Just noticeable differences of open quotient and asymmetry coefficient in singing voice

This study aims to explore the perceptual relevance of the variations of glottal flow parameters and to what extent a small variation can be detected. Just Noticeable Differences (JNDs) have been measured for three values of open quotient (0.4, 0.6, and 0.8) and two values of asymmetry coefficient (2/3 and 0.8), and the effect of changes of vowel, pitch, vibrato, and amplitude parameters has been tested. Two main groups of subjects have been analyzed: a group of 20 untrained subjects and a group of 10 trained subjects. The results show that the JND for open quotient is highly dependent on the target value: an increase of the JND is noticed when the open quotient target value is increased. The relative JND is constant: ΔO_q/O_q = 14% for the untrained and 10% for the trained. In the same way, the JND for asymmetry coefficient is also slightly dependent on the target value–an increase of the asymmetry coefficient value leads to a decrease of the JND. The results show that there is no effect from the selected vowel or frequency (two values have been tested), but that the addition of a vibrato has a small effect on the JND of open quotient. The choice of an amplitude parameter also has a great effect on the JND of open quotient.     

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.     

Acoustic analysis of the singing and speaking voice in singing students

The singing power ratio (SPR) is an objective means of quantifying the singer's formant. SPR has been shown to differentiate trained singers from nonsingers and sung from spoken tones. This study was designed to evaluate SPR and acoustic parameters in singing students to determine if the singer-intraining has an identifiable difference between sung and spoken voices. Digital audio recordings were made of both sung and spoken vowel sounds in 55 singing students for acoustic analysis. SPR values were not significantly different between the sung and spoken samples. Shimmer and noise-to-harmonic ratio were significantly higher in spoken samples. SPR analysis may provide an objective tool for monitoring the student's progress.     

The control of air flow during loud soprano singing

Previous research on the special characteristics of the professional singing voice has at least partially explained how singers can commonly use much higher lung pressures than nonsingers without vocal damage or excessive air flow during the voiced sounds. In this study, the control of air flow during the unvoiced consonants is examined for an operatic-style soprano. It was found that this singer could maintain a low average air flow during the consonants even though the lung pressure reached values over five times those used during normal conversational speech. The air flow was kept low primarily by the use of a number of mechanisms involving rapid, accurate, coordinated valving of the air flow at the point of articulation and at the glottis.     

Patterns of breath support in projection of the singing voice

Recordings of the rib cage and abdominal motions and acoustic output were obtained from five professional opera singers during performance of an aria recorded with two levels of voice projection. The condition of greater projection resulted in a significant increase in the acoustic power in the frequency band 2-4 kHz, relative to the power in the 0-2 kHz band, and a decrease in the mean expiratory flow, implying a move to more efficient vocalization with the greater projection. Also, the condition of greater projection resulted in a larger rib cage, particularly in the lateral dimension, but only a small decrease in the abdominal lateral dimension, suggesting that the greater abdominal support required for a larger projection is obtained by increased activation of abdominal muscles acting medially.     

Respiratory function during speaking and singing in professional country singers

Respiratory function during speaking and singing was investigated in six male professional country singers. Function was studied using magnetometers to transduce anteroposterior diameter changes of the rib cage and abdomen while subjects performed various respiratory maneuvers, speaking activities, and singing activities. Results indicated that respiratory behavior during speaking was generally the same as that of other normal subjects. Respiratory behavior during singing resembled that of speaking. Discussion includes comparison of respiratory performance of present singers with untrained singers and classically trained singers. Implications are offered regarding how the results might be applied to the prevention of voice disorders by education and training of country singers.     

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.     

Comparison of direct and indirect calculations of laryngeal airway resistance in connected speech

Direct measures of subglottal pressure obtained through a tracheal puncture were used to calculate laryngeal airway resistance. Six subjects completed tasks including syllable trains and more natural speech samples produced at three loudness levels. Direct calculations of natural speech resistance values were compared with indirect estimates obtained during syllable train production. The degree of correspondence between direct and indirect calculations varied by subject. Overall, the smallest relative errors among calculations occurred for syllable trains, with higher relative errors for the monologue and sentence. For loudness conditions, the smallest and largest relative errors occurred for soft and loud productions, respectively. The clinical utility of indirect estimation is questioned and suggestions for improving its validity are provided.     

Comparisons of pharynx, source, formant, and pressure characteristics in operatic and musical theatre singing

Belting, a vocal technique typically cultivated in musical theatre singing, differs timbrally from operatic singing in many interesting respects. The underlying phonatory differences have not been previously investigated in detail. Yet, belting is frequently associated with disturbances of voice function. Articulatory and phonatory characteristics are investigated in a female subject who is a professional singer (co-author JL) trained in both the operatic and belting styles and in an intermediate vocal technique (“mixed”). This article presents data obtained from this subject by video-fiberoptic observation of the pharynx, inverse filtering of airflow, and measurement of subglottal pressure. The results reveal that belting was characterized by very high subglottal pressures and sound levels, and apparently also by a comparatively high degree of glottal adduction. Comparisons with other investigations of related aspects of belting and operatic singing support the assumption that the data obtained from our subject are representative for these vocal techniques.     

External laryngeal frame function in voice production revisited: A review

Reserch indicates significant contribution of extrinsic laryngeal mechanisms to voice production. This article reviews the major theories of the role of the external laryngeal factors in voice production and relevant experimental data. The review suggests that partly neglected external factors and possibly even misinterpretation of some of the recently documented individual variation in physiological data may have unnecessarily complicated the issues pertaining to the interplay between the physiological mechanisms of the larynx. The implications of contemporary findings and documentation in the modeling of the extrinsic factors are discussed and a synthesis of empirical data into two simple models of the extrinsic forces of pitch control is presented. Also suggested by the review, a basic principle, probably underlying the laryngeal control of phonation, is put forward.