The Relationship Between Vocal Pitch-Matching Skills and Pitch Discrimination Skills in Untrained Accurate and Inaccurate Singers

Few studies have compared the relationship between pitch discrimination accuracy and the accuracy of fundamental frequency (F(o)) control. This study investigated the relationship between vocal pitch-matching skills, which is one method of testing F(o) control, and pitch discrimination skills in untrained accurate and inaccurate singers, and the effect of timbre on their pitch discrimination accuracy. Data showed that accurate singers had more precise discrimination and pitch-matching abilities compared with their inaccurate counterparts. Pitch discrimination was differentially affected by the timbre (eg, spectral differences) of comparison tones. In addition, results showed a significant relationship between pitch discrimination abilities and pitch-matching accuracy. The results suggest that accurate F(o) control is at least partially dependent on pitch discrimination abilities, which are important for accurate singing.     

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.     

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.     

Phonation Threshold Pressure Across the Pitch Range: Preliminary Test of a Model

This study sought to examine the specific relationship between phonation threshold pressure (PTP) and voice fundamental frequency (F(0)) across the pitch range. A published theoretical model of this relationship described a quadratic equation, with PTP increasing exponentially with F(0). Prospective data from eight adults with normal, untrained voices were collected. Subjects produced their quietest phonation at 10 randomly ordered pitches from 5% to 95% of their semitone pitch range at 10% intervals. Analysis included curve fitting for individual and group data, as well as comparisons to the previous model. The group data fit a quadratic function similar to that proposed previously, but the specific quadratic coefficient and constant values differed. Four of the individual subjects' data were best fit by quartic functions, two by quadratic functions, and one by a linear function. This preliminary study indicates that PTP may be minimal at a "comfortable" pitch rather than the lowest pitch tested, and that, for some individuals, PTP may be slightly elevated during the passaggio between modal and falsetto vocal registers. These data support the general form of the theoretical PTP-F(0) function for these speakers, and indicate the possibility of potential refinements to the model. Future studies with larger groups of male and female subjects across a wider age range may eventually reveal the specific nature of the function.     

Virtual pitch integration for asynchronous harmonics

This experiment examined the generation of virtual pitch for harmonically related tones that do not overlap in time. The interval between successive tones was systematically varied in order to gauge the integration period for virtual pitch. A pitch discrimination task was employed, and both harmonic and nonharmonic tone series were tested. The results confirmed that a virtual pitch can be generated by a series of brief, harmonically related tones that are separated in time. Robust virtual pitch information can be derived for intervals between successive 40-ms tones of up to about 45 ms, consistent with a minimum estimate of integration period of about 210 ms. Beyond intertone intervals of 45 ms, performance becomes more variable and approaches an upper limit where discrimination of tone sequences can be undertaken on the basis of the individual frequency components. The individual differences observed in this experiment suggest that the ability to derive a salient virtual pitch varies across listeners.     

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.     

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.     

Effects of a vocally fatiguing task and systemic hydration on phonation threshold pressure

Phonation threshold pressure (PTP), effort for speaking, and vibratory closure pattern were assessed in 4 women with normal untrained voices after 2 hours of loud reading. PTP generally increased after this vocally fatiguing task at conversational pitch and 10%, 50%, and especially 80% of the pitch range. Increased systemic hydration by drinking water appeared to attenuate and/or delay the elevation of PTP for 3 subjects, at least at the highest pitch tested. Effort for speaking increased consistently throughout the loud reading task and subsequently decreased after 15 minutes of vocal silence. Upon videostroboscopic examination of the larynx, 3 subjects demonstrated spindle-shaped vibratory closure patterns on occasion after loud reading. The results provide preliminary support for increasing water consumption to reduce or delay some vocal-function changes after prolonged loud phonation in untrained speakers.     

Perception of musical and lexical tones by Taiwanese-speaking musicians

This study explored the relationship between music and speech by examining absolute pitch and lexical tone perception. Taiwanese-speaking musicians were asked to identify musical tones without a reference pitch and multispeaker Taiwanese level tones without acoustic cues typically present for speaker normalization. The results showed that a high percentage of the participants (65% with an exact match required and 81% with one-semitone errors allowed) possessed absolute pitch, as measured by the musical tone identification task. A negative correlation was found between occurrence of absolute pitch and age of onset of musical training, suggesting that the acquisition of absolute pitch resembles the acquisition of speech. The participants were able to identify multispeaker Taiwanese level tones with above-chance accuracy, even though the acoustic cues typically present for speaker normalization were not available in the stimuli. No correlations were found between the performance in musical tone identification and the performance in Taiwanese tone identification. Potential reasons for the lack of association between the two tasks are discussed.     

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.     

Across-frequency interference effects in fundamental frequency discrimination: questioning evidence for two pitch mechanisms

Carlyon and Shackleton [J. Acoust. Soc. Am. 95, 3541-3554 (1994)] presented an influential study supporting the existence of two pitch mechanisms, one for complex tones containing resolved and one for complex tones containing only unresolved components. The current experiments provide an alternative explanation for their finding, namely the existence of across-frequency interference in fundamental frequency (F0) discrimination. Sensitivity (d') was measured for F0 discrimination between two sequentially presented 400 ms complex (target) tones containing only unresolved components. In experiment 1, the target was filtered between 1375 and 15,000 Hz, had a nominal F0 of 88 Hz, and was presented either alone or with an additional complex tone ("interferer"). The interferer was filtered between 125-625 Hz, and its F0 varied between 88 and 114.4 Hz across blocks. Sensitivity was significantly reduced in the presence of the interferer, and this effect decreased as its F0 was moved progressively further from that of the target. Experiment 2 showed that increasing the level of a synchronously gated lowpass noise that spectrally overlapped with the interferer reduced this "pitch discrimination interference (PDI)". In experiment 3A, the target was filtered between 3900 and 5400 Hz and had an F0 of either 88 or 250 Hz. It was presented either alone or with an interferer, filtered between 1375 and 1875 Hz with an F0 corresponding to the nominal target F0. PDI was larger in the presence of the resolved (250 Hz F0) than in the presence of the unresolved (88 Hz F0) interferer, presumably because the pitch of the former was more salient than that of the latter. Experiments 4A and 4B showed that PDI was reduced but not eliminated when the interferer was gated on 200 ms before and off 200 ms after the target, and that some PDI was observed with a continuous interferer. The current findings provide an alternative interpretation of a study supposedly providing strong evidence for the existence of two pitch mechanisms.     

Frequency discrimination of complex tones with overlapping and non-overlapping harmonics

These experiments address the following issues. (1) When two complex tones contain different harmonics, do the differences in timbre between them impair the ability to discriminate the pitches of the tones? (2) When two complex tones have only a single component in common, and that component is the most discriminable component in each tone, is the frequency discrimination of the component affected by differences in residue pitch between the two tones? (3) How good is the pitch discrimination of complex tones with no common components when each tone contains multiple harmonics, so as to avoid ambiguity of pitch? (4) Is the pitch discrimination of complex tones with common harmonics impaired by shifting the component frequencies to nonharmonic values? In all experiments, frequency difference limens (DLCs) were measured for multiple-component complex tones, using an adaptive two-interval, two-alternative, forced-choice task. Three highly trained subjects were used. The main conclusions are as follows. (1) When two tones have the first six harmonics in common, DLCs are larger when the upper harmonics are different than when the upper harmonics are in common or are absent. It appears that differences in timbre impair DLCs. (2) Discrimination of the frequency of a single common partial in two complex tones is worse when the two tones have different residue pitches than when they have the same residue pitch. (3) DLCs for complex tones with no common harmonics are generally larger than those for complex tones with common harmonics. For the former, large individual differences occur, probably because subjects are affected differently by differences in timbre. (4) DLCs for harmonic complex tones are smaller than DLCs for complex tones in which the components are mistuned from harmonic values. This can probably be attributed to the less distinct residue pitch of the inharmonic complexes, rather than to reduced discriminability of partials. Overall, the results support the idea that DLCs for complex tones with common harmonics depend on residue pitch comparisons, rather than on comparisons of the pitches of partials.     

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.     

Learning to perceive pitch differences

This paper reports two experiments concerning the stimulus specificity of pitch discrimination learning. In experiment 1, listeners were initially trained, during ten sessions (about 11,000 trials), to discriminate a monaural pure tone of 3000 Hz from ipsilateral pure tones with slightly different frequencies. The resulting perceptual learning (improvement in discrimination thresholds) appeared to be frequency-specific since, in subsequent sessions, new learning was observed when the 3000-Hz standard tone was replaced by a standard tone of 1200 Hz, or 6500 Hz. By contrast, a subsequent presentation of the initial tones to the contralateral ear showed that the initial learning was not, or was only weakly, ear-specific. In experiment 2, training in pitch discrimination was initially provided using complex tones that consisted of harmonics 3-7 of a missing fundamental (near 100 Hz for some listeners, 500 Hz for others). Subsequently, the standard complex was replaced by a standard pure tone with a frequency which could be either equal to the standard complex's missing fundamental or remote from it. In the former case, the two standard stimuli were matched in pitch. However, this perceptual relationship did not appear to favor the transfer of learning. Therefore, the results indicated that pitch discrimination learning is, at least to some extent, timbre-specific, and cannot be viewed as a reduction of an internal noise which would affect directly the output of a neural device extracting pitch from both pure tones and complex tones including low-rank harmonics.     

Fine-grained pitch processing of music and speech in congenital amusia

Congenital amusia is a lifelong disorder of music processing that has been ascribed to impaired pitch perception and memory. The present study tested a large group of amusics (n=17) and provided evidence that their pitch deficit affects pitch processing in speech to a lesser extent: Fine-grained pitch discrimination was better in spoken syllables than in acoustically matched tones. Unlike amusics, control participants performed fine-grained pitch discrimination better for musical material than for verbal material. These findings suggest that pitch extraction can be influenced by the nature of the material (music vs speech), and that amusics' pitch deficit is not restricted to musical material, but extends to segmented speech events.     

Pitch-interval discrimination and musical expertise: Is the semitone a perceptual boundary?

The ability to discriminate pitch changes (or intervals) is foundational for speech and music. In an auditory psychophysical experiment, musicians and non-musicians were tested with fixed- and roving-pitch discrimination tasks to investigate the effects of musical expertise on interval discrimination. The tasks were administered parametrically to assess performance across varying pitch distances between intervals. Both groups showed improvements in fixed-pitch interval discrimination as a function of increasing interval difference. Only musicians showed better roving-pitch interval discrimination as interval differences increased, suggesting that this task was too demanding for non-musicians. Musicians had better interval discrimination than non-musicians across most interval differences in both tasks. Interestingly, musicians exhibited improved interval discrimination starting at interval differences of 100 cents (a semitone in Western music), whereas non-musicians showed enhanced discrimination at interval differences exceeding 125 cents. Although exposure to Western music and speech may help establish a basic interval-discrimination threshold between 100 and 200 cents (intervals that occur often in Western languages and music), musical training presumably enhances auditory processing and reduces this threshold to a semitone. As musical expertise does not decrease this threshold beyond 100 cents, the semitone may represent a musical training-induced intervallic limit to acoustic processing.     

Standardized laryngeal videostroboscopic rating: Differences between untrained and trained male and female subjects, and effects of varying sound intensity, fundamental frequency, and age

To determine the influence of the factors gender, vocal training, sound intensity, pitch, and aging on vocal function, videolaryngostroboscopic images of 214 subjects, subdivided according to gender and status of vocal training, were evaluated by three judges with standardized rating scales, comprising aspects of laryngeal appearance (larynx/pharynx ratio; epiglottal shape; asymmetry arytenoid region; compensatory adjustments; thickness, width, length, and elasticity of vocal folds) and glottal functioning (amplitudes of excursion; duration, percentage, and type of vocal fold closure; phase differences; location of glottal chink). The video registrations were made while the subjects performed a set of phonatory tasks, comprising the utterance of the vowel /i/ at three levels of both fundamental frequency and sound intensity. Analysis of the rating scales showed generally sufficient agreement among judges. With the exception of more frequently observed complete closure and lateral phase differences of vocal fold excursions in trained subjects, no further differences were established between untrained and trained subjects. With an α level of p = 0.005, men differed from women with respect to laryngeal appearance (larynx/pharynx ratio, compensatory adjustments, and the presence of omega and deviant-shaped epiglottises), and their vocal folds were rated thicker in the vertical dimension, smaller in the lateral dimension, longer, and more tense, with smaller amplitudes of excursion during vibration. Glottal closure in male subjects was rated more complete, but briefer in duration. Significant effects of the factors pitch, sound intensity, and age on vocal fold appearance and glottal functioning were ascertained. Awareness of the influence of these factors, as well as the factor gender, on the rated scales is essential for an adequate evaluation of laryngostroboscopic images.     

Effects of a Vocally Fatiguing Task and Systemic Hydration on Men''s Voices

Voice disorders, specifically vocal fatigue, are more commonly reported by women than by men. Previously, 4 women with normal untrained voices read loudly for 2 hours in an attempt to fatigue the voice. Vocal function deteriorated, as indicated by increases in phonation threshold pressure (PTP) and self-perceived phonatory effort. The increase in PTP was delayed or attenuated to some degree in 3 of the women when they drank ample amounts of water before the experiment. The current study examined the same vocal-loading task and water-drinking condition in 4 vocally normal men. PTP increased after the loud-reading task. Although 2 of the men appeared to benefit from increased systemic hydration (PTP increased more when they were underhydrated than well-hydrated), the other 2 men's data changed in the opposite direction. Phonatory effort correlated well with PTP; this varied across subject and pitch. Laryngeal endoscopy revealed an anterior glottal gap in two men after the loud-reading task. Amplitude of vocal fold vibration was judged to be reduced after the loud-reading task in three subjects when underhydrated and one subject when well hydrated. The high between-subject variability prohibits a conclusion that drinking water is beneficial to vocal function in men, but all subjects studied to date demonstrated detrimental vocal effects of prolonged loud talking.     

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.