Glottal behavior in the high soprano range and the transition to the whistle register

The high soprano range was investigated by acoustic and electroglottographic measurements of 12 sopranos and high-speed endoscopy of one of these. A single laryngeal transition was observed on glissandi above the primo passaggio. It supports the existence of two distinct laryngeal mechanisms in the high soprano range: M2 and M3, underlying head and whistle registers. The laryngeal transition occurred gradually over several tones within the interval D#5-D6. It occurred over a wider range and was completed at a higher pitch for trained than untrained sopranos. The upper limit of the laryngeal transition during glissandi was accompanied by pitch jumps or instabilities, but, for most singers, it did not coincide with the upper limit of R1:f(0) tuning (i.e., tuning the first resonance to the fundamental frequency). However, pitch jumps could also be associated with changes in resonance tuning. Four singers demonstrated an overlap range over which they could sing with a full head or fluty resonant quality. Glottal behaviors underlying these two qualities were similar to the M2 and M3 mechanisms respectively. Pitch jumps and discontinuous glottal and spectral changes characteristic of a M2-M3 laryngeal transition were observed on decrescendi produced within this overlap range.     

Bifurcations and chaos in register transitions of excised larynx experiments

Experimental data from an excised larynx are analyzed in the light of nonlinear dynamics. The excised larynx provides an experimental framework that enables artificial control and direct observation of the vocal fold vibrations. Of particular interest in this experiment is the coexistence of two distinct vibration patterns, which closely resemble chest and falsetto registers of the human voice. Abrupt transitions between the two registers are typically accompanied by irregular vibrations. Two approaches are presented for the modeling of the excised larynx experiment; one is the nonlinear predictive modeling of the experimental time series and the other is the biomechanical modeling (three-mass model) that takes into account basic mechanisms of the vocal fold vibrations. The two approaches show that the chest and falsetto vibrations correspond to two coexisting limit cycles, which jump to each other with a change in the bifurcation parameter. Irregular vibrations observed at the register jumps are due to chaos that exists near the two limit cycles. This provides an alternative mechanism to generate chaotic vibrations in excised larynx experiment, which is different from the conventionally known mechanisms such as strong asymmetry between the left and right vocal folds or excessively high subglottal pressure.     

The external frame function in the control of pitch, register, and singing mode: Radiographic observations of a female singer

This study investigates pitch control, register, and singing mode related movements of the laryngo-pharyngeal structures by radiographic methods. One trained female singer served as the subject. The results show that singing voice production involves complex movements in the laryngeal structures. Pitch related increase in the thyro-arytenoid distance (vocal fold length) is nonlinear, slowing down as pitch rises. Similar observations have been made earlier. At the highest pitches, a shortening of the distance can be seen, suggesting the use of alternative pitch control mechanisms. The various observations made support the existence of three registers in this trained female singing voice. Open and covered modes of singing seemed to be distinguishable on the basis of different amounts of inner and outer forces acting on the larynx. Therefore, caution must be exercised when generalizing from the results.     

Comparison of biomechanical modeling of register transitions and voice instabilities with excised larynx experiments

Voice instabilities were studied using excised human larynx experiments and biomechanical modeling. With a controlled elongation of the vocal folds, the experiments showed registers with chest-like and falsetto-like vibrations. Observed instabilities included abrupt jumps between the two registers exhibiting hysteresis, aphonic episodes, subharmonics, and chaos near the register transitions. In order to model these phenomena, a three-mass model was constructed by adding a third mass on top of the simplified two-mass model. Simulation studies showed that the three-mass model can vibrate in both chest-like and falsetto-like patterns. Variation of tension parameters which mimic activities of laryngeal muscles could induce transitions between both registers. For reduced prephonatory areas and damping constants, extended coexistence of chest and falsetto registers was found, in agreement with experimental data. Subharmonics and deterministic chaos were observed close to transitions between the registers. It is concluded that the abrupt changes between chest and falsetto registers can be understood as shifts in dominance of eigenmodes of the vocal folds.     

The perceptual nature of vocal register change

This study focuses on the perceptual nature of chest and falsetto registers as a function of various production tokens and methods of perceptual evaluation. Fifteen target tones, ranging from G#3 to A#4, were sung by a male and a female subject in the context of ascending and descending sequences on the vowels /a/ and /i/. Register transitions were elicited by setting strict constraints on production. Segments of 1-s duration were extracted from the target notes, digitized, and acoustically analyzed. These excerpts were presented to ten trained listeners in four different perceptual tasks. Identification and discrimination tasks yielded nearly identical results, suggesting that the primary registers are perceived as distinct entities. The marked change from chest to falsetto as well as the locus of the transition between these registers did not vary systematically as a function of production token or perceptual task. Mean register shift-point frequencies of the male and female subjects were perceived at 320 Hz and 353 Hz, respectively. Multidimensional scaling and hierarchical clustering analyses were utilized to capture the dimensionality and the internal structure of perceptual data sets derived from the pair-wise similarity ratings. Optimal spatial representation of these data required no more than two orthogonal dimensions, with the quality attribute represented by the dominant dimension. The representation of pitch differences was reflected only in the internal ordering of the stimuli within registers, but did not affect the perceptual discontinuity between registers.     

Comparison between electroglottography and electromagnetic glottography

Newly developed glottographic sensors, utilizing high-frequency propagating electromagnetic waves, were compared to a well-established electroglottographic device. The comparison was made on four male subjects under different phonation conditions, including three levels of vocal fold adduction (normal, breathy, and pressed), three different registers (falsetto, chest, and fry), and two different pitches. Agreement between the sensors was always found for the glottal closure event, but for the general wave shape the agreement was better for falsetto and breathy voice than for pressed voice and vocal fry. Differences are attributed to the field patterns of the devices. Whereas the electroglottographic device can operate only in a conduction mode, the electromagnetic device can operate in either the forward scattering (diffraction) mode or in the backward scattering (reflection) mode. Results of our tests favor the diffraction mode because a more favorable angle imposed on receiving the scattered (reflected) signal did not improve the signal strength. Several observations are made on the uses of the electromagnetic sensors for operation without skin contact and possibly in an array configuration for improved spatial resolution within the glottis.     

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.     

A framework for the study of vocal registers

Register transitions are divided into two classes, periodicity transitions and timbre transitions. Periodicity transitions refer to changes in vocal quality that occur whenever glottal pulses are perceived as individual events rather than as a continuous auditory stimulus. Timbre transitions refer to changes in vocal quality associated with changes in spectral balance. Physiologically, these can be quantified with an abduction quotient. The singing registers appear to be based on timbre transitions resulting from subglottal resonances that interfere with the vocal fold driving pressure. Four of the major singing register shifts are predicted (in frequency and relative importance) on the basis of the first subglottal formant. Strategies for register equalization are proposed on the basis of supraglottal formant tuning (vowel modification) and adjustments in glottal adduction.     

Differences Among Mixed,Chest, and Falsetto Registers: A Multiparametric Study

IntroductionTypical singing registers are the chest and falsetto; however, trained singers have an additional register, namely, the mixed register. The mixed register, which is also called “mixed voice” or “mix,” is an important technique for singers, as it can help bridge from the chest voice to falsetto without noticeable voice breaks.ObjectiveThe present study aims to reveal the nature of the voice-production mechanism of the different registers (chest, mix, and falsetto) using high-speed digital imaging (HSDI), electroglottography (EGG), and acoustic and aerodynamic measurements.Study DesignCross-sectional study.MethodsAerodynamic measurements were acquired for twelve healthy singers (six men and women) during the phonation of a variety of pitches using three registers. HSDI and EGG devices were simultaneously used on three healthy singers (two men and one woman) from which an open quotient (OQ) and speed quotient (SQ) were detected. Audio signals were recorded for five sustained vowels, and a spectral analysis was conducted to determine the amplitude of each harmonic component. Furthermore, the absolute (not relative) value of the glottal volume flow was estimated by integrating data obtained from the HSDI and aerodynamic studies.ResultsFor all singers, the subglottal pressure (P_Sub) was the highest for the chest in the three registers, and the mean flow rate (MFR) was the highest for the falsetto. Conversely, the P_Sub of the mix was as low as the falsetto, and the MFR of the mix was as low as the chest. The HSDI analysis showed that the OQ differed significantly among the registers, even when the fundamental frequency was the same; the OQ of the mix was higher than that of the chest but lower than that of the falsetto. The acoustic analysis showed that, for the mix, the harmonic structure was intermediate between the chest and falsetto. The results of the glottal volume-flow analysis revealed that the maximum volume velocity was the least for the mix register at every fundamental frequency. The first and second harmonic (H1-H2) difference of the voice source spectrum was the greatest for the falsetto, then the mix, and finally, the chest.ConclusionsWe found differences in the registers in terms of the aeromechanical mechanisms and vibration patterns of the vocal folds. The mixed register proved to have a distinct voice-production mechanism, which can be differentiated from those of the chest or falsetto registers.     

Characteristics of vocal fold adduction related to voice onset

This study examined whether vocal fold kinematics prior to phonation differed between hard (glottal), normal, or breathy onsets in men and women. Glottal landmarks were identified and digitized from videotape recorded with a rigid laryngoscope during different voice onset types. Significant linear relationships (p 0.0055) were found among onset types on measures of (a) gesture duration when moving from 80% to 20% of maximum distance during adduction, (b) maximum velocity, (c) duration between the completion of adduction and phonation onset, and (d) ratios of maximum velocity to maximum distance between the vocal processes, an estimate of stiffness. The gesture duration was greatest for breathy onsets and least for hard onsets, while the maximum velocity, latency between adduction and phonation onset, and estimated stiffness were greatest for hard onsets and least for breathy onsets. The results suggest that one trajectory seems to be used with increases in gesture duration being accompanied by decreases in articulator stiffness when moving from hard to normal to breathy voice onset types.     

Vocal tract area functions and formant frequencies in opera tenors' modal and falsetto registers

According to recent model investigations, vocal tract resonance is relevant to vocal registers. However, no experimental corroboration of this claim has been published so far. In the present investigation, ten professional tenors' vocal tract configurations were analyzed using MRI volumetry. All subjects produced a sustained tone on the pitch F4 (349 Hz) on the vowel /a/ (1) in modal and (2) in falsetto register. The area functions were estimated from the MRI data and their associated formant frequencies were calculated. In a second condition the same subjects repeated the same tasks in a sound treated room and their formant frequencies were estimated by means of inverse filtering. In both recordings similar formant frequencies were observed. Vocal tract shapes differed between modal and falsetto register. In modal as compared to falsetto the lip opening and the oral cavity were wider and the first formant frequency was higher. In this sense the presented results are in agreement with the claim that the formant frequencies differ between registers.     

On the relation between subglottal pressure and fundamental frequency in phonation

The change in fundamental frequency with subglottal pressure in phonation is quantified on the basis of the ratio between vibrational amplitude and vocal fold length. This ratio is typically very small in stringed instruments, but becomes quite appreciable in vocal fold vibration. Tension in vocal fold tissues is, therefore, not constant over the vibratory cycle, and a dynamic tension gives rise to amplitude-frequency dependence. It is shown that the typical 2-6 Hz/cm H2O rise in fundamental frequency with subglottal pressure observed in human and canine larynges is a direct and predictable consequence of this amplitude-frequency dependence. Results are presently limited to phonation in the chest register.     

Electroglottographic wavegrams: a technique for visualizing vocal fold dynamics noninvasively

A method for analyzing and displaying electroglottographic (EGG) signals (and their first derivative, DEGG) is introduced: the electroglottographic wavegram ("wavegram" hereafter). To construct a wavegram, the time-varying fundamental frequency is measured and consecutive individual glottal cycles are identified. Each cycle is locally normalized in duration and amplitude, the signal values are encoded by color intensity and the cycles are concatenated to display the entire voice sample in a single image, similar as in sound spectrography. The wavegram provides an intuitive means for quickly assessing vocal fold contact phenomena and their variation over time. Variations in vocal fold contact appear here as a sequence of events rather than single phenomena, taking place over a certain period of time, and changing with pitch, loudness and register. Multiple DEGG peaks are revealed in wavegrams to behave systematically, indicating subtle changes of vocal fold oscillatory regime. As such, EGG wavegrams promise to reveal more information on vocal fold contacting and de-contacting events than previous methods.     

A comparison of type I thyroplasty and arytenoid adduction

Glottal incompetence is a common laryngeal disorder causing impaired swallowing and phonation. The resultant voice has been characterized as weak and breathy with a restricted pitch range. Currently, medialization thyroplasty and arytenoid adduction are two of the surgical treatments for patients with glottal incompetence. However, few studies have evaluated the changes in objective measures of speech with type I thyroplasty and arytenoid adduction. In this study, 59 patients with glottal incompetence underwent either type I thyroplasty or arytenoid adduction. Acoustic (jitter, shimmer, and harmonics-to-noise ratio) and aerodynamic (airflow, subglottic pressure, and glottal resistance) measures were obtained both pre- and postoperatively. No significant differences were found among acoustic or aerodynamic measures for operation type. However, a significant pre/postsurgery effect was observed for translaryngeal airflow. In addition, no significant differences were found among the measures for patients with traditional compared with nontraditional operative indications. Patients who developed glottal insufficiency due to previous laryngeal surgery (e.g., vocal fold stripping) demonstrated no statistically significant improvement in acoustic or aerodynamic measures following thyroplasty or arytenoid adduction.     

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.     

Some physical characteristics of the male falsetto voice

Previous research indicated that, as groups, male (bass/baritone) and female (soprano) professional singers tend to exhibit differing vocal tract and voice source behaviours. The use of an objective measure of voice [xeroradiographic-electrolaryngographic analysis (XEL)] revealed differences between the two voice types, especially at the highest sample pitches (e, 330 Hz for bass/baritones, and e″, 1,320 Hz for sopranos). XEL analysis combines two known techniques, i.e., soft-tissue radiographic imaging (xeroradiography), and an analysis of voice-source vibratory patterning (electrolaryngography). Subsequent to this investigation, interest centered on the male professional falsetto voice over a two-octave range (E 165 Hz to e′ 660 Hz) using a sample (n=9) of professional countertenors. Results suggest that there are characteristic trends in the patterning of the male professional falsetto register, but there is also evidence of within-group variability. The subjects significantly increased the size of the pharyngeal tube area during phonation. ANOVA and Trend Analysis revealed ventricular space as the only measure to expand systematically and consistently as sung pitch increases.     

Voice Training and Changing Weight—Are They Reflected in Speaking Fundamental Frequency, Voice Range, and Pitch Breaks of 13-Year-Old Girls? A Longitudinal Study

Objective

Assessment of the voice-change progress of 20 girls (12–13 years) over 1 year by observing changes in speaking fundamental frequency (SFo), voice range, and register pitch breaks in the context of weight, height, voice training, and self-perception.

Study Design

One-year longitudinal collective case study.

Method

Twenty girls were recorded at the beginning and end of a year; nine girls were recorded another three times. SFo, vocal range, and characteristics were analyzed and interactions between these data assessed against weight and height to indicate pubertal development, and to test the hypothesis that changes in weight, height, SFo, and pitch breaks were related. Effects of training and the girls' self-perception of their voice use were also assessed.

Results

Vocal characteristics changed as the girls passed through different weight ranges. During 47.5–52.4 kg (called band 2) and 52.4–57.5 kg (band 3), there was progressive contraction of vocal range and in some girls a slight rise in SFo between recording times 1 and 5. Both high- and low-pitch breaks were present in 45% of girls' voices. Girls in band 4 (<57.5 kg) had an increased vocal range, and pitch breaks in vocal-range areas that indicated the development of adult vocal registers. In this study, voice-trained girls were heavier, had higher SFo, used wider speech-range inflection, had a higher vocal range, and greater voice-use confidence; all girls lost confidence in their voice use over the year.

Conclusions

In this longitudinal study of twenty 13-year-old girls, voice changes in SFo, vocal range, and pitch-break frequency were synchronous with certain weight ranges. Girls with training registered higher maximum phonational frequency and were more confident in their voice use than girls without training.     

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.