Correction of Abstract 4pPP7, ‘‘The tritone paradox and speakers’ voice range: A dubious connection’’ [J. Acoust. Soc. Am. 94, 1860(A) (1993)]

1994 ◽  
Vol 95 (4) ◽  
pp. 2267-2267
Author(s):  
Bruno H. Repp
Keyword(s):  
Tritone Paradox ◽  
Voice Range

The Tritone Paradox and the Pitch Range of the Speaking Voice: A Dubious Connection

1994 ◽  
Vol 12 (2) ◽  
pp. 227-255 ◽  
Author(s):  
Bruno H. Repp
Keyword(s):  
Individual Differences ◽  
Striking Difference ◽  
Voice Pitch ◽  
Pitch Range ◽  
Significant Difference ◽  
Tritone Paradox ◽  
The Individual ◽  
Individual Voice ◽  
Voice Range ◽  
The Voice

Deutsch and coworkers (Deutsch, 1991; Deutsch, North, & Ray, 1990) have proposed that individual differences in the perception of the "tritone paradox" derive from listeners' reference to a mental pitch template, acquired through experience with the pitch range of their own voice, as well as with the voice ranges typical of their language community. These authors have reported a correspondence between perceptual results and the upper limit of the individual voice range for a small group of selected subjects, as well as a striking difference in tritone perception between American and British listeners. The present study compared groups of Dutch, British, and American listeners on two tritone tests and also collected voice pitch data for the first two groups in a reading task. There was no within-group correlation of perceptual results with individual differences in voice range. Differences in tritone perception as a function of stimulus characteristics (spectral envelope) were much larger than reported by Deutsch, which casts doubt on the notion of stable individual pitch templates. A significant difference between British and American listeners, with the Dutch group in between, was found in one of the two tritone tests but not in the other. Although the origin of this difference remains unclear, it seems unlikely that it has anything to do with regional differences in voice pitch range.

scholarly journals Establishing Normative Data on Singing Voice Parameters of Children and Adolescents with Average Singing Activity Using the Voice Range Profile

2021 ◽  
pp. 1-12
Author(s):  
Tobias Dienerowitz ◽  
Thomas Peschel ◽  
Mandy Vogel ◽  
Tanja Poulain ◽  
Christoph Engel ◽  
...  
Keyword(s):  
Socioeconomic Status ◽  
Normative Data ◽  
Clinical Diagnostics ◽  
Singing Voice ◽  
Minimum Frequency ◽  
Range Profile ◽  
Percentile Curves ◽  
The Mean ◽  
Voice Range ◽  
The Voice

<b><i>Purpose:</i></b> The purpose of this study was to establish and characterize age- and gender-specific normative data of the singing voice using the voice range profile for clinical diagnostics. Furthermore, associations between the singing voice and the socioeconomic status were examined. <b><i>Methods:</i></b> Singing voice profiles of 1,578 mostly untrained children aged between 7.0 and 16.11 years were analyzed. Participants had to reproduce sung tones at defined pitches, resulting in maximum and minimum fundamental frequency and sound pressure level (SPL). In addition, maximum phonation time (MPT) was measured. Percentile curves of frequency, SPL and MPT were estimated. To examine the associations of socioeconomic status, multivariate analyses adjusted for age and sex were performed. <b><i>Results:</i></b> In boys, the mean of the highest frequency was 750.9 Hz and lowered to 397.1 Hz with increasing age. Similarly, the minimum frequency was 194.4 Hz and lowered to 91.9 Hz. In girls, the mean maximum frequency decreased from 754.9 to 725.3 Hz. The mean minimum frequency lowered from 202.4 to 175.0 Hz. For both sexes, the mean frequency range ∆f showed a constant range of roughly 24 semitones. The MPT increased with age, for boys and girls. There was neither an effect of age nor sex on SPL<sub>min</sub> or SPL<sub>max</sub>, ranging between 52.6 and 54.1 dBA and between 86.5 and 82.8 dBA, respectively. Socioeconomic status was not associated with the above-mentioned variables. <b><i>Conclusion:</i></b> To our knowledge, this study is the first to present large normative data on the singing voice in childhood and adolescence based on a high number of measurements. In addition, we provide percentile curves for practical application in clinic and vocal pedagogy which may be applied to distinguish between normal and pathological singing voice.

Normative Voice Range Profile of the Young Female Voice

2021 ◽  
Author(s):  
Henriette Sune Andersen ◽  
Mia Hungeberg Egsgaard ◽  
Helena Rask Ringsted ◽  
Ågot Møller Grøntved ◽  
Christian Godballe ◽  
...  
Keyword(s):  
Young Female ◽  
Female Voice ◽  
Range Profile ◽  
Voice Range

Discrimination of Three Basic Female Voice Types in Female Singing Students by Voice Range Profile-Derived Parameters

2012 ◽  
Vol 64 (2) ◽  
pp. 80-86 ◽  
Author(s):  
H. Lycke ◽  
W. Decoster ◽  
A. Ivanova ◽  
M.M. Van Hulle ◽  
F.I.C.R.S. de Jong
Keyword(s):  
Female Voice ◽  
Range Profile ◽  
Voice Range

Some new pitch paradoxes and their implications

1992 ◽  
Vol 336 (1278) ◽  
pp. 391-397 ◽  
Keyword(s):  
Speech Production ◽  
Spectral Envelope ◽  
Pitch Class ◽  
Speech Characteristics ◽  
Class C ◽  
Tritone Paradox ◽  
Sound Patterns ◽  
The Way

This paper explores two new paradoxical sound patterns. The tones used to produce these patterns consist of six octave-related harmonics, whose amplitudes are scaled by a bell-shaped spectral envelope; these tones are clearly defined in terms of pitch class (C, C#, D, and so on) but are poorly defined in term s of height. One pattern consists of two tones that are separated by a half-octave. It is heard as ascending when played in one key, yet as descending when played in a different key. Further, when the pattern is played in any one key it is heard as ascending by some listeners but as descending by others (the tritone paradox). Another pattern that consists of simultaneous pairs of tones displays related properties (the semitone paradox). It is shown that the way the tritone paradox is perceived correlates with the speech characteristics of the listener, including his or her linguistic dialect. The findings suggest that the same, culturally acquired representation of pitch classes influences both speech production and also perception of this musical pattern.

Do Flexible Silicone Tubes Immersed in Water Combined With Vocalise Improve the Immediate Effect on Voice?

2021 ◽  
pp. 1-28
Author(s):  
Nathália Suellen Valeriano Cardoso ◽  
Jonia Alves Lucena ◽  
Zulina Souza de Lira ◽  
Silvio José de Vasconcelos ◽  
Leonardo Wanderley Lopes ◽  
...  
Keyword(s):  
Acoustic Measurements ◽  
Post Intervention ◽  
Silicone Tube ◽  
Maximum Phonation Time ◽  
Range Profile ◽  
Before And After ◽  
Quasi Experimental ◽  
Vocal Effort ◽  
Cepstral Peak Prominence ◽  
Voice Range

Purpose: This study aimed to analyze the immediate effect on a singer's voice of a flexible silicone tube immersed in water combined with ascending and descending vocalise scales compared with ascending and descending vocalise scales alone. Method: A pre- and post-intervention quasi-experimental study was conducted. Thirty adult singers between 18 and 45 years old with no laryngeal disorders performed the two techniques for 3 min each on different days. Acoustic measurements of frequency, jitter, shimmer, glottal-to-noise excitation ratio, noise, smoothed cepstral peak prominence (CPPS), maximum phonation time (MPT), voice range profile, and self-perceived vocal effort (Borg Category Ratio 10-BR Scale adapted for vocal effort) were assessed before and after performing the techniques. Results: The results indicated an increase in singers' CPPS and MPT values and a decrease in shimmer and noise when performing with a flexible silicone tube immersed in water combined with vocalise. The singers reported a perception of decreased vocal effort after both methods. However, the diminished perceived vocal effort became more pronounced with the tube phonation technique combined with vocalise. Conclusions: Phonation in tubes combined with vocalise improved the vocal acoustic parameters (including cepstral measurements), increased MPT, and diminished perceived vocal effort. Although using vocalise alone diminished perceived vocal effort, this decrease was more pronounced in the tube phonation technique combined with vocalise.

Future Perspectives

2017 ◽  
pp. 1070-1096
Author(s):  
Peter Pabon ◽  
David M. Howard ◽  
Sten Ternström ◽  
Malte Kob ◽  
Gerhard Eckel
Keyword(s):  
Computer Music ◽  
Music Composition ◽  
Musical Performance ◽  
Future Perspectives ◽  
Range Profile ◽  
Look Ahead ◽  
Virtual Acoustics ◽  
3D Printed ◽  
Voice Range ◽  
The Voice

This chapter, through examining several emerging or continuing areas of research, serves to look ahead at possible ways in which humans, with the help of technology, may interact with each other vocally as well as musically. Some of the topic areas, such the use of the Voice Range Profile, hearing modeling spectrography, voice synthesis, distance masterclasses, and virtual acoustics, have obvious pedagogical uses in the training of singers. Others, such as the use of 3D printed vocal tracts and computer music composition involving the voice, may lead to unique new ways in which singing may be used in musical performance. Each section of the chapter is written by an expert in the field who explains the technology in question and how it is used, often drawing upon recent research led by the chapter authors.

Singing voice range profile: New objective evaluation methods for voice change after thyroidectomy

2020 ◽  
Author(s):  
Jungirl Seok ◽  
Youn Mi Ryu ◽  
Seong Ae Jo ◽  
Chang Yoon Lee ◽  
Yuh‐Seog Jung ◽  
...  
Keyword(s):  
Objective Evaluation ◽  
Evaluation Methods ◽  
Singing Voice ◽  
Voice Change ◽  
Range Profile ◽  
Voice Range
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