Effects of singing training on the speaking voice of voice majors

This longitudinal study gathered data with regard to the question: Does singing training have an effect on the speaking voice? Fourteen voice majors (12 females and two males; age range 17 to 20 years) were recorded once a semester for four consecutive semesters, while sustaining vowels and reading the "Rainbow Passage." Acoustic measures included speaking fundamental frequency (SFF) and sound pressure level (SLP). Perturbation measures included jitter, shimmer, and harmonic-to-noise ratio. Temporal measures included sentence, consonant, and diphthong durations. Results revealed that, as the number of semesters increased, the SFF increased while jitter and shimmer slightly decreased. Repeated measure analysis, however, indicated that none of the acoustic, temporal, or perturbation differences were statistically significant. These results confirm earlier cross-sectional studies that compared singers with nonsingers, in that singing training mostly affects the singing voice and rarely the speaking voice.     

Preparing the singing voice specialist revisited

In review of singing voice specialist preparation, discussion can be chronicled prior to the establishment of Arts Medicine in 1987. Although discussion began in 1984 (and earlier), no formal academic program currently exists to train the singing voice specialist. The need now is greater than ever for a formal program of study to prepare a person who seeks to be a singing voice specialist. The question of adequate preparation continues to be in need of an appropriate answer because no formal training programs or fellowships are available. It is essential to first define the role of singing voice specialists and the populations that they will encounter. To meet the needs of a diverse population, care of the professional voice demands cross-disciplinary training. Knowledge from the fields of music, science, medicine and communication disorders and experience/observation, clinical preparation, and research would provide for optimal preparation. To meet this need, development of a Masters degree program seems highly desirable. The structure of such a program is proposed, along with specific requirements outlined from the music and singing voice pathology components for a Masters Degree in Arts Medicine with a concentration in voice.     

Panel The integration of voice science, voice pathology, medicine, public speaking, acting, and singing

The integration of voice science, voice pathology, medicine, public speaking, acting, and singing has been central to evolution in all fields. The Voice Foundation Symposia have played a seminal and central role in fostering integration among disciplines. The result has been an improvement in the knowledge and practice in each field. And the future promises to be even more informative and exciting.     

Effects of vocal training on the acoustic parameters of the singing voice

Vocal training (VT) has, in part, been associated with the distinctions in the physiological, acoustic, and perceptual parameters found in singers' voices versus the voices of nonsingers. This study provides information on the changes in the singing voice as a function of VT over time. Fourteen college voice majors (12 females and 2 males; age range, 17–20 years) were recorded while singing, once a semester, for four consecutive semesters. Acoustic measures included fundamental frequency (F₀) and sound pressure level (SPL) of the 10% and 90% levels of the maximum phonational frequency range (MPFR), vibrato pulses per second, vibrato amplitude variation, and the presence of the singer's formant. Results indicated that VT had a significant effect on the MPFR. F₀ and SPL of the 90% level of the MPFR and the 90–10% range increased significantly as VT progressed. However, no vibrato or singers' formant differences were detected as a function of training. This longitudinal study not only validates previous cross-sectional research, ie, that VT has a significant effect on the singing voice, but also it demonstrates that these effects can be acoustically detected by the fourth semester of college vocal training.     

Acoustic analysis of the singing and speaking voice in singing students

The singing power ratio (SPR) is an objective means of quantifying the singer's formant. SPR has been shown to differentiate trained singers from nonsingers and sung from spoken tones. This study was designed to evaluate SPR and acoustic parameters in singing students to determine if the singer-intraining has an identifiable difference between sung and spoken voices. Digital audio recordings were made of both sung and spoken vowel sounds in 55 singing students for acoustic analysis. SPR values were not significantly different between the sung and spoken samples. Shimmer and noise-to-harmonic ratio were significantly higher in spoken samples. SPR analysis may provide an objective tool for monitoring the student's progress.     

Control of voice fundamental frequency in speaking versus singing

In order to investigate control of voice fundamental frequency (F0) in speaking and singing, 24 adults had to utter the nonsense word ['ta:tatas] repeatedly, while in selected trials their auditory feedback was frequency-shifted by 100 cents downwards. In the speaking condition the target speech rate and prosodic pattern were indicated by a rhythmic sequence made of white noise. In the singing condition the sequence consisted of piano notes, and subjects were instructed to match the pitch of the notes. In both conditions a response in voice F0 begins with a latency of about 150 ms. As predicted, response magnitude is greater in the singing condition (66 cents) than in the speaking condition (47 cents). Furthermore the singing condition seems to prolong the after-effect which is a continuation of the response in trials after the frequency shift. In the singing condition, response magnitude and the ability to match the target F0 correlate significantly. Results support the view that in speaking voice F0 is monitored mainly supra-segmentally and controlled less tightly than in singing.     

Physiological differences between the trained and untrained speaking and singing voice

This study concerns the premier singing voice and its relationship to physiological aptitude. Research literature is reviewed that indicates that during singing the trained singer uses different physiological strategies in comparison with the untrained singer, and that the noted physiological differences (respiratory, laryngeal, articulatory) occur during singing only and not during speech. Further, a study was conducted that compared the ability of trained singers versus untrained individuals to (a) discriminate differences in self-generated air pressures and (b) produce and maintain a constant level of air pressure. No significant differences were found between the trained and untrained groups in their ability to discriminate and/or control breath pressure. Combined results of previous studies and present findings lead to the tentative conclusion that the excelled singer is not physiologically endowed and/or “gifted,” but rather has benefited from technical voice training     

The use of an auditory model in predicting perceptual ratings of breathy voice quality

Despite much research, the relationship between vocal acoustic signals and perceived voice quality is not well understood. The present study used an auditory model proposed by Moore et al¹⁰ to study how changes in the acoustic spectrum may relate to changes in perceptual ratings of breathiness. Perceptual ratings of breathiness were obtained using a multidimensional scaling (MDS) design. The stimulus distances on the dominant MDS dimension were correlated with several commonly used acoustic measures for voice quality. These distances were also compared with measures obtained from the output of the auditory model. Results show that the partial loudness of the harmonic energy obtained with the aspiration noise acting as a masker was the most important predictor of perceptual ratings of breathiness. Results also demonstrate that measures obtained from the auditory spectrum were better predictors of perceptual ratings of breathiness than were commonly used acoustic spectral measures.     

Expanding perspectives in care of the speaking voice

The effective voice clinician has always had to borrow from various disciplines: voice science, otolaryngology, psychology, and speech-language pathology. Such eclecticism requires, however, that the clinician integrate the perspectives of these various disciplines into some kind of theoretical clinical bias. One bias might be that with greater use of instrumentation in voice therapy, the voice clinician must not substitute data collection for attending to the feelings of the patient. By using the clinical input from various disciplines, for example, voice clinicians might develop a useful clinical perspective that vocal hyperfunction is one of the primary causes of many voice disorders. Consequently, from such a clinical view might come a treatment perspective that can clearly define the problem (too much effort while speaking) and offer a rationale for voice remediation.     

The singing/acting voice in the mature adult

With years of training and performance, the mature vocal performer experiences less vocal changes with aging than does his/her age peer who is not a performer. We have considered, some physical problems that may adversely influence the voice of the older performer. With some awareness and effective management of these possible problems, the negative effects on the older performer's voice can be minimized.     

Frequency and risk factors for voice problems in teachers of singing and control subjects

Using a questionnaire format, 125 teachers of singing and 49 control subjects indicated whether they had a current or past voice problem, and provided information about their demographic characteristics, voice use patterns, and medication use. The results revealed similar rates of current voice problems reported by the two subject groups. However, teachers of singing were considerably more likely to report ever having had a voice problem than controls (64 vs. 33%). Risk factors were similar for the two groups. Dehydrating medications and a report of a past voice problem both increased the likelihood of perceiving a current problem, by a factor of three and five, respectively. Females were twice as likely to report a past voice problem as males, and younger subjects were slightly more likely to report a past problem as compared with older subjects. The implications of the findings are discussed from a theoretical as well as pragmatic perspective.     

Effects of voice therapy on the voice range profiles of dysphonic patients

In a group of chronically dysphonic patients, a voice range profile, or phonetogram, was recorded before and after receiving voice therapy and again 3 months later. The voice range profiles took a wide variety of shapes. Therefore, only measures that did not depend on a smooth contour could be used to describe changes before and after therapy. The main effect of voice therapy was an enlargement on the side of low frequency and low intensity.     

Respiratory training in voice therapy

Many patients with dysphonia do not need to modify their respiratory patterns. For those that do, a simple four-point program is offered that will usually aid the patient in developing better expiration control. First, the patient is instructed that inspiratory-expiratory respiration is a continuous ongoing movement. Imagery is used to show that there is little or no discernible gap between inspiration-expiration. The patient begins working on expiratory control by prolonging phonation with no instruction given for “taking in” a breath. The patient's task is to prolong a sound with no discernible inspiratory effort before the sound is made. The patient is then asked to match a verbal target model, making no special effort to take in a breath before producing the model. Finally, instruction is given in developing skills to take renewed breaths (catch-up breaths) when saying or singing an utterance     

Feedback from spectrum analysis applied to the singing voice

Despite the general availability in the past two decades of the spectrum analyzer and prominent pedagogical theories concerning the conscious tuning of vowel formants to enhance the singing voice, there has been little reported use of spectrum analysis to track formant frequencies in singing. An important exception is Sundberg's work (1) on the soprano voice. The reasons for this neglect are considered: in the singing range where information on formant tuning would be most helpful, the wide spacing of the harmonics renders the formants difficult to locate by spectrum analysis. Methods are described for obtaining continuous spectrograms with the vocal tract in the varied articulations of singing by using sweep tones and nonharmonic voice sources, and thus locating quickly and accurately the frequencies of the first five formants.     

Patterns of breath support in projection of the singing voice

Recordings of the rib cage and abdominal motions and acoustic output were obtained from five professional opera singers during performance of an aria recorded with two levels of voice projection. The condition of greater projection resulted in a significant increase in the acoustic power in the frequency band 2-4 kHz, relative to the power in the 0-2 kHz band, and a decrease in the mean expiratory flow, implying a move to more efficient vocalization with the greater projection. Also, the condition of greater projection resulted in a larger rib cage, particularly in the lateral dimension, but only a small decrease in the abdominal lateral dimension, suggesting that the greater abdominal support required for a larger projection is obtained by increased activation of abdominal muscles acting medially.     

The relationship among voice onset, voice quality, and fundamental frequency: a dynamical perspective

In dynamical motor theory, skill acquisition occurs as a modification of preexisting coordination patterns or attractor states. The purpose of this study was to assess how different levels of voice onset, voice quality, and fundamental frequency (F₀) combine to form the attractor states common to voice motor control. Three levels of voice onset (glottal, simultaneous, and breathy), voice quality (modal speech, mixed, and falsetto), and fundamental frequency (low, mid, and high) were manipulated by vocally untrained, female subjects. Percent correct of acquisition trials and self-report of effort were used as measures of stable phonations indicative of an attractor state. Using intensity as a covariate, the results provided support for two of the three predicted triads representing attractor states in female speakers: (1) glottal onset/modal speech quality/low F₀; and (2) breathy onset/falsetto quality/high F₀. The results of this study suggest that certain parameters of voice motor control, such as onset, quality, and F₀, exist as part of a dynamical system that can be identified and manipulated in voice motor acquisition and learning.     

个体依恋风格对亲密话语韵律及嗓音特征的影响

个体依恋风格可基于依恋回避、依恋焦虑这两个维度加以定义,并根据其取值高低划分为4种依恋类型。为探究依恋风格对亲密话语语音特征的影响,我们选取12对年轻异性情侣,采用亲密关系体验量表测出各人的依恋回避与焦虑值。通过半开放式的约会剧本,诱导被试产出亲密语气的目标句,再单独朗读这些目标句作为中性话语。基于9个韵律及嗓音参数的线性混合模型分析显示,高回避高焦虑者的基频标准差和基频范围显著低于其它依恋类型的被试,亲密与中性话语在基频均值、谐噪比上的差异受到依恋回避值的调节。进而,对基频动态曲线做广义加性混合模型分析,发现高回避者容易出现亲密比中性话语基频曲线更低的模式,而无论焦虑值高低,亲密与中性话语基频曲线均无显著差异。基于前述9个声学参数,采用5种监督性学习分类算法,能够有效识别4种依恋类型,尤其对高回避高焦虑、低回避低焦虑者的识别率更高,其中基频均值对分类的贡献度最大。研究初步揭示了依恋风格对亲密话语韵律及嗓音特征的作用规律,为依恋系统的情绪调节理论提供了支持。     

A report on alterations to the speaking and singing voices of four women following hormonal therapy with virilizing agents

Four women aged between 27 and 58 years sought otolaryngological examination due to significant alterations to their voices, the primary concerns being hoarseness in vocal quality, lowering of habitual pitch, difficulty projecting their speaking voices, and loss of control over their singing voices. Otolaryngological examination with a mirror or flexible laryngoscope revealed no apparent abnormality of vocal fold structure or function, and the women were referred for speech pathology with diagnoses of functional dysphonia. Objective acoustic measures using the Kay Visipitch indicated significant lowering of the mean fundamental frequency for each woman, and perceptual analysis of the patients' voices during quiet speaking, projected voice use, and comprehensive singing activities revealed a constellation of features typically noted in the pubescent male. The original diagnoses of a functional dysphonia were queried, prompting further exploration of each woman's medical history, revealing in each case onset of vocal symptoms shortly after commencing treatment for conditions with medications containing virilizing agents (eg, Danocrine (danazol), Deca-Durabolin (nandrolene decanoate), and testosterone). Although some of the vocal symptoms decreased in severity with the influences from 6 months voice therapy and after withdrawal from the drugs, a number of symptoms remained permanent, suggesting each subject had suffered significant alterations in vocal physiology, including muscle tissue changes, muscle coordination dysfunction, and propioceptive dysfunction. This retrospective study is presented in order to illustrate that it was both the projected speaking voice and the singing voice that proved so highly sensitive to the virilization effects. The implications for future prospective research studies and responsible clinical practice are discussed.     

The clinical voice laboratory: Clinical application of voice research

In the past decade the number of voice laboratories has increased dramatically. Their primary mission is to enhance patient care by the application of knowledge gained from basic research. They also are dedicated to further improvement of diagnostic and therapeutic resources. The strength of the voice laboratory lies in collaboration between the clinician and the scientist.