The Relative Contributions of Speaking Fundamental Frequency and Formant Frequencies to Gender Identification Based on Isolated Vowels

The purpose of this study was to determine the accuracy with which listeners could identify the gender of a speaker from a synthesized isolated vowel based on the natural production of that speaker when (1) the fundamental frequency was consistent with the speaker's gender, (2) the fundamental frequency was inconsistent with the the speaker's gender, and (3) the speaker was transgendered. Ten male-to-female transgendered persons, 10 men and 10 women, served as subjects. Each speaker produced the vowels /i/, /u/, and //. These vowels were analyzed for fundamental frequency and the first three formant frequencies and bandwidths. Formant frequency and bandwidth information was used to synthesize two vowel tokens for each speaker, one at a fundamental frequency of 120 Hz and one at 240 Hz. Listeners were asked to listen to these tokens and determine whether the original speaker was male or female. Listeners were not aware of the use of transgendered speakers. Results showed that, in all cases, gender identifications were based on fundamental frequency, even when fundamental frequency and formant frequency information was contradictory.     

Speaking Fundamental Frequency in Monozygotic and Dizygotic Twins

The speaking fundamental frequency (SFF) and the intraindividual variation of the SFF during the reading of a Dutch standard text were measured in 30 female monozygotic twins (MT) and 30 dizygotic twins (DT), aged 15–29 years. A control group was created that consisted of 30 nonrelated paired individuals of equal age. Studying the intrapair correlation coefficients it seemed that the SFF was similar to a greater degree in MT and to a lesser degree in DT, while there was no correlation at all in nonrelated peers. These results are compatible with a genetic basis for the SFF. On the other hand, the intraindividual variation of the SFF was highly similar in MT and in DT (but not in nonrelated peers), so that for this parameter it was not possible to discern the influences of genetic disposition and shared environment.     

The Effects of Frequency Range, Vowel, Dynamic Loudness Level, and Gender on Nasalance in Amateur and Classically Trained Singers

This study addresses two questions: (1) How much nasality is present in classical Western singing? (2) What are the effects of frequency range, vowel, dynamic level, and gender on nasality in amateur and classically trained singers? The Nasometer II 6400 by KayPENTAX (Lincoln Park, NJ) was used to obtain nasalance values from 21 amateur singers and 25 classically trained singers while singing an ascending five-tone scalar passage in low, mid, and high frequency ranges. Each subject sang the scalar passage at both piano and mezzo-forte dynamic loudness levels on each of the five cardinal vowels (/a/, /e/, /i/, /o/, /u/). A repeated mixed-model analysis indicated a significant main effect for the amateur/classically trained distinction, dynamic loudness level, and vowel, but not for frequency range or gender. The amateur singers had significantly higher nasalance scores than classically trained singers in all ranges and on all vowels except /o/. Dynamic loudness level had a significant effect on nasalance for all subject groups except for female majors in the mid- and high-frequency ranges. The vowel, /i/, received significantly higher nasalance than all of the other vowels. Although results of this study show that dynamic loudness level, vowel, and level of training in classical singing have a significant effect on nasality, nasalance scores for most subjects were relatively low. Only six of the subjects, all of whom were amateur singers, had average nasalance scores that could be considered hypernasal (ie, a nasalance average of 22 or above).     

Level and Center Frequency of the Singer''s Formant

The "singer's formant" is a prominent spectrum envelope peak near 3 kHz, typically found in voiced sounds produced by classical operatic singers. According to previous research, it is mainly a resonatory phenomenon produced by a clustering of formants 3, 4, and 5. Its level relative to the first formant peak varies depending on vowel, vocal loudness, and other factors. Its dependence on vowel formant frequencies is examined. Applying the acoustic theory of voice production, the level difference between the first and third formant is calulated for some standard vowels. The difference between observed and calculated levels is determined for various voices. It is found to vary considerably more between vowels sung by professional singers than by untrained voices. The center frequency of the singer's formant as determined from long-term spectrum analysis of commercial recordings is found to increase slightly with the pitch range of the voice classification.     

Revisiting the Pitch Controversy: Changes in Speaking Fundamental Frequency (SFF) After Management of Functional Dysphonia

Speaking fundamental frequency (SFF) and its perceptual correlate "habitual pitch" have been considered important and contentious parameters in voice assessment and treatment. In clinical circles, disagreement exists regarding the role of habitual pitch in the development, maintenance, and treatment of disordered voices. Despite these divergent opinions, few studies have objectively evaluated SFF changes associated with voice improvement after therapy. To determine whether consistent directional and magnitude changes in SFF occur after management, pretreatment and posttreatment audio recordings of 40 women with functional dysphonia were analyzed. All subjects were treated with manual circumlaryngeal therapy, a treatment approach that does not directly target pitch as a perceptual entity to be manipulated. Results indicated that, as a group, no significant change in mean SFF was observed after successful management. Although no consistent directional pattern was identified, 80% of the subjects experienced pitch changes greater than one semitone; this suggests that voice improvement is often accompanied by a shift in SFF. Clinical implications of the data are discussed.     

Assessment of the Formant Frequencies in Normal and Laryngectomized Individuals Using Linear Predictive Coding

The objective of this study was to assess the difference in voice quality as defined by acoustical analysis using sustained vowel in laryngectomized patients in comparison with normal volunteers. This was designed as a retrospective single center cohort study. An adult tertiary referral unit formed the setting of this study. Fifty patients (40 males) who underwent total laryngectomy and 31 normal volunteers (18 male) participated. Group comparisons with the first three formant frequencies (F1, F2, and F3) using linear predictive coding (LPC) (Laryngograph Ltd, London, UK) was performed. The existence of any significant difference of F1, F2, and F3 between the two groups using the sustained vowel /i/ and the effects of other factors namely, tumor stage (T), chemoradiotherapy, pharyngectomy, cricothyroid myotomy, closure of pharyngoesophageal segment, and postoperative complication were analyzed. Formant frequencies F1, F2, and F3 were significantly different in male laryngectomees compared to controls: F1 (P<0.001, Mann-Whitney U test), F2 (P<0.001, Student's t test), and F3 (P=0.008, Student's t test). There was no significant difference between females in both groups for all three formant frequencies. Chemoradiotherapy and postoperative complications (pharyngocutaneous fistula) caused a significantly lower formant F1 in men, but showed little effect in F2 and F3. Laryngectomized males produced significantly higher formant frequencies, F1, F2, and F3, compared to normal volunteers, and this is consistent with literature. Chemoradiotherapy and postoperative complications significantly influenced the formant scores in the laryngectomee population. This study shows that robust and reliable data could be obtained using electroglottography and LPC in normal volunteers and laryngectomees using a sustained vowel.