Vocal tract changes caused by phonation into a tube: a case study using computer tomography and finite-element modeling

Phonation into a glass tube is a voice training and therapy method that leads to beneficial effects in voice production. It has not been known, however, what changes occur in the vocal tract during and after the phonation into a tube. This pilot study examined the vocal tract shape in a female subject before, during, and after phonation into a tube using computer tomography (CT). Three-dimensional finite-element models (FEMs) of the vocal tract were derived from the CT images and used to study changes in vocal tract input impedance. When phonating on vowel [a:] the data showed tightened velopharyngeal closure and enlarged cross-sectional areas of the oropharyngeal and oral cavities during and after the tube-phonation. FEM calculations revealed an increased input inertance of the vocal tract and an increased acoustic energy radiated out of the vocal tract after the tube-phonation. The results indicate that the phonation into a tube causes changes in the vocal tract which remain also when the tube is removed. These effects may help improving voice production in patients and voice professionals.     

The external frame function in the control of pitch, register, and singing mode: Radiographic observations of a female singer

This study investigates pitch control, register, and singing mode related movements of the laryngo-pharyngeal structures by radiographic methods. One trained female singer served as the subject. The results show that singing voice production involves complex movements in the laryngeal structures. Pitch related increase in the thyro-arytenoid distance (vocal fold length) is nonlinear, slowing down as pitch rises. Similar observations have been made earlier. At the highest pitches, a shortening of the distance can be seen, suggesting the use of alternative pitch control mechanisms. The various observations made support the existence of three registers in this trained female singing voice. Open and covered modes of singing seemed to be distinguishable on the basis of different amounts of inner and outer forces acting on the larynx. Therefore, caution must be exercised when generalizing from the results.     

Acoustic Measures and Self-reports of Vocal Fatigue by Female Teachers

This study investigated the relation of symptoms of vocal fatigue to acoustic variables reflecting type of voice production and the effects of vocal loading. Seventy-nine female primary school teachers volunteered as subjects. Before and after a working day, (1) a 1-minute text reading sample was recorded at habitual loudness and loudly (as in large classroom), (2) a prolonged phonation on [a:] was recorded at habitual speaking pitch and loudness, and (3) a questionnaire about voice quality, ease, or difficulty of phonation and tiredness of throat was completed. The samples were analyzed for average fundamental frequency (F0), sound pressure level (SPL), and phonation type reflecting alpha ratio (SPL [1-5 kHz]-SPL [50 Hz-1 kHz]). The vowel samples were additionally analyzed for perturbation (jitter and shimmer). After a working day, F0, SPL, and alpha ratio were higher, jitter and shimmer values were lower, and more tiredness of throat was reported. The average levels of the acoustic parameters did not correlate with the symptoms. Increase in jitter and mean F0 in loud reading correlated with tiredness of throat. The results seem to suggest that, at least among experienced vocal professionals, voice production type had little relevance from the point of view of vocal fatigue reported. Differences in the acoustic parameters after a vocally loading working day mainly seem to reflect increased muscle activity as a consequence of vocal loading.     

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.     

A physiological and acoustic study on voiced bilabial fricative /β:/ as a vocal exercise

The voiced bilabial fricative /β:/ has been used as a vocal exercise. The present study investigated the effects of the exercise on voice production and voice source. This study compared vowel phonation on the syllable /a:p/ with the production of the exercise and vowel phonation before and immediately after the exercise. The methods were (a) dual-channel electroglottography, from which the vertical laryngeal position was derived, (b) electromyography using surface electrodes, and (c) inverse filtering of the acoustic signal to obtain an estimate of the voice source. In the production of /β:/ as compared with vowel phonation in most of the cases, the vertical laryngeal position seemed to be higher, the muscular activity of the larynx lower, and the slope of the voice source spectrum steeper. In vowel phonation after the exercise, the muscular activity seemed to be lower in most cases, although the voice source remained unchanged. This seems to indicate improved vocal economy.     

Sensitive miniature single-particle immunoassay of prostate-specific antigen using time-resolved fluorescence

The present study describes the development of a quantitative miniaturized single microparticle immunoassay. The main objective of the study was to evaluate the performance of a miniature heterogeneous immunoassay on a single microparticle in respect to assay kinetics, volume, and sensitivity, binding capacity of microparticles and sensitivity using europium(III) nanoparticle labels. The performance of the single microparticle assay of prostate-specific antigen (PSA) was investigated using different-sized microparticles (60-920 μm in diameter) and microtiter well as a solid-phase. Equilibration time of the assay was shown to be dependent in a linear manner on surface-to-volume ratio, i.e. larger surface-to-volume translated to a faster reaction. However, no correlation between PSA binding capacity and equilibration time was observed in these kinetic studies. Only moderate improvement in assay kinetics was found when PSA binding capacity was increased on a microparticle. Using europium(III) nanoparticle labels, 107 nm in diameter, coated with streptavidin a detection sensitivity of 30 ng l⁻¹ (0.1 amol) was achieved in 1 μl total assay volume per microparticle. This was 50-fold higher compared to the same assay performed with intrinsically fluorescent europium(III) labels.     

Pitch-Synchronous Changes in the Anterior Cricothyroid Space During Singing

Pitch-synchronous changes in the anterior cricothyroid (CT) space were registered with ultrasonography (USG) for ten healthy subjects (5 males, 5 females) during the production of musical fifths throughout the whole voice range. One of the males and one of the females were trained amateur singers, the other subjects were choir singers. The average decrease in CT space per a musical fifth was 1.3-2.4 mm for the males and 1.0-1.8 mm for the females; the average decrease was smaller in the middle of the pitch range for both genders. The results suggest that (1) USG can be used for detection of pitch-synchronous changes in the CT space; (2) these changes are dependent on pitch range; and (3) more trained singers tend to have somewhat smaller changes than less trained subjects at certain frequencies. The results seem to indicate that F0 control mechanism varies according to pitch range and register, and possibly according to individual structure and vocal technique related differences.