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.     

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.     

Soft Phonation in the Male Singing Voice: A Preliminary Study

Sustained high notes, diminishing gradually from the loudest to the softest phonation within a maneuver called messa di voce, are examined in two contrasting professional tenor voices. Signals of the sound pressure level, electroglottograph, and mean esophageal pressure are recorded, and similar maneuvers by the same subjects are examined stroboscopically. The lyric voice is found to make a gradual diminuendo while maintaining nearly constant posture of the vocal tract together with a phase of complete closure in the glottal cycle. The robust voice, by contrast, passes abruptly from a production of high subglottal pressure and a high closed quotient to one of low pressure and incomplete closure, and the transition is marked by a sudden opening of the previously constricted laryngeal collar. It is proposed that the mode of soft voice production demonstrated by the robust voice be recognized as a distinct register of the singing voice.     

What is “Twang”?

A single female professional vocal artist and pedagogue sang examples of “twang” and neutral voice quality, which a panel of experts classified, in almost complete agreement with the singer's intentions. Subglottal pressure was measured as the oral pressure during the occlusion during the syllable /pae/. This pressure tended to be higher in “twang,” whereas the sound pressure level (SPL) was invariably higher. Voice source properties and formant frequencies were analyzed by inverse filtering. In “twang,” as compared with neutral, the closed quotient was greater, the pulse amplitude and the fundamental were weaker, and the normalized amplitude tended to be lower, whereas formants 1 and 2 were higher and 3 and 5 were lower. The formant differences, which appeared to be the main cause of the SPL differences, were more important than the source differences for the perception of “twanginess.” As resonatory effects occur independently of the voice source, the formant frequencies in “twang” may reflect a vocal strategy that is advantageous from the point of view of vocal hygiene.     

Relationship between changes in voice pitch and loudness

Changes in mean fundamental frequency accompanying changes in loudness of phonation are analyzed in 9 professional singers, 9 nonsingers, and 10 male and 10 female patients suffering from vocal functional dysfunction. The subjects read discursive texts with noise in earphones, and some also at voluntarily varied vocal loudness. The healthy subjects phonated as softly and as loudly as possible at various fundamental frequencies throughout their pitch ranges, and the resulting mean phonetograms are compared. Mean pitch was found to increase by about half-semitones per decibel sound level. Grossly, the subject groups gave similar results, although the singers changed voice pitch more than the nonsingers. The voice pitch changes may be explained as passive results of changes of subglottal pressure required for the sound level variation.     

Vocal loudness and frequency capabilities of the voice

A phonetogram is a graph showing the sound pressure level (SPL) of softest and loudest phonation over the entire fundamental frequency range of a voice. A physiological interpretation of a phonetogram is facilitated if the SPL is measured with a flat frequency curve and if the vowel /a/ is used. It was found that in soft phonation, the SPL is mainly dependent on the amplitude of the fundamental, while in loud phonation, the SPL is mainly determined by overtones. The short-term SPL variation, i.e., the level variation within a tone, was about 5 dB in soft phonation and close to 2 dB in loud phonation. For two normal voices the long-term SPL variation, calculated as the mean standard deviation of SPL for day-to-day variation, was found to be between 2.4 and 3.4 dB in soft and loud phonation. Speakers who raise their loudness of phonation also tend to raise their mean voice fundamental frequency. Measures obtained from speaking at various voice levels were combined so that typical pathways could be introduced into the phonetogram. The average slope of these pathways was 0.3–0.5 st/dB for healthy subjects. Averaged phonetograms for male singers and male nonsingers did not differ significantly, but averaged phonetograms for female singers and female nonsingers did, in that the upper contour was higher for the female singers. Averaged phonetograms for female patients with non-organic dysphonia showed significantly lower SPL values in loudest phonation as compared to healthy female subjects, while no corresponding difference was seen for males in this regard. With respect to the SPL values for softest phonation, male dysphonic patients showed significantly higher SPL values than healthy male subjects, while no corresponding difference was seen in female subjects. The subglottal pressure mirrored these phonetogram differences between healthy and pathological voices. The averaged phonetograms of female patients after voice therapy showed an increased similarity with those of normal voices. For the male patients the averaged phonetogram did not change significantly after therapy.     

Data on subglottal pressure and SPL at varied vocalloudness and pitch in 8- to 11-year-old children

Phonation threshold pressure has been defined as the minimum subglottalpressure to generate phonation. Previous research has indicated that children may habitually employ higher subglottal pressures than adults. In the present investigation sound pressure level (SPL) and subglottal pressures at different pitch levels were measured at and above phonation threshold in nine children. Phonation threshold values were scattered in reasonable agreement with Titzes' prediction, although a discrepancy was noted regarding the frequency dependence in some voices. At normal conversational loudness and loudest level of phonation the children's PS values were between two to four and four to eight times the predicted threshold values, respectively. At normal conversational loudness and habitual pitch subglottal pressures were lower than those previously observed for children, but similar to those found for female adults. The SPL in softest and loudest phonation were somewhat lower as compared to previous phonetogram data for children and for female adults. At normal loudness and habitual pitch the SPL values were similar to those of female adults. For a doubling of P_s mean SPL increased by 10.5 dB on the average.     

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.     

Effects of vocal loudness variation on spectrum balance as reflected by the alpha measure of long-term-average spectra of speech

The overall slope of long-term-average spectrum (LTAS) decreases if vocal loudness increases. Therefore, changes of vocal loudness also affects the alpha measure, defined as the ratio of spectrum intensity above and below 1000 Hz. The effect on alpha of loudness variation was analyzed in 15 male and 16 female voices reading a text at different degrees of vocal loudness. The mean range of equivalent sound level (L(eq)) amounted to about 28 dB and the mean range of alpha to 19.0 and 11.7 dB for the female and male subjects. The L(eq) vs. alpha relationship could be approximated with a quadratic function, or by a linear equation, if softest phonation was excluded. Using such equations alpha was computed for all values of L(eq) observed for each subject and compared with observed values. The maximum and the mean absolute errors were 2.4 dB and between 0.1 and 0.6 dB. When softest phonation was disregarded and linear equations were used, the maximum error was less than 2 dB and the mean absolute errors were between 0.2 and 0.7 dB. The strong correlation between L(eq) and alpha indicates that for a voice L(eq) can be used for predicting alpha.     

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.     

Measurement of Characteristic Leap Interval Between Chest and Falsetto Registers

A markedly smaller time constant distinguishes a chest-falsetto leap from the more usual execution of a sung interval by muscular adjustments in the length and tension of the vocal folds. The features of such a chest-falsetto leap are examined in detail with respect to F0, peak-to-peak amplitude of the vocal-fold contact area signal (EGG), and the closed quotient. A method is proposed to standardize and quantify this chest-falsetto leap in the characteristic leap interval (CLI), a measure of the separation between the natural registers in a given singing voice. The measure is applied to a varied group of experienced singers. Preliminary results include a suggested dimorphic pattern with respect to sex, with female voices exhibiting smaller CLIs and less individual diversity than male voices.     

Studying vocal fold vibrations in Parkinson's disease with a nonlinear model

A nonlinear model is applied to study pathologic vocal vibratory characteristics and voice treatments of Parkinson's disease. We find that a number of pathologic vocal characteristics commonly observed in Parkinson's disease, including reduced vibratory intensity, incomplete vocal closure, increased phonation threshold pressure, glottal tremor, subharmonics, and chaotic vocal fold vibrations, can be studied with this nonlinear model. We also find that two kinds of clinical voice treatments for Parkinson's disease, including respiratory effort treatment and Lee Silverman voice treatment can be studied with this computer model. Results suggest that respiratory effort treatment, in which subglottal pressure is increased, might aid in enhancing vibratory intensity, improving glottal closure, and avoiding vibratory irregularity. However, the Lee Silverman voice treatment, in which both subglottal pressure and vocal fold adduction are increased, might be better than respiratory effort treatment. Increasing vocal fold thickness would be further helpful to improve these pathologic characteristics. The model studies show consistencies with clinical observations. Computer models may be of value in understanding the dynamic mechanism of disordered voices and studying voice treatment effects in Parkinson's disease.     

Objective Analysis of Vocal Warm-Up with Special Reference to Ergonomic Factors

Vocal warm-up was studied in terms of changes in voice parameters during a 45-minute vocal loading session in the morning. The voices of a randomly chosen group of 40 female and 40 male young students were loaded by having them read a novel aloud. The exposure groups (5 females and 5 males per cell) consisted of eight combinations of the following factors: (1) low (25 +/- 5%) or high (65 +/- 5%) relative humidity of ambient air; (2) low [< 65 dB(SPL)] or high [> 65 dB(SPL)] speech output level during vocal loading; (3) sitting or standing posture during vocal loading. Two sets of voice samples were recorded: a resting sample before the loading session and a loading sample after the loading session. The material recorded consisted of /pa:ppa/ words produced normally, as softly and as loudly as possible in this order by all subjects. The long /a/ vowel of the test word was inverse-filtered to obtain the glottal flow waveform. Time domain parameters of the glottal flow [open quotient (OQ), closing quotient (CQ), speed quotient (SQ), fundamental frequency (F0)], amplitude domain parameters of the glottal flow [glottal flow (fAC) and its logarithm, minimum of the first derivative of the glottal flow (dpeak) and its logarithm, amplitude quotient (AQ), and a new parameter, CQAQ], intraoral pressure (p), and sound pressure level (SPL) values of the phonations were analyzed. Voice range profiles (VRP) and the singer's formant (g/G, a/A, cl/c, e1/e, g1/g for females/males) of the loud phonation were also measured. Statistically significant differences between the preloading and postloading samples could be seen in many parameters, but the differences depended on gender and the type of phonation. In females the values of CQ, AQ, and CQAQ decreased and the values of SQ and p increased in normal phonations; the values of fAC, dpeak, and SPL increased in soft phonations; the values of AQ and CQAQ decreased in loud phonations; the harmonic energy in the singer's formant region increased significantly at every pitch. In males the values of OQ and AQ decreased and the values of dpeak, F0, p, and SPL increased in normal phonations; the values of fAC and p increased in soft phonations. The changes could be interpreted as signs of a shift toward hyperfunctional voice production. Low humidity was associated with more hyperfunctional changes than high humidity. High output was associated with more hyperfunctional changes than low output. Sitting position was associated with an increasing trend at both margins of male VRP, whereas the case was the opposite for standing position.     

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.     

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.     

Throaty Voice Quality: Subglottal Pressure, Voice Source, and Formant Characteristics

"Throaty" voice quality has been regarded by voice pedagogues as undesired and even harmful. This study attempts to identify acoustic and physiological correlates of this quality. One male and one female subject read a text habitually and with a throaty voice quality. Oral pressure during p-occlusion was measured as an estimate of subglottal pressure. Long-term average spectrum analysis described the average spectrum characteristics. Sixteen syllables, perceptually evaluated with regard to throaty quality by five experts, were selected for analysis. Formant frequencies and voice source characteristics were measured by means of inverse filtering, and the vocal tract shape of the throaty and normal versions of the vowels [a,u,i,ae] of the male subject were recorded by magnetic resonance imaging. From this material, area functions were derived and their resonance frequencies were determined. The throaty versions of these four vowels all showed a pharynx that was narrower than in the habitually produced versions. To test the relevance of formant frequencies to perceived throaty quality, experts rated degree of throatiness in synthetic vowel samples, in which the measured formant frequency values of the subject were used. The main acoustic correlates of throatiness seemed to be an increase of F1, a decrease of F4, and in front vowels a decrease of F2, which presumably results from a narrowing of the pharynx. In the male subject, voice source parameters suggested a more hyperfunctional voice in throaty samples.     

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.     

Acoustic and Perceptual Analyses of Brazilian Male Actors' and Nonactors' Voices: Long-term Average Spectrum and the “Actor's Formant”

SUMMARY: This study investigates the possible differences between actors' and nonactors' vocal projection strategies using acoustic and perceptual analyses. A total of 11 male actors and 10 male nonactors volunteered as subjects, reading an extended text sample in habitual, moderate, and loud levels. The samples were analyzed for sound pressure level (SPL), alpha ratio (difference between the average SPL of the 1-5kHz region and the average SPL of the 50Hz-1kHz region), fundamental frequency (F0), and long-term average spectrum (LTAS). Through LTAS, the mean frequency of the first formant (F1) range, the mean frequency of the "actor's formant," the level differences between the F1 frequency region and the F0 region (L1-L0), and the level differences between the strongest peak at 0-1kHz and that at 3-4kHz were measured. Eight voice specialists evaluated perceptually the degree of projection, loudness, and tension in the samples. The actors had a greater alpha ratio, stronger level of the "actor's formant" range, and a higher degree of perceived projection and loudness in all loudness levels. SPL, however, did not differ significantly between the actors and nonactors, and no differences were found in the mean formant frequencies ranges. The alpha ratio and the relative level of the "actor's formant" range seemed to be related to the degree of perceived loudness. From the physiological point of view, a more favorable glottal setting, providing a higher glottal closing speed, may be characteristic of these actors' projected voices. So, the projected voices, in this group of actors, were more related to the glottic source than to the resonance of the vocal tract.     

Relationship between subjective voice complaints and acoustic parameters in female teachers'' voices

The aim of the study was to identify the acoustic correlates of female teachers' subjective voice complaints by recording their voices in their working environment. The subjects made recordings during lessons (N = 10) and breaks (N = 11). The subjects were divided into 2 groups: those with few voice complaints (FC group) and those with many voice complaints (MC group). The speech sample made in the breaks was maximally sustained /a/, from which fundamental frequency (F0), jitter, and shimmer were analyzed. The classroom samples were analyzed for F0, sound pressure level (SPL), and F0 time (the active vibration time of the vocal folds). Additionally, an index for assessing voice loading is presented. The results revealed a tendency of the MC group to have higher F0 and lower SPL and perturbation values than the FC group. The index values correlated moderately with the subjective vocal complaints.