Estimated subglottal pressure in six professionalcountry singers

Estimates of subglottal pressure in six professional male country singerswere obtained during the /p/ occlusion while the subjects spoke, sang a country tune, and sang the tune of the United States national anthem. The subglottal pressure values, which were very similar in both the speech-like and singing-mode syllables, usually measured below 45 cm of water column, but they ranged as high as 59 cm. The sound pressure level in singing was also measured and was lower than that discovered in classically trained singers at high subglottal pressures.     

Comparisons of pharynx, source, formant, and pressure characteristics in operatic and musical theatre singing

Belting, a vocal technique typically cultivated in musical theatre singing, differs timbrally from operatic singing in many interesting respects. The underlying phonatory differences have not been previously investigated in detail. Yet, belting is frequently associated with disturbances of voice function. Articulatory and phonatory characteristics are investigated in a female subject who is a professional singer (co-author JL) trained in both the operatic and belting styles and in an intermediate vocal technique (“mixed”). This article presents data obtained from this subject by video-fiberoptic observation of the pharynx, inverse filtering of airflow, and measurement of subglottal pressure. The results reveal that belting was characterized by very high subglottal pressures and sound levels, and apparently also by a comparatively high degree of glottal adduction. Comparisons with other investigations of related aspects of belting and operatic singing support the assumption that the data obtained from our subject are representative for these vocal techniques.     

What is “Twang”?

A single female professional vocal artist and pedagogue sang examples of “twang” and neutral voice quality, which a panel of experts classified, in almost complete agreement with the singer's intentions. Subglottal pressure was measured as the oral pressure during the occlusion during the syllable /pae/. This pressure tended to be higher in “twang,” whereas the sound pressure level (SPL) was invariably higher. Voice source properties and formant frequencies were analyzed by inverse filtering. In “twang,” as compared with neutral, the closed quotient was greater, the pulse amplitude and the fundamental were weaker, and the normalized amplitude tended to be lower, whereas formants 1 and 2 were higher and 3 and 5 were lower. The formant differences, which appeared to be the main cause of the SPL differences, were more important than the source differences for the perception of “twanginess.” As resonatory effects occur independently of the voice source, the formant frequencies in “twang” may reflect a vocal strategy that is advantageous from the point of view of vocal hygiene.     

Voice Handicap Index in singers

The Voice Handicap Index (VHI) was developed to assess patients' perception of the severity of their voice disorder. The purpose of this study was to determine the degree of handicap expressed by professional and recreational presenters with a voice complaint. Singers (n = 106) and nonsingers (n = 369) with voice symptoms were studied. The results of the VHI for singers indicate that singers score significantly lower (less severe) on the VHI compared to nonsingers. Singers with vocal fold nodules had a lower mean VHI than singers with vocal fold cysts or polyps. Singers who perform classical music had the lowest mean VHI of all types of singers studied. A low VHI in singers may represent a significant handicap and should not be ignored when considering the severity of a singer's voice problem.     

Significance of mechanoreceptors in the subglottal mucosa for subglottal pressure control in singers

According to Wyke and Kirchner (Wyke B, Kirchner J. Neurology of the larynx. In: Hinchcliffe R, Harrison D, eds. Scientific foundation of otolaryngology. London: William Heinemann Medical Books, 1976:546–66) mechanoreceptors in the subglottal mucosa play a significant role in the control of laryngeal muscle activity in response to changes of subglottal pressure during phonation. In singers this pressure is adapted not only to phonatory loudness but also to fundamental frequency. By spraying Xylocaine solution with a needle inserted into the trachea through the anterior gap between the cricoid and thyroid cartilages, the subglottal mucosa was anesthetized in three singers. The effects on subglottal pressure and fundamental frequency of this anesthesia were examined. The pressure effects varied between the subjects, whereas the fundamental frequency accuracy was adversely affected in all three subjects. The implications of these findings are discussed.     

Voice frequency change in singers and nonsingers

Trained singers and nonsingers vocally shadowed sequences of rapidly changing tones. Tone changes within the sequences were unpredictable in terms of direction and extent of frequency change. Subjects' responses to the shadowing task could be evaluated for accuracy of frequency matching, and for time and speed of voice frequency change. In addition, subjects' transitions between tones could be classified as hit, overshoot, undershoot, or oscillate. The two groups were equally accurate in matching the pitches of tones comprising the sequences. Similarly, pitch lowering was faster than pitch raising for both groups of subjects, while speeds for both lowering and raising increased with increases in size of the interval between tones. However, singers required less time than nonsingers in effecting transitions, apparently because they achieved faster peak speeds and took more direct paths between tones. Implications of the data for physiological and mechanical aspects of voice frequency control are discussed.     

Phonatory control in male singing: A study of the effects of subglottal pressure, fundamental frequency, and mode of phonation on the voice source

This article describes experiments carried out in order to gain a deeper understanding of the mechanisms underlying variation of vocal loudness in singers. Ten singers, two of whom are famous professional opera tenor soloists, phonated at different pitches and different loudnesses. Their voice source characteristics were analyzed by inverse filtering the oral airflow signal. It was found that the main physiological variable underlying loudness variation is subglottal pressure (Ps). The voice source property determining most of the loudness variation is the amplitude of the negative peak of the differentiated flow signal, as predicted by previous research. Increases in this amplitude are achieved by (a) increasing the pulse amplitude of the flow waveform; (b) moving the moment of vocal fold contact earlier in time, closer to the center of the pulse; and (c) skewing the pulses. The last mentioned alternative seems dependent on both Ps and the ratio between the fundamental frequency and the first formant. On the average, the singers doubled Ps when they increased fundamental frequency by one octave, and a doubling of the excess Ps over threshold caused the sound pressure level (SPL) to increase by 8–9 dB for neutral phonation, less if mode of phonation was changed to pressed. A shift of mode of phonation from flow over neutral to pressed was associated with a reduction of the peak glottal permittance i.e., the ratio between peak transglottal airflow to Ps. Flow phonation had the most favorable relationship between Ps and SPL.     

Changes in Objective Acoustic Measurements and Subjective Voice Complaints in Call Center Customer-Service Advisors During One Working Day

SUMMARY: The aim of this study was to investigate how different acoustic parameters, extracted both from speech pressure waveforms and glottal flows, can be used in measuring vocal loading in modern working environments and how these parameters reflect the possible changes in the vocal function during a working day. In addition, correlations between objective acoustic parameters and subjective voice symptoms were addressed. The subjects were 24 female and 8 male customer-service advisors, who mainly use telephone during their working hours. Speech samples were recorded from continuous speech four times during a working day and voice symptom questionnaires were completed simultaneously. Among the various objective parameters, only F0 resulted in a statistically significant increase for both genders. No correlations between the changes in objective and subjective parameters appeared. However, the results encourage researchers within the field of occupational voice use to apply versatile measurement techniques in studying occupational voice loading.     

Breathing muscle activity and subglottal pressure dynamics in singing and speech

Previous studies have indicated that the diaphragm may contribute to the accomplishment of the quick and precise subglottal pressure changes required during singing. The present investigation compares data collected from simultaneously recorded electromyograms from breathing muscles and transdiaphragmatic pressure during singing as well as during nonsense and emphatic speech.     

Respiratory function during speaking and singing in professional country singers

Respiratory function during speaking and singing was investigated in six male professional country singers. Function was studied using magnetometers to transduce anteroposterior diameter changes of the rib cage and abdomen while subjects performed various respiratory maneuvers, speaking activities, and singing activities. Results indicated that respiratory behavior during speaking was generally the same as that of other normal subjects. Respiratory behavior during singing resembled that of speaking. Discussion includes comparison of respiratory performance of present singers with untrained singers and classically trained singers. Implications are offered regarding how the results might be applied to the prevention of voice disorders by education and training of country singers.     

A physiological and acoustic study on voiced bilabial fricative /β:/ as a vocal exercise

The voiced bilabial fricative /β:/ has been used as a vocal exercise. The present study investigated the effects of the exercise on voice production and voice source. This study compared vowel phonation on the syllable /a:p/ with the production of the exercise and vowel phonation before and immediately after the exercise. The methods were (a) dual-channel electroglottography, from which the vertical laryngeal position was derived, (b) electromyography using surface electrodes, and (c) inverse filtering of the acoustic signal to obtain an estimate of the voice source. In the production of /β:/ as compared with vowel phonation in most of the cases, the vertical laryngeal position seemed to be higher, the muscular activity of the larynx lower, and the slope of the voice source spectrum steeper. In vowel phonation after the exercise, the muscular activity seemed to be lower in most cases, although the voice source remained unchanged. This seems to indicate improved vocal economy.     

Soft Phonation in the Male Singing Voice: A Preliminary Study

Sustained high notes, diminishing gradually from the loudest to the softest phonation within a maneuver called messa di voce, are examined in two contrasting professional tenor voices. Signals of the sound pressure level, electroglottograph, and mean esophageal pressure are recorded, and similar maneuvers by the same subjects are examined stroboscopically. The lyric voice is found to make a gradual diminuendo while maintaining nearly constant posture of the vocal tract together with a phase of complete closure in the glottal cycle. The robust voice, by contrast, passes abruptly from a production of high subglottal pressure and a high closed quotient to one of low pressure and incomplete closure, and the transition is marked by a sudden opening of the previously constricted laryngeal collar. It is proposed that the mode of soft voice production demonstrated by the robust voice be recognized as a distinct register of the singing voice.     

水下等离子体声源的冲击波负压特性

基于修正的Rayleigh气泡脉动方程对水下等离子体声源放电产生的 强声冲击波的传播过程进行了分析; 利用Euler方程作为控制方程组, 建立了水下等离子体声源的聚束声场模型, 通过仿真计算获得的传播云图对冲击波负压的形成机理进行了直观的理论分析. 结果表明: 经过聚能反射罩反射汇聚得到的聚束波在反射稀疏波和水的惯性作用下, 聚束波周围水域产生了拉伸, 形成负压区, 如果拉伸力大于水的抗拉上限, 就会使得水中形成不连续现象, 即出现空化气泡; 此外聚能罩边缘处产生的衍射波进一步加剧了负压的产生, 边缘衍射波最终与拉伸波叠加, 使冲击波负压达到最大值; 通过对比仿真波形和实验波形, 从而验证和进一步揭示了冲击波负压的形成原因. 研究结果对认识水下冲击波的传播规律和进一步改进等离子体声源的设计具有指导意义. 关键词： 等离子体声源 冲击波负压 聚束声场模型 气泡     

Voice Source Characteristics in Mongolian “Throat Singing” Studied with High-Speed Imaging Technique, Acoustic Spectra, and Inverse Filtering

Mongolian “throat singing” can be performed in different modes. In Mongolia, the bass-type is called Kargyraa. The voice source in bass-type throat singing was studied in one male singer. The subject alternated between modal voice and the throat singing mode. Vocal fold vibrations were observed with high-speed photography, using a computerized recording system. The spectral characteristics of the sound signal were analyzed. Kymographic image data were compared to the sound signal and flow inverse filtering data from the same singer were obtained on a separate occasion. It was found that the vocal folds vibrated at the same frequency throughout both modes of singing. During throat singing the ventricular folds vibrated with complete but short closures at half the frequency of the true vocal folds, covering every second vocal fold closure. Kymographic data confirmed the findings. The spectrum contained added subharmonics compared to modal voice. In the inverse filtered signal the amplitude of every second airflow pulse was considerably lowered. The ventricular folds appeared to modulate the sound by reducing the glottal flow of every other vocal fold vibratory cycle.     

Glottal closure, transglottal airflow, and voice quality in healthy middle-aged women

Seventeen healthy women, 45 to 61 years old, were examined using videofiberstroboscopy during phonation at three loudness levels. Two phoniatricians evaluated glottal closure using category and ratio scales. Transglottal airflow was studied by inverse filtering of the oral airflow signal recorded in a flow mask (Glottal Enterprises System) during the spoken phrase /ba:pa:pa:pa:p/ at three loudness levels. Subglottal pressure was estimated from the intraoral pressure during p occlusion. Running speech and the repeated /pa:/ syllables were perceptually evaluated by three speech pathologists regarding breathiness, hypo-, and hyperfunction, using continuous scales. Incomplete glottal closure was found in 35 of 46 phonations (76%). The degree of glottal closure increased significantly with raised loudness. Half of the women closed the glottis completely during loud phonation. Posterior glottal chink (PGC) was the most common gap configuration and was found in 28 of 46 phonations (61%). One third of the PGCs were in the cartilaginous glottis (PGCc) only. Two thirds extended into the membranous portion (PGCm); most of these occurred during soft phonation. Peak flow, peak-to-peak (AC) flow, and the maximum rate of change for the flow in the closing phase increased significantly with raised loudness. Minimum flow decreased significantly from normal to loud voice. Breathiness decreased with increased loudness. The results suggest that the incomplete closure patterns PGCc and PGCm during soft phonation ought primarily to be regarded as normal for Swedish women in this age group.