Effect of Hydration and Vocal Rest on the Vocal Fatigue in Amateur Karaoke Singers

Karaoke singing is a very popular entertainment among young people in Asia. It is a leisure singing activity with the singer's voice amplified with special acoustic effects in the backdrop of music. Music video and song captions are shown on television screen to remind the singers during singing. It is not uncommon to find participants singing continuously for four to five hours each time. As most of the karaoke singers have no formal training in singing, these amateur singers are more vulnerable to developing voice problems under these intensive singing activities. This study reports the performance of 20 young amateur singers (10 males and 10 females, aged between 20-25 years) on a series of phonatory function tasks carried out during continuous karaoke singing. Half of the singers were given water to drink and short duration of vocal rests at regular intervals during singing and the other half sang continuously without taking any water or rest. The subjects who were given hydration and vocal rests sang significantly longer than those who did not take any water or rest. The voice quality, as measured by perceptual and acoustic measures, and vocal function, as measured by phonetogram, did not show any significant changes during singing in the subjects who were given water and rest during the singing. However, subjects who sang continuously without drinking water and taking rests showed significant changes in the jitter measure and the highest pitch they could produce during singing. These results suggest that hydration and vocal rests are useful strategies to preserve voice function and quality during karaoke singing. This information is useful educational information for karaoke singers.     

Pitch Discrimination and Pitch Matching Abilities of Adults who Sing Inaccurately

Past research regarding singing ability has provided evidence that both supports and refutes a relationship between pitch discrimination ability and pitch production ability. Researchers have suggested that these skills improve with age. Despite this suggestion, most investigators studying singing ability have included only children as participants. Additionally, although many researchers have studied accurate singers, few have directly studied persons who do not sing accurately. We designed this study to examine the relationship between pitch discrimination ability and pitch production ability in inaccurate adult singers. Fifteen adults, aged 18 to 40 years, that met specific criteria qualified as inaccurate singers. Each participated in two tasks, a pitch discrimination task and a pitch production task. We used the Multi-Dimensional Voice Profile-Advanced (Kay Elemetrics Corporation, Lincoln Park, NJ) to determine the frequency of each participant's vocal productions during the pitch production task. We also used a Pearson product moment correlation to analyze the relationship between pitch discrimination and pitch production accuracy within a semitone of the target frequency. No meaningful relationship was found, and results were not statistically significant. However, the inaccurate singers in this study could be classified into two separate categories, those who discriminated pitches accurately, but produced pitches inaccurately, and those who discriminated pitches inaccurately and produced pitches inaccurately. These findings may be of great importance to music educators and impact the focus of instruction when teaching an inaccurate singer to sing more accurately.     

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.     

Long-Term Horizontal Vocal Directivity of Opera Singers: Effects of Singing Projection and Acoustic Environment

Vocal directivity refers to how directional the sound is that comes from a singer's mouth, that is, whether the sound is focused into a narrow stream of sound projecting in front of the singers or whether it is spread out all around the singer. This study investigates the long-term vocal directivity and acoustic power of professional opera singers and how these vary among subjects, among singing projections, and among vastly different acoustic environments. The vocal sound of eight professional opera singers (six females and two males) was measured in anechoic and reverberant rooms and in a recital hall. Subjects sang in four different ways: (1) paying great attention to intonation; (2) singing as in performance, with all the emotional connection intended by the composer; (3) imagining a large auditorium; and (4) imagining a small theatre. The same song was sung by all singers in all conditions. A head and torso simulator (HATS), radiating sound from its mouth, was used for comparison in all situations. Results show that individual singers have quite consistent long-term average directivity, even across conditions. Directivity varies substantially among singers. Singers are more directional than the standard HATS (which is a physical model of a talking person). The singer's formant region of the spectrum exhibits greater directivity than the lower-frequency range, and results indicate that singers control directivity (at least, incidentally) for different singing conditions as they adjust the spectral emphasis of their voices through their formants.     

Singing proficiency in the general population

Most believe that the ability to carry a tune is unevenly distributed in the general population. To test this claim, we asked occasional singers (n=62) to sing a well-known song in both the laboratory and in a natural setting (experiment 1). Sung performances were judged by peers for proficiency, analyzed for pitch and time accuracy with an acoustic-based method, and compared to professional singing. The peer ratings for the proficiency of occasional singers were normally distributed. Only a minority of the occasional singers made numerous pitch errors. The variance in singing proficiency was largely due to tempo differences. Occasional singers tended to sing at a faster tempo and with more pitch and time errors relative to professional singers. In experiment 2 15 nonmusicians from experiment 1 sang the same song at a slow tempo. In this condition, most of the occasional singers sang as accurately as the professional singers. Thus, singing appears to be a universal human trait. However, two of the occasional singers maintained a high rate of pitch errors at the slower tempo. This poor performance was not due to impaired pitch perception, thus suggesting the existence of a purely vocal form of tone deafness.     

A Preliminary Study of Vocal Health Among Collegiate A Cappella Singers

ObjectiveCollegiate a cappella groups have grown significantly in popularity and prominence; however, there have been few studies that evaluate the vocal health of this subgroup of young singers. The objective of this preliminary study was to conduct a multiparametric evaluation of the vocal health characteristics of a sample of collegiate a cappella singers. We further tested whether differences in vocal health assessments exist between a cappella singers with and without vocal training and trained collegiate singers who do not participate in a cappella groups.Study designPoint prevalence study.MethodsForty-one collegiate singers participated in this study. Participants were divided into the following three groups: trained singers (TS), trained a cappella singers (ATS), and untrained a cappella singers (AUS). Participants were administered a set of surveys to assess self-perception of singing voice health and perceived access and attitudes toward voice-related health care. Acoustic and laryngoscopic assessments of participant's speaking and singing voice was performed and validated vocal health questionnaires administered as a means to objectively evaluate for the presence of voice problems.ResultsOverall, 87.5% of the ATS and 60% of the AUS groups reported experiencing problems with their singing voice. However, no vocal abnormalities were detected during laryngoscopic and acoustic assessments. Furthermore, minimal differences between any of the measured vocal health parameters were observed between the TS, ATS, and AUS groups.ConclusionCollectively, a high percentage of collegiate a cappella singers with and without vocal training report singing voice problems. However, our sample of a cappella singers did not have increased singing voice problems as compared to vocally trained collegiate singers not in a cappella groups. We did find that a cappella singers may be more inclined to seek information about maintaining a healthy singing voice from their fellow musicians as opposed to singing teachers or other voice health professionals. Singing teachers, otolaryngologists, and speech-language pathologists may need to play a more active role in educating a cappella singers regarding maintaining good vocal health.     

Effects of Vocal Training and Phonatory Task on Voice Onset Time

OBJECTIVES/HYPOTHESIS: The purpose of this study was to examine the temporal-acoustic differences between trained singers and nonsingers during speech and singing tasks. METHODS: Thirty male participants were separated into two groups of 15 according to level of vocal training (ie, trained or untrained). The participants spoke and sang carrier phrases containing English voiced and voiceless bilabial stops, and voice onset time (VOT) was measured for the stop consonant productions. RESULTS: Mixed analyses of variance revealed a significant main effect between speech and singing for /p/ and /b/, with VOT durations longer during speech than singing for /p/, and the opposite true for /b/. Furthermore, a significant phonatory task by vocal training interaction was observed for /p/ productions. CONCLUSIONS: The results indicated that the type of phonatory task influences VOT and that these influences are most obvious in trained singers secondary to the articulatory and phonatory adjustments learned during vocal training.     

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.     

Taxonomy of singers used as subjects in scientific research

Criteria for determining the classification of singers in research has posed numerous problems for both researchers and their readership. Previous attempts at creating usable categories have failed because of disagreement within the professions involved in such research. The object of this paper is to explore and suggest a system in which scientific research related to singing is based on a quantifiable singing standard. Use of the systematic categorization set out in this paper will help to alleviate the questions regarding performance abilities of singers used as subjects in scientific projects and lead to more credible results. Nine singer categories have been consolidated and based on proven performance achievement. These categories range from superstar (household name) to local community and amateur singers with comprehensive subcategories under each topic for each type of singer, that is, opera, pop, jazz, etc.     

Comparison of Singer's Formant, Speaker's Ring, and LTA Spectrum Among Classical Singers and Untrained Normal Speakers

Many studies have described and analyzed the singer's formant. A similar phenomenon produced by trained speakers led some authors to examine the speaker's ring. If we consider these phenomena as resonance effects associated with vocal tract adjustments and training, can we hypothesize that trained singers can carry over their singing formant ability into speech, also obtaining a speaker's ring? Can we find similar differences for energy distribution in continuous speech? Forty classically trained singers and forty untrained normal speakers performed an all-voiced reading task and produced a sample of a sustained spoken vowel /a/. The singers were also requested to perform a sustained sung vowel /a/ at a comfortable pitch. The reading was analyzed by the long-term average spectrum (LTAS) method. The sustained vowels were analyzed through power spectrum analysis. The data suggest that singers show more energy concentration in the singer's formant/speaker's ring region in both sung and spoken vowels. The singers' spoken vowel energy in the speaker's ring area was found to be significantly larger than that of the untrained speakers. The LTAS showed similar findings suggesting that those differences also occur in continuous speech. This finding supports the value of further research on the effect of singing training on the resonance of the speaking voice.     

The Singing Power Ratio as an Objective Measure of Singing Voice Quality in Untrained Talented and Nontalented Singers

A growing body of contemporary research has investigated differences between trained and untrained singing voices. However, few studies have separated untrained singers into those who do and do not express abilities related to singing talent, including accurate pitch control and production of a pleasant timbre (voice quality). This investigation studied measures of the singing power ratio (SPR), which is a quantitative measure of the resonant quality of the singing voice. SPR reflects the amplification or suppression in the vocal tract of the harmonics produced by the sound source. This measure was acquired from the voices of untrained talented and nontalented singers as a means to objectively investigate voice quality differences. Measures of SPR were acquired from vocal samples with fast Fourier transform (FFT) power spectra to analyze the amplitude level of the partials in the acoustic spectrum. Long-term average spectra (LTAS) were also analyzed. Results indicated significant differences in SPR between groups, which suggest that vocal tract resonance, and its effect on perceived vocal timbre or quality, may be an important variable related to the perception of singing talent. LTAS confirmed group differences in the tuning of vocal tract harmonics.     

A Comparison of Trained and Untrained Vocalists on the Dysphonia Severity Index

The purposes of this study were (1) to compare trained and untrained singers on the Dysphonia Severity Index (DSI) and its component measures, and (2) to contribute to normative DSI data for trained singers. This study included 36 untrained participants (15 males and 21 females) and 30 participants (15 males and 15 females) with singing experience between the ages of 18 and 30 years. Measures of maximum phonation time (MPT), highest phonational frequency, lowest intensity, and jitter were obtained for each subject and incorporated into the previously published multivariate DSI formula. Results indicated that vocally trained subjects have significantly higher DSI scores than untrained subjects (mean DSI: 6.48 vs 4.00, respectively), with significant differences observed between trained and untrained groups for three of the four components of the DSI (F₀ high; I low; jitter). The findings of this study are consistent with previous reports that indicate significant increases in the DSI with vocal training, and with various studies that have observed increased vocal capability in trained singers versus their untrained counterparts. The results of this study indicate that alternative normative expectations for the DSI may need to be taken into account when using the DSI with patients who have participated in directed vocal training, such as choral participation and voice/singing lessons.     

Consistency of Inhalatory Breathing Patterns in Professional Operatic Singers

Respiratory behavior is generally considered important to voice function, the assumption being that it affects the voice source. Accurate and consistent control of the voice source is particularly important in professional operatic singing. An erratic behavior of a factor influencing voice production is incompatible with a well-controlled vocal behavior. We analyzed the consistency of inhalatory breathing patterns during singing in five professional operatic singers, using the same material as in a previous investigation of phonatory breathing patterns. Rib cage (RC) and abdominal wall (AW) movements were recorded by respiratory inductive plethysmography. Consistency was analyzed in terms of the mean correlation between three takes of ten musical phrases. Results revealed a high consistency in lung volume (LV) change and RC movements in all singers and in AW movements in three singers. Consistency across different phrases was slightly lower. The results are compatible with the idea that inhalatory behavior is important to voice source in singing. A high correlation between LV change and RC movement was found in all singers and between LV change and AW movement in three. The contribution to LV change from RC was greater than that from AW in all singers.     

The sound level of the singer's formant in professional singing

The relative sound level of the "singer's formant," measured in a 1/3-oct band with a center frequency of 2.5 kHz for males and of 3.16 kHz for females, has been investigated for 14 professional singers, nine different modes of singing, nine different vowels, variations in overall sound-pressure level, and fundamental frequencies ranging from 98 up to 880 Hz. Variation in the sound level of the singer's formant due to differences among male singers was small (4 dB), the factors vowels (16 dB) and fundamental frequency (9-14 dB) had an intermediate effect, while the largest variation was found for differences among female singers (24 dB), between modes of singing (vocal effort) (23 dB), and in overall sound-pressure level (more than 30 dB). In spite of this great potential variability, for each mode of singing the sound level of the singer's formant was remarkably constant up to F0 = 392 Hz, due to adaptation of vocal effort. This may be explained as the result of the perceptual demand of a constant voice quality. The definition of the singer's formant is discussed.     

Perceptual and acoustic study of professionally trained versus untrained voices

Acoustic and perceptual analyses were completed to determine the effect of vocal training on professional singers when speaking and singing. Twenty professional singers and 20 nonsingers, acting as the control, were recorded while sustaining a vowel, reading a modified Rainbow Passage, and singing "America the Beautiful." Acoustic measures included fundamental frequency, duration, percent jitter, percent shimmer, noise-to-harmonic ratio, and determination of the presence or absence of both vibrato and the singer's formant. Results indicated that, whereas certain acoustic parameters differentiated singers from nonsingers within sex, no consistently significant trends were found across males and females for either speaking or singing. The most consistent differences were the presence or absence of the singer's vibrato and formant in the singers versus the nonsingers, respectively. Perceptual analysis indicated that singers could be correctly identified with greater frequency than by chance alone from their singing, but not their speaking utterances.     

Singing power ratio: Quantitative evaluation of singing voice quality

This paper presents a parameter for objectively evaluating singing voice quality. Power spectrum of vowel sound / a / was analyzed by Fast Fourier Transform. The greatest harmonics peak between 2 and 4 kHz and the greatest harmonics peak between 0 and 2 kHz were identified. Power ratio of these peaks, termed singing power ratio (SPR), was calculated in 37 singers and 20 nonsingers. SPR of sung / a / in singers was significantly greater than in nonsingers. In singers, SPR of sung / a / was significantly greater than that of spoken / a /. By digital signal processing, power spectrum of sung / a / was varied, and the processed sounds were perceptually analyzed. SPR had a significant relationship with perceptual scores of “ringing” quality. SPR provides an important quantitative measurement for evaluating singing voice quality for all voice types, including soprano.     

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.     

Voice Characteristics of Young Girl Role in Kunqu Opera

Three electroglottographic parameters, fundamental frequency, contact quotient, and speed quotient were analyzed for two singers of Young girl role in Kunqu Opera. Each singer performed three conditions, singing, stage speech, and reading lyrics. The phonation types adopted in different conditions were explored based on electroglottographic parameters. Fundamental frequency, contact quotient, and speed quotient showed different distributions among conditions. Five phonation types were used in singing and stage speech, which include (1) breathy voice, (2) modal voice with low degree of posterior glottal adduction, (3) modal voice, (4) falsetto, and (5) falsetto with high degree of posterior glottal adduction. The phonation strategies partly showed differences between singers. Different phonation type collocations were employed in singing and stage speech. The relationship between phonation types and pitch was complex. The phonation types actually used were different from and more complex than those in traditional Kunqu Opera singing theory.     

Evaluating the Influence of Warmup on Singing Voice Quality Using Acoustic Measures

Vocal warmup is generally accepted as vital for singing performance. However, only a limited number of studies have evaluated this effect quantitatively. In this study, we evaluated the effect of vocal warmup on voice production, among young female singers, using a set of acoustic parameters. Warmup reduced frequency-perturbation (p < 0.001) and amplitude-perturbation values (p < 0.05). In addition, warmup increased singer's formant amplitude (p < 0.05) and improved noise-to-harmonic ratio (p < 0.05). Tone-matching accuracy, however, was not affected by warmup. The effect of vocal warmup on frequency-perturbation parameters was more evident among mezzo-soprano singers than it was among soprano singers. It was also more evident in the low pitch-range than in the higher pitch-ranges (p < 0.05). The results of this study provide valid support for the advantageous effect of vocal warmup on voice quality and present acoustic analysis as a valuable and sensitive tool for quantifying this effect.     

Comparison of young adult singers and nonsingers with vocal nodules

Comparisons were made between 10 singers and 10 nonsingers with vocal nodules and two control groups of normals, 10 singers and 10 nonsingers, on a wide range of acoustic, aerodynamic, psychoacoustic, and videostroboscopic measures. Results showed significant differences between the normals and those with nodules as well as differences between the singers and nonsingers. The singers with nodules had smaller nodules, less impairment of vibratory function, and less severe vocal symptoms than their nonsinging counterparts. The singing normals were found to be superior to the nonsinging normals on acoustic measures including jitter, shimmer, and signal-to-noise ratio. In addition, the singers, even in the presence of nodules, had superior maximum performance skills than their nonsinging counterparts.