The Acoustic Effects of Vowel Equalization Training in Singers

Vowel equalization is a technique that can be used by singers to achieve a more balanced vocal resonance, or chiaroscuro, by balancing corresponding front and back vowels, which share approximate tongue heights, and also high and low vowels by means of a more neutral or centralized lingual posture. The goal of this single group study was to quantify acoustic changes in vowels after a brief training session in vowel equalization. Fifteen young adults with amateur singing experience sang a passage and sustained isolated vowels both before and after a 15-minute training session in vowel equalization. The first two formants of the target vowels /e, i, ɑ, o, u/ were measured from microphone recordings. An analysis of variance was used to test for changes in formant values after the training session. These formant values mostly changed in a manner reflective of a more central tongue posture. For the sustained vowels, all formant changes suggested a more neutral tongue position after the training session. The vowels in the singing passage mostly changed in the expected direction, with exceptions possibly attributable to coarticulation. The changes in the vowel formants indicated that even a brief training session can result in significant changes in vowel acoustics. Further work to explore the perceptual consequences of vowel equalization is warranted.     

The Relationship Between Vocal Pitch-Matching Skills and Pitch Discrimination Skills in Untrained Accurate and Inaccurate Singers

Few studies have compared the relationship between pitch discrimination accuracy and the accuracy of fundamental frequency (F(o)) control. This study investigated the relationship between vocal pitch-matching skills, which is one method of testing F(o) control, and pitch discrimination skills in untrained accurate and inaccurate singers, and the effect of timbre on their pitch discrimination accuracy. Data showed that accurate singers had more precise discrimination and pitch-matching abilities compared with their inaccurate counterparts. Pitch discrimination was differentially affected by the timbre (eg, spectral differences) of comparison tones. In addition, results showed a significant relationship between pitch discrimination abilities and pitch-matching accuracy. The results suggest that accurate F(o) control is at least partially dependent on pitch discrimination abilities, which are important for accurate singing.     

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.     

Formant frequency tuning in singing

It is sometimes claimed that some singers tune their two lowest formant frequencies to harmonic partials in order to increase the audibility of the voice. Voice acoustics predicts that such tuning of formants should cause vowel quality to change. Using a newly constructed digital singing machine, the authors have explored the perceptual consequences of such tuning. Four different cases were represented, in which the two lowest formant frequencies were either constant or adapted to the fundamental frequency according to either of three different strategies. The resulting voice timbres were judged by an expert panel of singing teachers in a listening test consisting of descending chromatic scales. Constant formant frequencies were clearly preferred, presumably because formant tuning entails formant frequency shifts between adjacent tones so substantial that salient vowel quality shifts occur.     

Pitch Matching Accuracy of Trained Singers, Untrained Subjects with Talented Singing Voices, and Untrained Subjects with Nontalented Singing Voices in Conditions of Varying Feedback

At a physiological level, the act of singing involves control and coordination of several systems involved in the production of sound, including respiration, phonation, resonance, and afferent systems used to monitor production. The ability to produce a melodious singing voice (eg, in tune with accurate pitch) is dependent on control over these motor and sensory systems. To test this position, trained singers and untrained subjects with and without expressed singing talent were asked to match pitches of target pure tones. The ability to match pitch reflected the ability to accurately integrate sensory perception with motor planning and execution. Pitch-matching accuracy was measured at the onset of phonation (prephonatory set) before external feedback could be utilized to adjust the voiced source, during phonation when external auditory feedback could be utilized, and during phonation when external auditory feedback was masked. Results revealed trained singers and untrained subjects with singing talent were no different in their pitch-matching abilities when measured before or after external feedback could be utilized. The untrained subjects with singing talent were also significantly more accurate than the trained singers when external auditory feedback was masked. Both groups were significantly more accurate than the untrained subjects without singing talent.     

The Role of Pitch Memory in Pitch Discrimination and Pitch Matching

Accurate control of vocal pitch (fundamental frequency) requires coordination of sensory and motor systems. Previous research has supported the relationship between perceptual accuracy and vocal pitch matching accuracy. The purpose of this study was to investigate the role of memory for pitch in pitch matching and pitch discrimination ability. Three experimental tasks were used. First, a pitch matching task was completed, in which the participants listened to target tones and vocally matched the pitch of the tones. The second task was a pitch discrimination task that required the participants to judge the pitch (same or different) of complex tone pairs. The third task was pitch discrimination with memory interference task that was similar to the pitch discrimination task except interference tones were added. Results of the pitch matching and pitch discrimination tasks yielded a significant correlation between these values. When there was memory interference, pitch discrimination ability was poorer, and there was no significant correlation between pitch discrimination and pitch matching. These results support earlier findings of a relationship between pitch discrimination and pitch matching abilities. The results also suggest a possible role of pitch memory in both tasks. These findings may have implications for abilities related to accurate pitch control.     

Are Real-Time Displays of Benefit in the Singing Studio? An Exploratory Study

This article reports on an exploratory research project to evaluate the usefulness or otherwise of real-time visual feedback in the singing studio. The primary purpose of the work was not to optimize the technology for this application, but to work alongside teachers and students to study the impact of real-time visual feedback technology use on the students' learning experiences. An action research methodology was used to explore the benefit of real-time displays over an extended period. The experimental phase of the work was guided by a Liaison Panel of teachers and academics in the areas of singing, pedagogy, voice science, speech therapy, and linguistic science. Qualitative data were collected from eight students working with two professional singing teachers. The teachers and students acted as co-researchers under the action research paradigm. Teachers and students alike kept journals of their teaching and learning experiences. Singing lessons were observed regularly by the research team, coded for teacher and student behaviors, and all co-researchers were interviewed at the mid- and endpoint of the project. The use of technology had a positive impact on the learning process, and this is evidenced through case study data.     

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.     

Evaluation of Support in Singing

This study searched for perceptual, acoustic, and physiological correlates of support in singing. Seven trained professional singers (four women and three men) sang repetitions of the syllable [pa:] at varying pitch and sound levels (1) habitually (with support) and (2) simulating singing without support. Estimate of subglottic pressure was obtained from oral pressure during [p]. Vocal fold vibration was registered with dual-channel electroglottography. Acoustic analyses were made on the recorded samples. All samples were also evaluated by the singers and other listeners, who were trained singers, singing students, and voice specialists without singing education (a total of 63 listeners). We rated both the overall voice quality and the amount of support. According to the results, it seemed impossible to observe any auditory differences between supported singing and good singing voice quality. The acoustic and physiological correlates of good voice quality in absolute values seem to be gender and task dependent, whereas the relative optimum seems to be reached at intermediate parameter values.     

Study on some aspects of the “singer's formant” in north indian classical singing

This article deals with a spectrographic analysis of the singer's formant as occurred during singing of the vowels /a/, /i/, and /o/ in North Indian classical vocal music. The resonance balance, center frequency, and band-width are shown as a function of fundamental frequency for eight singers.Two new parameters have been defined viz. asymmetry parameter (A) and spectral energy balance (W). Their variation with fundamental frequency is shown.     

Long-term maintenance of fundamental frequency increases in male-to-female transsexuals

Fundamental frequency for 10 male-to-female transsexuals at longterm follow-up (FUP₀) was compared to fundamental frequency at initial consultation (IF₀) and at discharge from treatment (DF₀). Fundamental frequency (F₀) values for the three occasions were significantly different [F_(2,18) = 24.79, P < .0001] Group mean fundamental frequencies were 125.5 Hz at initial consultation, 168.1 Hz at discharge, and 146.5 Hz at follow-up. There was a moderate but nonsignificant correlation [r(8) = 0.474, P > .05 ns] between the number of intervention sessions and mean F₀ achieved by subjects at discharge (DF₀). There was a significant correlation between the number of treatment sessions and the maintenance of F₀ increases [r(8) = 0.745, P < .05], although the size of the correlation was more modest (r = 0.476) when the data from one subject who had received 90 treatment sessions were removed.     

An Exploration of Skin Acceleration Level as a Measure of Phonatory Function in Singing

Two kinds of fluctuations are observed in phonetogram recordings of singing. Sound pressure level (SPL) can vary due to vibrato and also due to the effect of open and closed vowels. Since vowel variation is mostly a consequence of vocal tract modification and is not directly related to phonatory function, it could be helpful to suppress such variation when studying phonation. Skin acceleration level (SAL), measured at the jugular notch and on the sternum, might be less influenced by effects of the vocal tract. It is explored in this study as an alternative measure to SPL. Five female singers sang vowel series on selected pitches and in different tasks. Recorded data were used to investigate two null hypotheses: (1) SPL and SAL are equally influenced by vowel variation and (2) SPL and SAL are equally correlated to subglottal pressure (P(S)). Interestingly, the vowel variation effect was small in both SPL and SAL. Furthermore, in comparison to SPL, SAL correlated weakly to P(S). SAL exhibited practically no dependence on fundamental frequency, rather, its major determinant was the musical dynamic. This results in a non-sloping, square-like phonetogram contour. These outcomes show that SAL potentially can facilitate phonetographic analysis of the singing voice.     

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.     

Heartbeat-related fundamental frequency and amplitude variation in healthy young and elderly male voices

Modulation of the acoustic amplitude and fundamental frequency of a sustained vowel across the heart cycle was examined via signal-averaging. Ten normal young and ten normal elderly men prolonged phonations of the vowel /a/. Consistent with previous studies, the young men's maximal heart-beat-related frequency and amplitude variations averaged 1.0% and 8.4% of their respective means. Such modulation was estimated to account for 6.6% of the absolute jitter and 11.3% of the shimmer measured in these voice samples. The extent of this systematic variation was significantly greater in the older voices, averaging 2.4% of the mean frequency and 15.4% of the mean amplitude and was estimated to account for approximately 12.9% and 15.8% of their mean absolute jitter and shimmer, respectively. This age-related difference is thought to be a manifestation of involutional changes in laryngeal vascular and soft tissues and in ventilatory biomechanics.     

Classical and modern power spectrum estimation for tune measurement in CSNS RCS

Precise measurement of betatron tune is required for good operating condition of CSNS RCS. The fractional part of betatron tune is important and it can be measured by analyzing the signals of beam position from the appointed BPM. Usually these signals are contaminated during the acquisition process, therefore several power spectrum methods are used to improve the frequency resolution. In this article classical and modern power spectrum methods are used. In order to compare their performance, the results of simulation data and IQT data from J-PARC RCS are discussed, It is shown that modern power spectrum estimation has better performance than the classical ones, though the calculation is more complex.     

Acoustic emission source location in plates using wavelet analysis and cross time frequency spectrum

In this study, the theories of wavelet transform and cross-time frequency spectrum (CTFS) are used to locate AE source with frequency-varying wave velocity in plate-type structures. A rectangular array of four sensors is installed on the plate. When an impact is generated by an artificial AE source such as Hsu–Nielsen method of pencil lead breaking (PLB) at any position of the plate, the AE signals will be detected by four sensors at different times. By wavelet packet decomposition, a packet of signals with frequency range of 0.125–0.25 MHz is selected. The CTFS is calculated by the short-time Fourier transform of the cross-correlation between considered packets captured by AE sensors. The time delay is calculated when the CTFS reaches the maximum value and the corresponding frequency is extracted per this maximum value. The resulting frequency is used to calculate the group velocity of wave velocity in combination with dispersive curve. The resulted locating error shows the high precision of proposed algorithm.