Measurement of formant frequencies and bandwidths in singing

That singers under certain circumstances adjust the articulation of the vocal tract (formant tuning) to enhance acoustic output is both apparent from measurements and understood in theory. The precise effect of a formant on an approaching (retreating) harmonic as the latter varies in frequency during actual singing, however, is difficult to isolate. In this study variations in amplitude of radiated sound components as well as supraglottal and subglottal (esophageal) pressures accompanying the vibrato-related sweep of voice harmonics were used as a basis for estimating the effective center frequencies and bandwidths of the first and second formants.     

The sound level of the singer's formant in professional singing

The relative sound level of the "singer's formant," measured in a 1/3-oct band with a center frequency of 2.5 kHz for males and of 3.16 kHz for females, has been investigated for 14 professional singers, nine different modes of singing, nine different vowels, variations in overall sound-pressure level, and fundamental frequencies ranging from 98 up to 880 Hz. Variation in the sound level of the singer's formant due to differences among male singers was small (4 dB), the factors vowels (16 dB) and fundamental frequency (9-14 dB) had an intermediate effect, while the largest variation was found for differences among female singers (24 dB), between modes of singing (vocal effort) (23 dB), and in overall sound-pressure level (more than 30 dB). In spite of this great potential variability, for each mode of singing the sound level of the singer's formant was remarkably constant up to F0 = 392 Hz, due to adaptation of vocal effort. This may be explained as the result of the perceptual demand of a constant voice quality. The definition of the singer's formant is discussed.     

Comparisons of pharynx, source, formant, and pressure characteristics in operatic and musical theatre singing

Belting, a vocal technique typically cultivated in musical theatre singing, differs timbrally from operatic singing in many interesting respects. The underlying phonatory differences have not been previously investigated in detail. Yet, belting is frequently associated with disturbances of voice function. Articulatory and phonatory characteristics are investigated in a female subject who is a professional singer (co-author JL) trained in both the operatic and belting styles and in an intermediate vocal technique (“mixed”). This article presents data obtained from this subject by video-fiberoptic observation of the pharynx, inverse filtering of airflow, and measurement of subglottal pressure. The results reveal that belting was characterized by very high subglottal pressures and sound levels, and apparently also by a comparatively high degree of glottal adduction. Comparisons with other investigations of related aspects of belting and operatic singing support the assumption that the data obtained from our subject are representative for these vocal techniques.     

Adaptive control of vowel formant frequency: evidence from real-time formant manipulation

Auditory feedback during speech production is known to play a role in speech sound acquisition and is also important for the maintenance of accurate articulation. In two studies the first formant (F1) of monosyllabic consonant-vowel-consonant words (CVCs) was shifted electronically and fed back to the participant very quickly so that participants perceived the modified speech as their own productions. When feedback was shifted up (experiment 1 and 2) or down (experiment 1) participants compensated by producing F1 in the opposite frequency direction from baseline. The threshold size of manipulation that initiated a compensation in F1 was usually greater than 60 Hz. When normal feedback was returned, F1 did not return immediately to baseline but showed an exponential deadaptation pattern. Experiment 1 showed that this effect was not influenced by the direction of the F1 shift, with both raising and lowering of F1 exhibiting the same effects. Experiment 2 showed that manipulating the number of trials that F1 was held at the maximum shift in frequency (0, 15, 45 trials) did not influence the recovery from adaptation. There was a correlation between the lag-one autocorrelation of trial-to-trial changes in F1 in the baseline recordings and the magnitude of compensation. Some participants therefore appeared to more actively stabilize their productions from trial-to-trial. The results provide insight into the perceptual control of speech and the representations that govern sensorimotor coordination.     

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.     

Piecewise--planar representation of vowel formant frequencies

The first three formant frequencies for 778 steady-state tokens of 30 nonretroflex vowel types uttered by a female speaker are found to lie close to a piecewise-planar surface (expressed numerically as 0.634F1 +0.603F2 -- 0.485F3 -- 366 = 0, for F2 greater than 0.027F1 +1692 and 0.686F1 -- 0.528F2 -- 0.501F3 +1569 = 0, otherwise). The rms distance of the vowels from this surface is only 86 Hz. The intersection between the two planes is a line of nearly constant F2, corresponding closely to the F2 of a uniform vocal tract of the same length as our speaker's. The piecewise-planar representation also suggests a way to test the hypotheses of uniform and nonuniform formant-frequency scaling between speakers.     

The song of the singing rod

This paper discusses basic and advanced aspects of the sound radiated by the singing rod demonstration commonly used in physics courses to depict an example of longitudinal waves. Various methods of exciting these rods are discussed along with the issues associated with each method. Analysis of the sound radiated by various rods with small-signal and large-signal excitations is presented for four different rods. The small-signal sound radiation consists of a fundamental frequency and odd harmonics (each corresponding to a longitudinal mode) when the rod is held at its midpoint. Large-signal sound radiation is highly dependent on the rod's geometry. The large-signal sound can possess strong even harmonics and/or beating tones resulting from modal coupling of transverse bending modes and either subharmonic longitudinal modes or torsional modes. A detailed analysis of the sound radiation from a singing rod can provide excellent laboratory exercises or classroom demonstrations for advanced undergraduate or graduate level acoustics courses whose scope includes resonances of a bar.     

Articulatory dynamics of loud and normal speech

A comparison was made between normal and loud productions of bilabial stops and stressed vowels. Simultaneous recordings of lip and jaw movement and the accompanying audio signal were made for four native speakers of Swedish. The stimuli consisted of 12 Swedish vowels appearing in an /i'b_b/ frame and were produced with both normal and increased vocal effort. The displacement, velocity, and relative timing associated with the individual articulators as well as their coarticulatory interactions were studied together with changes in acoustic segmental duration. It is shown that the production of loud as compared with normal speech is characterized by amplification of normal movement patterns that are predictable for the above articulatory parameters. In addition, it was observed that the acoustic durations of bilabial stops were shortened, whereas stressed vowels were lengthened during loud speech production. Two interpretations of the data are offered, viewing loud articulatory behavior as a response to production demands and perceptual constraints, respectively.     

对"Aspect实验与量子力学解释"一文的折磨

简述了Ｂｏｈｍ思想实验和Ｂｅｌｌ不等式中存在的问题，指出Ａｓｐｅｃｔ实验同Ｂｏｈｒ与Ｅｉｎｓｔｅｉｎ之间的“巨人之争”完全无关。     

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.     

Current status of Peterson-Barney vowel formant data

A question concerning the status of the Peterson-Barney vowel formant data is raised. Two machine-readable copies of the data were located, compared, and found to contain minor discrepancies. These discrepancies were resolved by comparison with a listing of the original data.     

Learning English vowels with different first-language vowel systems: perception of formant targets, formant movement, and duration

This study examined whether individuals with a wide range of first-language vowel systems (Spanish, French, German, and Norwegian) differ fundamentally in the cues that they use when they learn the English vowel system (e.g., formant movement and duration). All subjects: (1) identified natural English vowels in quiet; (2) identified English vowels in noise that had been signal processed to flatten formant movement or equate duration; (3) perceptually mapped best exemplars for first- and second-language synthetic vowels in a five-dimensional vowel space that included formant movement and duration; and (4) rated how natural English vowels assimilated into their L1 vowel categories. The results demonstrated that individuals with larger and more complex first-language vowel systems (German and Norwegian) were more accurate at recognizing English vowels than were individuals with smaller first-language systems (Spanish and French). However, there were no fundamental differences in what these individuals learned. That is, all groups used formant movement and duration to recognize English vowels, and learned new aspects of the English vowel system rather than simply assimilating vowels into existing first-language categories. The results suggest that there is a surprising degree of uniformity in the ways that individuals with different language backgrounds perceive second language vowels.     

Probing the independence of formant control using altered auditory feedback

Two auditory feedback perturbation experiments were conducted to examine the nature of control of the first two formants in vowels. In the first experiment, talkers heard their auditory feedback with either F1 or F2 shifted in frequency. Talkers altered production of the perturbed formant by changing its frequency in the opposite direction to the perturbation but did not produce a correlated alteration of the unperturbed formant. Thus, the motor control system is capable of fine-grained independent control of F1 and F2. In the second experiment, a large meta-analysis was conducted on data from talkers who received feedback where both F1 and F2 had been perturbed. A moderate correlation was found between individual compensations in F1 and F2 suggesting that the control of F1 and F2 is processed in a common manner at some level. While a wide range of individual compensation magnitudes were observed, no significant correlations were found between individuals' compensations and vowel space differences. Similarly, no significant correlations were found between individuals' compensations and variability in normal vowel production. Further, when receiving normal auditory feedback, most of the population exhibited no significant correlation between the natural variation in production of F1 and F2.