Vibrato Rate Adjustment

The goal of the present study was to document the acoustic changes that occur as singers attempt to increase or decrease their vibrato rate to match target stimuli. Eight advanced singing students produced vowels with vibrato in three registers, both naturally and while attempting to match faster or slower rate stimuli. Slower rates were associated with lower intensity and less steady vibrato. Faster rates involved increased vibrato extent in the chest register and increased intensity in the head register. Singers whose spontaneous vibrato rates were naturally either slower or faster tended to also be relatively slower or faster when matching target rates. This ability to modify rate may have beneficial effects on the artistic quality of the voice for performance.     

Vibrato rate and extent in soprano voice: a survey on one century of singing

This work presents a statistical study of vibrato parameters in soprano voices. More than one hundred recordings of the same tone sung by 75 artists have been analyzed. Vibrato rate and extent, tone length and intonation, together with their correlations are the main parameters under examination. The study shows a clear decrease of the mean vibrato rate during the last century (-1.8±0.3 Hz/century), together with an increase of vibrato extent (56.4±0.3cent/century). Vibrato rate and extent show a statistically significant negative correlation (r=-0.62). Vibrato rate increase near the end of the tone has been observed too, in agreement with previous measurements, together with a mean increase of the pitch of the tone. A small positive correlation has been also found among note duration and vibrato extent.     

Estimating perceived phonatory pressedness in singing from flow glottograms

The normalized amplitude quotient (NAQ), defined as the ratio between the peak-to-peak amplitude of the flow pulse and the negative peak amplitude of the differentiated flow glottogram and normalized with respect to period time, has been shown to be related to glottal adduction. Glottal adduction, in turn, affects mode of phonation and hence perceived phonatory pressedness. The relationship between NAQ and perceived phonatory pressedness was analyzed in a material collected from a professional female singer and singing teacher who sang a triad pattern in breathy, flow, neutral, and pressed phonation in three different loudness conditions (soft, middle, loud). In addition, she also sang the same triad pattern in four different styles of singing, classical, pop, jazz, and blues, in the same three loudness conditions. A panel of experts rated the degree of perceived phonatory press along visual analogue scales. Comparing the obtained mean rated pressedness ratings with the mean NAQ values for the various triads showed that about 73% of the variation in perceived pressedness could be accounted for by variations of NAQ.     

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.     

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.     

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 speaker''s formant in male voices

Spectral analysis of vowels during connected speech can be performed using the spectral intensity distribution within critical bands corresponding to a natural scale on the basilar membrane. Normalization of the spectra provides the opportunity to make objective comparisons independent from the recording level. An increasing envelope peak between 3,150 and 3,700 Hz has been confirmed statistically for a combination of seven vowels in three groups of male speakers with hoarse, normal, and professional voices. Each vowel is also analyzed individually. The local energy maximum is called “the speaker's formant” and can be found in the region of the fourth formant. The steepness of the spectral slope (i.e. the rate of decline) becomes less pronounced when the sonority or the intensity of the voice increases. The speaker's formant is connected with the sonorous quality of the voice. It increases gradually and is approximately 10 dB higher in professional male voices than in normal male voices at neutral loudness (60 dB at 0.3 min). The peak intensity becomes stronger (30 dB above normal voices) when the overall speaking loudness is increased to 80 dB. Shouting increases the spectral energy of the adjacent critical bands but not the speaker's formant itself.     

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.     

Laryngeal and pharyngeal behavior in countertenor and baritone singing—A videofiberscopic study

Changes in vocal tract configuration during singing were studied in four semiprofessional countertenors and one professional bass-baritone, by means of fiberoptic laryngoscopy. All of the countertenors showed a marked narrowing of the lower pharynx with increasing pitch when they used their countertenor voice (CT voice) but only a slight narrowing when using their baritone voice (B voice). The bass-baritone's pharynx remained unchanged with increasing pitch. Increasing loudness gave a widening of the pharynx in three of the four countertenors' CT voices, whereas no change was observed for the countertenors' B voices or for the bass-baritone voice. Vocal fold length seemed to decrease in one countertenor's B voice and in the bass-baritone with increasing loudness. Thus, the countertenors in this study exhibit several characteristic patterns of vocal tract gestures in countertenor voice that differ from both their own baritone voices and from the bass-baritone.     

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.     

Spectral loudness summation for sequences of short noise bursts

Recent loudness data of single noise bursts indicate that spectral loudness summation depends on signal duration. To gain insight into the mechanisms underlying this duration effect, loudness was measured as a function of signal bandwidth centered around 2 kHz for sequences of 10-ms noise bursts at various repetition rates and, for comparison, for single noise bursts of either 10- or 1000-ms duration. The test-signal bandwidth was varied from 200 to 6400 Hz. For the repeated noise bursts, the reference signal had a bandwidth of 400 Hz. For the single noise bursts, data were obtained for two reference bandwidths: 400 and 3200 Hz. In agreement with previous results, the magnitude of spectral loudness summation was larger for the 10-ms than for the 1000-ms noise bursts. The reference bandwidth had no significant effect on the results for the single noise bursts. Up to repetition rates of 50 Hz, the magnitude of spectral loudness summation for the sequences of noise bursts was the same as for the single short noise burst. The data indicate that the mechanism underlying the duration effect in spectral loudness is considerably faster than the time constant of about 100 ms commonly associated with the temporal integration of loudness.     

Dimensionality in Voice Quality

This study concerns speaking voice quality in a group of male teachers (n = 35) and male actors (n = 36), as the purpose was to investigate normal and supranormal voices. The goal was the development of a method of valid perceptual evaluation for normal to supranormal and resonant voices. The voices (text reading at two loudness levels) had been evaluated by 10 listeners, for 15 vocal characteristics using VA scales. In this investigation, the results of an exploratory factor analysis of the vocal characteristics used in this method are presented, reflecting four dimensions of major importance for normal and supranormal voices. Special emphasis is placed on the effects on voice quality of a change in the loudness variable, as two loudness levels are studied. Furthermore, the vocal characteristics Sonority and Ringing voice quality are paid special attention, as the essence of the term "resonant voice" was a basic issue throughout a doctoral dissertation where this study was included.     

Acoustic characteristics of vocal oscillations: Vibrato, exaggerated vibrato, trill, and trillo

Acoustic analysis was performed on recordings of 10 early music singers producing examples of vibrato, exaggerated vibrato, whole-tone trill, and trillo to obtain measures of oscillation rate, frequency extent, and jitter. Oscillation rates for vibrato, exaggerated vibrato, and trill were similar, but trillo rate was much faster. Average frequency extent of oscillation was 1 semitone (st) for vibrato, 2.21 st for exaggerated vibrato, 2.71 st for whole-tone trill, and 1.64 st for trillo. Jitter measures indicated that exaggerated vibrato had the most stable oscillations and trillo the least.     

Acoustic variability in vibrato and its perceptual significance

Historically, studies of vocal vibrato have concentrated on pulse rate as being a primary factor in determining whether a given vocal movement is a good or bad vibrato or a tremolo or wobble. More recently, investigators have been studying the extent of frequency variation and amplitude variation around their respective means in order to determine their influence on the perception of vibrato. The present study is an additional attempt to understand the three parameters comprising vibrato, their interrelationship, and their relationship to perception. Samples of sustained sung tones were obtained primarily from recordings. The samples were digitized using a 16-bit A/D converter at a sampling frequency of 10 kHz. Each digitized sample was converted to a useful format for marking purposes in order to derive information on vibrato pulse rate, the mean frequency of the tone, the semitone deviation around the mean, percent frequency deviation and percent amplitude variation around the mean amplitude. Data presentation utilizes representative samples of good vibrato, tremolo and wobble and describes differences in waveforms which may impact on perception.     

Dependence of loudness growth on skirts of excitation patterns

Over a range of 50 dB, the loudness of a 100-Hz tone was measured in the presence of a broadband noise with a low-frequency cutoff at 200 Hz. The noise was varied in intensity along along with the tone so that the signal-to-noise ratio remained constant at either 0 or--10 dB. Listeners judged the loudness of the tone by loudness matching, magnitude estimation, and magnitude production. The noise markedly decreased the tone's rate of loudness growth but not the range over which loudness grows. The overall decrease in steepness of the 100-Hz loudness function was greater than that previously reported at higher frequencies. It is hypothesized that the decrease was greater because the spread of excitation at 100 Hz was more effectively contained than at higher frequencies. Support for this hypothesis is given by measures of intensity discrimination at 100 Hz.     

Effects of a professional solo singer education on auditory and kinesthetic feedback—a longitudinal study of singers'' pitch control

The significance of auditory and kinesthetic feedback to pitch control in singing was described in a previous report of this project for students at the beginning of their professional solo singer education.(1) As it seems reasonable to assume that pitch control can be improved by training, the same students were reinvestigated after 3 years of professional singing education. As in the previous study, the singers sang an ascending and descending triad pattern with and without masking noise in legato and staccato and in a slow and a fast tempo. Fundamental frequency and interval sizes between adjacent tones were determined and compared with their equivalents in the equally tempered tuning. The average deviations from these values were used as estimates of intonation accuracy. Intonation accuracy was reduced by masking noise, by staccato as opposed to legato singing, and by fast as opposed to slow performance. The contribution of the auditory feedback to pitch control was not significantly improved after education, whereas the kinesthetic feedback circuit was improved in slow legato and slow staccato tasks. The results support the assumption that the kinesthetic feedback contributes substantially to intonation accuracy.     

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.