Effects of Increasing Time Delays on Pitch-Matching Accuracy in Trained Singers and Untrained Individuals

Trained singers (TS) generally demonstrate accurate pitch matching, but this ability varies within the general population. Pitch-matching accuracy, given increasing silence intervals of 5, 15, and 25 seconds between target tones and vocal matches, was investigated in TS and untrained individuals. A relationship between pitch discrimination and pitch matching was also examined. Thirty-two females (20–30 years) were grouped based on individual vocal training and performance in an immediate pitch-matching task. Participants matched target pitches following time delays, and completed a pitch discrimination task, which required the classification of two tones as same or different. TS and untrained accurate participants performed comparably on all pitch-matching tasks, while untrained inaccurate participants performed significantly less accurately than the other two groups. Performances declined across groups as intervals of silence increased, suggesting degradation of pitch matching as pitch memory was taxed. A significant relationship between pitch discrimination and pitch matching was revealed across participants.     

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.     

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.     

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.     

Discrimination Functions: Can They Be Used to Classify Singing Voices?

Researchers long have searched for invariant acoustic features that can be used to identify singing voice categories or even individual singers. Few researchers have examined how listeners perceive singing voice categories or individual voices. Timbre, the most studied perceptual dimension of the singing voice, is generally believed to vary systematically between singing voice categories but is often assumed to be invariant with an individual singer. To test this assumption, 2 mezzo-sopranos and 2 sopranos were recorded singing the vowel /a/ on the pitches A3, C4, G4, B4, F5, and A5. Trials of three stimuli were constructed. Two of the three stimuli in each trial were produced by the same singer at two different pitches (X₁ and X₂), while the third stimulus was produced by a different singer (Y). Three X₁X₂ conditions were created: (1) G4, B4; (2) C4, F5; and (3) A3, A5. For each singer and each condition, Y was varied across the three remaining singers and across all six pitches. Experienced and inexperienced listeners were asked to identify which stimulus was produced by the “odd” person. The ability to correctly choose the odd person varied greatly depending on pitch factors, suggesting that the traditional concept of an invariant timbre associated with a singer is inaccurate and that vocal timbre must be conceptualized in terms of transformations in perceived quality that occur across an individual singer's range and/or registers.     

Dissimilarity and the Classification of Female Singing Voices: A Preliminary Study

Traditionally, timbre has been defined as that perceptual attribute that differentiates two sounds when pitch and loudness are equal and thus is a measure of dissimilarity. By such a definition, each voice possesses a set of timbres, and the identity of any voice or voice category across different pitch-loudness-vowel combinations must be due to an abstraction of the pattern of timbre transformation. Using stimuli produced across the singing range by singers from different voice categories, this study sought to examine how timbre and pitch interact in the perception of dissimilarity. This study also investigated whether listener experience affects the perception of timbre as a function of pitch. The resulting multidimensional scaling (MDS) representations showed that for all stimuli and listeners, dimension 1 correlated with pitch, whereas dimension 2 correlated with spectral centroid and separated vocal stimuli into the categories mezzo-soprano and soprano. Dimension 3 appeared highly idiosyncratic depending on the nature of the stimuli and on the experience of the listener. Inexperienced listeners appeared to rely more heavily on pitch in making dissimilarity judgments than did experienced listeners. The resulting MDS representations of dissimilarity across pitch provide a glimpse of the timbre transformation of voice categories across pitch.     

Dissimilarity and the Classification of Male Singing Voices

Traditionally, timbre has been defined as that perceptual attribute that differentiates two sounds when pitch and loudness are equal, and thus is a measure of dissimilarity. By such a definition, each voice possesses a set of timbres, and the ability to identify any voice or voice category across different pitch-loudness-vowel combinations must be due to an ability to "link" these timbres by abstracting the "timbre transformation," the manner in which timbre subtly changes across pitch and loudness for a specific voice or voice category. Using stimuli produced across the singing range by singers from different voice categories, this study sought to examine how timbre and pitch interact in the perception of dissimilarity in male singing voices. This study also investigated whether or not listener experience affects the perception of timbre as a function of pitch. The resulting multidimensional scaling (MDS) representations showed that for all stimuli and listeners, dimension 1 correlated with pitch, while dimension 2 correlated with spectral centroid and separated vocal stimuli into the categories baritone and tenor. Dimension 3 appeared highly idiosyncratic depending on the nature of the stimuli and on the experience of the listener. Inexperienced listeners appeared to rely more heavily on pitch in making dissimilarity judgments than did experienced listeners. The resulting MDS representations of dissimilarity across pitch provide a glimpse of the timbre transformation of voice categories across pitch.     

Pitch-matching accuracy in singers and nonsingers

The present study determined the accuracy and the effect of repeated trials for singers and nonsingers when matching their vocal fundamental frequency to a preset tone near the midpoint of their modal-loft phonational range. Two measures of accuracy were obtained for nine trials for five singers and five age-matched nonsingers: (a) the difference between the target frequency and the first measureable waveform, and (b) the difference between the target and the average of the first five measureable waveforms. The results indicate that singers are more accurate than nonsingers are in their ability to match the first measureable waveform and the mean of the first five measureable waveforms to targets presented aurally. In addition, singers as a group improved from the first three trials to the final three trials in accuracy for both measures, whereas the nonsingers did not demonstrate a group trend toward improvement. The results suggest that singers as a group may rely on their training or experience to perform a pitch-matching task superiorly to nonsingers.     

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.     

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.     

Effects of a professional solo singer education on auditory and kinesthetic feedback—a longitudinal study of singers'' pitch control

The significance of auditory and kinesthetic feedback to pitch control in singing was described in a previous report of this project for students at the beginning of their professional solo singer education.(1) As it seems reasonable to assume that pitch control can be improved by training, the same students were reinvestigated after 3 years of professional singing education. As in the previous study, the singers sang an ascending and descending triad pattern with and without masking noise in legato and staccato and in a slow and a fast tempo. Fundamental frequency and interval sizes between adjacent tones were determined and compared with their equivalents in the equally tempered tuning. The average deviations from these values were used as estimates of intonation accuracy. Intonation accuracy was reduced by masking noise, by staccato as opposed to legato singing, and by fast as opposed to slow performance. The contribution of the auditory feedback to pitch control was not significantly improved after education, whereas the kinesthetic feedback circuit was improved in slow legato and slow staccato tasks. The results support the assumption that the kinesthetic feedback contributes substantially to intonation accuracy.     

Influence of spectral locus and F0 changes on the pitch and timbre of complex tones.

Harmonic complex tones comprising components in different spectral regions may differ considerably in timbre. While the pitch of "residue" tones of this type has been studied extensively, their timbral properties have received little attention. Discrimination of F0 for such tones is typically poorer than for complex tones with "corresponding" harmonics [A. Faulkner, J. Acoust. Soc. Am. 78, 1993-2004 (1985)]. The F0 DLs may be higher because timbre differences impair pitch discrimination. The present experiment explores effects of changes in spectral locus and F0 of harmonic complex tones on both pitch and timbre. Six normally hearing listeners indicated if the second tone of a two-tone sequence was: (1) same, (2) higher in pitch, (3) lower in pitch, (4) same in pitch but different in "something else," (5) higher in pitch and different in "something else," or (6) lower in pitch and different in "something else" than the first. ("Something else" is assumed to represent timbre.) The tones varied in spectral loci of four equal-amplitude harmonics m, m + 1, m + 2, and m + 3 (m = 1,2,3,4,5,6) and ranged in F0 from 200 to 200 +/- 2n Hz (n = 0,1,2,4,8,16,32). Results show that changes in F0 primarily affect pitch, and changes in spectral locus primarily affect timbre. However, a change in spectral locus can also influence pitch. The direction of locus change was reported as the direction of pitch change, despite no change in F0 or changes in F0 in the opposite direction for delta F0 < or = 0-2%. This implies that listeners may be attending to the "spectral pitch" of components, or to changes in a timbral attribute like "sharpness," which are construed as changes in overall pitch in the absence of strong F0 cues. For delta F0 > or = 2%, the direction of reported pitch change accord with the direction of F0 change, but the locus change continued to be reported as a timbre change. Rather than spectral-pitch matching of corresponding components, a context-dependent spectral evaluation process is thus implied in discernment of changes in pitch and timbre. Relative magnitudes of change in derived features of the spectrum such as harmonic number and F0, and absolute features such as spectral frequencies are compared. What is called "spectral pitch," contributes to the overall pitch, but also appears to be an important dimension of the multidimensional percept, timbre.     

Pitch discrimination abilities in classical Arab-music listeners

The current experiment examined pitch discrimination thresholds in listeners of classical Arab music, and listeners of Western popular music. Classical Arab music is characterized by modes (“Maqamat”, plural of “Maqam” in Arabic language) of which the smallest interval is a quarter tone. In contrast, the smallest interval in Western music is a semitone. We hypothesized that daily exposure to a musical style involving minuscule pitch differences may have a positive effect on pitch discrimination abilities. Results demonstrate superior pitch discrimination abilities in the classical Arab music listeners. These results indicate that musical cultures may differ in their influence on perceptual abilities, depending on their basic acoustic characteristics.     

Does fundamental-frequency discrimination measure virtual pitch discrimination?

Studies of pitch perception often involve measuring difference limens for complex tones (DLCs) that differ in fundamental frequency (F0). These measures are thought to reflect F0 discrimination and to provide an indirect measure of subjective pitch strength. However, in many situations discrimination may be based on cues other than the pitch or the F0, such as differences in the frequencies of individual components or timbre (brightness). Here, DLCs were measured for harmonic and inharmonic tones under various conditions, including a randomized or fixed lowest harmonic number, with and without feedback. The inharmonic tones were produced by shifting the frequencies of all harmonics upwards by 6.25%, 12.5%, or 25% of F0. It was hypothesized that, if DLCs reflect residue-pitch discrimination, these frequency-shifted tones, which produced a weaker and more ambiguous pitch than would yield larger DLCs than the harmonic tones. However, if DLCs reflect comparisons of component pitches, or timbre, they should not be systematically influenced by frequency shifting. The results showed larger DLCs and more scattered pitch matches for inharmonic than for harmonic complexes, confirming that the inharmonic tones produced a less consistent pitch than the harmonic tones, and consistent with the idea that DLCs reflect F0 pitch discrimination.     

The dependency of timbre on fundamental frequency

The dependency of the timbre of musical sounds on their fundamental frequency (F0) was examined in three experiments. In experiment I subjects compared the timbres of stimuli produced by a set of 12 musical instruments with equal F0, duration, and loudness. There were three sessions, each at a different F0. In experiment II the same stimuli were rearranged in pairs, each with the same difference in F0, and subjects had to ignore the constant difference in pitch. In experiment III, instruments were paired both with and without an F0 difference within the same session, and subjects had to ignore the variable differences in pitch. Experiment I yielded dissimilarity matrices that were similar at different F0's, suggesting that instruments kept their relative positions within timbre space. Experiment II found that subjects were able to ignore the salient pitch difference while rating timbre dissimilarity. Dissimilarity matrices were symmetrical, suggesting further that the absolute displacement of the set of instruments within timbre space was small. Experiment III extended this result to the case where the pitch difference varied from trial to trial. Multidimensional scaling (MDS) of dissimilarity scores produced solutions (timbre spaces) that varied little across conditions and experiments. MDS solutions were used to test the validity of signal-based predictors of timbre, and in particular their stability as a function of F0. Taken together, the results suggest that timbre differences are perceived independently from differences of pitch, at least for F0 differences smaller than an octave. Timbre differences can be measured between stimuli with different F0's.     

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.     

Vocal fold strain and vocal pitch in singing:Radiographic observations of singers and nonsingers

The relationship between vocal fold strain and vocal pitch in singersand nonsingers singing a rising pitch series has been indirectly investigated by means of lateral radiographs. Nonsingers tend to exhibit more strain than singers. To standardize the degree of strain, an index of strain per semitone is proposed. The semitone strain indicates the average amount of strain per 1 semitone of pitch increase or decrease. The index has been shown to be affected by several factors: gender, singing training, singing technique, voice class, age, and status of muscle function. Observations suggest that similar groups of individuals occupy different positions on the stress-strain curve, indicated by their semitone strain values.     

Velum Behavior in Professional Classic Operatic Singing

The velopharyngeal opening (VPO) is analyzed in 17 professional operatic singers, 3 high sopranos, 3 sopranos, 2 mezzo-sopranos, 3 tenors, 2 baritones, 2 bass-baritones, and 2 basses singing the vowels [a, i, u] at middle degree of vocal loudness at different pitches throughout their pitch range. Three methods were used for detection of a VPO. One was nasofiberscopy, which revealed VPO of various shapes in several singers. Another method was recording nasal and oral airflow by means of a divided flow mask. These measurements showed a nasal DC airflow at least at some pitches in a majority of the singers. A third method was a comparison of the level of the fundamental in the nasal and oral airflow signals; this level difference was less than 15 dB in cases where a nasal DC airflow was observed. Values less than 15 dB were observed in some cases, thus suggesting the presence of a VPO. The tokens produced by the singers were assessed by an expert panel with respect to nasal quality of the vowel timbre; no correlation was found between rated nasal quality and the presence of a VPO.     

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.