Performance demands and the performer's vocal capabilities

Performers could benefit by knowing in advance and by objective means, what vocal requirements for a particular role or performance are potentially harmful to them. By combining the concept of the “phonetogram” (F₀ — SPL Profile) with automatic pitch extraction of vocal performances, a contour of the vocal performance demands can be superimposed on the profile of the individual's vocal capabilities. Vocal productions that are near to or exceeding the vocal capabilities of a performer can be presumed to be potentially hazardous. Likewise, performance demands that are clearly within the profile of a given individual can be presumed to be nonhazardous with respect to pitch and amplitude range.     

Objective acoustic voice-quality parameters in the computer phonetogram

A phonetogram is a plot of the dynamic range of the voice as a function of fundamental frequency. Traditionally, the phonetogram only records the sound-pressure level (SPL) of the threshold of phonation and the upper limit in SPL the voice can reach with sustained phonation as a function of the fundamental frequency (F₀). In this study, the phonetogram is extended by including acoustic voice-quality parameters. Three additional parameters are tested: jitter, shimmer, and crest factor. For each individual voice, the variation in the three parameters is evaluated over the entire phonetogram area. By averaging individual phonetograms, standard or norm phonetograms are obtained revealing general patterns in voice-quality variation. These patterns reflect the complex relations between F₀, SPL, and the acoustic voice-quality parameters just mentioned. Jitter and shimmer distributions over the phonetogram show that large variations in perturbation values can be expected when production conditions are altered. Highest perturbation values are found for the low F₀ and low SPL phonations. For all voices, a gradual decrease of the crest factor is found with increasing F₀, reflecting the degrading of spectral complexity with F₀. The crest-factor parameter can also be used to mark those areas in the phonetogram where the fundamental dominates the waveform and where flow control is the main SPL regulating mechanism in voice production. The strong quality variations within the phonetogram stress the need for accurate control of F₀ and SPL in objective voice-quality measurement.     

Phonetogram Changes for Trained Singers Over a Nine-Month Period of Vocal Training

Professional vocalists encounter demands requiring voluntary control of phonation, while utilizing a considerable range of frequency and intensity. These quantifiable acoustic events can be measured and represented in a phonetogram. Previous research has compared the phonetograms of trained and untrained voices and found significant differences between these groups. This study was designed to assess the effects of vocal training for singers over a period of nine months. Phonetogram contour changes were examined, with the primary focus on expansion of frequency range and/or intensity control. Twenty-one first-year, master's level, vocal music students, who were engaged in an intensive vocal performance curriculum, participated in this study. Following nine months of vocal training, significant differences were revealed in the subjects' mean frequency range and minimum vocal intensity across frequency levels. There was no significant difference for the mean maximum vocal intensity across frequency levels following vocal training.     

A Comparison of Trained and Untrained Vocalists on the Dysphonia Severity Index

The purposes of this study were (1) to compare trained and untrained singers on the Dysphonia Severity Index (DSI) and its component measures, and (2) to contribute to normative DSI data for trained singers. This study included 36 untrained participants (15 males and 21 females) and 30 participants (15 males and 15 females) with singing experience between the ages of 18 and 30 years. Measures of maximum phonation time (MPT), highest phonational frequency, lowest intensity, and jitter were obtained for each subject and incorporated into the previously published multivariate DSI formula. Results indicated that vocally trained subjects have significantly higher DSI scores than untrained subjects (mean DSI: 6.48 vs 4.00, respectively), with significant differences observed between trained and untrained groups for three of the four components of the DSI (F₀ high; I low; jitter). The findings of this study are consistent with previous reports that indicate significant increases in the DSI with vocal training, and with various studies that have observed increased vocal capability in trained singers versus their untrained counterparts. The results of this study indicate that alternative normative expectations for the DSI may need to be taken into account when using the DSI with patients who have participated in directed vocal training, such as choral participation and voice/singing lessons.     

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.     

Physiological differences between the trained and untrained speaking and singing voice

This study concerns the premier singing voice and its relationship to physiological aptitude. Research literature is reviewed that indicates that during singing the trained singer uses different physiological strategies in comparison with the untrained singer, and that the noted physiological differences (respiratory, laryngeal, articulatory) occur during singing only and not during speech. Further, a study was conducted that compared the ability of trained singers versus untrained individuals to (a) discriminate differences in self-generated air pressures and (b) produce and maintain a constant level of air pressure. No significant differences were found between the trained and untrained groups in their ability to discriminate and/or control breath pressure. Combined results of previous studies and present findings lead to the tentative conclusion that the excelled singer is not physiologically endowed and/or “gifted,” but rather has benefited from technical voice training     

Randomized Acquisition for the Suppression of Systematic F1 Artifacts in Two-Dimensional NMR Spectroscopy

2D spectra, particularly for homonuclear correlation, can show a variety of artifactual signals in the F₁ domain. Common sources include carry-over of signal modulation from one transient to the next (“rapid pulsing artifacts”) and systematic variations in room temperature (“parallel diagonals”). In both cases there is one very simple expedient which can greatly reduce the impact of these sources of error. Multidimensional data sets are almost invariably recorded by simply incrementing or decrementing evolution periods, largely for reasons of convenience and historical precedent. If instead the sampling of the evolution periods is carried out in random order, the perturbations responsible for the sharp F₁ signals in the conventional experiment manifest themselves as t₁ noise. Since the randomized acquisition redistributes coherent artifactual signals randomly in F₁, the maximum artifactual signal is substantially reduced in the randomized experiment and no longer appears in the form of misleading distinct peaks.     

Comfortable effort level revisited

The purpose of this study was to measure the variability of frequency and intensity of speech, using multiple voice samples obtained over a period of time at a speaker's “comfortable effort level.” Variability in vocal output within and across several experimental sessions was assessed from measures of speaking fundamental frequency (SFF) and vocal intensity for utterances repeated three times a day over a 3-day period. Three distinct age groups of men and women—young, middle-aged and elderly—repeated the vowel /a/, read a standard passage, and spoke extemporaneously during each experimental session. Results indicated that variability in SFF and intensity were present across experimental sessions, age groups, gender, and speaking samples. Generally, group means indicated that ±1 semitone of variability for SFF and 2 db sound pressure level (SPL) variation in vocal intensity from any one experimental session to the next could be expected; individual variations within any group may reach two semitones and 6 db SPL.     

The Effect of Cricothyroid Muscle Action on the Relation Between Subglottal Pressure and Fundamental Frequency in an In Vivo Canine Model

The relation between subglottal pressure (P_s) and fundamental frequency (F₀) in phonation was investigated with an in vivo canine model. Direct muscle stimulation was used in addition to brain stimulation. This allowed the P_s-F₀ slope to be quantified in terms of cricothyroid muscle activity. Results showed that, for ranges of 0–2 mA constant current stimulation of the cricothyroid muscle, the P_s-F₀ slope ranged from 10 Hz/kPa to 60 Hz/kPa. These results were compared to similar slopes obtained in a previous study on excised larynges in which the vocal fold length was varied instead of cricothyroid activation. A physical interpretation of the P_s-F₀ slope is that the amplitude-to-length ratio of the vocal folds decreases with CT activity, resulting in a smaller time-varying stiffness. In other words, there is less dependence of F₀ on amplitude of vibration when the vocal folds are long instead of short.     

Enhancement of the Debye frequency due to a charged-boson exchange model of high temperature superconductors

A simple model of 1-2-3 superconductors in which electrons (holes) in CuO₂ planes interact via exchange with two kinds of bosons is considered. Namely, via one-phonon exchange (weak coupling-Cooper pairing), and via paired holes on oxygen O⁰ from Cu-O chains. The mechanisms of paired holes exchange (“charged bosons”-“O⁰” exchange) considered here in strong coupling leads to the enhancement of the Fröhlich constant g_f (g²_F→Kg²F), and as a consequence to the enhancement of the Debye frequency ω_D^K=f^Kω_D, f^K 1. In the proposed model the exact expression for the constant K is derived.     

On the theory of temporal aberrations for cathode lenses

A new approach to the theory of temporal aberration for cathode lenses is given in the present paper. A definition of temporal aberration is given in which a certain initial energy of electron emission along the axial direction ε_z1 (0ε_z1ε_0max) is considered. A new method to calculate the temporal aberration coefficients of cathode lenses named “direct integral method” is also presented. The “direct integral method” gives new expressions of the temporal aberration coefficients which are expressed in integral forms. The difference between “direct integral method” and “τ-variation method” is that the “τ-variation method” needs to solve the differential equations for the three of temporal geometrical aberration coefficients of second order, while the “direct integral method” only needs to carry out the integral calculation for all of these temporal aberration coefficients of second order.All of the formulae of the temporal aberration coefficients deduced from “direct integral method” and “τ-variation method” have been verified by an electrostatic concentric spherical system model, and contrasted with the analytical solutions. Results show that these two methods have got identical solutions and the solutions of temporal aberration coefficients of the first and second order are the same as with the analytical solutions. Although some forms of the results seem different, but they can be transformed into the same form. Thus, it can be concluded these two methods given by us are equivalent and correct, but the “direct integral method” is related to solve integral equations, which is more convenient for computation and could be suggested for use in practical design.     

Observation of record flux pinning in melt-textured NEG-123 superconductor doped by Nb, Mo, and Ti nanoparticles

Flux pinning in melt-processed (Nd_0.33Eu_0.33Gd_0.33)Ba₂Cu₃O_y “NEG-123” + 35 mol% Gd₂BaCuO₅ “NEG-211” (70 nm in size) composite doped by TiO₃, MoO₃ and Nb₂O₅ achieved record values. The optimum values of all three dopands were found to be around 0.1 mol%. Transmission electron microscope (TEM) analysis found clouds of <10 nm sized particles in the NEG-123 matrix, shifting the pinning particle size distribution to significantly lower values. TEM by energy dispersive X-ray spectroscopy (EDX) analysis clarified that these nanoparticles contained a significant amount of Nb, Mo, and Ti. Appearance of nanometer-sized defects correlated with a significantly improved flux pining at low and medium magnetic fields, which was particularly significant at high temperatures. In the Nb-doped sample, a record J_c value of 925 kA/cm² at the secondary peak field (4.5 T) was achieved at 65 K, 640 kA/cm² at zero field at 77 K, and 100 kA/cm² at 90.2 K, the last value having been up to now considered as a good standard for REBa₂Cu₃O_y “RE-123” materials at 77 K. The greatly improved J_c–B performance in Nb/Mo/Ti doped samples can be easily translated to large-scale LRE-123 (LRE = light rare earths, Nd, Eu, Gd, Sm) blocks intended for real superconducting super-magnets applications.     

Small-x behavior of the structure function and its slope for “frozen” and analytic strong-coupling constants

Using the leading-twist approximation of the Wilson operator product expansion with “frozen” and analytic versions of the strong-coupling constant, we show that the Bessel-inspired behavior of the structure function F₂ and its slope ∂lnF₂/∂ln(1/x) at small values of x, obtained for a flat initial condition in the DGLAP evolution equations, leads to good agreement with experimental data of deep-inelastic scattering at DESY HERA.     

The role of strap muscles in phonation—In vivo caninelaryngeal model

In spite of the presumed importance of the strap muscles on laryngealvalving and speech production, there is little research concerning the physiological role and the functional differences among the strap muscles. Generally, the strap muscles have been shown to cause a decrease in the fundamental frequency (F₀) of phonation during contraction. In this study, an in vivo canine laryngeal model was used to show the effects of strap muscles on the laryngeal function by measuring the F₀, subglottic pressure, vocal intensity, vocal fold length, cricothyroid distance, and vertical laryngeal movement. Results demonstrated that the contraction of sternohyoid and sternothyroid muscles corresponded to a rise in subglottic pressure, shortened cricothyroid distance, lengthened vocal fold, and raised F₀ and vocal intensity. The thyrohyoid muscle corresponded to lowered subglottic pressure, widened cricothyroid distance, shortened vocal fold, and lowered F₀ and vocal intensity. We postulate that the mechanism of altering F₀ and other variables after stimulation of the strap muscles is due to the effects of laryngotracheal pulling, upward or downward, and laryngotracheal forward bending, by the external forces during strap muscle contraction.     

Comparison of the Produced and Perceived Voice Range Profiles in Untrained and Trained Classical Singers

Frequency and intensity ranges (in true decibel sound pressure level, 20 microPa at 1 m) of voice production in trained and untrained vocalists were compared with the perceived dynamic range (phons) and units of loudness (sones) of the ear. Results were reported in terms of standard voice range profiles (VRPs), perceived VRPs (as predicted by accepted measures of auditory sensitivities), and a new metric labeled as an overall perceptual level construct. Trained classical singers made use of the most sensitive part of the hearing range (around 3-4 kHz) through the use of the singer's formant. When mapped onto the contours of equal loudness (depicting nonuniform spectral and dynamic sensitivities of the auditory system), the formant is perceived at an even higher sound level, as measured in phons, than a flat or A-weighted spectrum would indicate. The contributions of effects like the singer's formant and the sensitivities of the auditory system helped the trained singers produce 20% to 40% more units of loudness, as measured in sones, than the untrained singers. Trained male vocalists had a maximum overall perceptual level construct that was 40% higher than the untrained male vocalists. Although the A-weighted spectrum (commonly used in VRP measurement) is a reasonable first-order approximation of auditory sensitivities, it misrepresents the most salient part of the sensitivities (where the singer's formant is found) by nearly 10 dB.     

Belting and pop, nonclassical approaches to the female middle voice: Some preliminary considerations

There is a commonly perceived difference in the sound produced in the approximate range D₄-D₅ by female singers in the western opera and concert tradition, on the one hand, and certain other styles, including rock, pop, folk, and some Broadway musicals, on the other. The term “belting” is sometimes used to refer to at least one approach to such “nonclassical” singing. In this study, based on spectrographic, electroglottographic, and sub- and supraglottal pressure measurements on representative voices of the “operatic” and “nonclassical” tradition, acoustic and laryngeal differences between the two traditions are described, and an objective, specific definition of “belting” is offered.     

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.     

Supraglottic contribution to voice quality

Although there has been continuing interest in voice quality, much of this research has focused on the vocal folds rather than the supraglottal structures. This paper reports the use of videoendoscopy for studying supraglottal participation in various singing tasks. In a preliminary study presented last year by the present authors, CT scanning was used to corroborate videoendoscopic observation. Vocal tract activities observed included variation of laryngeal height with pitch, variation of pharyngeal wall dimension with pitch and vowel, and marked supraglottic constriction with certain vocal imitations. In order to gain a better understanding of vocal training, and its effect upon vocal tract physiology, a study was designed using videoendoscopy to observe singers with significant experience and training while performing various vocal tasks. The tasks focused on the following: (1) vocal tract activity associated with pitch changes; (2) the physiology involved in the production of “cover”; (3) the structures involved in the production of vibrato; and (4) the physiology of the singer's “ring.” It would appear that videoendoscopy will become increasingly more valuable to the voice community as our understanding of vocal tract physiology improves.