Effects of a vocally fatiguing task and systemic hydration on phonation threshold pressure

Phonation threshold pressure (PTP), effort for speaking, and vibratory closure pattern were assessed in 4 women with normal untrained voices after 2 hours of loud reading. PTP generally increased after this vocally fatiguing task at conversational pitch and 10%, 50%, and especially 80% of the pitch range. Increased systemic hydration by drinking water appeared to attenuate and/or delay the elevation of PTP for 3 subjects, at least at the highest pitch tested. Effort for speaking increased consistently throughout the loud reading task and subsequently decreased after 15 minutes of vocal silence. Upon videostroboscopic examination of the larynx, 3 subjects demonstrated spindle-shaped vibratory closure patterns on occasion after loud reading. The results provide preliminary support for increasing water consumption to reduce or delay some vocal-function changes after prolonged loud phonation in untrained speakers.     

Effects of a Vocally Fatiguing Task and Systemic Hydration on Men''s Voices

Voice disorders, specifically vocal fatigue, are more commonly reported by women than by men. Previously, 4 women with normal untrained voices read loudly for 2 hours in an attempt to fatigue the voice. Vocal function deteriorated, as indicated by increases in phonation threshold pressure (PTP) and self-perceived phonatory effort. The increase in PTP was delayed or attenuated to some degree in 3 of the women when they drank ample amounts of water before the experiment. The current study examined the same vocal-loading task and water-drinking condition in 4 vocally normal men. PTP increased after the loud-reading task. Although 2 of the men appeared to benefit from increased systemic hydration (PTP increased more when they were underhydrated than well-hydrated), the other 2 men's data changed in the opposite direction. Phonatory effort correlated well with PTP; this varied across subject and pitch. Laryngeal endoscopy revealed an anterior glottal gap in two men after the loud-reading task. Amplitude of vocal fold vibration was judged to be reduced after the loud-reading task in three subjects when underhydrated and one subject when well hydrated. The high between-subject variability prohibits a conclusion that drinking water is beneficial to vocal function in men, but all subjects studied to date demonstrated detrimental vocal effects of prolonged loud talking.     

Acoustic Changes in Student Actors' Voices After 12 Months of Training

This study was to evaluate acoustic changes in student actors' voices after 12 months of actor training. The design used was a longitudinal study. Eighteen students enrolled in an Australian tertiary 3-year acting program (nine male and nine female) were assessed at the beginning of their acting course and again 12 months later using a questionnaire, interview, maximum phonation time (MPT), reading, spontaneous speaking, sustained phonation tasks, and a pitch range task. Samples were analyzed for MPT, fundamental frequency across tasks, pitch range for speaking and reading, singing pitch range, noise-to-harmonic ratio, shimmer, and jitter. After training, measures of shimmer significantly increased for both male and female participants. Female participants' pitch range significantly increased after training, with a significantly lower mean frequency for their lowest pitch. The finding of limited or negative changes for some measures indicate that further investigation is required into the long-term effects of actor voice training and which parameters of voicing are most targeted and valued in training. Particular investigation into the relationship between training targets and outcomes could more reliably inform acting programs about changes in teaching methodologies. Further research into the relationship between specific training techniques, physiological changes, and vocal changes may also provide information on implementing more evidence-based training methods.     

Perceived phonatory effort and phonation threshold pressure across a prolonged voice loading task: a study of vocal fatigue

Although the problem of vocal fatigue is not uncommon in people with voice disorders, research on objective quantifiable indicators of vocal fatigue is limited. It has been suggested that a speaker's perception of increased phonatory effort associated with periods of prolonged voice use is related to increased lung pressure required to initiate and sustain phonation. The purpose of this study was to examine the relationship among perceived phonatory effort (PPE), which was used as a subjective index of vocal fatigue, and phonation threshold pressure (PTP), a quantifiable measure defined as the minimal lung pressure required to initiate and sustain vocal fold oscillation. PTP and PPE were recorded before, during, and after five adult male and five adult female speakers engaged in a prolonged oral reading task designed to induce vocal fatigue. The results supported a direct, moderately strong relationship between PTP and PPE, particularly when PTP was measured during speech produced at comfortable and low-speaking pitch levels. No gender effects were found. PTP returned to baseline levels within 1 hour after the fatiguing task. PPE returned to baseline within 1 day. The data support the use of PTP as an objective index of vocal fatigue.     

Effect of tonal native language on voice fundamental frequency responses to pitch feedback perturbations during sustained vocalizations

The purpose of this cross-language study was to examine whether the online control of voice fundamental frequency (F(0)) during vowel phonation is influenced by language experience. Native speakers of Cantonese and Mandarin, both tonal languages spoken in China, participated in the experiments. Subjects were asked to vocalize a vowel sound /u/at their comfortable habitual F(0), during which their voice pitch was unexpectedly shifted (± 50, ± 100, ± 200, or ± 500 cents, 200 ms duration) and fed back instantaneously to them over headphones. The results showed that Cantonese speakers produced significantly smaller responses than Mandarin speakers when the stimulus magnitude varied from 200 to 500 cents. Further, response magnitudes decreased along with the increase in stimulus magnitude in Cantonese speakers, which was not observed in Mandarin speakers. These findings suggest that online control of voice F(0) during vocalization is sensitive to language experience. Further, systematic modulations of vocal responses across stimulus magnitude were observed in Cantonese speakers but not in Mandarin speakers, which indicates that this highly automatic feedback mechanism is sensitive to the specific tonal system of each language.     

The Effect of Hemodialysis on Voice: An Acoustic Analysis

Because respiration is part of the well-coordinated process necessary for phonation, this study was conducted with the purpose of analyzing the effect of chronic hemodialysis on voice characteristics of patients with chronic renal failure. A total of 57 patients were recruited for the study, including 31 males and 26 females ranging in age from 16 to 85 years. Patients underwent evaluation of their voice directly before and after hemodialysis using the Kay Elemetric VISI Pitch (Model 330; Kay Elemetric Corporation, Lincoln Park, New Jersey). The vocal acoustic parameters studied include habitual pitch, pitch range, relative average perturbation, shimmer, noise-to-harmonic ratio, voice turbulence index, maximum phonation time, and voice energy. The data were analyzed using the paired t-test for the total sample and the nonparametric test for the female and male subgroups. The total sample analysis showed a statistically significant increase in the habitual pitch after the hemodialyis (p < 0.05), with a borderline increase in the pitch range and maximum phonation time (p < 0.10). In the female group, there was a statistically significant increase in the habitual pitch and a borderline increase in the relative average perturbation. In the male group, there was a significant increase in the habitual pitch with a borderline increase in maximum phonation time. Discussion of the after-mentioned results is presented.     

Calculation of the Gluon Distribution Function Using Alternative Method for the Proton Structure Function

A calculation of the proton structure function F2(x,Q2) is reported with an approximation method that relates the reduced cross section derivative and the F2(x, Q2) scaling violation at low x by using quadratic form for the structure function. This quadratic form approximation method can be used to determine the structure function F2 (x, Q2)from the HERA reduced cross section data taken at low x. This new approach can determine the structure functions F2(x,Q2) with reasonable precision even for low x values which have not been investigated. We observe that the Q2 dependence is quadratic over the full kinematic covered range. To test the validity of our new determined structure functions, wefind the gluon distribution function in the leading order approximation with our new calculation for the structure functions and compare them with the QCD parton distribution functions.     

Voice responses to changes in pitch of voice or tone auditory feedback

The present study was undertaken to examine if a subject's voice F0 responded not only to perturbations in pitch of voice feedback but also to changes in pitch of a side tone presented congruent with voice feedback. Small magnitude brief duration perturbations in pitch of voice or tone auditory feedback were randomly introduced during sustained vowel phonations. Results demonstrated a higher rate and larger magnitude of voice F0 responses to changes in pitch of the voice compared with a triangular-shaped tone (experiment 1) or a pure tone (experiment 2). However, response latencies did not differ across voice or tone conditions. Data suggest that subjects responded to the change in F0 rather than harmonic frequencies of auditory feedback because voice F0 response prevalence, magnitude, or latency did not statistically differ across triangular-shaped tone or pure-tone feedback. Results indicate the audio-vocal system is sensitive to the change in pitch of a variety of sounds, which may represent a flexible system capable of adapting to changes in the subject's voice. However, lower prevalence and smaller responses to tone pitch-shifted signals suggest that the audio-vocal system may resist changes to the pitch of other environmental sounds when voice feedback is present.     

Fundamental Frequency Change During Offset and Onset of Voicing in Individuals with Parkinson Disease

SUMMARY: After years of treatment with the medication levodopa, most individuals with Parkinson disease (PD) experience fluctuations in response to their medications. Although relatively consistent perceptual voice improvements have been documented to correspond with these fluctuations, consistent quantitative data to support this finding are lacking. This mismatch may have occurred because most of this phonation research has centered on long-term phonatory measures (ie, across speaking samples and prolonged vowel tasks). The current study examined short-term phonatory behavior in individuals with PD, specifically examining fundamental frequency (F0) at the offset and onset of phonation, before and after a voiceless consonant. The F0 analysis at phonatory offset supported the conclusion that individuals with PD have difficulty with the rapid offset of voicing, and that they are stopping vocal fold vibration primarily through vocal fold abduction (without adding tension). The F0 analysis at phonatory onset revealed that all groups use some laryngeal tension at the initiation of voicing. The tension was lowest for the PD participants who were in their OFF medication state, and it was highest for the age-matched control participants and the PD participants in their ON medication states.     

Sound pressure level and spectral balance linearity and symmetry in the messa di voce of female classical singers

The messa di voce, in its pure form a crescendo and decrescendo on one note, has been revered for centuries in classical singing, but the pedagogical assumptions of linearity and symmetry have received little critical assessment, especially across a wide fundamental frequency (F0) range. Five trained female classical singers performed a total of 318 messe di voce across their musical F0 range to identify its acoustical characteristics and the influence of F0. Sound pressure level (SPL) range was generally greater during crescendo at higher F0's and during decrescendo at lower FO's. Change in SPL during the messa di voce was predominantly nonlinear, and the shape of the SPL traces differed greatly between crescendo and decrescendo. Nonlinearity in SPL change was not related to SPL range but did show a F0 influence in decrescendo. Change in spectral balance (0-2 vs. 2-4 kHz) with respect to SPL change showed markedly more symmetry than linearity, so that changes in the mode of phonation during the messa di voce were dependent upon SPL regardless of whether the singer was in crescendo or decrescendo. Perceptual and physiological implications are discussed.     

Temporal pitch mechanisms in acoustic and electric hearing

Two experiments investigated pitch perception for stimuli where the place of excitation was held constant. Experiment 1 used pulse trains in which the interpulse interval alternated between 4 and 6 ms. In experiment 1a these "4-6" pulse trains were bandpass filtered between 3900 and 5300 Hz and presented acoustically against a noise background to normal listeners. The rate of an isochronous pulse train (in which all the interpulse intervals were equal) was adjusted so that its pitch matched that of the "4-6" stimulus. The pitch matches were distributed unimodally, had a mean of 5.7 ms, and never corresponded to either 4 or to 10 ms (the period of the stimulus). In experiment 1b the pulse trains were presented both acoustically to normal listeners and electrically to users of the LAURA cochlear implant, via a single channel of their device. A forced-choice procedure was used to measure psychometric functions, in which subjects judged whether the 4-6 stimulus was higher or lower in pitch than isochronous pulse trains having periods of 3, 4, 5, 6, or 7 ms. For both groups of listeners, the point of subjective equality corresponded to a period of 5.6 to 5.7 ms. Experiment 1c confirmed that these psychometric functions were monotonic over the range 4-12 ms. In experiment 2, normal listeners adjusted the rate of an isochronous filtered pulse train to match the pitch of mixtures of pulse trains having rates of F1 and F2 Hz, passed through the same bandpass filter (3900-5400 Hz). The ratio F2/F1 was 1.29 and F1 was either 70, 92, 109, or 124 Hz. Matches were always close to F2 Hz. It is concluded that the results of both experiments are inconsistent with models of pitch perception which rely on higher-order intervals. Together with those of other published data on purely temporal pitch perception, the data are consistent with a model in which only first-order interpulse intervals contribute to pitch, and in which, over the range 0-12 ms, longer intervals receive higher weights than short intervals.     

Relative contributions of temporal and place pitch cues to fundamental frequency discrimination in cochlear implantees

The effect of the filter bank on fundamental frequency (F0) discrimination was examined in four Nucleus CI24 cochlear implant subjects for synthetic stylized vowel-like stimuli. The four tested filter banks differed in cutoff frequencies, amount of overlap between filters, and shape of the filters. To assess the effects of temporal pitch cues on F0 discrimination, temporal fluctuations were removed above 10 Hz in one condition and above 200 Hz in another. Results indicate that F0 discrimination based upon place pitch cues is possible, but just-noticeable differences exceed 1 octave or more depending on the filter bank used. Increasing the frequency resolution in the F0 range improves the F0 discrimination based upon place pitch cues. The results of F0 discrimination based upon place pitch agree with a model that compares the centroids of the electrical excitation pattern. The addition of temporal fluctuations up to 200 Hz significantly improves F0 discrimination. Just-noticeable differences using both place and temporal pitch cues range from 6% to 60%. Filter banks that do not resolve the higher harmonics provided the best temporal pitch cues, because temporal pitch cues are clearest when the fluctuation on all channels is at F0 and preferably in phase.     

Vocal Warm-up Increases Phonation Threshold Pressure in Soprano Singers at High Pitch

Vocal warm-up is thought to optimize singing performance. We compared effects of short-term, submaximal, vocal warm-up exercise with those of vocal rest on the soprano voice (n = 10, ages 19-21 years). Dependent variables were the minimum subglottic air pressure required for vocal fold oscillation to occur (phonation threshold pressure, Pth), and the maximum and minimum phonation fundamental frequency. Warm-up increased Pth for high pitch phonation (p = 0.033), but not for comfortable (p = 0.297) or low (p = 0.087) pitch phonation. No significant difference in the maximum phonation frequency (p = 0.193) or minimum frequency (p = 0.222) was observed. An elevated Pth at controlled high pitch, but an unchanging maximum and minimum frequency production suggests that short-term vocal exercise may increase the viscosity of the vocal fold and thus serve to stabilize the high voice.     

Using the Relaxation Oscillations Principle for Simple Phonation Modeling

Well-known multimass models of vocal folds are useful to describe main behavior observed in human voicing but their principle of functioning, based on harmonic oscillation, may appear complex. This work is designed to show that a simple one-mass model ruled by laws of relaxation oscillation can also depict main behavior of glottis dynamic. Theory of relaxation oscillation is detailed. A relaxation oscillation model is assessed through a numerical simulation using conventional values for tissue characteristics and subglottal pressure. As expected, raising the mass decreases the fundamental frequency and increases the amplitude of vocal fold vibration: for a mass ranging from 0.01 to 0.4 g, F0 decreased from 297.5 to 42.5 Hz and vibrational amplitude increased from 1.26 to 3.25 mm (for stiffness k=10Nm(-1), damping r=0.015 N s m(-1), and subglottal pressure=1 kPa). Stiffness value has the opposite effect. The subglottal pressure controls the fundamental frequency with a rate ranging from 20 to 50 Hz/kPa. The vibrational amplitude is also controlled linearly by subglottal pressure from 0.22 to 0.26 mm/kPa. The range of phonation threshold pressure (PTP) is close to the values currently proposed, that is, 0.1 to 1 kPa and varies with the fundamental frequency. The relaxation oscillator is a simple and useful tool for modeling vocal fold vibration.     

The dependency of timbre on fundamental frequency

The dependency of the timbre of musical sounds on their fundamental frequency (F0) was examined in three experiments. In experiment I subjects compared the timbres of stimuli produced by a set of 12 musical instruments with equal F0, duration, and loudness. There were three sessions, each at a different F0. In experiment II the same stimuli were rearranged in pairs, each with the same difference in F0, and subjects had to ignore the constant difference in pitch. In experiment III, instruments were paired both with and without an F0 difference within the same session, and subjects had to ignore the variable differences in pitch. Experiment I yielded dissimilarity matrices that were similar at different F0's, suggesting that instruments kept their relative positions within timbre space. Experiment II found that subjects were able to ignore the salient pitch difference while rating timbre dissimilarity. Dissimilarity matrices were symmetrical, suggesting further that the absolute displacement of the set of instruments within timbre space was small. Experiment III extended this result to the case where the pitch difference varied from trial to trial. Multidimensional scaling (MDS) of dissimilarity scores produced solutions (timbre spaces) that varied little across conditions and experiments. MDS solutions were used to test the validity of signal-based predictors of timbre, and in particular their stability as a function of F0. Taken together, the results suggest that timbre differences are perceived independently from differences of pitch, at least for F0 differences smaller than an octave. Timbre differences can be measured between stimuli with different F0's.     

Temporal dynamics of pitch strength in regular interval noises.

The pitch strength of rippled noise and iterated rippled noise has recently been fitted by an exponential function of the height of the first peak in the normalized autocorrelation function [Yost, J. Acoust. Soc. Am. 100, 3329-3335 (1996)]. The current study compares the pitch strengths and autocorrelation functions of rippled noise (RN) and another regular-interval noise, "AABB." RN is generated by delaying a copy of a noise sample and adding it to the undelayed version. AABB with the same pitch is generated by taking a sample of noise (A) with the same duration as the RN delay and repeating it to produce AA, and then concatenating many of these once-repeated sequences to produce AABBCCDD.... The height of the first peak (h1) in the normalized autocorrelation function of AABB is 0.5, identical to that of RN. The current experiments show the following: (1) AABB and RN can be discriminated when the pitch is less than about 250 Hz. (2) For these low pitches, the pitch strength of AABB is greater than that for RN whereas it is about the same for pitches above 250 Hz. (3) When RN is replaced by iterated rippled noise (IRN) adjusted to match the pitch strength of AABB, the two are no longer discriminable. The pitch-strength difference between AABB and RN below 250 Hz is explained in terms of a three-stage, running-autocorrelation model. It is suggested that temporal integration of pitch information is achieved in two stages separated by a nonlinearity. The first integration stage is implemented as running autocorrelation with a time constant of 1.5 ms. The second model stage is a nonlinear transformation. In the third model stage, the output of the nonlinear transformation is long-term averaged (second integration stage) to provide a measure of pitch strength. The model provides an excellent fit to the pitch-strength matching data over a wide range of pitches.     

Does fundamental-frequency discrimination measure virtual pitch discrimination?

Studies of pitch perception often involve measuring difference limens for complex tones (DLCs) that differ in fundamental frequency (F0). These measures are thought to reflect F0 discrimination and to provide an indirect measure of subjective pitch strength. However, in many situations discrimination may be based on cues other than the pitch or the F0, such as differences in the frequencies of individual components or timbre (brightness). Here, DLCs were measured for harmonic and inharmonic tones under various conditions, including a randomized or fixed lowest harmonic number, with and without feedback. The inharmonic tones were produced by shifting the frequencies of all harmonics upwards by 6.25%, 12.5%, or 25% of F0. It was hypothesized that, if DLCs reflect residue-pitch discrimination, these frequency-shifted tones, which produced a weaker and more ambiguous pitch than would yield larger DLCs than the harmonic tones. However, if DLCs reflect comparisons of component pitches, or timbre, they should not be systematically influenced by frequency shifting. The results showed larger DLCs and more scattered pitch matches for inharmonic than for harmonic complexes, confirming that the inharmonic tones produced a less consistent pitch than the harmonic tones, and consistent with the idea that DLCs reflect F0 pitch discrimination.     

An evaluation of the effects of three laryngeal lubricants on phonation threshold pressure (PTP)

Clinicians frequently offer advice to performers and voice-disordered patients aimed ostensibly to manipulate the water content and/or viscosity of the mucus blanket covering the vocal folds. To evaluate the relative effects of three potential laryngeal lubricants on phonatory function (ie, water, Mannitol--an osmotic agent, and Entertainer's Secret Throat Relief (Kli Corp., Carmel, IN)--a glycerin-based product), phonation threshold pressure (PTP) was measured in 18 healthy, vocally normal female participants twice before (baseline) and then four times after 2 ml of each substance were nebulized. PTP is the minimum subglottal pressure required to initiate vocal fold oscillation, and the lowering of PTP is assumed to correspond to physiologically more efficient phonation and reduced phonatory effort. Over a 3-week period, participants were tested on three separate occasions (at 1-week intervals). On each occasion, a different nebulized treatment was administered. PTP for both comfortable and high fundamental frequency productions was measured using an oral pressure-flow system (Perci-Sars, MicroTronics Corp., Chapel Hill, NC). Analysis of the results revealed that Mannitol, an agent that encourages osmotic water flux to the luminal airway surface, lowered PTP immediately after its administration (ie, p = 0.071, for high-pitched productions only). However, the duration of its PTP lowering effect was less than 20 minutes. The other two substances did not demonstrate any significant postadministration effect on PTP.     

Influence of spectral locus and F0 changes on the pitch and timbre of complex tones.

Harmonic complex tones comprising components in different spectral regions may differ considerably in timbre. While the pitch of "residue" tones of this type has been studied extensively, their timbral properties have received little attention. Discrimination of F0 for such tones is typically poorer than for complex tones with "corresponding" harmonics [A. Faulkner, J. Acoust. Soc. Am. 78, 1993-2004 (1985)]. The F0 DLs may be higher because timbre differences impair pitch discrimination. The present experiment explores effects of changes in spectral locus and F0 of harmonic complex tones on both pitch and timbre. Six normally hearing listeners indicated if the second tone of a two-tone sequence was: (1) same, (2) higher in pitch, (3) lower in pitch, (4) same in pitch but different in "something else," (5) higher in pitch and different in "something else," or (6) lower in pitch and different in "something else" than the first. ("Something else" is assumed to represent timbre.) The tones varied in spectral loci of four equal-amplitude harmonics m, m + 1, m + 2, and m + 3 (m = 1,2,3,4,5,6) and ranged in F0 from 200 to 200 +/- 2n Hz (n = 0,1,2,4,8,16,32). Results show that changes in F0 primarily affect pitch, and changes in spectral locus primarily affect timbre. However, a change in spectral locus can also influence pitch. The direction of locus change was reported as the direction of pitch change, despite no change in F0 or changes in F0 in the opposite direction for delta F0 < or = 0-2%. This implies that listeners may be attending to the "spectral pitch" of components, or to changes in a timbral attribute like "sharpness," which are construed as changes in overall pitch in the absence of strong F0 cues. For delta F0 > or = 2%, the direction of reported pitch change accord with the direction of F0 change, but the locus change continued to be reported as a timbre change. Rather than spectral-pitch matching of corresponding components, a context-dependent spectral evaluation process is thus implied in discernment of changes in pitch and timbre. Relative magnitudes of change in derived features of the spectrum such as harmonic number and F0, and absolute features such as spectral frequencies are compared. What is called "spectral pitch," contributes to the overall pitch, but also appears to be an important dimension of the multidimensional percept, timbre.