Vowel Intelligibility in Classical Singing

Vowel intelligibility during singing is an important aspect of communication during performance. The intelligibility of isolated vowels sung by Western classically trained singers has been found to be relatively low, in fact, decreasing as pitch rises, and it is lower for women than for men. The lack of contextual cues significantly deteriorates vowel intelligibility. It was postulated in this study that the reduced intelligibility of isolated sung vowels may be partly from the vowels used by the singers in their daily vocalises. More specifically, if classically trained singers sang only a few American English vowels during their vocalises, their intelligibility for American English vowels would be less than for those classically trained singers who usually vocalize on most American English vowels. In this study, there were 21 subjects (15 women, 6 men), all Western classically trained performers as well as teachers of classical singing. They sang 11 words containing 11 different American English vowels, singing on two pitches a musical fifth apart. Subjects were divided into two groups, those who normally vocalize on 4, 5, or 6 vowels, and those who sing all 11 vowels during their daily vocalises. The sung words were cropped to isolate the vowels, and listening tapes were created. Two listening groups, four singing teachers and five speech-language pathologists, were asked to identify the vowels intended by the singers. Results suggest that singing fewer vowels during daily vocalises does not decrease intelligibility compared with singing the 11 American English vowels. Also, in general, vowel intelligibility was lower with the higher pitch, and vowels sung by the women were less intelligible than those sung by the men. Identification accuracy was about the same for the singing teacher listeners and the speech-language pathologist listeners except for the lower pitch, where the singing teachers were more accurate.     

Vocal Tract Resonance Analysis of Aging Voice Using Long-Term Average Spectra

This study is the first to use long-term average spectra (LTAS) to investigate resonance characteristics of dynamic speech in young adulthood and old age. A total of 80 speakers participated, divided equally by age group and gender. All elderly speakers were healthy, active members of the community. Measurement of the first three spectral peaks in LTAS from the first paragraph of the Rainbow Passage revealed significant lowering of peak 1 from young adulthood to old age in both men and women. Peaks 2 and 3 also lowered significantly across the adult lifespan in women and showed a tendency to lower in men. These acoustic findings are consistent with anatomic data suggesting that aging results in lengthening of the supraglottic vocal tract. Findings that women demonstrate more substantial lowering of spectral peaks with aging than men suggest that women may undergo more pronounced age-related lengthening of the supraglottic vocal tract. Alternatively, it is possible that elderly men systematically alter tongue position during vowel articulation while elderly women are less inclined to do so. Taken in conjunction with previous research, these findings suggest a "mixed model" of vocal tract resonance changes with aging in which an interaction exists between gender, the resonance effects of laryngeal lowering, and vowel articulatory patterns.     

Singer''s Formant in Sopranos: Fact or Fiction?

Although it is generally agreed that the singer's formant (F_S) is a prerequisite for successful stage performance, the results of this research do not support its presence in the soprano voices of trained female singers. Results are based on a recent investigation testing 10 advanced/professional sopranos in two groups singing sustained vowels at three frequencies: high (932 Hz), mid (622 Hz), and low (261 Hz). Spectrographic analysis shows that the nature of harmonic energy varies in relation to pitch. A resonance band somewhat resembling the tenor F_S was usually evident in vowels sung at low and mid pitch. However, unlike the F_S of typically less than 1 kHz bandwidth associated with tenors, sopranos singing similar pitches produced corresponding bandwidths which were significantly broader, usually at least 2-kHz wide. Vowels sung by sopranos at high-pitch levels exhibited strong fundamental frequency production with strong reinforcement of adjacent harmonics extending to 5 kHz and beyond. This type of production in essence nullifies the necessity for a typical F_S. Absence of the F_S in strong soprano voices might also imply the adaptation of a sufficiently different overall vocal tract configuration, so that techniques geared to developing maximal projection should not be the same as those developed to maximize the F_S in other voices.     

Where Is a Singer's Voice if It Is Placed “Forward”?

Singing teachers sometimes characterize voice quality in terms of "forward" and "backward" placement. In view of our traditional knowledge about voice production it is hard to explain any possible acoustic or articulatory differences between the voices so "placed." The analysis of the teachers' expert opinions demonstrates that, in general, a voice placed "forward" indicates a desirable quality that students should attain by the end of their studies. Productions that were perceived as "forward" and "backward" were selected from the listening test. The acoustic analysis of those productions reveals that the voice quality in the case of "forward" placement correlates with higher frequencies of the second (F2) and third (F3) formants, as well as with a more salient "singer's formant" in the voice. The five basic vowels were included in the investigation.     

Synthesizing choir singing

Analysis by synthesis is a method that has been successfully applied in many areas of scientific research. In speech research, it has proven to be an excellent tool for identifying perceptually relevant acoustical properties of sounds. This paper reports on some first attempts at synthesizing choir singing, the aim being to elucidate the importance of factors such as the frequency scatter in the fundamental and the formants. The presentation relies heavily on sound examples.     

Measurement of formant frequencies and bandwidths in singing

That singers under certain circumstances adjust the articulation of the vocal tract (formant tuning) to enhance acoustic output is both apparent from measurements and understood in theory. The precise effect of a formant on an approaching (retreating) harmonic as the latter varies in frequency during actual singing, however, is difficult to isolate. In this study variations in amplitude of radiated sound components as well as supraglottal and subglottal (esophageal) pressures accompanying the vibrato-related sweep of voice harmonics were used as a basis for estimating the effective center frequencies and bandwidths of the first and second formants.     

语谱图共振峰的自动跟踪算法

本文介绍一个共振峰轨迹的自动跟踪算法，其特点是不借助于其它的信息来源，仅仅是基于语谱图信息，来确定语谱图上前四个共振峰频率的位置和它们关于时间轴的轨迹。算法由三个层面构成；第一层面是进行频率分布的分析，以决定一个最佳的共振峰搜索起始位置；第二层面是采用双搜索算法，来跟踪随时间变化的共振峰轨迹；第三层面是解决某些冲突现象，在共振峰跟踪问题上的难点之一是处理多个共振峰的合并现象和冗余峰值现象。     

Vocal Tract Area Function for Vowels Using Three-Dimensional Magnetic Resonance Imaging. A Preliminary Study

OBJECTIVE: To assess whether magnetic resonance imaging (MRI) allows the vocal tract (VT) area function to be determined for a normal male speaker. METHOD: VT shapes were acquired using MRI during sustained production of French points vowels: /i/, /a/, /u/. Cross-sectional areas were measured from a series of planes spaced at intervals of 1 cm along the length of the VT and were used as input in a previously described VT model to simulate the vowels. The first three formant frequencies, F1, F2, and F3, computed from the MRI-measured VT model were compared with subject's natural formant frequencies. RESULTS: Including piriform sinuses, calculated formants differed from measured formants F1, F2, and F3, respectively, for /i/ by -3.5%, +7.7%, and +27.5%; for /a/ by +11% +19.5%, and -4.3%; and for /u/ by +.9%, +23.4%, and +9.6%. Excluding piriform sinuses, calculated formants differed from measured formants F1, F2, and F3, respectively, for /i/ by -3.5%, +12%, and +28%, and for /u/ by +10.1%, +26.8%, and +13.7% The piriform sinuses were not visualized for /a/ on MRI. CONCLUSIONS: MRI is a noninvasive technique that allows VT imaging and determination of VT area function for a normal male speaker. Several possible sources of discrepancies are as follows: variability of the articulation, difficulties in assessment of VT wall boundaries, role of the piriform sinuses, and VT length.