Reliability in Perceptual Analysis of Voice Quality

This study focuses on speaking voice quality in male teachers (n = 35) and male actors (n = 36), who represent untrained and trained voice users, because we wanted to investigate normal and supranormal voices. In this study, both substantial and methodologic aspects were considered. It includes a method for perceptual voice evaluation, and a basic issue was rater reliability. A listening group of 10 listeners, 7 experienced speech-language therapists, and 3 speech-language therapist students evaluated the voices by 15 vocal characteristics using VA scales. Two sets of voice signals were investigated: text reading (2 loudness levels) and sustained vowel (3 levels). The results indicated a high interrater reliability for most perceptual characteristics. Connected speech was evaluated more reliably, especially at the normal level, but both types of voice signals were evaluated reliably, although the reliability for connected speech was somewhat higher than for vowels. Experienced listeners tended to be more consistent in their ratings than did the student raters. Some vocal characteristics achieved acceptable reliability even with a smaller panel of listeners. The perceptual characteristics grouped in 4 factors reflected perceptual dimensions.     

Effects on the glottal voice source of vocal loudness variation in untrained female and male voices

Subglottal pressure is one of the main voice control factors, controlling vocal loudness. In this investigation the effects of subglottal pressure variation on the voice source in untrained female and male voices phonating at a low, a middle, and a high fundamental frequency are analyzed. The subjects produced a series of /pae/ syllables at varied degrees of vocal loudness, attempting to keep pitch constant. Subglottal pressure was estimated from the oral pressure during the /p/ occlusion. Ten subglottal pressure values, approximately equidistantly spaced within the pressure range used, were identified, and the voice source of the vowels following these pressure values was analyzed by inverse filtering the airflow signal as captured by a Rothenberg mask. The maximum flow declination rate (MFDR) was found to increase linearly with subglottal pressure, but a given subglottal pressure produced lower values for female than for male voices. The closed quotient increased quickly with subglottal pressure at low pressures and slowly at high pressures, such that the relationship can be approximated by a power function. For a given subglottal pressure value, female voices reached lower values of closed quotient than male voices.     

Voice characteristics, effects of voice therapy, and long-term follow-up of contact granuloma patients

This study evaluates the laryngoscopic findings and voice characteristics of male contact granuloma patients before and after voice therapy and at a follow-up about 9 years later. Pre- and posttherapy recordings as well as follow-up recordings were made for 19 granuloma patients. Pretherapy revealed the most salient perceptual voice characteristics were low pitch, monotony, and a high degree of vocal fry and hyperfunction. Interjudge reliability for these traits was high. Immediately following therapy the healed patients (n = 10) had a decrease in hyperfunction, vocal fry, and monotony, while the unhealed patients (n = 9) had an increase in hyperfunction and vocal fry decreased only marginally. Monotony decreased significantly in this group. As regards the acoustic analyses, no significant differences were found in mean fundamental frequency (F₀) or perturbation. At the follow-up assessment 4 patients had granuloma while 15 had normal laryngeal status. Perceptually their voice characteristics resembled those pretherapy independently of the laryngeal findings. The results suggest that reduced hyperfunction and decreased vocal fry may create better circumstances for the healing process at the posterior glottis.     

The Speaker's Formant

The current study concerns speaking voice quality in two groups of professional voice users, teachers (n = 35) and actors (n = 36), representing trained and untrained voices. The voice quality of text reading at two intensity levels was acoustically analyzed. The central concept was the speaker's formant (SPF), related to the perceptual characteristics "better normal voice quality" (BNQ) and "worse normal voice quality" (WNQ). The purpose of the current study was to get closer to the origin of the phenomenon of the SPF, and to discover the differences in spectral and formant characteristics between the two professional groups and the two voice quality groups. The acoustic analyses were long-term average spectrum (LTAS) and spectrographical measurements of formant frequencies. At very high intensities, the spectral slope was rather quandrangular without a clear SPF peak. The trained voices had a higher energy level in the SPF region compared with the untrained, significantly so in loud phonation. The SPF seemed to be related to both sufficiently strong overtones and a glottal setting, allowing for a lowering of F4 and a closeness of F3 and F4. However, the existence of SPF also in LTAS of the WNQ voices implies that more research is warranted concerning the formation of SPF, and concerning the acoustic correlates of the BNQ voices.     

Perceptual Identification and Acoustic Measures of the Resonant Voice Based on “Lessac''s Y-Buzz”—A Preliminary Study With Actors

This study aimed to verify whether the resonant voice based on Lessac's Y-Buzz can be perceived by listeners as resonant and different from habitual voice and to compare them to determine whether this sound exploration improves the vocal production. Nine newly graduated actors, six men and three women without voice complaints, were the subjects. They received a session of Lessac's Y-Buzz training from the primary investigator. Before training, they were asked to sustain the vowel /i/ at comfortable frequency and habitual loudness. After training, they were requested to sustain the Y-Buzz they had learned at a comfortable frequency and habitual loudness. Three speech-language pathologists (SLP) trained in voice developed an auditory-perceptive analysis. The pre- and posttraining voice samples were randomly spliced together, edited, and presented in pairs to perceptual judges who were asked to identify the most resonant of the pair. The voice samples were also acoustically compared through the Hoarseness Diagram and acoustic measures using the VoxMetria Software (CTS, version 2.0s, Brazil). The Y-Buzz trials were identified as resonant voice in 74% of the comparisons. The acoustic measures showed a statistically significant decrease of irregularity (P = 0.002) and shimmer (P = 0.38). The Hoarseness Diagram demonstrated how the resonant voice moved toward the normality for irregularity and noise components. The results showed that the resonant voice based on the Y-Buzz can be identified as resonant and different from normal voicing in the same subject, and it apparently implies a better vocal production demonstrating a significant decrease of shimmer and irregularity through the Hoarseness Diagram evaluation.     

Laryngeal and pharyngeal behavior in countertenor and baritone singing—A videofiberscopic study

Changes in vocal tract configuration during singing were studied in four semiprofessional countertenors and one professional bass-baritone, by means of fiberoptic laryngoscopy. All of the countertenors showed a marked narrowing of the lower pharynx with increasing pitch when they used their countertenor voice (CT voice) but only a slight narrowing when using their baritone voice (B voice). The bass-baritone's pharynx remained unchanged with increasing pitch. Increasing loudness gave a widening of the pharynx in three of the four countertenors' CT voices, whereas no change was observed for the countertenors' B voices or for the bass-baritone voice. Vocal fold length seemed to decrease in one countertenor's B voice and in the bass-baritone with increasing loudness. Thus, the countertenors in this study exhibit several characteristic patterns of vocal tract gestures in countertenor voice that differ from both their own baritone voices and from the bass-baritone.     

Acoustic and Perceptual Analyses of Brazilian Male Actors' and Nonactors' Voices: Long-term Average Spectrum and the “Actor's Formant”

SUMMARY: This study investigates the possible differences between actors' and nonactors' vocal projection strategies using acoustic and perceptual analyses. A total of 11 male actors and 10 male nonactors volunteered as subjects, reading an extended text sample in habitual, moderate, and loud levels. The samples were analyzed for sound pressure level (SPL), alpha ratio (difference between the average SPL of the 1-5kHz region and the average SPL of the 50Hz-1kHz region), fundamental frequency (F0), and long-term average spectrum (LTAS). Through LTAS, the mean frequency of the first formant (F1) range, the mean frequency of the "actor's formant," the level differences between the F1 frequency region and the F0 region (L1-L0), and the level differences between the strongest peak at 0-1kHz and that at 3-4kHz were measured. Eight voice specialists evaluated perceptually the degree of projection, loudness, and tension in the samples. The actors had a greater alpha ratio, stronger level of the "actor's formant" range, and a higher degree of perceived projection and loudness in all loudness levels. SPL, however, did not differ significantly between the actors and nonactors, and no differences were found in the mean formant frequencies ranges. The alpha ratio and the relative level of the "actor's formant" range seemed to be related to the degree of perceived loudness. From the physiological point of view, a more favorable glottal setting, providing a higher glottal closing speed, may be characteristic of these actors' projected voices. So, the projected voices, in this group of actors, were more related to the glottic source than to the resonance of the vocal tract.     

Effects of vocal loudness variation on spectrum balance as reflected by the alpha measure of long-term-average spectra of speech

The overall slope of long-term-average spectrum (LTAS) decreases if vocal loudness increases. Therefore, changes of vocal loudness also affects the alpha measure, defined as the ratio of spectrum intensity above and below 1000 Hz. The effect on alpha of loudness variation was analyzed in 15 male and 16 female voices reading a text at different degrees of vocal loudness. The mean range of equivalent sound level (L(eq)) amounted to about 28 dB and the mean range of alpha to 19.0 and 11.7 dB for the female and male subjects. The L(eq) vs. alpha relationship could be approximated with a quadratic function, or by a linear equation, if softest phonation was excluded. Using such equations alpha was computed for all values of L(eq) observed for each subject and compared with observed values. The maximum and the mean absolute errors were 2.4 dB and between 0.1 and 0.6 dB. When softest phonation was disregarded and linear equations were used, the maximum error was less than 2 dB and the mean absolute errors were between 0.2 and 0.7 dB. The strong correlation between L(eq) and alpha indicates that for a voice L(eq) can be used for predicting alpha.     

Vocal quality characteristics in children with cleft palate: a multiparameter approach

The main purpose of the present study was to examine the vocal quality and to investigate the effects of gender on vocal quality in 28 children with a unilateral or bilateral cleft palate. In this study, the vocal quality was determined using videolaryngostroboscopic and perceptual evaluations, aerodynamic, voice range, acoustic, and dysphonia severity index (DSI) measurements. The DSI is based on the weighted combination of four voice measurements and ranges from +5 to -5 for, respectively, normal and severely dysphonic voices. Additional objectives were to compare the vocal quality characteristics of children with cleft palate with the available normative data and to investigate the impact of the cleft type on vocal quality. Gender-related vocal quality differences were found. The male cleft palate children showed an overall vocal quality of +0.62 with the presence of a perceptual slight grade of hoarseness and roughness. The female vocal quality had a DSI value of +2.4 reflecting a perceptually normal voice. Irrespective of the type of cleft, all subjects demonstrated a significantly lower DSI-value in comparison with the available normative data. The results of the present study have provided valuable insights into the vocal quality characteristics of cleft palate children.     

Communicative Suitability of Voice Following Radiotherapy for T1 Glottic Carcinoma: Testing the Reliability of a Rating Instrument

The objective of the study was to determine whether a communicative suitability rating instrument could be used in a meaningful way to assess functionality of voice following radiotherapy for T1 glottic cancer. Seventeen naive listeners judged the suitability of voice of a patient group with T1 glottic carcinoma (n = 20) just before treatment, a group of patients (n = 40) after radiotherapy, and a matched control group (n = 20) of normal speakers. Listeners rated suitability on a 10-point scale for 10 speaking situations, which supposedly make different demands. In order to validate scores on communicative suitability, ratings were related to perceptual voice quality evaluations and videolaryngostroboscopic evaluations. Results indicate that the concept of measuring listener judgments of communicative suitability of voice is basically sound. Raters are reliable and can discriminate between groups of normal and pathological voices. Patients with T1 glottic carcinoma (assessed before the start of treatment) have on average the least suitable voices. Following radiotherapy suitability is, on average, improved, but does not approach the suitability of normal voices. Ratings on communicative suitability were clearly related to perceptual voice quality aspects and videolaryngostroboscopic evaluations. A subset of three communicative suitability rating scales is recommended as part of the protocol for evaluating voice outcome after radiotherapy for early glottic cancer, besides perceptual evaluation of voice quality by trained and naive raters, videolaryngostroboscopy, acoustical analyses, and self-ratings of vocal performance.     

Aerodynamic Analysis of Male-to-Female Transgender Voice

The attainment of a feminine-sounding voice is a highly desirable goal among male-to-female transgender (MFT) persons, but this goal may be difficult for many to accomplish. The characteristics associated with a feminine vocal quality include increases in fundamental frequency and in vocal breathiness. In this study, we used inverse-filtering of the airflow signal to indirectly assess vocal fold function in 13 MFT persons. Each participant was asked to sustain the vowel /a/ first in her biological male voice and then again in her female voice. In addition, these vowel productions were compared with vowels produced by age-matched biologic women and men. The results of the study revealed a significant increase in maximum flow declination rate during female voice production. Perceptual ratings of a feminine voice were associated with a fundamental frequency (F0) of 180 Hz or greater, although F0 did not differ significantly between male and female voice production. These results are discussed relative to the mechanisms that obtained a feminine-sounding voice.     

Dissimilarity and the Classification of Male Singing Voices

Traditionally, timbre has been defined as that perceptual attribute that differentiates two sounds when pitch and loudness are equal, and thus is a measure of dissimilarity. By such a definition, each voice possesses a set of timbres, and the ability to identify any voice or voice category across different pitch-loudness-vowel combinations must be due to an ability to "link" these timbres by abstracting the "timbre transformation," the manner in which timbre subtly changes across pitch and loudness for a specific voice or voice category. Using stimuli produced across the singing range by singers from different voice categories, this study sought to examine how timbre and pitch interact in the perception of dissimilarity in male singing voices. This study also investigated whether or not listener experience affects the perception of timbre as a function of pitch. The resulting multidimensional scaling (MDS) representations showed that for all stimuli and listeners, dimension 1 correlated with pitch, while dimension 2 correlated with spectral centroid and separated vocal stimuli into the categories baritone and tenor. Dimension 3 appeared highly idiosyncratic depending on the nature of the stimuli and on the experience of the listener. Inexperienced listeners appeared to rely more heavily on pitch in making dissimilarity judgments than did experienced listeners. The resulting MDS representations of dissimilarity across pitch provide a glimpse of the timbre transformation of voice categories across pitch.     

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.     

The speaker''s formant in male voices

Spectral analysis of vowels during connected speech can be performed using the spectral intensity distribution within critical bands corresponding to a natural scale on the basilar membrane. Normalization of the spectra provides the opportunity to make objective comparisons independent from the recording level. An increasing envelope peak between 3,150 and 3,700 Hz has been confirmed statistically for a combination of seven vowels in three groups of male speakers with hoarse, normal, and professional voices. Each vowel is also analyzed individually. The local energy maximum is called “the speaker's formant” and can be found in the region of the fourth formant. The steepness of the spectral slope (i.e. the rate of decline) becomes less pronounced when the sonority or the intensity of the voice increases. The speaker's formant is connected with the sonorous quality of the voice. It increases gradually and is approximately 10 dB higher in professional male voices than in normal male voices at neutral loudness (60 dB at 0.3 min). The peak intensity becomes stronger (30 dB above normal voices) when the overall speaking loudness is increased to 80 dB. Shouting increases the spectral energy of the adjacent critical bands but not the speaker's formant itself.     

Level and Center Frequency of the Singer''s Formant

The "singer's formant" is a prominent spectrum envelope peak near 3 kHz, typically found in voiced sounds produced by classical operatic singers. According to previous research, it is mainly a resonatory phenomenon produced by a clustering of formants 3, 4, and 5. Its level relative to the first formant peak varies depending on vowel, vocal loudness, and other factors. Its dependence on vowel formant frequencies is examined. Applying the acoustic theory of voice production, the level difference between the first and third formant is calulated for some standard vowels. The difference between observed and calculated levels is determined for various voices. It is found to vary considerably more between vowels sung by professional singers than by untrained voices. The center frequency of the singer's formant as determined from long-term spectrum analysis of commercial recordings is found to increase slightly with the pitch range of the voice classification.     

Acoustic Prediction of Voice Type in Women with Functional Dysphonia

The categorization of voice into quality type (ie, normal, breathy, hoarse, rough) is often a traditional part of the voice diagnostic. The goal of this study was to assess the contributions of various time and spectral-based acoustic measures to the categorization of voice type for a diverse sample of voices collected from both functionally dysphonic (breathy, hoarse, and rough) (n=83) and normal women (n=51). Before acoustic analyses, 12 judges rated all voice samples for voice quality type. Discriminant analysis, using the modal rating of voice type as the dependent variable, produced a 5-variable model (comprising time and spectral-based measures) that correctly classified voice type with 79.9% accuracy (74.6% classification accuracy on cross-validation). Voice type classification was achieved based on two significant discriminant functions, interpreted as reflecting measures related to "Phonatory Instability" and "F(0) Characteristics." A cepstrum-based measure (CPP/EXP ratio) consistently emerged as a significant factor in predicting voice type; however, variables such as shimmer (RMS dB) and a measure of low- vs. high-frequency spectral energy (the Discrete Fourier Transformation ratio) also added substantially to the accurate profiling and prediction of voice type. The results are interpreted and discussed with respect to the key acoustic characteristics that contributed to the identification of specific voice types, and the value of identifying a subset of time and spectral-based acoustic measures that appear sensitive to a perceptually diverse set of dysphonic voices.     

Acoustic analysis of voice in individuals with amyotrophic lateral sclerosis and perceptually normal vocal quality

Currently, early phonatory changes in amyotrophic lateral sclerosis(ALS) are not well understood. The aim of this study was to compare acoustic parameters of voice in ALS subjects who demonstrated perceptually normal vocal quality on sustained phonation with a control group. We hypothesized that objective analysis of voice would reveal significant differences on specific acoustic parameters of voice compared to the control group. Results revealed statistically significant differences between the two groups on measures related to frequency range and phonatory stability. The findings suggest that early bulbar signs affecting the laryngeal system may be present in patients with ALS before the occurrence of perceptually aberrant vocal characteristics.     

The Effects of Collegiate Sports Coaching on the Male Voice: Pilot Data

PurposeThis research gathered pilot data on the effects of a typical collegiate athletic season on the male coach's voice.Materials and methodsTen male coaches and ten age- and sex-matched controls participated. Qualitative and quantitative analyses were performed to assess group differences in: 1) written self-reports obtained during one session, 2) acoustic and aerodynamic variables obtained during regular season and during off-season for the coaches and only once for the controls, and 3) auditory-perceptual data provided by three speech-language pathologists using the Consensus Auditory-Perceptual Evaluation of Voice during one listening session. Data pertaining to the coaches’ regular season, to the coaches’ off-season, and to the control participants were designated as in-season, off-season, and control, respectively.ResultsSignificant self-reported findings included more phonotraumatic behaviors in the coaches than in the controls and higher in-season than off-season and control vocal demand. The coaches’ history of voice problems was unrelated and the controls’ was related to respiratory illness and addressing a large audience. A significant acoustic finding was lower off-season than control low fundamental frequency. Finally, trained listeners perceived control loudness as more aberrant than off-season loudness and they noted vocal fry twice as many times in in-season and off-season than in control voices.ConclusionsThis study exposed traces of adverse voice reactions to coaching and confirmed that coaches harbor a job-based proclivity to voice overuse. Self-reported measures appeared to be the least and aerodynamic the most immune to phonatory exertion that pervades daily coaching tasks. Future studies are warranted to further delineate how athletic coaching interferes with voice production.     

Effects of Professional Singing Education on Vocal Vibrato—A Longitudinal Study

Vocal vibrato is regarded as one of the essential characteristics of voice quality in classical singing. Professional singers seem to develop vibrato automatically, without actively striving to acquire it. In this longitudinal investigation, the vocal vibrato of 22 singing students was examined at the beginning of and after 3 years of professional singing education. Subjects sang an ascending-descending triad pattern in slow tempo on vowel [a:] at a comfortable pitch level twice at soft (piano) and twice at medium (mezzoforte) loudness. The top note of the triad pattern was sustained for approximately 5s. The mean and the standard deviation (SD) of the vibrato rate were measured for this note. Results revealed that after 3 years of training, voices with vibrato slower than 5.2 Hz were found to have a faster vibrato, and voices with vibrato faster than 5.8 Hz were found to have a slower vibrato. Standard deviation of vibrato rate was higher in soft than in medium loudness, particularly before the education. Also high values of SD of vibrato rate, exceeding 0.65 Hz, had decreased after the education. These findings confirm that vibrato characteristics can be affected by singing education.     

Sources of listener disagreement in voice quality assessment

Traditional interval or ordinal rating scale protocols appear to be poorly suited to measuring vocal quality. To investigate why this might be so, listeners were asked to classify pathological voices as having or not having different voice qualities. It was reasoned that this simple task would allow listeners to focus on the kind of quality a voice had, rather than how much of a quality it possessed, and thus might provide evidence for the validity of traditional vocal qualities. In experiment 1, listeners judged whether natural pathological voice samples were or were not primarily breathy and rough. Listener agreement in both tasks was above chance, but listeners agreed poorly that individual voices belonged in particular perceptual classes. To determine whether these results reflect listeners' difficulty agreeing about single perceptual attributes of complex stimuli, listeners in experiment 2 classified natural pathological voices and synthetic stimuli (varying in f0 only) as low pitched or not low pitched. If disagreements derive from difficulties dividing an auditory continuum consistently, then patterns of agreement should be similar for both kinds of stimuli. In fact, listener agreement was significantly better for the synthetic stimuli than for the natural voices. Difficulty isolating single perceptual dimensions of complex stimuli thus appears to be one reason why traditional unidimensional rating protocols are unsuited to measuring pathologic voice quality. Listeners did agree that a few aphonic voices were breathy, and that a few voices with prominent vocal fry and/or interharmonics were rough. These few cases of agreement may have occurred because the acoustic characteristics of the voices in question corresponded to the limiting case of the quality being judged. Values of f0 that generated listener agreement in experiment 2 were more extreme for natural than for synthetic stimuli, consistent with this interpretation.