and lower PQ than spoken tones. The mean GFR was not related to the degree of glottal closure (by videostrobolaryngoscopy) or underlying pulmonary support.     

Preferred self-to-other ratios in choir singing.

Choir singers need to hear their own voice in an adequate self-to-other ratio (SOR) over the rest of the choir. Knowing singers' preferences for SOR could facilitate the design of stages and of choral formations. In an experiment to study the preferred SOR, subjects sang sustained vowels together with synthesized choir sounds, whose loudness tracked that of their own voice. They could control the SOR simply by changing their distance to the microphone. At the most comfortable location, the SOR was measured. Experimental factors included unison and four-part tasks, three vowels and two levels of phonation frequency. The same experiment was run four times, using sopranos, altos, tenors, and basses, with stimulus tones adapted for each category. The preferred self-to-other ratios were found to be similar to SORs measured previously in actual performance, if a little higher. Preferences were quite narrow, typically +/- 2 dB for each singer, but very different from singer to singer, with intrasubject means ranging from -1 to +15 dB. There was no significant difference between the unison and the four-part tasks, although this might have been caused by systematic differences in the stimulus sounds. Some effects of phonation frequency and vowel were significant, but interdependent and difficult to interpret. The results and their relevance to live choir singing are discussed.     

The abduction quotient related to vocal quality

The abduction quotient, a measure of effective glottal width, was obtained for electroglottographic recordings from a professional operatic baritone singer. The subject produced repeated tokens of the voice qualities breathy, normal, and pressed (or constricted) in both a speech and a singing manner. In the singing manner, the subject produced the three vocal qualities at three pitch levels and three loudness levels. The abduction quotient decreased from breathy to pressed voice, suggesting that the measure corresponds to effective glottal width. The measure was found to be consistently low during all conditions of singing, suggesting that the subject produced all singing tokens with relatively strong laryngeal adduction at the vocal process level. Although the results of this study support the validity and usefulness of the abduction quotient, further verification is needed.     

Membranous and cartilaginous vocal fold adduction in singing

While vocal fold adduction is an important parameter in speech, relatively little has been known on the adjustment of the vocal fold adduction in singing. This study investigates the possibility of separate adjustments of cartilaginous and membranous vocal fold adduction in singing. Six female and seven male subjects, singers and non-singers, were asked to imitate an instructor in producing four phonation types: "aBducted falsetto" (FaB), "aDducted falsetto" (FaD), "aBducted Chest" (CaB), and "aDducted Chest" (CaD). The phonations were evaluated using videostroboscopy, videokymography (VKG), electroglottography (EGG), and audio recordings. All the subjects showed less posterior (cartilaginous) vocal fold adduction in phonation types FaB and CaB than in FaD and CaD, and less membranous vocal fold adduction (smaller closed quotient) in FaB and FaD than in CaB and CaD. The findings indicate that the exercises enabled the singers to separately manipulate (a) cartilaginous adduction and (b) membranous medialization of the glottis though vocal fold bulging. Membranous adduction (monitored via videokymographic closed quotient) was influenced by both membranous medialization and cartilaginous adduction. Individual control over these types of vocal fold adjustments allows singers to create different vocal timbres.     

Voice source characteristics in six premier country singers

Voice source characteristics as derived from inverse filtering were analyzed in 6 country singers' speech and singing. Results showed that the closed quotient varied systematically with vocal loudness, and that glottal compliance (the ratio between transglottal AC volume displacement and subglottal pressure) decreased with increases in fundamental frequency but remained unaffected by vocal loudness. No striking differences were found in source characteristics between speech and singing within subjects. The degree of phonatory press, as judged by a panel of 19 expert listeners, appeared related to the range in which the singer was singing and to the sound pressure level gain from a doubling of subglottal pressure.     

Effects of Vocal Training and Phonatory Task on Voice Onset Time

OBJECTIVES/HYPOTHESIS: The purpose of this study was to examine the temporal-acoustic differences between trained singers and nonsingers during speech and singing tasks. METHODS: Thirty male participants were separated into two groups of 15 according to level of vocal training (ie, trained or untrained). The participants spoke and sang carrier phrases containing English voiced and voiceless bilabial stops, and voice onset time (VOT) was measured for the stop consonant productions. RESULTS: Mixed analyses of variance revealed a significant main effect between speech and singing for /p/ and /b/, with VOT durations longer during speech than singing for /p/, and the opposite true for /b/. Furthermore, a significant phonatory task by vocal training interaction was observed for /p/ productions. CONCLUSIONS: The results indicated that the type of phonatory task influences VOT and that these influences are most obvious in trained singers secondary to the articulatory and phonatory adjustments learned during vocal training.     

Comparison of Two Inverse Filtering Methods in Parameterization of the Glottal Closing Phase Characteristics in Different Phonation Types

SUMMARY: Inverse filtering (IF) is a common method used to estimate the source of voiced speech, the glottal flow. This investigation aims to compare two IF methods: one manual and the other semiautomatic. Glottal flows were estimated from speech pressure waveforms of six female and seven male subjects producing sustained vole /a/ in breathy, normal, and pressed phonation. The closing phase characteristics of the glottal pulse were parameterized using two time-based parameters: the closing quotient (C1Q) and the normalized amplitude quotient (NAQ). The information given by these two parameters indicates a strong correlation between the two IF methods. The results are encouraging in showing that the parameterization of the voice source in different speech sounds can be performed independently of the technique used for inverse filtering.     

Effect of Hydration and Vocal Rest on the Vocal Fatigue in Amateur Karaoke Singers

Karaoke singing is a very popular entertainment among young people in Asia. It is a leisure singing activity with the singer's voice amplified with special acoustic effects in the backdrop of music. Music video and song captions are shown on television screen to remind the singers during singing. It is not uncommon to find participants singing continuously for four to five hours each time. As most of the karaoke singers have no formal training in singing, these amateur singers are more vulnerable to developing voice problems under these intensive singing activities. This study reports the performance of 20 young amateur singers (10 males and 10 females, aged between 20-25 years) on a series of phonatory function tasks carried out during continuous karaoke singing. Half of the singers were given water to drink and short duration of vocal rests at regular intervals during singing and the other half sang continuously without taking any water or rest. The subjects who were given hydration and vocal rests sang significantly longer than those who did not take any water or rest. The voice quality, as measured by perceptual and acoustic measures, and vocal function, as measured by phonetogram, did not show any significant changes during singing in the subjects who were given water and rest during the singing. However, subjects who sang continuously without drinking water and taking rests showed significant changes in the jitter measure and the highest pitch they could produce during singing. These results suggest that hydration and vocal rests are useful strategies to preserve voice function and quality during karaoke singing. This information is useful educational information for karaoke singers.     

Phonatory control in male singing: A study of the effects of subglottal pressure, fundamental frequency, and mode of phonation on the voice source

This article describes experiments carried out in order to gain a deeper understanding of the mechanisms underlying variation of vocal loudness in singers. Ten singers, two of whom are famous professional opera tenor soloists, phonated at different pitches and different loudnesses. Their voice source characteristics were analyzed by inverse filtering the oral airflow signal. It was found that the main physiological variable underlying loudness variation is subglottal pressure (Ps). The voice source property determining most of the loudness variation is the amplitude of the negative peak of the differentiated flow signal, as predicted by previous research. Increases in this amplitude are achieved by (a) increasing the pulse amplitude of the flow waveform; (b) moving the moment of vocal fold contact earlier in time, closer to the center of the pulse; and (c) skewing the pulses. The last mentioned alternative seems dependent on both Ps and the ratio between the fundamental frequency and the first formant. On the average, the singers doubled Ps when they increased fundamental frequency by one octave, and a doubling of the excess Ps over threshold caused the sound pressure level (SPL) to increase by 8–9 dB for neutral phonation, less if mode of phonation was changed to pressed. A shift of mode of phonation from flow over neutral to pressed was associated with a reduction of the peak glottal permittance i.e., the ratio between peak transglottal airflow to Ps. Flow phonation had the most favorable relationship between Ps and SPL.     

An Exploration of Skin Acceleration Level as a Measure of Phonatory Function in Singing

Two kinds of fluctuations are observed in phonetogram recordings of singing. Sound pressure level (SPL) can vary due to vibrato and also due to the effect of open and closed vowels. Since vowel variation is mostly a consequence of vocal tract modification and is not directly related to phonatory function, it could be helpful to suppress such variation when studying phonation. Skin acceleration level (SAL), measured at the jugular notch and on the sternum, might be less influenced by effects of the vocal tract. It is explored in this study as an alternative measure to SPL. Five female singers sang vowel series on selected pitches and in different tasks. Recorded data were used to investigate two null hypotheses: (1) SPL and SAL are equally influenced by vowel variation and (2) SPL and SAL are equally correlated to subglottal pressure (P(S)). Interestingly, the vowel variation effect was small in both SPL and SAL. Furthermore, in comparison to SPL, SAL correlated weakly to P(S). SAL exhibited practically no dependence on fundamental frequency, rather, its major determinant was the musical dynamic. This results in a non-sloping, square-like phonetogram contour. These outcomes show that SAL potentially can facilitate phonetographic analysis of the singing voice.     

Glottal closure, transglottal airflow, and voice quality in healthy middle-aged women

Seventeen healthy women, 45 to 61 years old, were examined using videofiberstroboscopy during phonation at three loudness levels. Two phoniatricians evaluated glottal closure using category and ratio scales. Transglottal airflow was studied by inverse filtering of the oral airflow signal recorded in a flow mask (Glottal Enterprises System) during the spoken phrase /ba:pa:pa:pa:p/ at three loudness levels. Subglottal pressure was estimated from the intraoral pressure during p occlusion. Running speech and the repeated /pa:/ syllables were perceptually evaluated by three speech pathologists regarding breathiness, hypo-, and hyperfunction, using continuous scales. Incomplete glottal closure was found in 35 of 46 phonations (76%). The degree of glottal closure increased significantly with raised loudness. Half of the women closed the glottis completely during loud phonation. Posterior glottal chink (PGC) was the most common gap configuration and was found in 28 of 46 phonations (61%). One third of the PGCs were in the cartilaginous glottis (PGCc) only. Two thirds extended into the membranous portion (PGCm); most of these occurred during soft phonation. Peak flow, peak-to-peak (AC) flow, and the maximum rate of change for the flow in the closing phase increased significantly with raised loudness. Minimum flow decreased significantly from normal to loud voice. Breathiness decreased with increased loudness. The results suggest that the incomplete closure patterns PGCc and PGCm during soft phonation ought primarily to be regarded as normal for Swedish women in this age group.     

Effects of prolonged oral reading on F0, SPL, subglottal pressure and amplitude characteristics of glottal flow waveforms

The effects of prolonged (5x45 minute) reading (vocal loading) on fundamental frequency (F0), sound pressure level (SPL), subglottal (intraroral) pressure (p), and two glottal flow waveform parameters (AC amplitude of glottal flow, f, and negative peak amplitude of differentiated flow (d) of normal female and male subjects (N = 80) were studied. Two rest (morning and noon) and three loading (two in the morning and one in the afternoon) samples were recorded and analyzed. The glottal waveforms were obtained by inverse filtering of the acoustic pressure waveforms of speaking voice samples. The analyses were based on measurement and inverse filtering of the first stressed syllable of "paappa" words repeated 3x5 times for normal, as soft as possible, and as loud as possible phonation. In normal phonation the parameter values changed statistically significantly due to loading. In many cases the values obtained in the morning samples changed after the first loading session. This is interpreted as a vocal "warming-up effect." Especially in soft phonation p, d, and f were sensitive indicators of vocal loading. In both normal and soft phonation, the SPL, p, d, and f values tended to rise due to prolonged reading in the morning and afternoon samples, indicating increased effort (normal phonation) and a rise in the phonatory threshold (soft phonation). The lunch break vocal rest ("rest effect") considerably affected the parameter values in many cases.     

Neck and Shoulder Muscle Activity and Thorax Movement in Singing and Speaking Tasks with Variation in Vocal Loudness and Pitch

The aim of this study was to examine respiratory phasing and loading levels of sternocleidomastoideus (STM), scalenus (SC), and upper trapezius (TR) muscles in vocalization tasks with variation in vocal loudness and pitch. Eight advanced singing students, aged 22 to 28 years, participated. Surface electromyographic (EMG) activity was recorded from STM, SC, and TR. Thorax movement was detected by two strain gauge sensors placed around the upper (upper TX) and lower (lower TX) thorax. A glissando and simplified singing and speaking tasks were performed. Sustained vowels /a:-i-ae-o:/ were sung in a glissando from lowest to highest pitch (mixed voice/falsetto) back to lowest pitch and in short singing sequences at comfortable, low, and high pitches. The same vowels were spoken softly and loudly for about the same length. The subjects inhaled between the vowels. It was concluded that the inspiratory phased STM and SC muscles produced a counterforce to compression of upper TX at high pitches in glissando. STM and SC were activated to higher levels during phonation than in inhalation. As breathing demands were reduced, STM and SC activity was lowered and the respiratory phasing of peak amplitude changed to inhalation. TR contributed to exhalation in demanding singing with long breathing cycles, but it was less active in singing tasks with short breathing cycles and was essentially inactive in simplified speaking tasks.     

The association between upper trapezius activity and thorax movement in classical singing

This study aimed to examine in classical singing the phasing of the activity in upper trapezius (TR) to upper and lower thorax movement and to the phasing of activity in the intercostals (INT) and in the lateral abdominal (OBL) muscles. Electromyographic (EMG) activity was recorded from the TR, INT, and OBL muscles on the right side. Thorax movement (TX) was traced with two strain gauge sensors placed around the upper and lower thorax. Four professional opera singers (soprano, mezzo, tenor, and baritone) and four advanced student classical singers (three sopranos and one mezzo) participated. Three of the professional singers were 33 years, and one was 40 years. The students were between 23 and 30 years. Different arias, freely chosen by the singers from their professional repertoire, served as the singing task for the opera singers. All students sang “Summertime” from Porgy and Bess. All subjects performed their task three times with variation in vocal loudness (normal, forte, piano). Thereafter, for all subjects, a biofeedback (BF) procedure was performed on TR to lower TR activity and a repeat performance of the singing tasks was carried out. EMG activity from the three recording sites and upper and lower TX circumference were compared before and after BF. A phasing of upper TR activity to INT and OBL activity was discovered, all muscles supporting the expiration phase. During phonation, the upper TR contributes in the compression of upper TX, thus serving as an accessory muscle of expiration. Group results from both opera singers and student singers showed that EMG activity was significantly lowered after BF. The lowered TR activity resulted in an expanded upper TX circumference and less TX respiratory movement after BF.