Dissimilarity and the Classification of Male Singing Voices

Traditionally, timbre has been defined as that perceptual attribute that differentiates two sounds when pitch and loudness are equal, and thus is a measure of dissimilarity. By such a definition, each voice possesses a set of timbres, and the ability to identify any voice or voice category across different pitch-loudness-vowel combinations must be due to an ability to "link" these timbres by abstracting the "timbre transformation," the manner in which timbre subtly changes across pitch and loudness for a specific voice or voice category. Using stimuli produced across the singing range by singers from different voice categories, this study sought to examine how timbre and pitch interact in the perception of dissimilarity in male singing voices. This study also investigated whether or not listener experience affects the perception of timbre as a function of pitch. The resulting multidimensional scaling (MDS) representations showed that for all stimuli and listeners, dimension 1 correlated with pitch, while dimension 2 correlated with spectral centroid and separated vocal stimuli into the categories baritone and tenor. Dimension 3 appeared highly idiosyncratic depending on the nature of the stimuli and on the experience of the listener. Inexperienced listeners appeared to rely more heavily on pitch in making dissimilarity judgments than did experienced listeners. The resulting MDS representations of dissimilarity across pitch provide a glimpse of the timbre transformation of voice categories across pitch.     

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.     

Level and Center Frequency of the Singer's Formant

The "singer's formant" is a prominent spectrum envelope peak near 3 kHz, typically found in voiced sounds produced by classical operatic singers. According to previous research, it is mainly a resonatory phenomenon produced by a clustering of formants 3, 4, and 5. Its level relative to the first formant peak varies depending on vowel, vocal loudness, and other factors. Its dependence on vowel formant frequencies is examined. Applying the acoustic theory of voice production, the level difference between the first and third formant is calulated for some standard vowels. The difference between observed and calculated levels is determined for various voices. It is found to vary considerably more between vowels sung by professional singers than by untrained voices. The center frequency of the singer's formant as determined from long-term spectrum analysis of commercial recordings is found to increase slightly with the pitch range of the voice classification.     

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.     

Effects on the glottal voice source of vocal loudness variation in untrained female and male voices

Subglottal pressure is one of the main voice control factors, controlling vocal loudness. In this investigation the effects of subglottal pressure variation on the voice source in untrained female and male voices phonating at a low, a middle, and a high fundamental frequency are analyzed. The subjects produced a series of /pae/ syllables at varied degrees of vocal loudness, attempting to keep pitch constant. Subglottal pressure was estimated from the oral pressure during the /p/ occlusion. Ten subglottal pressure values, approximately equidistantly spaced within the pressure range used, were identified, and the voice source of the vowels following these pressure values was analyzed by inverse filtering the airflow signal as captured by a Rothenberg mask. The maximum flow declination rate (MFDR) was found to increase linearly with subglottal pressure, but a given subglottal pressure produced lower values for female than for male voices. The closed quotient increased quickly with subglottal pressure at low pressures and slowly at high pressures, such that the relationship can be approximated by a power function. For a given subglottal pressure value, female voices reached lower values of closed quotient than male voices.     

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.     

Effects of Professional Singing Education on Vocal Vibrato—A Longitudinal Study

Vocal vibrato is regarded as one of the essential characteristics of voice quality in classical singing. Professional singers seem to develop vibrato automatically, without actively striving to acquire it. In this longitudinal investigation, the vocal vibrato of 22 singing students was examined at the beginning of and after 3 years of professional singing education. Subjects sang an ascending-descending triad pattern in slow tempo on vowel [a:] at a comfortable pitch level twice at soft (piano) and twice at medium (mezzoforte) loudness. The top note of the triad pattern was sustained for approximately 5s. The mean and the standard deviation (SD) of the vibrato rate were measured for this note. Results revealed that after 3 years of training, voices with vibrato slower than 5.2 Hz were found to have a faster vibrato, and voices with vibrato faster than 5.8 Hz were found to have a slower vibrato. Standard deviation of vibrato rate was higher in soft than in medium loudness, particularly before the education. Also high values of SD of vibrato rate, exceeding 0.65 Hz, had decreased after the education. These findings confirm that vibrato characteristics can be affected by singing education.     

A critical view of the yawn-sigh as a voice therapy technique

The purpose of this study was to take a critical look at a voice therapy technique known as the yawn-sigh. The voiced sigh as an approach in voice therapy has had increased use in recent years, particularly with problems of vocal hyperfunction. In this study, the physiology of the yawn-sigh was studied with video nasoendoscopy in eight normal subjects; their taped voices were also studied acoustically for possible fundamental frequency and formant changes in producing selected vowels under normal and sigh conditions. Although each subject was given a model by the examiner of a yawn-sigh, one of the eight subjects could not produce a true yawn-sigh. Endoscopic findings for seven of the eight subjects performing the yawn-sigh demonstrated retracted elevation of the tongue, a lower positioning of the larynx, and a widened pharynx. Acoustic analyses for the seven subjects producing the sigh found a marked lowering of the second and third formants. Implications for using the yawn-sigh in voice therapy are given, such as using a modified “silent” yawn-sigh, as an easy method for producing greater vocal tract relaxation.     

Vocal Tract Configurations in Male Alto Register Functions

Purpose

Professional male altos (countertenors) mostly use a register function, which is considered to be derived from falsetto. However, the sound produced differs in professional altos compared with the modal register or falsetto of untrained voices. The aim of this study was to analyze differences of the vocal tract shapes in male alto register functions.

Material and Methods

Dynamic real-time magnetic resonance imaging of eight frames per second was used to analyze the vocal tract profile in seven professional male altos who sang on the vowel /a/, an ascending and descending scale from G3 (196 Hz) to E4 (330 Hz). The scale included their register transition from modal register to stage (counter) falsetto and naïve falsetto.

Results

Register transitions from modal register to stage falsetto were associated with increased lip opening, jaw retraction, elevation and back positioning of the tongue, pharynx narrowing, uvula elevation, drop of larynx height, and tilting of the larynx. Differences between stage and naïve falsetto were found mostly with regard to lip opening and pharynx width.

Conclusions

The differences between the vocal tract configurations might have an impact on the acoustic characteristics observed in professional male alto register functions.     

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.     

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.     

Three-dimensional vocal tract imaging and formant structure: varying vocal register, pitch, and loudness

Although advances in techniques for image acquisition and analysis have facilitated the direct measurement of three-dimensional vocal tract air space shapes associated with specific speech phonemes, little information is available with regard to changes in three-dimensional (3-D) vocal tract shape as a function of vocal register, pitch, and loudness. In this study, 3-D images of the vocal tract during falsetto and chest register phonations at various pitch and loudness conditions were obtained using electron beam computed tomography (EBCT). Detailed measurements and differences in vocal tract configuration and formant characteristics derived from the eight measured vocal tract shapes are reported.     

Reliability in Perceptual Analysis of Voice Quality

This study focuses on speaking voice quality in male teachers (n = 35) and male actors (n = 36), who represent untrained and trained voice users, because we wanted to investigate normal and supranormal voices. In this study, both substantial and methodologic aspects were considered. It includes a method for perceptual voice evaluation, and a basic issue was rater reliability. A listening group of 10 listeners, 7 experienced speech-language therapists, and 3 speech-language therapist students evaluated the voices by 15 vocal characteristics using VA scales. Two sets of voice signals were investigated: text reading (2 loudness levels) and sustained vowel (3 levels). The results indicated a high interrater reliability for most perceptual characteristics. Connected speech was evaluated more reliably, especially at the normal level, but both types of voice signals were evaluated reliably, although the reliability for connected speech was somewhat higher than for vowels. Experienced listeners tended to be more consistent in their ratings than did the student raters. Some vocal characteristics achieved acceptable reliability even with a smaller panel of listeners. The perceptual characteristics grouped in 4 factors reflected perceptual dimensions.     

Voice of Postradiotherapy Nasopharyngeal Carcinoma Patients: Evidence of Vocal Tract Effect

This study was aimed at identifying acoustic and physiological measures useful for monitoring voice changes in postnasopharyngeal patients with nonlaryngeal malignancies, and providing evidences of vocal tract effect on voice through comparisons between individuals with and without intact vocal tract. Simultaneous acoustic-electroglottographic signals recorded during phonation of vowels /i/ and /a/ sustained at habitual, high, and low pitch levels were compared among 10 postradiotherapy patients with nasopharyngeal carcinoma (NPC), 10 voice patients (VPs) with intact vocal tract, and 10 healthy individuals with normal voice (NORM). Results from a series of discriminant analyses revealed that the NPC group generally exhibited lower signal-to-noise (SNR) and open quotient (OQ) and higher Formant 1 frequency (F(1)) and speed quotient (SQ) than the NORM group. Unlike both VP and NORM groups, the NPC group failed to show a pitch effect on all voice measures, including OQ, SQ, percent jitter, percent shimmer, and SNR, suggesting an effect of radiotherapy and/or vocal tract on laryngeal behaviors. For the vowel /i/, on the other hand, only the NPC and NORM groups showed a pattern of pitch-dependent F(1) raising, a reflection of increased pharyngeal narrowing. These findings suggested that the pitch effect on laryngeal behaviors differed not only between individuals with intact vocal tract and those without but also between those with structural and dynamic changes of vocal tract.     

Acoustic Measures and Self-reports of Vocal Fatigue by Female Teachers

This study investigated the relation of symptoms of vocal fatigue to acoustic variables reflecting type of voice production and the effects of vocal loading. Seventy-nine female primary school teachers volunteered as subjects. Before and after a working day, (1) a 1-minute text reading sample was recorded at habitual loudness and loudly (as in large classroom), (2) a prolonged phonation on [a:] was recorded at habitual speaking pitch and loudness, and (3) a questionnaire about voice quality, ease, or difficulty of phonation and tiredness of throat was completed. The samples were analyzed for average fundamental frequency (F0), sound pressure level (SPL), and phonation type reflecting alpha ratio (SPL [1-5 kHz]-SPL [50 Hz-1 kHz]). The vowel samples were additionally analyzed for perturbation (jitter and shimmer). After a working day, F0, SPL, and alpha ratio were higher, jitter and shimmer values were lower, and more tiredness of throat was reported. The average levels of the acoustic parameters did not correlate with the symptoms. Increase in jitter and mean F0 in loud reading correlated with tiredness of throat. The results seem to suggest that, at least among experienced vocal professionals, voice production type had little relevance from the point of view of vocal fatigue reported. Differences in the acoustic parameters after a vocally loading working day mainly seem to reflect increased muscle activity as a consequence of vocal loading.     

Laryngostroboscopic, Acoustic, and Environmental Characteristics of High-Risk Vocal Performers

Vocal performance often requires excessively high vocal demand. In particular “high-risk” performers, a group of individuals who use their voices at their maximum effort level, are often exposed to unique vocal abuse characteristics which include high environmental and performance demands and inconsistencies of cast performance. Three categories of high-risk performers were studied: musical theater, choral ensemble, and street theater. Musical theater performers produce a Broadway, West End “belting” style voice. Street theater performers use a high-energy pitch varying dialogue in order to imitate a desired character voice. Choral ensemble performance requires group cohesion and blending of four-part harmony. The melodies require sustained vocal durations within each of the respective registers. For each of these studied groups vocal tasks of sustained production of /i/ and /a/ were subjected to analysis. Acoustic measures included fundamental frequency, standard deviation of fundamental frequency, jitter percent, shimmer percent, and noise-to-harmonic ratio. Laryngostroboscopic parameters were assessed during sustained /i/. Environmental acoustic sound field measurements were made using an A weighting and linear weighting sound pressure level. These weightings were used to describe noise levels and vocal output, respectively, within the performance environments. Results of the analysis suggest that high-risk performers are a unique performance type defined by distinctive, acoustic, laryngostroboscopic, and environmental characteristics.     

Effects of lung volume on vertical larynx position during phonation

The vertical position of the larynx seems to be relevant to voicefunction. As a high vertical larynx position is often seen in hyperfunctional and strained voices, a lowering of a habitually elevated larynx is sometimes a specific goal in clinical voice therapy and different larynx-lowering exercises are used to achieve this goal. Earlier investigations have shown that pitch and to some extent also vocal loudness are relevant to vertical larynx position. In the present investigation, we examine if lung volume affects vertical larynx position. Using a multi-channel electroglottograph, the larynx position was measured in 29 healthy, vocally untrained subjects, who phonated at different lung volumes, pitches, and degrees of vocal loudness. The main results were that high lung volume was clearly associated with a lower larynx position as compared to low lung volume. In addition, vertical larynx position was strongly correlated with pitch. Both of these dependencies were shown to be stronger in males than in females. Our results suggest that lung volume is a factor that is highly relevant to larynx height in untrained subjects.     

Voice Training and Changing Weight—Are They Reflected in Speaking Fundamental Frequency, Voice Range, and Pitch Breaks of 13-Year-Old Girls? A Longitudinal Study

Objective

Assessment of the voice-change progress of 20 girls (12–13 years) over 1 year by observing changes in speaking fundamental frequency (SFo), voice range, and register pitch breaks in the context of weight, height, voice training, and self-perception.

Study Design

One-year longitudinal collective case study.

Method

Twenty girls were recorded at the beginning and end of a year; nine girls were recorded another three times. SFo, vocal range, and characteristics were analyzed and interactions between these data assessed against weight and height to indicate pubertal development, and to test the hypothesis that changes in weight, height, SFo, and pitch breaks were related. Effects of training and the girls' self-perception of their voice use were also assessed.

Results

Vocal characteristics changed as the girls passed through different weight ranges. During 47.5–52.4 kg (called band 2) and 52.4–57.5 kg (band 3), there was progressive contraction of vocal range and in some girls a slight rise in SFo between recording times 1 and 5. Both high- and low-pitch breaks were present in 45% of girls' voices. Girls in band 4 (<57.5 kg) had an increased vocal range, and pitch breaks in vocal-range areas that indicated the development of adult vocal registers. In this study, voice-trained girls were heavier, had higher SFo, used wider speech-range inflection, had a higher vocal range, and greater voice-use confidence; all girls lost confidence in their voice use over the year.

Conclusions

In this longitudinal study of twenty 13-year-old girls, voice changes in SFo, vocal range, and pitch-break frequency were synchronous with certain weight ranges. Girls with training registered higher maximum phonational frequency and were more confident in their voice use than girls without training.     

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.     

Strobovideolaryngoscopic Findings in Singing Teachers

Professional voice users often present to otolaryngologists and laryngologists with specific voice complaints. The contributions of pathologic lesions to the patients' vocal complaints are not always clear on examination, and often, premorbid examinations of the larynx are not available for review. This study examines the incidence of laryngeal pathology among singing teachers. At a national convention of singing teachers, volunteers were recruited for a "free strobovideolaryngoscopic examination." All volunteers completed a detailed questionnaire of their vocal and medical history and underwent strobovideolaryngoscopic examination. Strobovideolaryngoscopic examinations were completed in 20 volunteers, 7 of whom had voice complaints and 13 of whom perceived their voices to be normal. Vocal fold masses were common among the asymptomatic singing teachers. Evidence of reflux laryngitis was a common finding among both symptomatic and asymptomatic singing teachers. Asymmetries in vocal fold hypomobility were more common among those with voice complaints than was the presence of vocal fold masses in the population studied.