Effects of a vocally fatiguing task and systemic hydration on phonation threshold pressure

Phonation threshold pressure (PTP), effort for speaking, and vibratory closure pattern were assessed in 4 women with normal untrained voices after 2 hours of loud reading. PTP generally increased after this vocally fatiguing task at conversational pitch and 10%, 50%, and especially 80% of the pitch range. Increased systemic hydration by drinking water appeared to attenuate and/or delay the elevation of PTP for 3 subjects, at least at the highest pitch tested. Effort for speaking increased consistently throughout the loud reading task and subsequently decreased after 15 minutes of vocal silence. Upon videostroboscopic examination of the larynx, 3 subjects demonstrated spindle-shaped vibratory closure patterns on occasion after loud reading. The results provide preliminary support for increasing water consumption to reduce or delay some vocal-function changes after prolonged loud phonation in untrained speakers.     

Changes in glottal configuration in women after loud talking

The purpose of this investigation was to examine changes in glottal configuration in women under a variety of pitch and loudness conditions after an interval of loud reading. Twelve young adult women with normal laryngeal structures were photographed under stroboscopic light and sustained the vowel /i/ for a minimum of 3 s, at three pitch levels and three loudness levels, before and after a 15-min interval of loud reading. Results indicate that female speakers tend to alter glottic configurations across phonatory conditions after loud reading, particularly during high-pitch phonation. Specifically, five subjects tended to increase glottal closure, one tended to increase glottal opening, two tended to maintain the identical configuration, and four demonstrated no consistent pattern of response.     

Acoustic Changes in Student Actors' Voices After 12 Months of Training

This study was to evaluate acoustic changes in student actors' voices after 12 months of actor training. The design used was a longitudinal study. Eighteen students enrolled in an Australian tertiary 3-year acting program (nine male and nine female) were assessed at the beginning of their acting course and again 12 months later using a questionnaire, interview, maximum phonation time (MPT), reading, spontaneous speaking, sustained phonation tasks, and a pitch range task. Samples were analyzed for MPT, fundamental frequency across tasks, pitch range for speaking and reading, singing pitch range, noise-to-harmonic ratio, shimmer, and jitter. After training, measures of shimmer significantly increased for both male and female participants. Female participants' pitch range significantly increased after training, with a significantly lower mean frequency for their lowest pitch. The finding of limited or negative changes for some measures indicate that further investigation is required into the long-term effects of actor voice training and which parameters of voicing are most targeted and valued in training. Particular investigation into the relationship between training targets and outcomes could more reliably inform acting programs about changes in teaching methodologies. Further research into the relationship between specific training techniques, physiological changes, and vocal changes may also provide information on implementing more evidence-based training methods.     

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.     

Maximum speed of pitch change and how it may relate to speech

How fast speakers can change pitch voluntarily is potentially an important articulatory constraint for speech production. Previous attempts at assessing the maximum speed of pitch change have helped improve understanding of certain aspects of pitch production in speech. However, since only "response time"--time needed to complete the middle 75% of a pitch shift--was measured in previous studies, direct comparisons with speech data have been difficult. In the present study, a new experimental paradigm was adopted in which subjects produced rapid successions of pitch shifts by imitating synthesized model pitch undulation patterns. This permitted the measurement of the duration of entire pitch shifts. Native speakers of English and Mandarin participated as subjects. The speed of pitch change was measured both in terms of response time and excursion time-time needed to complete the entire pitch shift. Results show that excursion time is nearly twice as long as response time. This suggests that physiological limitation on the speed of pitch movement is greater than has been recognized. Also, it is found that the maximum speed of pitch change varies quite linearly with excursion size, and that it is different for pitch rises and falls. Comparisons of present data with data on speed of pitch change from studies of real speech found them to be largely comparable. This suggests that the maximum speed of pitch change is often approached in speech, and that the role of physiological constraints in determining the shape and alignment of F0 contours in speech is probably greater than has been appreciated.     

The perception of fundamental frequency declination

A series of experiments was carried out to investigate how fundamental frequency declination is perceived by speakers of English. Using linear predictor coded speech, nonsense sentences were constructed in which fundamental frequency on the last stressed syllable had been systematically varied. Listeners were asked to judge which stressed syllable was higher in pitch. Their judgments were found to reflect normalization for expected declination; in general, when two stressed syllables sounded equal in pitch, the second was actually lower. The pattern of normalization reflected certain major features of production patterns: A greater correction for declination was made for wide pitch range stimuli than for narrow pitch range stimuli. The slope of expected declination was less for longer stimuli than for shorter ones. Lastly, amplitude was found to have a significant effect on judgments, suggesting that the amplitude downdrift which normally accompanies fundamental frequency declination may have an important role in the perception of phrasing.     

Average speaking fundamental frequency in soprano singers with and without symptoms of vocal attrition

Nineteen trained soprano singers aged 18–30 years vocalized tasks designed to assess average speaking fundamental frequency (SFF) during spontaneous speaking and reading. Vocal range and perceptual characteristics while singing with low intensity and high frequency were also assessed, and subjects completed a survey of vocal habits/symptoms. Recorded signals were digitized prior to being analyzed for SFF using the Kay Computerized Speech Lab program. Subjects were assigned to a normal voice or impaired voice group based on ratings of perceptual tasks and survey results. Data analysis showed group differences in mean SFF, no differences in vocal range, higher mean SFF values for reading than speaking, and 58% ability to perceive speaking in low pitch. The role of speaking in too low pitch as causal for vocal symptoms and need for voice classification differentiation in vocal performance studies are discussed.     

Musical pitch of two-tone complexes and predictions by modern pitch theories.

Most studies of the musical pitch of harmonic tone complexes have utilized signals comparing two or more successive harmonics. The present study provides systematic data on melodic interval recognition by three musically experienced subjects with sounds whose missing fundamentals were represented by two nonsuccessive harmonics nf0,(n + m)f0, delivered to separate ears. Data were obtained in the ranges 1 less than or equal to n less than or equal to 9, 2 less than or equal to m less than or equal to 4, and 200 Hz less than or equal to f0 less than or equal to 1000 Hz. The data are interpreted in the light of three theories, the "optimum processor theory," the "virtual pitch theory," and the "pattern transformation theory." For each theory, a constraint on preformance is proposed based on interference between the "analytic" and "synthetic" pitch perception modes. The former is obtained with large spacings between harmonics, where listeners are more likely to perceive harmonics as individual tones, each having their own pitch. This degrades the listener's ability to hear the fundamental pitch.     

Fabrication of a mid-IR wire-grid polarizer by direct imprinting on chalcogenide glass

A mid-IR wire-grid polarizer with a 500 nm pitch was fabricated on a low toxic chalcogenide glass (Sb-Ge-Sn-S system) by the thermal imprinting of periodic grating followed by the thermal evaporation of Al metal. After imprinting, deposition of Al on the grating at an oblique angle produced a wire-grid polarizer. The fabricated polarizer showed polarization with TM transmittance greater than 60% at 5-9 μm wavelengths and an extinction ratio greater than 20 dB at 3.5-11 μm wavelengths. This polarizer with a high extinction ratio can be fabricated more simply and less expensively than conventional IR polarizers.     

Temporal dynamics of pitch strength in regular interval noises.

The pitch strength of rippled noise and iterated rippled noise has recently been fitted by an exponential function of the height of the first peak in the normalized autocorrelation function [Yost, J. Acoust. Soc. Am. 100, 3329-3335 (1996)]. The current study compares the pitch strengths and autocorrelation functions of rippled noise (RN) and another regular-interval noise, "AABB." RN is generated by delaying a copy of a noise sample and adding it to the undelayed version. AABB with the same pitch is generated by taking a sample of noise (A) with the same duration as the RN delay and repeating it to produce AA, and then concatenating many of these once-repeated sequences to produce AABBCCDD.... The height of the first peak (h1) in the normalized autocorrelation function of AABB is 0.5, identical to that of RN. The current experiments show the following: (1) AABB and RN can be discriminated when the pitch is less than about 250 Hz. (2) For these low pitches, the pitch strength of AABB is greater than that for RN whereas it is about the same for pitches above 250 Hz. (3) When RN is replaced by iterated rippled noise (IRN) adjusted to match the pitch strength of AABB, the two are no longer discriminable. The pitch-strength difference between AABB and RN below 250 Hz is explained in terms of a three-stage, running-autocorrelation model. It is suggested that temporal integration of pitch information is achieved in two stages separated by a nonlinearity. The first integration stage is implemented as running autocorrelation with a time constant of 1.5 ms. The second model stage is a nonlinear transformation. In the third model stage, the output of the nonlinear transformation is long-term averaged (second integration stage) to provide a measure of pitch strength. The model provides an excellent fit to the pitch-strength matching data over a wide range of pitches.     

Pitch shifts for complex tones with unresolved harmonics and the implications for models of pitch perception

Complex tone bursts were bandpass filtered, 22nd-30th harmonic, to produce waveforms with five regularly occurring envelope peaks ("pitch pulses") that evoked pitches associated with their repetition period. Two such tone bursts were presented sequentially and separated by an interpulse interval (IPI). When the IPI was varied, the pitch of the whole sequence was shifted by between +2% and -5%. When the IPI was greater than one period, little effect was seen. This is consistent with a pitch mechanism employing a long integration time for continuous stimuli that resets in response to temporal discontinuities of greater than about one period of the waveform. Similar pitch shifts were observed for fundamental frequencies from 100 to 250 Hz. The pitch shifts depended on the IPI duration relative to the period of the complex, not on the absolute IPI duration. The pitch shifts are inconsistent with the autocorrelation model of Meddis and O'Mard [J. Acoust. Soc. Am. 102, 1811-1820 (1997)], although a modified version of the weighted mean-interval model of Carlyon et al. [J. Acoust. Soc. Am. 112, 621-633 (2002)] was successful. The pitch shifts suggest that, when two pulses occur close together, one of the pulses is ignored on a probabilistic basis.     

Absolute pitch among American and Chinese conservatory students: prevalence differences, and evidence for a speech-related critical period

Absolute pitch is extremely rare in the U.S. and Europe; this rarity has so far been unexplained. This paper reports a substantial difference in the prevalence of absolute pitch in two normal populations, in a large-scale study employing an on-site test, without self-selection from within the target populations. Music conservatory students in the U.S. and China were tested. The Chinese subjects spoke the tone language Mandarin, in which pitch is involved in conveying the meaning of words. The American subjects were nontone language speakers. The earlier the age of onset of musical training, the greater the prevalence of absolute pitch; however, its prevalence was far greater among the Chinese than the U.S. students for each level of age of onset of musical training. The findings suggest that the potential for acquiring absolute pitch may be universal, and may be realized by enabling infants to associate pitches with verbal labels during the critical period for acquisition of features of their native language.     

Perceptual learning in frequency discrimination

This study was concerned with the effects of training on the frequency discrimination ability of human listeners. Frequency discrimination at 200 Hz was tested before and after training. Four groups of listeners received training in four different frequency regions, 200, 360, 2500, and 6000 Hz. It was found that training at 200, 360, and 2500 Hz all provided comparable improvement in discrimination performance at 200 Hz whereas training at 6000 Hz provided less improvement. This result is consistent with the idea that frequency discrimination and pitch perception are mediated by different processes at high (greater than 5000 Hz) and low (less than 5000 Hz) frequencies.     

Performance characterization of human pitch control system: an acoustic approach

The performance of the human pitch control system was characterized by measurement of the speed of pitch shift and pitch shift response speed (inverse of reaction time) at various initial pitch and loudness levels. Data from three nonsinger adult male subjects and one professional singer suggest a strong inverse correlation (r greater than 0.78) between initial pitch and rate of pitch rise. This study showed no significant relation between initial loudness and rate of pitch rise. Also, vocal response speed showed no significant relation with either initial pitch or loudness. However, it is suggested that pitch shift response speed might be related to the second formant frequency of the target vowel. A composite index of pitch control performance capacity was defined as the product of response speed and vocal fold contractile velocity. From experimental data, the composite index was able to reflect a distinct 74% superior performance by the professional singer (relative to the average maximum performance capacity of nonsingers). It is suggested that the product-based composite index of performance capacity can serve as a sensitive means for vocal proficiency determination.     

The role of temporal fine structure information for the low pitch of high-frequency complex tones

The fused low pitch evoked by complex tones containing only unresolved high-frequency components demonstrates the ability of the human auditory system to extract pitch using a temporal mechanism in the absence of spectral cues. However, the temporal features used by such a mechanism have been a matter of debate. For stimuli with components lying exclusively in high-frequency spectral regions, the slowly varying temporal envelope of sounds is often assumed to be the only information contained in auditory temporal representations, and it has remained controversial to what extent the fast amplitude fluctuations, or temporal fine structure (TFS), of the conveyed signal can be processed. Using a pitch matching paradigm, the present study found that the low pitch of inharmonic transposed tones with unresolved components was consistent with the timing between the most prominent TFS maxima in their waveforms, rather than envelope maxima. Moreover, envelope cues did not take over as the absolute frequency or rank of the lowest component was raised and TFS cues thus became less effective. Instead, the low pitch became less salient. This suggests that complex pitch perception does not rely on envelope coding as such, and that TFS representation might persist at higher frequencies than previously thought.     

Laryngeal function and vocal fatigue after prolonged reading in individuals with unilateral vocal fold paralysis

The purpose of the present study was to examine the effect of prolonged loud reading, intended to induce fatigue, on vocal function in adults with unilateral vocal fold paralysis (UVFP). Subjects were 20 adults, 37–60 years old, with UVFP secondary to recurrent laryngeal nerve paralysis. Subjective ratings and instrumental measures of vocal function were obtained before and after reading. Statistical analysis revealed subjects rated their vocal quality and physical effort for voicing more severely following prolonged loud reading, whereas expert raters did not detect a significant perceptual difference in vocal quality. Reading fundamental frequency (Fo) was significantly increased following prolonged loud reading, as were mean airflow rates at all pitch conditions. Maximum phonation times for comfort and low pitches significantly decreased during posttests. Multiple regression analyses revealed significant associations between ratings of posttest physical effort and select posttest measures. Interpretation of results indicates the prolonged loud reading task was successful in vocally fatiguing most of the UVFP subjects. Key physiologic correlates of vocal fatigue, in individuals with UVFP, include further reduction of glottic efficiency, resulting in decreased regulation of glottic airflow and a temporary destabilization of speaking fundamental frequency.     

Pitch discrimination of harmonic complex signals: residue pitch or multiple component discriminations?

Two models for pitch discrimination of harmonic complex sounds are discussed, a multiple-band probability summation model using comparisons among component frequencies, and a model in which residue pitches are compared. The second model is based on Goldstein's optimum-processor pitch theory [J. Acoust. Soc. Am. 54, 1496-1516 (1973)], and is distinguished from the multiple-band model by an internal noise process. Pitch difference limens from 2I2AFC tasks show that when the test signals comprise corresponding harmonics, relative pitch difference limens are less than the smaller relative difference limens for the component frequencies, which is consistent with the multiple-band model. The absence of corresponding harmonics significantly reduces relative pitch discriminability; this effect supports the model on Goldstein's theory. It appears that residue pitch comparisons are not used for pitch discrimination between sounds with corresponding components; rather, comparisons based on residue pitch are only employed where there are no common resolved components in the signals to be discriminated.     

Predicting the effects of vertical vibration frequency,combinations of frequencies and viewing distance on the reading of numeric displays

This paper describes a series of experiments to determine the effects of vibration frequency, viewing distance and multiple frequency motions on the reading of numeric characters. Contours of vertical (z-axis) whole-body vibration levels resulting in equal degradation of the reading task were determined over the frequency range 2·8 Hz to 63 Hz. With the seating condition employed, the task was found to be most sensitive to vibration acceleration at a frequency of 11·2 Hz. A marked correlation was observed between reading error and reading speed. The effects of vibration on reading performance were found to be dependent on viewing distance for distance of less than 1·5 m, with the effect increasing as the viewing distance was decreased. The effect of 3·15 Hz vibration was found to increase more rapidly with reductions in viewing distance than that of 16 Hz vibration. The effects of 3·15 and 16 Hz vibration were independent of viewing distance greater than 1·5 m, indicating that the effects of rotational eye motion are dominant at these distances. Four methods were compared for predicting the effects of multiple frequency motion on reading performance given a knowledge of the effect of each component alone. The best predictions of reading error were obtained from the most severe weighted spectral component alone. Inspection of individual subject's data suggests that in many cases the effect of multiple frequency vibration on reading is even less than the effect of the largest sinusoidal component alone.     

Pitch extraction using a generated decision function

A pitch extraction method is considered that employs a decision function whose maximum is greater than the possible spurious maxima of the analyzed signal on the pitch period. Smoothing by a wavelet window is proposed as a preprocessing procedure for the telephone signal. Experiments have shown that the proposed pitch extraction method is advantageous in almost all situations except for the case of the undistorted signal, where the LLK method proved to be the best one.     

Effects of signal envelope on the pitch of short complex tones

Envelope-induced pitch shifts were measured for exponentially decaying complex tones consisting of two sinusoidal components with frequencies f1 = nf0 + 50 Hz and f2 = (n + 1) f0 + 50 Hz, where n equals 3, 4, or 5 and exponential decay rates were 0, 0.5, 1, and 2 dB/ms. Four subjects adjusted a sinusoidal comparison tone to match the virtual pitch of the (missing) fundamental and the pitches of the lower and upper partials f1 and f2. Pitch shifts for f1 are generally less, and pitch shifts for f2 always greater, than envelope-induced shifts observed in isolated sinusoidal tones of comparable frequency and envelope decay rate. Pitch-shift functions for virtual pitch are similar in magnitude and shape to average pitch-shift functions of the partials, which supports the idea that virtual pitch depends on spectral pitch.