Overtone singing: Productive mechanisms and acoustic data

Overtone singing is where one person sings in two voices, the first voice represented by the fundamental and the second by an enhanced harmonic. Overtone singing is performed in chest register. Tuning of the first or second formant and a reduction of the formant bandwidth down to 20 Hz make harmonics prominent. Narrowing the pharynx, velar constriction, variation of the small mouth opening, and a tension of the walls of the mouth cavity are used. Changing prominent harmonics has the effect of creating an overtone melody with sustained tones, tone steps, and trillos.     

Can listeners hear who is singing? A comparison of three-note and six-note discrimination tasks

Timbre is typically investigated as a perceptual attribute that differentiates a sound source at one pitch and loudness. Yet the perceptual usefulness of timbre is that it allows the listener to recognize one sound source at different pitches. This paper investigated the ability of listeners to identify which pitch in an ascending or descending sequence of three or six stimuli was sung by a different singer. For three-note sequences, the task was extremely difficult, and with rare exceptions, listeners chose the most dissimilarly pitched stimulus as coming from the oddball singer. For six-note sequences, the detection of the oddball singer was much improved in spite of the added complexity of the task. These results support the idea that timbre should be understood as a transformation that connects the different sounds of one source and that a "rich" set of sounds is necessary to discover the trajectory.     

The interaction of formant frequency and pitch in the perception of voice category and jaw opening in female singers

This study represents a first step toward understanding the contribution formant frequency makes to the perception of female voice categories. The effects of formant frequency and pitch on the perception of voice category were examined by constructing a perceptual study that used two sets of synthetic stimuli at various pitches throughout the female singing range. The first set was designed to test the effects of systematically varying formants 1 through 4. The second set was designed to test the relative effects of lower frequency formants (F1 and F2) versus higher frequency formants (F3 and F4) through construction of mixed stimuli. Generally, as the frequencies of all four formants decreased, perception of soprano voice category decreased at all but the highest pitch, A5. However, perception of soprano voice category also increased as a function of pitch. Listeners appeared to need agreement between all four formants to perceive voice categories. When upper and lower formants are inconsistent in frequency, listeners were unable to judge voice category, but they could use the inconsistent patterns to form perceptions about degree of jaw opening.     

Extracting spectral envelopes: formant frequency matching between sounds on different and modulated fundamental frequencies

The four experiments reported here measure listeners' accuracy and consistency in adjusting a formant frequency of one- or two-formant complex sounds to match the timbre of a target sound. By presenting the target and the adjustable sound on different fundamental frequencies, listeners are prevented from performing the task by comparing the absolute or relative levels of resolved spectral components. Experiment 1 uses two-formant vowellike sounds. When the two sounds have the same F0, the variability of matches (within-subject standard deviation) for either the first or the second formant is around 1%-3%, which is comparable to existing data on formant frequency discrimination thresholds. With a difference in F0, variability increases to around 8% for first-formant matches, but to only about 4% for second-formant matches. Experiment 2 uses sounds with a single formant at 1100 or 1200 Hz with both sounds on either low or high fundamental frequencies. The increase in variability produced by a difference in F0 is greater for high F0's (where the harmonics close to the formant peak are resolved) than it is for low F0's (where they are unresolved). Listeners also showed systematic errors in their mean matches to sounds with different high F0's. The direction of the systematic errors was towards the most intense harmonic. Experiments 3 and 4 showed that introduction of a vibratolike frequency modulation (FM) on F0 reduces the variability of matches, but does not reduce the systematic error. The experiments demonstrate, for the specific frequencies and FM used, that there is a perceptual cost to interpolating a spectral envelope across resolved harmonics.     

Spectral characteristics of three styles of Croatian folk singing

This paper examines the differences between three Croatian folk singing styles, namely klapa, ojkanje, and tarankanje. In order to factor out singer-specific properties, each of the styles was performed by the same 12 professional male singers. The 36 performances were analyzed with a long-term average spectrum (LTAS) method from which direct effects of the pitch distribution were removed. After factoring out each singer's average, the 36 pitch-corrected LTAS contours were reduced to a two-dimensional representation in two ways: (1) a principal-component analysis and (2) a graphical plot of spectral slope versus speaker's formant strength. Both ways clearly separate the three styles. The spectrum of the klapa style turns out to be similar to that of speech. The ojkanje style is extremely loud and shows two spectral peaks: a sharp one tuned at twice the fundamental frequency and appropriate for long-distance communication on mountain slopes, and a broad one around 3.5 kHz, reminiscent of a speaker's formant. The tarankanje style has a very flat spectrum implemented by vocal pressedness and nasality, which is appropriate for blending into or imitating the timbral characteristics of the sopile folk instrument.     

Effects of HearFones on speaking and singing voice quality

HearFones (HF) have been designed to enhance auditory feedback during phonation. This study investigated the effects of HF (1) on sound perceivable by the subject, (2) on voice quality in reading and singing, and (3) on voice production in speech and singing at the same pitch and sound level.

Test 1: Text reading was recorded with two identical microphones in the ears of a subject. One ear was covered with HF, and the other was free. Four subjects attended this test. Tests 2 and 3: A reading sample was recorded from 13 subjects and a song from 12 subjects without and with HF on. Test 4: Six females repeated [pa:p:a] in speaking and singing modes without and with HF on same pitch and sound level.

Long-term average spectra were made (Tests 1–3), and formant frequencies, fundamental frequency, and sound level were measured (Tests 2 and 3). Subglottic pressure was estimated from oral pressure in [p], and simultaneously electroglottography (EGG) was registered during voicing on [a:] (Test 4). Voice quality in speech and singing was evaluated by three professional voice trainers (Tests 2–4).

HF seemed to enhance sound perceivable at the whole range studied (0–8 kHz), with the greatest enhancement (up to ca 25 dB) being at 1–3 kHz and at 4–7 kHz. The subjects tended to decrease loudness with HF (when sound level was not being monitored). In more than half of the cases, voice quality was evaluated “less strained” and “better controlled” with HF. When pitch and loudness were constant, no clear differences were heard but closed quotient of the EGG signal was higher and the signal more skewed, suggesting a better glottal closure and/or diminished activity of the thyroarytenoid muscle.     

Pitch Matching Accuracy of Trained Singers, Untrained Subjects with Talented Singing Voices, and Untrained Subjects with Nontalented Singing Voices in Conditions of Varying Feedback

At a physiological level, the act of singing involves control and coordination of several systems involved in the production of sound, including respiration, phonation, resonance, and afferent systems used to monitor production. The ability to produce a melodious singing voice (eg, in tune with accurate pitch) is dependent on control over these motor and sensory systems. To test this position, trained singers and untrained subjects with and without expressed singing talent were asked to match pitches of target pure tones. The ability to match pitch reflected the ability to accurately integrate sensory perception with motor planning and execution. Pitch-matching accuracy was measured at the onset of phonation (prephonatory set) before external feedback could be utilized to adjust the voiced source, during phonation when external auditory feedback could be utilized, and during phonation when external auditory feedback was masked. Results revealed trained singers and untrained subjects with singing talent were no different in their pitch-matching abilities when measured before or after external feedback could be utilized. The untrained subjects with singing talent were also significantly more accurate than the trained singers when external auditory feedback was masked. Both groups were significantly more accurate than the untrained subjects without singing talent.     

Singer's Formant in Sopranos: Fact or Fiction?

Although it is generally agreed that the singer's formant (F_S) is a prerequisite for successful stage performance, the results of this research do not support its presence in the soprano voices of trained female singers. Results are based on a recent investigation testing 10 advanced/professional sopranos in two groups singing sustained vowels at three frequencies: high (932 Hz), mid (622 Hz), and low (261 Hz). Spectrographic analysis shows that the nature of harmonic energy varies in relation to pitch. A resonance band somewhat resembling the tenor F_S was usually evident in vowels sung at low and mid pitch. However, unlike the F_S of typically less than 1 kHz bandwidth associated with tenors, sopranos singing similar pitches produced corresponding bandwidths which were significantly broader, usually at least 2-kHz wide. Vowels sung by sopranos at high-pitch levels exhibited strong fundamental frequency production with strong reinforcement of adjacent harmonics extending to 5 kHz and beyond. This type of production in essence nullifies the necessity for a typical F_S. Absence of the F_S in strong soprano voices might also imply the adaptation of a sufficiently different overall vocal tract configuration, so that techniques geared to developing maximal projection should not be the same as those developed to maximize the F_S in other voices.     

Formant-frequency matching between sounds with different bandwidths and on different fundamental frequencies

The two experiments described here use a formant-matching task to investigate what abstract representations of sound are available to listeners. The first experiment examines how veridically and reliably listeners can adjust the formant frequency of a single-formant sound to match the timbre of a target single-formant sound that has a different bandwidth and either the same or a different fundamental frequency (F0). Comparison with previous results [Dissard and Darwin, J. Acoust. Soc. Am. 106, 960-969 (2000)] shows that (i) for sounds on the same F0, introducing a difference in bandwidth increases the variability of matches regardless of whether the harmonics close to the formant are resolved or unresolved; (ii) for sounds on different F0's, introducing a difference in bandwidth only increases variability for sounds that have unresolved harmonics close to the formant. The second experiment shows that match variability for sounds differing in F0, but with the same bandwidth and with resolved harmonics near the formant peak, is not influenced by the harmonic spacing or by the alignment of harmonics with the formant peak. Overall, these results indicate that match variability increases when the match cannot be made on the basis of the excitation pattern, but match variability does not appear to depend on whether ideal matching performance requires simply interpolation of a spectral envelope or also the extraction of the envelope's peak frequency.     

Pitch Discrimination and Pitch Matching Abilities of Adults who Sing Inaccurately

Past research regarding singing ability has provided evidence that both supports and refutes a relationship between pitch discrimination ability and pitch production ability. Researchers have suggested that these skills improve with age. Despite this suggestion, most investigators studying singing ability have included only children as participants. Additionally, although many researchers have studied accurate singers, few have directly studied persons who do not sing accurately. We designed this study to examine the relationship between pitch discrimination ability and pitch production ability in inaccurate adult singers. Fifteen adults, aged 18 to 40 years, that met specific criteria qualified as inaccurate singers. Each participated in two tasks, a pitch discrimination task and a pitch production task. We used the Multi-Dimensional Voice Profile-Advanced (Kay Elemetrics Corporation, Lincoln Park, NJ) to determine the frequency of each participant's vocal productions during the pitch production task. We also used a Pearson product moment correlation to analyze the relationship between pitch discrimination and pitch production accuracy within a semitone of the target frequency. No meaningful relationship was found, and results were not statistically significant. However, the inaccurate singers in this study could be classified into two separate categories, those who discriminated pitches accurately, but produced pitches inaccurately, and those who discriminated pitches inaccurately and produced pitches inaccurately. These findings may be of great importance to music educators and impact the focus of instruction when teaching an inaccurate singer to sing more accurately.     

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.     

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 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.     

Perceived pitch of whispered vowels-relationship with formant frequencies: A preliminary study

To clarify the role of formant frequency in the perception of pitch in whispering, we conducted a preliminary experiment to determine (1.) whether speakers change their pitch during whispering; (2.) whether listeners can perceive differences in pitch; and (3.) what the acoustical features are when speakers change their pitch. The listening test of whispered Japanese speech demonstrates that one can determine the perceived pitch of vowel /a/ as ordinary, high, or low. Acoustical analysis revealed that the perception of pitch corresponds to some formant frequencies. Further data with synthesized whispered voice are necessary to confirm the importance of the formant frequencies in detail for perceived pitch of whispered vowels.     

Perceptual confusions of high-pitched sung vowels

Questions exist as to the intelligibility of vowels sung at extremely high fundamental frequencies and, especially, when the fundamental frequency (F0) produced is above the region where the first vowel formant (F1) would normally occur. Can such vowels be correctly identified and, if so, does context provide the necessary information or are acoustical elements also operative? To this end, 18 professional singers (5 males and 13 females) were recorded when singing 3 isolated vowels at high and low pitches at both loud and soft levels. Aural-perceptual studies employing four types of auditors were carried out to determine the identity of these vowels, and the nature of the confusions with other vowels. Subsequent acoustical analysis focused on the actual fundamental frequencies sung plus those defining the first 2 vowel formants. It was found that F0 change had a profound effect on vowel perception; one of the more important observations was that the target tended to shift toward vowels with an F1 just above the sung frequency.     

Two-dimensional model of vocal fold vibration for sound synthesis of voice and soprano singing

Voiced sounds were simulated with a computer model of the vocal fold composed of a single mass vibrating both parallel and perpendicular to the airflow. Similarities with the two-mass model are found in the amplitudes of the glottal area and the glottal volume flow velocity, the variation in the volume flow waveform with the vocal tract shape, and the dependence of the oscillation amplitude upon the average opening area of the glottis, among other similar features. A few dissimilarities are also found in the more symmetric glottal and volume flow waveforms in the rising and falling phases. The major improvement of the present model over the two-mass model is that it yields a smooth transition between oscillations with an inductive load and a capacitive load of the vocal tract with no sudden jumps in the vibration frequency. Self-excitation is possible both below and above the first formant frequency of the vocal tract. By taking advantage of the wider continuous frequency range, the two-dimensional model can successfully be applied to the sound synthesis of a high-pitched soprano singing, where the fundamental frequency sometimes exceeds the first formant frequency.     

Discrimination Functions: Can They Be Used to Classify Singing Voices?

Researchers long have searched for invariant acoustic features that can be used to identify singing voice categories or even individual singers. Few researchers have examined how listeners perceive singing voice categories or individual voices. Timbre, the most studied perceptual dimension of the singing voice, is generally believed to vary systematically between singing voice categories but is often assumed to be invariant with an individual singer. To test this assumption, 2 mezzo-sopranos and 2 sopranos were recorded singing the vowel /a/ on the pitches A3, C4, G4, B4, F5, and A5. Trials of three stimuli were constructed. Two of the three stimuli in each trial were produced by the same singer at two different pitches (X₁ and X₂), while the third stimulus was produced by a different singer (Y). Three X₁X₂ conditions were created: (1) G4, B4; (2) C4, F5; and (3) A3, A5. For each singer and each condition, Y was varied across the three remaining singers and across all six pitches. Experienced and inexperienced listeners were asked to identify which stimulus was produced by the “odd” person. The ability to correctly choose the odd person varied greatly depending on pitch factors, suggesting that the traditional concept of an invariant timbre associated with a singer is inaccurate and that vocal timbre must be conceptualized in terms of transformations in perceived quality that occur across an individual singer's range and/or registers.     

Perception of acoustic scale and size in musical instrument sounds

There is size information in natural sounds. For example, as humans grow in height, their vocal tracts increase in length, producing a predictable decrease in the formant frequencies of speech sounds. Recent studies have shown that listeners can make fine discriminations about which of two speakers has the longer vocal tract, supporting the view that the auditory system discriminates changes on the acoustic-scale dimension. Listeners can also recognize vowels scaled well beyond the range of vocal tracts normally experienced, indicating that perception is robust to changes in acoustic scale. This paper reports two perceptual experiments designed to extend research on acoustic scale and size perception to the domain of musical sounds: The first study shows that listeners can discriminate the scale of musical instrument sounds reliably, although not quite as well as for voices. The second experiment shows that listeners can recognize the family of an instrument sound which has been modified in pitch and scale beyond the range of normal experience. We conclude that processing of acoustic scale in music perception is very similar to processing of acoustic scale in speech perception.     

Pitch discrimination of harmonic complex signals: residue pitch or multiple component discriminations?

Two models for pitch discrimination of harmonic complex sounds are discussed, a multiple-band probability summation model using comparisons among component frequencies, and a model in which residue pitches are compared. The second model is based on Goldstein's optimum-processor pitch theory [J. Acoust. Soc. Am. 54, 1496-1516 (1973)], and is distinguished from the multiple-band model by an internal noise process. Pitch difference limens from 2I2AFC tasks show that when the test signals comprise corresponding harmonics, relative pitch difference limens are less than the smaller relative difference limens for the component frequencies, which is consistent with the multiple-band model. The absence of corresponding harmonics significantly reduces relative pitch discriminability; this effect supports the model on Goldstein's theory. It appears that residue pitch comparisons are not used for pitch discrimination between sounds with corresponding components; rather, comparisons based on residue pitch are only employed where there are no common resolved components in the signals to be discriminated.     

Vowel Intelligibility in Classical Singing

Vowel intelligibility during singing is an important aspect of communication during performance. The intelligibility of isolated vowels sung by Western classically trained singers has been found to be relatively low, in fact, decreasing as pitch rises, and it is lower for women than for men. The lack of contextual cues significantly deteriorates vowel intelligibility. It was postulated in this study that the reduced intelligibility of isolated sung vowels may be partly from the vowels used by the singers in their daily vocalises. More specifically, if classically trained singers sang only a few American English vowels during their vocalises, their intelligibility for American English vowels would be less than for those classically trained singers who usually vocalize on most American English vowels. In this study, there were 21 subjects (15 women, 6 men), all Western classically trained performers as well as teachers of classical singing. They sang 11 words containing 11 different American English vowels, singing on two pitches a musical fifth apart. Subjects were divided into two groups, those who normally vocalize on 4, 5, or 6 vowels, and those who sing all 11 vowels during their daily vocalises. The sung words were cropped to isolate the vowels, and listening tapes were created. Two listening groups, four singing teachers and five speech-language pathologists, were asked to identify the vowels intended by the singers. Results suggest that singing fewer vowels during daily vocalises does not decrease intelligibility compared with singing the 11 American English vowels. Also, in general, vowel intelligibility was lower with the higher pitch, and vowels sung by the women were less intelligible than those sung by the men. Identification accuracy was about the same for the singing teacher listeners and the speech-language pathologist listeners except for the lower pitch, where the singing teachers were more accurate.