Preferred self-to-other ratios in choir singing.

Choir singers need to hear their own voice in an adequate self-to-other ratio (SOR) over the rest of the choir. Knowing singers' preferences for SOR could facilitate the design of stages and of choral formations. In an experiment to study the preferred SOR, subjects sang sustained vowels together with synthesized choir sounds, whose loudness tracked that of their own voice. They could control the SOR simply by changing their distance to the microphone. At the most comfortable location, the SOR was measured. Experimental factors included unison and four-part tasks, three vowels and two levels of phonation frequency. The same experiment was run four times, using sopranos, altos, tenors, and basses, with stimulus tones adapted for each category. The preferred self-to-other ratios were found to be similar to SORs measured previously in actual performance, if a little higher. Preferences were quite narrow, typically +/- 2 dB for each singer, but very different from singer to singer, with intrasubject means ranging from -1 to +15 dB. There was no significant difference between the unison and the four-part tasks, although this might have been caused by systematic differences in the stimulus sounds. Some effects of phonation frequency and vowel were significant, but interdependent and difficult to interpret. The results and their relevance to live choir singing are discussed.     

Spatio-temporal analysis of irregular vocal fold oscillations: biphonation due to desynchronization of spatial modes.

This report is on direct observation and modal analysis of irregular spatio-temporal vibration patterns of vocal fold pathologies in vivo. The observed oscillation patterns are described quantitatively with multiline kymograms, spectral analysis, and spatio-temporal plots. The complex spatio-temporal vibration patterns are decomposed by empirical orthogonal functions into independent vibratory modes. It is shown quantitatively that biphonation can be induced either by left-right asymmetry or by desynchronized anterior-posterior vibratory modes, and the term "AP (anterior-posterior) biphonation" is introduced. The presented phonation examples show that for normal phonation the first two modes sufficiently explain the glottal dynamics. The spatio-temporal oscillation pattern associated with biphonation due to left-right asymmetry can be explained by the first three modes. Higher-order modes are required to describe the pattern for biphonation induced by anterior-posterior vibrations. Spatial irregularity is quantified by an entropy measure, which is significantly higher for irregular phonation than for normal phonation. Two asymmetry measures are introduced: the left-right asymmetry and the anterior-posterior asymmetry, as the ratios of the fundamental frequencies of left and right vocal fold and of anterior-posterior modes, respectively. These quantities clearly differentiate between left-right biphonation and anterior-posterior biphonation. This paper proposes methods to analyze quantitatively irregular vocal fold contour patterns in vivo and complements previous findings of desynchronization of vibration modes in computer modes and in in vitro experiments.     

Comparison of microphone and neck-mounted accelerometer monitoring of the performing voice

One method for monitoring individuals in live performances may be the use of vibration sensors, or accelerometers, rather than using microphones that pick up environmental noises as well as the vocal signals of interest. This study was concerned with a comparison of microphone and accelerometer monitoring of the amplitude characteristics of singers' voices. From the results obtained it appears that accelerometers are not applicable for monitoring amplitude characteristics of the voice, but are useful for periodicity measures. In addition, accelerometers may be of use in verifying the kinesthetic patterns sensed by a performer during the process of “singing into a mask” or producing the singer's “ring.”     

Some effects of deafness on the generation of voice

Glottal volume-velocity waveform data were collected from twenty male and female hearing-impaired adolescents by means of a reflectionless tube. The subjects each provided samples of phonation in normal- and soft-voice modes and in a three-syllable word with primary stress on the medial syllable. Analysis of the data, in comparison with characteristics of phonation produced by normally hearing subjects, indicates that deafness affects primarily the time-varying characteristics of the glottal source. Among the hearing-impaired subjects, the following abnormalities were noted; diplophonia and creaky-voice episodes at the onset or middle of phonation, and irregular patterns of change in the frequency and intensity of the glottal waveform. For some subjects, the period-to-period changes of frequency and intensity may be greater than normal. For the hearing-impaired subjects, the shape of the isolated glottal pulse and its spectrum are similar or identical to normal, while striking abnormalities may be seen in the way the glottal pulse changes over time. The effect of deafness is thus that it may prevent a speaker from learning the phonatory consequences of the muscular gestures which maintain and alter vocal-fold tension and subglottal air pressure dynamically in the production of voice.     

Inter- and intrasubject changes in vibrato: Perceptual and acoustic aspects

Recent papers by Rothman and Timberlake (1), Rothman (2), Rothman and Arroyo (3), and Keidar, Titze, and Timberlake (4) have focused on the pulse rate, frequency extent, and amplitude extent of vibrato. Some of the emphases of these papers were attempts to clarify the acoustic and perceptual correlates of vibrato, tremolo, and wobble. Rothman and Arroyo (3) speculated that the shape of the frequency variation waveform may be indicative of vocal problems. In order to verify this, we examined recorded segments of sung samples produced by different singers and samples taken from the early and late stages of singers' careers. Some singers had a relatively short career before exhibiting vocal problems. Others had relatively long careers before showing evidence of vocal decline. Many, but not all, of the singers' late career recordings represent examples generally acknowledged to evidence vocal problems/decline. Each sample was digitized at a sampling frequency of 10 kHz, stored, and analyzed using programs reported on by Rothman and Arroyo (3). Data analysis revealed that some parameters can distinguish between good and bad vibrato despite the variance in listener judgments. Furthermore, evidence of vocal decline is not always due to changes in singers' vibrato.     

Pulse register phonation in Diana monkey alarm calls

The adult male Diana monkeys (Cercopithecus diana) produce predator-specific alarm calls in response to two of their predators, the crowned eagles and the leopards. The acoustic structure of these alarm calls is remarkable for a number of theoretical and empirical reasons. First, although pulsed phonation has been described in a variety of mammalian vocalizations, very little is known about the underlying production mechanism. Second, Diana monkey alarm calls are based almost exclusively on this vocal production mechanism to an extent that has never been documented in mammalian vocal behavior. Finally, the Diana monkeys' pulsed phonation strongly resembles the pulse register in human speech, where fundamental frequency is mainly controlled by subglottal pressure. Here, we report the results of a detailed acoustic analysis to investigate the production mechanism of Diana monkey alarm calls. Within calls, we found a positive correlation between the fundamental frequency and the pulse amplitude, suggesting that both humans and monkeys control fundamental frequency by subglottal pressure. While in humans pulsed phonation is usually considered pathological or artificial, male Diana monkeys rely exclusively on pulsed phonation, suggesting a functional adaptation. Moreover, we were unable to document any nonlinear phenomena, despite the fact that they occur frequently in the vocal repertoire of humans and nonhumans, further suggesting that the very robust Diana monkey pulse production mechanism has evolved for a particular functional purpose. We discuss the implications of these findings for the structural evolution of Diana monkey alarm calls and suggest that the restricted variability in fundamental frequency and robustness of the source signal gave rise to the formant patterns observed in Diana monkey alarm calls, used to convey predator information.     

Long-Term-Average Spectrum Characteristics of Country Singers During Speaking and Singing

Five premier male country singers involved in our previous studies spoke and sang the words of both the national anthem and a country song of their choice. Long-term-average spectra were made of the spoken and sung material of each singer. The spectral characteristics of county singers' speech and singing were similar. A prominent peak in the upper part of the spectrum, previously described as the "speaker's formant," was found in the county singers' speech and singing. The singer's formant, a strong spectral peak near 2.8 kHz, an important part of the spectrum of classically trained singers, was not found in the spectra of the country singers. The results support the conclusion that the resonance characteristics in speech and singing are similar in country singing and that county singing is not characterized by a singer's formant.     

Spectrum factors relevant to phonetogram measurement

Phonetograms showing the sound-pressure level (SPL) in loudest and softest possible phonation are frequently used in some voice clinics as an aid for describing the status of voice function. Spectrum analysis of the vowel /a/ produced by ten females and ten males with healthy, untrained voices revealed that the fundamental was mostly the strongest spectrum partial in soft phonation while the loudest partial in loud phonation was generally an overtone. Also, the first-formant frequency was generally lower in soft than in loud phonation. Measuring SPL in dB(A) rather than in dB lowered the phonetogram contour for soft phonation, an effect increasing with decreasing fundamental frequency. SPL measurements on a group of 22 females with healthy voices showed that the vowel /a/ gave higher SPL values than other vowels in loud phonation. The effect of using dB rather the dB(A) was great but similar for all vowels in soft phonation while, in loud phonation, the effect was small, particularly for /a/. In dB, the effect of using different vowels amounts to about +/- 5 dB, approximately. Interpretation of a phonetogram in terms of voice physiology is facilitated if SPL is given in dB and if a vowel with a high first-formant frequency is used.