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.     

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.     

Potential factors related to untrained singing talent: a survey of singing pedagogues

A national survey was conducted to identify factors associated with untrained singing talent based on perceptions obtained from a homogeneous group of professional singing pedagogues. Survey items included questions related to the perception of singing talent, factors associated with untrained singing talent, and physiological variables that distinguished untrained singing talented individuals from those without obvious singing talent. The survey data suggested that intonation, timbre, and musicality were rated the most important factors associated with the perception of singing talent in an untrained individual. Environmental influences and genetics were rated most important for explaining why one individual would express singing talent and another would not. In addition, the data suggested that abilities related to the control of pitch distinguished untrained talented individuals from those without singing talent more than other physiological variables.     

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.     

Control of Fundamental Frequency in Dysphonic Patients During Phonation and Speech

PurposeThe pitch-shift reflex (PSR) is the adaptation of the fundamental frequency during phonation and speech and describes the auditory feedback control. Speakers without voice and speech disorders mostly show a compensation of the pitch change in the auditory feedback and adapt their fundamental frequency to the opposite direction. Dysphonic patients often display problems with the auditory perception and control of their voice during therapy. Our study focuses on the auditory and kinesthetic control mechanisms of patients with muscle tension dysphonia (MTD) and speakers without voice and speech problems. Main purpose of the study is the analysis of the functionality of the control mechanisms within phonation and speech between patients with MTD and normal speakers.MethodSixty-one healthy subjects (17 male, 44 female) and 22 patients with MTD (7 male, 15 female) participated following two paradigms including a sustained phonation (vowel /a/) and speech ([‘mama]). Within both paradigms the fundamental frequency of the auditory feedback was increased synthetically. For the analysis of the PSR the electroencephalogram, electroglottography, the voice signal, and the high-speed endoscopy data were recorded simultaneously. The PSR in the electroencephalogram was detected via the N100 and the mismatch negativity. Statistical tests were applied for the detection of the PSR in the physiological response within the electroglottography, voice, and high-speed endoscopy signals. The results were compared between both groups.ResultsNo differences were found between the controls and patients with MTD regarding latency and magnitude of the perception of the pitch shift in both paradigms, but for the magnitude of the behavioral response. Differences also could be found for both groups between the “no pitch” and “pitch” condition of the two paradigms regarding vocal fold dynamics and voice quality. Patients with MTD showed more vibrational irregularities during the PSR than the controls, especially regarding the symmetry of vocal fold dynamics.ConclusionPatients with MTD seem to have a disturbed interaction between the auditory and kinesthetic feedback inducing the execution of an overriding behavioral response.     

Pedagogical Efficiency of Melodic Contour Mapping Technology as it Relates to Vocal Timbre in Singers of Classical Music Repertoire

The purpose of this investigation was to ascertain the pedagogical viability of computer-generated melodic contour mapping systems in the classical singing studio, as perceived by their resulting effect (if any) on vocal timbre when a singer's head and neck remained in a normal singing posture. The evaluation of data gathered during the course of the study indicates that the development of consistent vocal timbre produced by the classical singing student may be enhanced through visual/kinesthetic response to melodic contour inversion mapping, as it balances the singer's perception of melodic intervals in standard musical notation. Unexpectedly, it was discovered that the system, in its natural melodic contour mode, may also be useful for teaching a student to sing a consistent legato line. The results of the study also suggest that the continued development of this new technology for the general teaching studio, designed to address standard musical notation and a singer's visual/kinesthetic response to it, may indeed be useful.     

Relationship Between Masking Levels and Phonatory Stability in Normal-Speaking Women

Disruption of auditory feedback such as masking has been shown to influence vocal production. A reliable finding is an increase in intensity level; an increase in fundamental frequency (F0) is a less robust finding. Research is lacking concerning the effects of auditory masking on measures of phonatory stability such as jitter and harmonics-to-noise ratio (HNR). This study investigated changes in intensity, F0, jitter, and HNR in 22 normally speaking college aged women. Subjects produced the vowel /a/ under three conditions: no masking level (0-dB ML), 50-dB ML, and 80-dB ML. Significant differences between conditions emerged for intensity; means for the other measures were not significantly different. Intraindividual differences between conditions for each variable are discussed in the framework of auditory versus kinesthetic feedback.     

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.     

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.     

Singing proficiency in the general population

Most believe that the ability to carry a tune is unevenly distributed in the general population. To test this claim, we asked occasional singers (n=62) to sing a well-known song in both the laboratory and in a natural setting (experiment 1). Sung performances were judged by peers for proficiency, analyzed for pitch and time accuracy with an acoustic-based method, and compared to professional singing. The peer ratings for the proficiency of occasional singers were normally distributed. Only a minority of the occasional singers made numerous pitch errors. The variance in singing proficiency was largely due to tempo differences. Occasional singers tended to sing at a faster tempo and with more pitch and time errors relative to professional singers. In experiment 2 15 nonmusicians from experiment 1 sang the same song at a slow tempo. In this condition, most of the occasional singers sang as accurately as the professional singers. Thus, singing appears to be a universal human trait. However, two of the occasional singers maintained a high rate of pitch errors at the slower tempo. This poor performance was not due to impaired pitch perception, thus suggesting the existence of a purely vocal form of tone deafness.     

Evaluation of Support in Singing

This study searched for perceptual, acoustic, and physiological correlates of support in singing. Seven trained professional singers (four women and three men) sang repetitions of the syllable [pa:] at varying pitch and sound levels (1) habitually (with support) and (2) simulating singing without support. Estimate of subglottic pressure was obtained from oral pressure during [p]. Vocal fold vibration was registered with dual-channel electroglottography. Acoustic analyses were made on the recorded samples. All samples were also evaluated by the singers and other listeners, who were trained singers, singing students, and voice specialists without singing education (a total of 63 listeners). We rated both the overall voice quality and the amount of support. According to the results, it seemed impossible to observe any auditory differences between supported singing and good singing voice quality. The acoustic and physiological correlates of good voice quality in absolute values seem to be gender and task dependent, whereas the relative optimum seems to be reached at intermediate parameter values.     

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.     

Compensation for pitch-shifted auditory feedback during the production of Mandarin tone sequences

Recent research has found that while speaking, subjects react to perturbations in pitch of voice auditory feedback by changing their voice fundamental frequency (F0) to compensate for the perceived pitch-shift. The long response latencies (150-200 ms) suggest they may be too slow to assist in on-line control of the local pitch contour patterns associated with lexical tones on a syllable-to-syllable basis. In the present study, we introduced pitch-shifted auditory feedback to native speakers of Mandarin Chinese while they produced disyllabic sequences /ma ma/ with different tonal combinations at a natural speaking rate. Voice F0 response latencies (100-150 ms) to the pitch perturbations were shorter than syllable durations reported elsewhere. Response magnitudes increased from 50 cents during static tone to 85 cents during dynamic tone productions. Response latencies and peak times decreased in phrases involving a dynamic change in F0. The larger response magnitudes and shorter latency and peak times in tasks requiring accurate, dynamic control of F0, indicate this automatic system for regulation of voice F0 may be task-dependent. These findings suggest that auditory feedback may be used to help regulate voice F0 during production of bi-tonal Mandarin phrases.     

The effects of tongue loading and auditory feedback on vowel production

This study investigated the role of sensory feedback during the production of front vowels. A temporary aftereffect induced by tongue loading was employed to modify the somatosensory-based perception of tongue height. Following the removal of tongue loading, tongue height during vowel production was estimated by measuring the frequency of the first formant (F1) from the acoustic signal. In experiment 1, the production of front vowels following tongue loading was investigated either in the presence or absence of auditory feedback. With auditory feedback available, the tongue height of front vowels was not modified by the aftereffect of tongue loading. By contrast, speakers did not compensate for the aftereffect of tongue loading when they produced vowels in the absence of auditory feedback. In experiment 2, the characteristics of the masking noise were manipulated such that it masked energy either in the F1 region or in the region of the second and higher formants. The results showed that the adjustment of tongue height during the production of front vowels depended on information about F1 in the auditory feedback. These findings support the idea that speech goals include both auditory and somatosensory targets and that speakers are able to make use of information from both sensory modalities to maximize the accuracy of speech production.     

Adaptive auditory feedback control of the production of formant trajectories in the Mandarin triphthong /iau/ and its pattern of generalization

In order to test whether auditory feedback is involved in the planning of complex articulatory gestures in time-varying phonemes, the current study examined native Mandarin speakers' responses to auditory perturbations of their auditory feedback of the trajectory of the first formant frequency during their production of the triphthong /iau/. On average, subjects adaptively adjusted their productions to partially compensate for the perturbations in auditory feedback. This result indicates that auditory feedback control of speech movements is not restricted to quasi-static gestures in monophthongs as found in previous studies, but also extends to time-varying gestures. To probe the internal structure of the mechanisms of auditory-motor transformations, the pattern of generalization of the adaptation learned on the triphthong /iau/ to other vowels with different temporal and spatial characteristics (produced only under masking noise) was tested. A broad but weak pattern of generalization was observed; the strength of the generalization diminished with increasing dissimilarity from /iau/. The details and implications of the pattern of generalization are examined and discussed in light of previous sensorimotor adaptation studies of both speech and limb motor control and a neurocomputational model of speech motor control.     

Asymmetry of masking between noise and iterated rippled noise: evidence for time-interval processing in the auditory system.

This study describes the masking asymmetry between noise and iterated rippled noise (IRN) as a function of spectral region and the IRN delay. Masking asymmetry refers to the fact that noise masks IRN much more effectively than IRN masks noise, even when the stimuli occupy the same spectral region. Detection thresholds for IRN masked by noise and for noise masked by IRN were measured with an adaptive two-alternative, forced choice (2AFC) procedure with signal level as the adaptive parameter. Masker level was randomly varied within a 10-dB range in order to reduce the salience of loudness as a cue for detection. The stimuli were filtered into frequency bands, 2.2-kHz wide, with lower cutoff frequencies ranging from 0.8 to 6.4 kHz. IRN was generated with 16 iterations and with varying delays. The reciprocal of the delay was 16, 32, 64, or 128 Hz. When the reciprocal of the IRN delay was within the pitch range, i.e., above 30 Hz, there was a substantial masking asymmetry between IRN and noise for all filter cutoff frequencies; threshold for IRN masked by noise was about 10 dB larger than threshold for noise masked by IRN. For the 16-Hz IRN, the masking asymmetry decreased progressively with increasing filter cutoff frequency, from about 9 dB for the lowest cutoff frequency to less than 1 dB for the highest cutoff frequency. This suggests that masking asymmetry may be determined by different cues for delays within and below the pitch range. The fact that masking asymmetry exists for conditions that combine very long IRN delays with very high filter cutoff frequencies means that it is unlikely that models based on the excitation patterns of the stimuli would be successful in explaining the threshold data. A range of time-domain models of auditory processing that focus on the time intervals in phase-locked neural activity patterns is reviewed. Most of these models were successful in accounting for the basic masking asymmetry between IRN and noise for conditions within the pitch range, and one of the models produced an exceptionally good fit to the data.     

光电负反馈下垂直腔表面发射激光器偏振开关特性研究

基于扩展的自旋反转模型, 对光电负反馈下垂直腔表面发射激光器的偏振开关特性进行了数值仿真和理论分析. 研究结果表明: 对于不同的自旋反转率, 反馈强度和延迟时间对激光器偏振开关特性产生较大影响.在慢自旋反转率下运行时, 随着反馈强度的增加, 开关点电流呈线性增加, 导致X偏振模被压缩, 这与报道的基于各向同性光反馈的情景相反, 产生这一现象的原因是由于光电负反馈提高了X偏振模的阈值; 延迟时间对开关点电流的影响随反馈强度的变化而不同.在快自旋反转率下运行时, 反馈强度对开关点电流的影响与慢自旋反转率时的情形不同, 开关点电流经历先增加后减小的过程, 开关点电流受反馈强度的影响更加敏感; 而延迟时间的影响规律和慢自旋反转率时相似. 此外, 还发现自发辐射噪声对激光器偏振开关特性有较大影响. 关键词： 垂直腔表面发射激光器 偏振开关 光电负反馈 自发辐射噪声     

Auditory masking of a 10 kHz tone with environmental, comodulated, and Gaussian noise in bottlenose dolphins (Tursiops truncatus)

The pattern of auditory masking derived from Gaussian noise is often cited and used to predict the detrimental effects of masking noise on marine mammals. However, environmental noise (both anthropogenic and natural) may not always be Gaussian distributed. Some noise sources are highly structured with complex amplitude fluctuations that extend across frequency regions, which are often termed comodulated noise. Recent evidence with bottlenose dolphins using comodulated noise demonstrated a significant release from masking compared to Gaussian maskers of the same bandwidth and pressure spectral density level, a result known as comodulation masking release. The present study demonstrates a pattern of masking where both temporally fluctuating comodulated noise and environmental noise produce lower masked thresholds compared to Gaussian noise of the same spectral density level and bandwidth. Furthermore, a threshold reduction or "masking release" occurred when the environmental noise bandwidth increased beyond a critical band. These results provide further evidence that conventional models of auditory masking using Gaussian maskers (i.e., the power spectrum model) do not fully describe the masking effects that occur in realistic environments.     

Cochlear Implant Users’ Vocal Control CorrelatesAcross Tasks

Cochlear implants (CIs) provide access to auditory information that can affect vocal control. For example, previous research shows that, when producing a sustained vowel, CI users will alter the pitch of their voice when the feedback of their own voice is perceived to shift. Although these results can be informative as to how perception and production are linked for CI users, the artificial nature of the task raises questions as to the applicability of the results to real-world vocal productions. To examine how vocal control, when producing sustained vowels, relates to vocal control for more ecologically valid tasks, 10 CI users’ vocal control was measured across two tasks: (1) sustained vowel production, and (2) singing. The results found that vocal control, as measured by the variability of the participants’ fundamental frequency, was significantly correlated when producing sustained vowels and when singing, although variability was significantly greater when singing. This suggests that, despite the artificial nature of sustained vowel production, vocal control on such tasks is related to vocal control for more ecologically valid tasks. However, the results also suggest that vocal control may be overestimated with sustained vowel production tasks.     

Pitch shift of pure and complex tones induced by masking noise

Psychoacoustic experiments were performed to measure the pitch-shift effects of pure and complex tones resulting from the addition of a masking noise to the tonal stimuli. Harmonic residue tones with either two or three harmonics and a fundamental frequency of 200 Hz were chosen as test tones. The pitch shifts of virtual and spectral pitches of the residue tones were measured as a function of the intensity of a low-pass noise with 600-Hz cutoff frequency. The SPL of this noise varied between 30 and 70 dB. In another experiment, the pitch shifts of single pure tones corresponding to the frequencies and SPLs of the harmonics of the residue tones were measured using the same masking noise. The results from five subjects for the harmonic residue tones show only a weak dependence of pitch shift on masking noise intensity. This dependence exists for both spectral and virtual pitches. In the case of single pure tones, pitch shift depends more distinctly on noise intensity. Pitch shifts of up to 5% were found in the range of noise intensity investigated. The magnitude of pitch shift shows pronounced interindividual differences, but the direction of the shift effect is always the same. In all cases pitch increases with higher masking noise levels.