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.     

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.     

Effects of HearFones on speaking and singing voice quality

HearFones (HF) have been designed to enhance auditory feedback during phonation. This study investigated the effects of HF (1) on sound perceivable by the subject, (2) on voice quality in reading and singing, and (3) on voice production in speech and singing at the same pitch and sound level.

Test 1: Text reading was recorded with two identical microphones in the ears of a subject. One ear was covered with HF, and the other was free. Four subjects attended this test. Tests 2 and 3: A reading sample was recorded from 13 subjects and a song from 12 subjects without and with HF on. Test 4: Six females repeated [pa:p:a] in speaking and singing modes without and with HF on same pitch and sound level.

Long-term average spectra were made (Tests 1–3), and formant frequencies, fundamental frequency, and sound level were measured (Tests 2 and 3). Subglottic pressure was estimated from oral pressure in [p], and simultaneously electroglottography (EGG) was registered during voicing on [a:] (Test 4). Voice quality in speech and singing was evaluated by three professional voice trainers (Tests 2–4).

HF seemed to enhance sound perceivable at the whole range studied (0–8 kHz), with the greatest enhancement (up to ca 25 dB) being at 1–3 kHz and at 4–7 kHz. The subjects tended to decrease loudness with HF (when sound level was not being monitored). In more than half of the cases, voice quality was evaluated “less strained” and “better controlled” with HF. When pitch and loudness were constant, no clear differences were heard but closed quotient of the EGG signal was higher and the signal more skewed, suggesting a better glottal closure and/or diminished activity of the thyroarytenoid muscle.     

Differences in voice quality between men and women: Use of the long-term average spectrum (LTAS)

The goal of this study was to determine if there are acoustical differences between male and female voices, and if there are, where exactly do these differences lie. Extended speech samples were used. The recorded readings of a text by 31 women and by 24 men were analyzed by means of the Long-term Spectrum (LTAS), extracting the amplitude values (in decibels) at intervals of 160 Hz over a range of 8 kHz. The results showed a significant difference between genders, as well as an interaction of gender and frequency level. The female voice showed greater levels of aspiration noise, located in the spectral regions corresponding to the third formant, which causes the female voice to have a more “breathy” quality than the male voice. The lower spectral tilt in the women's voices is another consequence of this presence of greater aspiration noise.     

Test-retest study of the GRBAS scale: Influence of experience and professional background on perceptual rating of voice quality

Perceptual evaluation was performed by means of the GRBAS scalefor a series of nine pathological voice samples that were presented twice to a group of 23 judges, consisting of experienced and inexperienced otolaryngologists (ENTs) and speech-language pathologists (S/LPs). The time interval between ratings was 14 days. Test-retest reliability was moderate. The best agreement between the observers was obtained for the G (grade) parameter and the worst for the S (strained) parameter. Considering the medians of the GRBAS ratings, no significant influence was measured for level of experience or professional background. Yet, based on means, the results show that professional background has a greater impact on perceptual rating than experience.     

The role of pitch in the discrimination of voice quality

Pitch is an important attribute of a musical sound. With it the melody of a song is established. With it the beauty of a voice is showcased. But how does pitch affect the perception of voice? Is it used to help to distinguish among voices or does it merely exist in the background, affecting the fine details of a voice but not radically altering the voice? The purpose of this paper is to review some of the evidence on the role of pitch in the perception of voice quality; specifically for the discrimination of one voice quality from another. The objective of the discussion is to understand how pitch affects our perception of voice quality and its importance to the perception of musical sound.     

Judgments of voice quality and preference: Acoustic interpretations

Previous studies have shown that trained listeners are highly reliable in making perceptual judgments of several parameters of normal and pathologic voices. This study investigated objective measures of acoustic characteristics of high and low preference voices as determined by previous perceptual study. Four acoustic parameters were measured including harmonics-to-noise ratio, autocorrelation function, average jitter, and the standard deviation of the fundamental frequency. Useful correlations between perceptual and measured results were identified. Normal voices differ from pathologic voices in terms of the acoustic-perceptual relationships.     

The effect of voice lessons on the clinical and perceptual skills of graduate students in speech-language pathology

Two groups of 10 speech-language pathology graduate students were each given 7 weeks of singing lessons to determine whether voice lessons could have an effect on their clinical and perceptual skills. Pre-, mid-, and posttests to measure various skills were designed and implemented. With use of paired sample statistical testing, statistically significant results were obtained. In addition, the subjective responses of the students show that the lessons were effective in improving pitch perception, breath control, and legato production or easy onset. This study supports efforts to integrate curricula in vocal performance and speech-language pathology.     

Performance effects on the voices of 10 choral tenors: Acoustic and perceptual findings

Trained choral tenors performed a series of vocal tasks before and after a “live” performance. Acoustic (perturbation, harmonic-to-noise ratio, pitch and amplitude ranges) and perceptual analyses (auditory and proprioceptive/kinesthetic) were undertaken to detect changes from pre- to postperformance. Individuality of response to the performance was revealed, with the majority of subjects showing vocal deterioration after performance. The most sensitive vocal tasks were the comfortably pitched notes, high soft notes, and the bottom notes in scale singing. The most sensitive acoustic measure in detecting change from pre- to postperformance was harmonic-to-noise ratio. In contrast to the demonstrated acoustic changes, no significant differences in perceptual ratings were evident after the performance. Perceptual ratings did not reflect the acoustic analysis results. The present study highlights the need to establish further normative data for the singing voice and to consider individual differences in vocal characteristics in future studies of the singing voice.     

Change in singing voice production, objectively measured

Although subglottal pressures in conversational speech are relatively easily measured and thus known, the higher values that sometimes occur in singing (especially in tenors) have received little attention in the literature. Still more unusual is the opportunity to measure a large-scale change over decades in the application of pressure in singing production. This study compares measurements of subglottal pressure in a tenor/singing teacher (JS) at two points in his career: in his early thirties, when he was a subject in HS's dissertation study on the efficiency of voice production; and recently, in his fifties, in connection with JS's forthcoming book on the history of the pedagogy of Bel Canto. Although a single case study, its points of special interest include the high values initially measured (up to100 cm H₂O) and the reduction of this figure by more than 50% in the maximal values of the recent measurements. The study compares these values with those of other singers in the same laboratory (both with esophageal balloon and directly, with a catheter passed through the glottis) and in the literature, as well as discusses in detail the problems pertaining to the measurement (repeatability, correcting for lung volume, etc.).

As a sophisticated subject, JS makes some pertinent observations about the changes in his use of subglottal pressure.     

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。     

The perception of two vocal qualities in a synthesized vocal utterance: ring and pressed voice

Two vocal qualities, ringquality and pressed quality, were analyzed perceptually. Listeners were asked to rate (on a scale from 0 to 10) the “amount of ring” in one listening and the “amount of pressedness” in another listening. The stimulus was the synthesized utterance /ya-ya-ya-ya-ya/. In the continuum representation of ring, the skewing quotient and the cross section of the epilaryngeal tube area were systematically varied, independently and by a covariation rule. In the continuum representation of pressed, the flow amplitude and open quotient were similarly varied. Results indicated that the crossover point between ring and no ring occurred with an epilaryngeal area of around 1.0 cm², and the crossover point between pressed and not pressed quality occurred at an open quotient of about 0.4. Fundamental frequency also had an effect on the perceptions, with a higher fundamental frequency receiving higher ratings of ring and pressed for otherwise the same parameters. Listeners demonstrated highly variable perceptions in both continua with poor intersubject, intrasubject, and intergroup reliability.     

MR of an adrenal pseudocyst

We describe the appearance of an adrenal pseudocyst on MRI and CT. The MR characteristics of the lesion were noteworthy in that the lesion had two components with different imaging characteristics. The larger component was of low signal intensity on both T₁- and T₂-weighted images and might have been confused with an adrenal adenoma.     

Magnetic resonance imaging as an adjunct to sonography in the evaluation of the female pelvis

Magnetic resonance imaging (MRI) of the pelvis is generally considered to be most beneficial in those cases where the pelvic sonogram is limited or equivocal. All cases that underwent both sonographic and MRI examinations at our institution for the evaluation of the female pelvis in the past two years were retrospectively reviewed. We reviewed the sonographic and MRI reports and the subsequent clinical management in the 41 cases that had both studies to assess whether MRI contributed to the clinical management decision. Both studies were interpreted independently based upon the known clinical and laboratory data available at the time. MRI was obtained in 21 cases because the sonogram was suboptimal or inconclusive. In the other 20 cases it was obtained for additional information, even though the sonogram was diagnostic. Of the 21 inconclusive sonographic studies, MRI established or clarified the diagnosis in all cases. Of the 20 studies where MRI was obtained for additional information, MRI added useful data that helped contribute to the clinical management of 11 patients. MRI is an important adjunct to pelvic sonography. It established, clarified, or added significant data in 78% of cases.