Comparisons of pharynx, source, formant, and pressure characteristics in operatic and musical theatre singing

Belting, a vocal technique typically cultivated in musical theatre singing, differs timbrally from operatic singing in many interesting respects. The underlying phonatory differences have not been previously investigated in detail. Yet, belting is frequently associated with disturbances of voice function. Articulatory and phonatory characteristics are investigated in a female subject who is a professional singer (co-author JL) trained in both the operatic and belting styles and in an intermediate vocal technique (“mixed”). This article presents data obtained from this subject by video-fiberoptic observation of the pharynx, inverse filtering of airflow, and measurement of subglottal pressure. The results reveal that belting was characterized by very high subglottal pressures and sound levels, and apparently also by a comparatively high degree of glottal adduction. Comparisons with other investigations of related aspects of belting and operatic singing support the assumption that the data obtained from our subject are representative for these vocal techniques.     

Analysis and modelling of overtone singing in the sygyt style

Overtone singing, also called biphonic singing, xöömij or chant diphonique in french; is a special singing style that exhibits two or more separate sounds - one “drone” sound of relatively low pitch and one or more high pitch melody sounds. The perceived pitches of the upper tones are multiples of the drone sound, i.e. taken from its overtone scale. Compared to voiced sounds of western style singers, the relative amplitude of the melody pitches is quite high, and the formant bandwidth of overtone sounds is small. This paper tries to answer the question of how these formant properties are achieved. Experimental investigations and numerical calculations prove the existence of two closely neighboured formants for the production of the melody sound in the sygyt style.     

The course scheduling problem at Lufthansa Technical Training

Lufthansa Technical Training GmbH (LTT) performs training courses for Lufthansa Technik AG as well as for several other international airlines. Courses of about 670 different types are offered of which several hundred take place each year. The course scheduling problem faced by LTT is to construct a yearly schedule which maximizes the profit margin incurred while meeting a variety of complex precedence, temporal, and resource-related constraints. A “good” operational schedule should also meet a number of additional subordinate objectives. We formalize the problem and develop a heuristic scheme along with several priority rules, as well as a local search algorithm to determine well-suited weights for weighted composite rules. The operational planning situation of 1996 served as our major test instance; additional test instances were constructed by modifying this data. Several computational experiments were carried out to evaluate the performance of the algorithms. It turned out that the best so-found schedule is substantially better in terms of the profit margin incurred than the solution manually constructed by LTT.     

Breathing muscle activity and subglottal pressure dynamics in singing and speech

Previous studies have indicated that the diaphragm may contribute to the accomplishment of the quick and precise subglottal pressure changes required during singing. The present investigation compares data collected from simultaneously recorded electromyograms from breathing muscles and transdiaphragmatic pressure during singing as well as during nonsense and emphatic speech.     

Following the cat: A preface for the next three papers

The three papers to follow, by Chris Rasmussen and three of his students, build from a task design the authors of this note developed in the 1990s. To introduce these papers, which extend our prior work in new directions, we sketch some background here.     

Vocal Fold Vibration and Phonation Start in Aspirated, Unaspirated, and Staccato Onset

Objectives/Hypotheses

Singers learn to produce well-controlled tone onsets by accurate synchronization of glottal adduction and buildup of subglottal pressure. Spectrographic analyses have shown that the higher spectrum partials are present also at the vowel onset in classically trained singers’ performances. Such partials are produced by a sharp discontinuity in the waveform of the transglottal airflow, presumably produced by vocal fold collision.

Study Design

After hearing a prompt series of a triad pattern, six singer subjects sang the same triad pattern on the vowel /i/ (1) preceded by an aspirated /p/, (2) preceded by an unaspirated /p/, and (3) without any preceding consonant in staccato.

Methods

Using high-speed imaging we examined the initiation of vocal fold vibration in aspirated and unaspirated productions of the consonant /p/ as well as in the staccato tones.

Results

The number vibrations failing to produce vocal fold collision were significantly higher in the aspirated /p/ than in the unaspirated /p/ and in the staccato tones. High frequency ripple in the audio waveform was significantly delayed in the aspirated /p/.

Conclusions

Initiation of vocal fold collision and the appearance of high-frequency ripple in the vowel /i/ are slightly delayed in aspirated productions of a preceding consonant /p/.