The role of auditory feedback in sustaining vocal vibrato

Vocal vibrato and tremor are characterized by oscillations in voice fundamental frequency (F0). These oscillations may be sustained by a control loop within the auditory system. One component of the control loop is the pitch-shift reflex (PSR). The PSR is a closed loop negative feedback reflex that is triggered in response to discrepancies between intended and perceived pitch with a latency of approximately 100 ms. Consecutive compensatory reflexive responses lead to oscillations in pitch every approximately 200 ms, resulting in approximately 5-Hz modulation of F0. Pitch-shift reflexes were elicited experimentally in six subjects while they sustained /u/ vowels at a comfortable pitch and loudness. Auditory feedback was sinusoidally modulated at discrete integer frequencies (1 to 10 Hz) with +/- 25 cents amplitude. Modulated auditory feedback induced oscillations in voice F0 output of all subjects at rates consistent with vocal vibrato and tremor. Transfer functions revealed peak gains at 4 to 7 Hz in all subjects, with an average peak gain at 5 Hz. These gains occurred in the modulation frequency region where the voice output and auditory feedback signals were in phase. A control loop in the auditory system may sustain vocal vibrato and tremorlike oscillations in voice F0.     

Sex-related differences in vocal responses to pitch feedback perturbations during sustained vocalization

The present study assessed the effect of sex on voice fundamental frequency (F(0)) responses to pitch feedback perturbations during sustained vocalization. Sixty-four native-Mandarin speakers heard their voice pitch feedback shifted at ± 50, ± 100, or ± 200 cents for 200 ms, five times during each vocalization. The results showed that, as compared to female speakers, male speakers produced significantly larger but slower vocal responses to the pitch-shifted stimuli. These findings reveal a modulation of vocal response as a function of sex, and suggest that there may be a differential processing of vocal pitch feedback perturbations between men and women.     

Voice F0 responses to pitch-shifted voice feedback during English speech

Previous studies have demonstrated that motor control of segmental features of speech rely to some extent on sensory feedback. Control of voice fundamental frequency (F0) has been shown to be modulated by perturbations in voice pitch feedback during various phonatory tasks and in Mandarin speech. The present study was designed to determine if voice Fo is modulated in a task-dependent manner during production of suprasegmental features of English speech. English speakers received pitch-modulated voice feedback (+/-50, 100, and 200 cents, 200 ms duration) during a sustained vowel task and a speech task. Response magnitudes during speech (mean 31.5 cents) were larger than during the vowels (mean 21.6 cents), response magnitudes increased as a function of stimulus magnitude during speech but not vowels, and responses to downward pitch-shift stimuli were larger than those to upward stimuli. Response latencies were shorter in speech (mean 122 ms) compared to vowels (mean 154 ms). These findings support previous research suggesting the audio vocal system is involved in the control of suprasegmental features of English speech by correcting for errors between voice pitch feedback and the desired F0.     

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.     

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.     

A lumped mucosal wave model of the vocal folds revisited: recent extensions and oscillation hysteresis

This paper examines an updated version of a lumped mucosal wave model of the vocal fold oscillation during phonation. Threshold values of the subglottal pressure and the mean (DC) glottal airflow for the oscillation onset are determined. Depending on the nonlinear characteristics of the model, an oscillation hysteresis phenomenon may occur, with different values for the oscillation onset and offset threshold. The threshold values depend on the oscillation frequency, but the occurrence of the hysteresis is independent of it. The results are tested against pressure data collected from a mechanical replica of the vocal folds, and oral airflow data collected from speakers producing intervocalic /h/. In the human speech data, observed differences between voice onset and offset may be attributed to variations in voice pitch, with a very small or inexistent hysteresis phenomenon.     

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.     

Glottal airflow and transglottal air pressure measurements for male and female speakers in low, normal, and high pitch

Measurements on the inverse filtered airflow waveform and of estimated average transglottal pressure and glottal airflow were made from syllable sequences in low, normal, and high pitch for 25 male and 20 female speakers. Correlation analyses indicated that several of the airflow measurements were more directly related to voice intensity than to fundamental frequency (F₀). Results suggested that pressure may have different influences in low and high pitch in this speech task. It is suggested that unexpected results of increased pressure in low pitch were related to maintaining voice quality, that is, avoiding vocal fry. In high pitch, the increased pressure may serve to maintain vocal fold vibration. The findings suggested different underlying laryngeal mechanisms and vocal adjustments for increasing and decreasing F₀ from normal pitch.     

Effects of HearFones on speaking and singing voice quality

HearFones (HF) have been designed to enhance auditory feedback during phonation. This study investigated the effects of HF (1) on sound perceivable by the subject, (2) on voice quality in reading and singing, and (3) on voice production in speech and singing at the same pitch and sound level.

Test 1: Text reading was recorded with two identical microphones in the ears of a subject. One ear was covered with HF, and the other was free. Four subjects attended this test. Tests 2 and 3: A reading sample was recorded from 13 subjects and a song from 12 subjects without and with HF on. Test 4: Six females repeated [pa:p:a] in speaking and singing modes without and with HF on same pitch and sound level.

Long-term average spectra were made (Tests 1–3), and formant frequencies, fundamental frequency, and sound level were measured (Tests 2 and 3). Subglottic pressure was estimated from oral pressure in [p], and simultaneously electroglottography (EGG) was registered during voicing on [a:] (Test 4). Voice quality in speech and singing was evaluated by three professional voice trainers (Tests 2–4).

HF seemed to enhance sound perceivable at the whole range studied (0–8 kHz), with the greatest enhancement (up to ca 25 dB) being at 1–3 kHz and at 4–7 kHz. The subjects tended to decrease loudness with HF (when sound level was not being monitored). In more than half of the cases, voice quality was evaluated “less strained” and “better controlled” with HF. When pitch and loudness were constant, no clear differences were heard but closed quotient of the EGG signal was higher and the signal more skewed, suggesting a better glottal closure and/or diminished activity of the thyroarytenoid muscle.     

Laryngeal electromyographic responses to perturbations in voice pitch auditory feedback

The present study was conducted to test the hypothesis that intrinsic laryngeal muscles are involved in producing voice fundamental frequency (F(0)) responses to perturbations in voice pitch auditory feedback. Electromyography (EMG) recordings of the cricothyroid and thyroarytenoid muscles were made with hooked-wire electrodes, while subjects sustained vowel phonations at three different voice F(0) levels (conversational, high pitch in head register, and falsetto register) and received randomized pitch shifts (±100 or ±300 cents) in their voice auditory feedback. The median latencies from stimulus onset to the peak in the EMG and voice F(0) responses were 167 and 224 ms, respectively. Among the three different F(0) levels, the falsetto register produced compensatory EMG responses that occurred prior to vocal responses and increased along with rising voice F(0) responses and decreased for falling F(0) responses. For the conversational and high voice levels, the EMG response timing was more variable than in the falsetto voice, and changes in EMG activity with relevance to the vocal responses did not follow the consistent trend observed in the falsetto condition. The data from the falsetto condition suggest that both the cricothyroid and thyroarytenoid muscles are involved in generating the compensatory vocal responses to pitch-shifted voice feedback.     

Model-based classification of nonstationary vocal fold vibrations

Classification of vocal fold vibrations is an essential task of the objective assessment of voice disorders. For historical reasons, the conventional clinical examination of vocal fold vibrations is done during stationary, sustained phonation. However, the conclusions drawn from a stationary phonation are restricted to the observed steady-state vocal fold vibrations and cannot be generalized to voice mechanisms during running speech. This study addresses the approach of classifying real-time recordings of vocal fold oscillations during a nonstationary phonation paradigm in the form of a pitch raise. The classification is based on asymmetry measures derived from a time-dependent biomechanical two-mass model of the vocal folds which is adapted to observed vocal fold motion curves with an optimization procedure. After verification of the algorithm performance the method was applied to clinical problems. Recordings of ten subjects with normal voice and ten dysphonic subjects have been evaluated during stationary as well as nonstationary phonation. In the case of nonstationary phonation the model-based classification into "normal" and "dysphonic" succeeds in all cases, while it fails in the case of sustained phonation. The nonstationary vocal fold vibrations contain additional information about vocal fold irregularities, which are needed for an objective interpretation and classification of voice disorders.     

Relationship between changes in voice pitch and loudness

Changes in mean fundamental frequency accompanying changes in loudness of phonation are analyzed in 9 professional singers, 9 nonsingers, and 10 male and 10 female patients suffering from vocal functional dysfunction. The subjects read discursive texts with noise in earphones, and some also at voluntarily varied vocal loudness. The healthy subjects phonated as softly and as loudly as possible at various fundamental frequencies throughout their pitch ranges, and the resulting mean phonetograms are compared. Mean pitch was found to increase by about half-semitones per decibel sound level. Grossly, the subject groups gave similar results, although the singers changed voice pitch more than the nonsingers. The voice pitch changes may be explained as passive results of changes of subglottal pressure required for the sound level variation.     

Significance of Auditory and Kinesthetic Feedback to Singers'' Pitch Control

An accurate control of fundamental frequency (F0) is required from singers. This control relies on auditory and kinesthetic feedback. However, a loud accompaniment may mask the auditory feedback, leaving the singers to rely on kinesthetic feedback. The object of the present study was to estimate the significance of auditory and kinesthetic feedback to pitch control in 28 students beginning a professional solo singing education. The singers sang an ascending and descending triad pattern covering their entire pitch range with and without masking noise in legato and staccato and in a slow and a fast tempo. F0 was measured by means of a computer program. The interval sizes between adjacent tones were determined and their departures from equally tempered tuning were calculated. The deviations from this tuning were used as a measure of the accuracy of intonation. Statistical analysis showed a significant effect of masking that amounted to a mean impairment of pitch accuracy by 14 cent across all subjects. Furthermore, significant effects were found of tempo as well as of the staccato/legato conditions. The results indicate that auditory feedback contributes significantly to singers' control of pitch.     

Fragments of a Greek Trilogy: impact on phonation

This study documents the vocal characteristics of an actor before and after a series of eight performances involving extended voice use. The hypothesis was that this type of extended voice use would result in symptoms of vocal abuse and that damage to the actor's voice would be evident in measures made after the performance series. Three pre-performance and three post-performance speech samples were gathered and analyzed using the CSL and Visipitch II. Measurements taken included maximum phonational range; maximum sustained phonation; fundamental frequency during reading; maximum intensity levels; sound pressure levels for soft, moderate, and loud productions of sustained /a/; and perturbation including jitter, shimmer, harmonics-to-noise ratio, and an s/z ratio. Pre- and post-performance samples of the “Rainbow passage” and sustained vowel phonation were rated by a group of blinded listeners that included professional voice trainers and speech pathologists. In addition, sample lines from the performance were played for the listeners to judge whether this technique would result in symptoms of vocal abuse. Eleven out of 12 professional voice trainers rated that this technique would result in symptoms of vocal abuse. The data revealed post-performance improvement in phonational range, maximum intensity levels, perturbation measures, and s/z ratio. Measures of maximum sustained phonation, fundamental frequency, and sound pressure levels remained stable. Videoendoscopy revealed normal function of the larynx and vocal folds.     

Analysis of Voice and Quantitative Measurement of Glottal Gap After Thyroplasty Type I in the Treatment of Unilateral Vocal Paralysis

Thyroplasty type I is one of several surgical treatments in which improving the voice of unilateral vocal fold paralysis is the ultimate objective. The goal of the surgery is the medialization of the paralyzed vocal fold. The purpose of this study is to evaluate the effectiveness of thyroplasty type I through acoustical analysis, aerodynamic measures, and quantitative videostroboscopic measurements. We report on 20 patients with unilateral vocal cord paralysis who underwent thyroplasty type I. We performed preoperative and postoperative video image analysis (normalized glottal gap area) and computer-assisted voice analysis (fundamental frequency, jitter, shimmer, noise-to-harmonic ratio, mean phonation time, mean flow rate, mean subglottic pressure) in all patients. The glottal gap was significantly reduced after thyroplasty type I. Postoperative voice quality was characterized by an improved pitch and amplitude pertubation (jitter and shimmer), phonation time (mean phonation time), and subglottic pressure (mean subglottic pressure). Thyroplasty type I is an effective method for regaining glottal closure and vocal function.     

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.     

The effect of superior auditory skills on vocal accuracy

The relationship between auditory perception and vocal production has been typically investigated by evaluating the effect of either altered or degraded auditory feedback on speech production in either normal hearing or hearing-impaired individuals. Our goal in the present study was to examine this relationship in individuals with superior auditory abilities. Thirteen professional musicians and thirteen nonmusicians, with no vocal or singing training, participated in this study. For vocal production accuracy, subjects were presented with three tones. They were asked to reproduce the pitch using the vowel /a/. This procedure was repeated three times. The fundamental frequency of each production was measured using an autocorrelation pitch detection algorithm designed for this study. The musicians' superior auditory abilities (compared to the nonmusicians) were established in a frequency discrimination task reported elsewhere. Results indicate that (a) musicians had better vocal production accuracy than nonmusicians (production errors of 1/2 a semitone compared to 1.3 semitones, respectively); (b) frequency discrimination thresholds explain 43% of the variance of the production data, and (c) all subjects with superior frequency discrimination thresholds showed accurate vocal production; the reverse relationship, however, does not hold true. In this study we provide empirical evidence to the importance of auditory feedback on vocal production in listeners with superior auditory skills.     

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.     

An approach to voice conversion using feature statistical mapping

The voice conversion (VC) technique recently has emerged as a new branch of speech synthesis dealing with speaker identity. In this work, a linear prediction (LP) analysis is carried out on speech signals to obtain acoustical parameters related to speaker identity - the speech fundamental frequency, or pitch, voicing decision, signal energy, and vocal tract parameters. Once these parameters are established for two different speakers designated as source and target speakers, statistical mapping functions can then be applied to modify the established parameters. The mapping functions are derived from these parameters in such a way that the source parameters resemble those of the target. Finally, the modified parameters are used to produce the new speech signal. To illustrate the feasibility of the proposed approach, a simple to use voice conversion software has been developed. This VC technique has shown satisfactory results. The synthesized speech signal virtually matching that of the target speaker.     

Effects of Muscle Tension Dysphonia on Tone Phonation: Acoustic and Perceptual Studies in Vietnamese Female Teachers

Muscle tension dysphonia (MTD) is a hyperfunctional voice disorder commonly seen in professional voice users. To date, published acoustic studies of this disorder have mainly focused on nontonal language speakers, and no publication has documented its impact on lexical tone characteristics. In this study, we examined whether and how this voice disorder affected acoustically and perceptually the characteristics of tones in Vietnamese teachers. Voice data were obtained from 42 Vietnamese female primary school teachers diagnosed with MTD and 30 vocally healthy teachers. Tonal data were analyzed using Computerized Speech Lab (CSL-4300B) and Speech Analyzer. Parameters analyzed included the two most important acoustic cues in Vietnamese tones, that is, tonal fundamental frequency (F₀) and laryngealization. Tonal F₀ was assessed using a factorial analysis of variance with group and career durations as independent variables. Tonal samples were also perceptually assessed by a panel of native speakers of the same dialect. The results showed that MTD lowered tonal F₀ in high tones and tones with extensive fundamental frequency variation. There was also a significant main effect for career duration; in MTD group, tonal F₀ was lower in teachers with longer career duration. The teachers with MTD showed different patterns of laryngealization compared with the control group. Tone perception was poorer for tones with extensive fundamental frequency variation and without a typical phonation type. The results in this group of teachers supported our hypothesis that MTD impairs lexical tone phonation.