Glottal behavior in the high soprano range and the transition to the whistle register

The high soprano range was investigated by acoustic and electroglottographic measurements of 12 sopranos and high-speed endoscopy of one of these. A single laryngeal transition was observed on glissandi above the primo passaggio. It supports the existence of two distinct laryngeal mechanisms in the high soprano range: M2 and M3, underlying head and whistle registers. The laryngeal transition occurred gradually over several tones within the interval D#5-D6. It occurred over a wider range and was completed at a higher pitch for trained than untrained sopranos. The upper limit of the laryngeal transition during glissandi was accompanied by pitch jumps or instabilities, but, for most singers, it did not coincide with the upper limit of R1:f(0) tuning (i.e., tuning the first resonance to the fundamental frequency). However, pitch jumps could also be associated with changes in resonance tuning. Four singers demonstrated an overlap range over which they could sing with a full head or fluty resonant quality. Glottal behaviors underlying these two qualities were similar to the M2 and M3 mechanisms respectively. Pitch jumps and discontinuous glottal and spectral changes characteristic of a M2-M3 laryngeal transition were observed on decrescendi produced within this overlap range.     

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.     

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.     

Dependence of jaw opening on pitch and vowel in singers

In singing, F₀ sometimes is much higher than the typical frequency value of F₁. According to previous investigations, sopranos raise F₁ to a frequency near F₀ by widening the jaw opening in such cases. In the present study, the jaw opening was measured in 10 professional singers of different categorizations whose task was to sing an ascending two-octave scale on different vowels. Their normal F₁ values for these vowels were determined at a low F₀. Only for the vowels /a/ and /a/ did the singers widen the jaw opening when F₀ approached the F₁ value measured at a low pitch. For the other vowels, jaw opening was widened, beginning at a higher F₀. It is assumed that for these vowels the singers used other articulatory means to increase F₁.     

Some physical characteristics of the male falsetto voice

Previous research indicated that, as groups, male (bass/baritone) and female (soprano) professional singers tend to exhibit differing vocal tract and voice source behaviours. The use of an objective measure of voice [xeroradiographic-electrolaryngographic analysis (XEL)] revealed differences between the two voice types, especially at the highest sample pitches (e, 330 Hz for bass/baritones, and e″, 1,320 Hz for sopranos). XEL analysis combines two known techniques, i.e., soft-tissue radiographic imaging (xeroradiography), and an analysis of voice-source vibratory patterning (electrolaryngography). Subsequent to this investigation, interest centered on the male professional falsetto voice over a two-octave range (E 165 Hz to e′ 660 Hz) using a sample (n=9) of professional countertenors. Results suggest that there are characteristic trends in the patterning of the male professional falsetto register, but there is also evidence of within-group variability. The subjects significantly increased the size of the pharyngeal tube area during phonation. ANOVA and Trend Analysis revealed ventricular space as the only measure to expand systematically and consistently as sung pitch increases.     

Speaking fundamental frequency characteristics as a function of age and professional singing

The purposes of this project were to discover (1) if the speaking fundamental frequency (SFF) levels of professional singers differ significantly from those of nonsingers and (2) if the age-related SFF patterns are similar for these two classes of individuals. Sixty professional singers and 94 nonsingers were recorded reading the first paragraph of the “Rainbow Passage;” both males and females were included. Three paired groups (young, middle, and old age) were studied; they were selected on the basis of health and age. The professional singer groups were further divided by a binary voice classification system, specifically that of soprano/alto for women and tenor/baritone for men. It was found that the sopranos and tenors exhibited significantly higher SFF levels then did the age-matched nonsingers, whereas the altos and baritones did not differ significantly from the controls. Relationships within the performer groups were mixed. For example, there appeared to be a systemic trend for the sopranos and tenors to exhibit higher SFF levels than the altos and baritones. Finally, although the nonsinger SFF levels varied significantly as a function of age, those for the professional singers did not.     

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.     

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.     

Predicted Singers' Vocal Fold Lengths and Voice Classification—A Study of X-Ray Morphological Measures

Students admitted to the solo singing education at the University of Music Dresden, Germany have been submitted to a detailed physical examination of a variety of factors with relevance to voice function since 1959. In the years 1959–1991, this scheme of examinations included X-ray profiles of the singers' vocal tracts. This material of 132 X-rays of voice professionals was used to investigate different laryngeal morphological measures and their relation to vocal fold length. Further, the study aimed to investigate if there are consistent anatomical differences between singers of different voice classifications. The study design used was a retrospective analysis. Vocal fold length could be measured in 29 of these singer subjects directly. These data showed a strong correlation with the anterior-posterior diameter of the subglottis and the trachea as well as with the distance from the anterior contour of the thyroid cartilage to the anterior contour of the spine. These relations were used in an attempt to predict the 132 singers' vocal fold lengths. The results revealed a clear covariation between predicted vocal fold length and voice classification. Anterior-posterior subglottic-tracheal diameter yielded mean vocal fold lengths of 14.9, 16.0, 16.6, 18.4, 19.5, and 20.9 mm for sopranos, mezzo-sopranos, altos, tenors, baritones, and basses, respectively. The data support the assumption that there are consistent anatomical laryngeal differences between singers of different voice classifications, which are of relevance to pitch range and timbre of the voice.     

Intonation Drift in A Capella Soprano, Alto, Tenor, Bass Quartet Singing With Key Modulation

OBJECTIVES/HYPOTHESIS: When a soprano, alto, tenor, bass (SATB) quartet sings unaccompanied, or a capella, the members of the group will tend to make use of non-equal-tempered intonation to govern their tuning. If the music they are performing visits different keys and they do maintain non-equal-tempered tuning, then the pitch center will have to shift from its starting point, which is a necessary consequence of the physics behind the use of a non-equal-tempered tuning system. The implication of this shift for tuning in a capella singing is that it is not possible both to maintain accurate non-equal-tempered tuning and to stay in pitch throughout music that modulates in key. METHODS: To test this notion, a set of four-part exercises were written by the author that visit several different key chords in sequential progression. In each case, the starting and finishing chords were either identical or exactly an octave apart. Mean fundamental frequency values for each note were measured using four electrolaryngographs (one per singer), and the f0 data were normalized and plotted with respect to equal-tempered tuning to enable any overall tuning shift to be observed. RESULTS: The results indicate that singers do (1) tend to non-equal-tempered tuning and (b) do consequentially shift their intonation with modulation. CONCLUSIONS: These data indicate that pitch drift is potentially a necessary part of staying in-tune. Further work is required to identify items in the choral repertoire for which this effect is likely and then to inform the choral conducting and singing communities appropriately.     

The Singing Power Ratio as an Objective Measure of Singing Voice Quality in Untrained Talented and Nontalented Singers

A growing body of contemporary research has investigated differences between trained and untrained singing voices. However, few studies have separated untrained singers into those who do and do not express abilities related to singing talent, including accurate pitch control and production of a pleasant timbre (voice quality). This investigation studied measures of the singing power ratio (SPR), which is a quantitative measure of the resonant quality of the singing voice. SPR reflects the amplification or suppression in the vocal tract of the harmonics produced by the sound source. This measure was acquired from the voices of untrained talented and nontalented singers as a means to objectively investigate voice quality differences. Measures of SPR were acquired from vocal samples with fast Fourier transform (FFT) power spectra to analyze the amplitude level of the partials in the acoustic spectrum. Long-term average spectra (LTAS) were also analyzed. Results indicated significant differences in SPR between groups, which suggest that vocal tract resonance, and its effect on perceived vocal timbre or quality, may be an important variable related to the perception of singing talent. LTAS confirmed group differences in the tuning of vocal tract harmonics.     

Saxophonists tune vocal tract resonances in advanced performance techniques

The acoustical impedance spectrum was measured in the mouths of saxophonists while they played. During bugling and while playing in the very high or altissimo range, experienced players tune a strong, but relatively broad, peak in the tract impedance to select which peak in the bore impedance will determine the note. Less experienced players are unable to produce resonances with impedance peaks comparable in magnitude to those of the bore and consequently are unable to play these notes. Experienced players can also tune their tracts to select which combinations of notes are played simultaneously in multiphonics or chords, and to produce pitch bending, a technique in which notes are produced at frequencies far from those of the peak of impedance of the instrument bore. However, in normal playing in the standard range, there is no consistent tuning of the tract resonances. The playing frequency, in all cases, lies close to the peak in the impedance of the reed in parallel with the series combination of the impedances measured in the mouth and the instrument bore on either side of the reed (ZMouth+ZBore)∥ZReed.     

Significance of Auditory and Kinesthetic Feedback to Singers'' Pitch Control

An accurate control of fundamental frequency (F0) is required from singers. This control relies on auditory and kinesthetic feedback. However, a loud accompaniment may mask the auditory feedback, leaving the singers to rely on kinesthetic feedback. The object of the present study was to estimate the significance of auditory and kinesthetic feedback to pitch control in 28 students beginning a professional solo singing education. The singers sang an ascending and descending triad pattern covering their entire pitch range with and without masking noise in legato and staccato and in a slow and a fast tempo. F0 was measured by means of a computer program. The interval sizes between adjacent tones were determined and their departures from equally tempered tuning were calculated. The deviations from this tuning were used as a measure of the accuracy of intonation. Statistical analysis showed a significant effect of masking that amounted to a mean impairment of pitch accuracy by 14 cent across all subjects. Furthermore, significant effects were found of tempo as well as of the staccato/legato conditions. The results indicate that auditory feedback contributes significantly to singers' control of pitch.     

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.     

Do trumpet players tune resonances of the vocal tract?

The acoustic impedance spectrum was measured in the mouths of seven trumpeters while they played normal notes and while they practiced "bending" the pitch below or above the normal value. The peaks in vocal tract impedance usually had magnitudes rather smaller than those of the bore of the trumpet. Over the range measured, none of the trumpeters showed systematic tuning of the resonances of the vocal tract. However, all players commented that the presence of the impedance head in the mouth prevented them from playing the very highest notes of which they were normally capable. It is therefore possible that these players might use either resonance tuning or perhaps very high impedance magnitudes for some notes beyond the measured range. The observed lack of tuning contrasts with measurements for the saxophone which, like the trumpet, has weak resonances in the third and fourth octaves. Saxophonists are only able to play the highest range by tuning resonances of the vocal tract, so that the series impedance has a very strong peak at a frequency near that of the desired note. This difference is explained by the greater control that the trumpet player has over the natural frequency of the vibrating valve.     

Perception of concurrent vowels: effects of harmonic misalignment and pitch-period asynchrony

Three experiments examined the ability of listeners to identify steady-state synthetic vowel-like sounds presented concurrently in pairs to the same ear. Experiment 1 confirmed earlier reports that listeners identify the constituents of such pairs more accurately when they differ in fundamental frequency (f0) by about a half semitone or more, compared to the condition where they have the same f0. When the constituents have different f0's, corresponding harmonics of the two vowels are misaligned in frequency and corresponding pitch periods are asynchronous in time. These differences provide cues that might aid identification. Experiments 2 and 3 determined whether listeners can use these cues, divorced from a difference in f0, to improve their accuracy of identification. Harmonic misalignment was beneficial when the constituents had an f0 of 200 Hz so that the harmonics of each constituent were well separated in frequency. Pitch-period asynchrony was beneficial when the constituents had an f0 of 50 Hz so that the onsets of the pitch periods of each constituent were well separated in time. Neither cue was beneficial when both constituents had an f0 of 100 Hz. It is unlikely, therefore, that either cue contributed to the improvement in performance found in Experiment 1 where the constituents were given different f0's close to 100 Hz. Rather, it is argued that performance improved in Experiment 1 primarily because the two f0's specified two pitches that could be used to segregate the contributions of each vowel in the composite waveform.     

The representation of the spectra and fundamental frequencies of steady-state single- and double-vowel sounds in the temporal discharge patterns of guinea pig cochlear-nerve fibers

Psychophysical results using double vowels imply that subjects are able to use the temporal aspects of neural discharge patterns. To investigate the possible temporal cues available, the responses of fibers in the cochlear nerve of the anesthetized guinea pig to synthetic vowels were recorded at a range of sound levels up to 95 dB SPL. The stimuli were the single vowels /i/ [fundamental frequency (f0) 125 Hz], /a/ (f0, 100 Hz), and /c/ (f0, 100 Hz) and the double vowels were /a(100),i(125)/ and /c(100),i(125)/. Histograms synchronized to the period of the double vowels were constructed, and locking of the discharge to individual harmonics was estimated from them by Fourier transformation. One possible cue for identifying the f0's of the constituents of a double vowel is modulation of the neural discharge with a period of 1/f0. Such modulation was found at frequencies between the formant peaks of the double vowel, with modulation at the periods of 100 and 125 Hz occurring at different places in the fiber array. Generation of a population response based on synchronized responses [average localized synchronized rate (ALSR): see Young and Sachs [J. Acoust. Soc. Am. 66, 1381-1403 (1979)] allowed estimation of the f0's by a variety of methods and subsampling the population response at the harmonics of the f0 of the constituent vowel achieved a good reconstruction of its spectrum. Other analyses using interval histograms and autocorrelation, which overcome some problems associated with the ALSR approach, also allowed f0 identification and vowel segregation. The present study has demonstrated unequivocally that the timing of the impulses in auditory-nerve fibers provides copious possible cues for the identification of the fundamental frequencies and spectra associated with each of the constituents of double vowels.     

Nonlinear source-filter coupling in phonation: theory

A theory of interaction between the source of sound in phonation and the vocal tract filter is developed. The degree of interaction is controlled by the cross-sectional area of the laryngeal vestibule (epilarynx tube), which raises the inertive reactance of the supraglottal vocal tract. Both subglottal and supraglottal reactances can enhance the driving pressures of the vocal folds and the glottal flow, thereby increasing the energy level at the source. The theory predicts that instabilities in vibration modes may occur when harmonics pass through formants during pitch or vowel changes. Unlike in most musical instruments (e.g., woodwinds and brasses), a stable harmonic source spectrum is not obtained by tuning harmonics to vocal tract resonances, but rather by placing harmonics into favorable reactance regions. This allows for positive reinforcement of the harmonics by supraglottal inertive reactance (and to a lesser degree by subglottal compliant reactance) without the risk of instability. The traditional linear source-filter theory is encumbered with possible inconsistencies in the glottal flow spectrum, which is shown to be influenced by interaction. In addition, the linear theory does not predict bifurcations in the dynamical behavior of vocal fold vibration due to acoustic loading by the vocal tract.     

The Effects of Frequency Range, Vowel, Dynamic Loudness Level, and Gender on Nasalance in Amateur and Classically Trained Singers

This study addresses two questions: (1) How much nasality is present in classical Western singing? (2) What are the effects of frequency range, vowel, dynamic level, and gender on nasality in amateur and classically trained singers? The Nasometer II 6400 by KayPENTAX (Lincoln Park, NJ) was used to obtain nasalance values from 21 amateur singers and 25 classically trained singers while singing an ascending five-tone scalar passage in low, mid, and high frequency ranges. Each subject sang the scalar passage at both piano and mezzo-forte dynamic loudness levels on each of the five cardinal vowels (/a/, /e/, /i/, /o/, /u/). A repeated mixed-model analysis indicated a significant main effect for the amateur/classically trained distinction, dynamic loudness level, and vowel, but not for frequency range or gender. The amateur singers had significantly higher nasalance scores than classically trained singers in all ranges and on all vowels except /o/. Dynamic loudness level had a significant effect on nasalance for all subject groups except for female majors in the mid- and high-frequency ranges. The vowel, /i/, received significantly higher nasalance than all of the other vowels. Although results of this study show that dynamic loudness level, vowel, and level of training in classical singing have a significant effect on nasality, nasalance scores for most subjects were relatively low. Only six of the subjects, all of whom were amateur singers, had average nasalance scores that could be considered hypernasal (ie, a nasalance average of 22 or above).