Semi‐occluded vocal tract postures and their application in the singing voice studio

2007 ◽  
Vol 121 (5) ◽  
pp. 3087-3087
Author(s):  
John P. Nix ◽  
C. Blake Simpson
Keyword(s):  
Vocal Tract ◽  
Singing Voice ◽  
Voice Studio

Structure and Function of the Singing Voice

2015 ◽  
pp. 2-30
Author(s):  
Gillyanne Kayes
Keyword(s):  
Developmental Stages ◽  
Vocal Tract ◽  
Singing Voice ◽  
Hormonal Change ◽  
Research Knowledge ◽  
Vocal Function ◽  
And Function ◽  
The Impact ◽  
The Voice ◽  
Structural Aspects

Key structural aspects of the vocal mechanism and the physiology of vocal function are presented and discussed in relation to the singing voice. Details of anatomical structure and physiological function are given for the regions of the vocal tract and respiratory system under the broad headings of respiration, phonation (the larynx), and resonation. Use of voice in singing is examined in terms of breath use, control of pitch, and loudness, and shaping of resonance for change of timbre. Key developmental stages during the lifecycle are given, including infancy, childhood, voice mutation in adolescence, and the impact of hormonal change on the voice. Differences between the genders in adulthood are discussed in the light of current research knowledge of voice.

The Effect of Traditional Singing Warm-Up Versus Semioccluded Vocal Tract Exercises on the Acoustic Parameters of Singing Voice

2015 ◽  
Vol 29 (6) ◽  
pp. 727-732 ◽  
Author(s):  
Emily Duke ◽  
Laura W. Plexico ◽  
Mary J. Sandage ◽  
Matthew Hoch
Keyword(s):  
Vocal Tract ◽  
Singing Voice ◽  
Acoustic Parameters ◽  
Warm Up

The Sound Source in Singing

2015 ◽  
pp. 108-144 ◽  
Author(s):  
Christian T. Herbst ◽  
David M. Howard ◽  
Jan G. Švec
Keyword(s):  
Vocal Tract ◽  
Spectral Composition ◽  
Physiological Parameters ◽  
Special Focus ◽  
Singing Voice ◽  
Voice Pedagogy ◽  
Typical Application ◽  
Voice Source ◽  
Vocal Fold Vibration

The voice instrument is composed of three basic sub-systems: the pulmonary apparatus, the laryngeal voice source, and the vocal tract for sound modification. In this chapter, the laryngeal sound generation is examined in closer detail, with a special focus on singing voice production. In particular, the relation between the quality of vocal fold vibration, the consistence of the glottal airflow, and the spectral composition of the resulting laryngeal sound output (before being filtered by the vocal tract) is discussed. Two basic physiological parameters for controlling these features are described: cartilaginous adduction (controlled along the dimension of “breathy” vs. “pressed” voice); and membranous medialization (influenced by the choice of singing voice register). It is shown that these two physiological parameters can be varied independently, and how they can be incorporated into a pedagogical model. Based on this model, a typical application from the singing studio is described. Finally, the range of sound qualities resulting from independent variation of cartilaginous adduction and membranous medialization is being commented on by five known voice pedagogues, in an attempt to unify the respective terminology in voice pedagogy.

Oropharyngeal Geometry and the Singing Voice: Immediate Effect of Two Semi-Occluded Vocal Tract Exercises

2020 ◽  
Author(s):  
Kelly Greyce Sukar Cavalcanti de Oliveira ◽  
Zulina Souza de Lira ◽  
Hilton Justino da Silva ◽  
Jonia Alves Lucena ◽  
Adriana de Oliveira Camargo Gomes
Keyword(s):  
Vocal Tract ◽  
Singing Voice

Comparison of Four Different Warm-up Tasks, Using Special Tools Also

2021 ◽  
Vol 66 (1) ◽  
pp. 227-244
Author(s):  
Tamás J. Altorjay ◽  
Csaba Csíkos
Keyword(s):  
Linear Models ◽  
Vocal Tract ◽  
Sound Level ◽  
Singing Voice ◽  
Warm Up ◽  
Beneficial Effects ◽  
Sound Image ◽  
Classical Singing ◽  
Practice Methods ◽  
Voice Range

"Introduction: In our investigation, we compared four different warming-up sections on the singing voice, always using the same task-melodies. In the first section, we used traditionally only “on vowel articulation based” – called vocalization – tasks. In the second section we used resonant tube, which is used for voice therapy mostly. In the third sections, the participants used the melodies for humming. In the fours we used - by us developed - unusual tool, called “nose-pipe” for singing voice warm-up. The theoretical basis of the first section is the so-called “linear-model” of the singing phenomenon, why the basis of the further three sections is the “non-linear” models as well as also the experiences of the SOVT (semi-occluded vocal tract) exercises, and practice. Methods: on all the four sections the same 33 people took part. 20 of them were females and 13 males. All the participants attended several years of classical singing education. We organized four independent sections one-week apart. The participants came on the sections without previous warming-up for the singing voice. Before the warming-up at first, we recorded three vowels – [y, u, ɒ] (according to IPA) – for females on G4, for males on G3 - sustaining for longer than 2 second-long, with comfortable volume, then came the 20’-25’ minutes long warming-up procedures. After the procedure, we repeated the recordings of the same vowels on the same pitches. For every warming-up procedure we used the same melodies. Recording the sustained vowels we used TASCAM DR-07 MKII equipment. With the help of a stage, the microphones were held before the mouth of every participant, at the same – 10cm – distance. For generating the FFT figure of the sound image and for analyzing we used SIGVIEW 2.4., to appreciate the values of the parameters we used the SPSS 20 software. We analyzed one-second-long part – in sound level well balanced - of the records. The investigated parameters were: mean of the FFT signal between 0-21kHz, 0-12kHz as well as 2-4 kHz; number from the noise overriding overtones; the volume of f0, and H1H7 overtones. We detected also during the warm-ups reached voice ranges. Results: according to our results all the sections have beneficial effects on the singing voice. Most of the significant effects on the analyzed parameters have the humming and the nose-pipe sections by every vowel. The reached voice range was the longest at the fours, nose-pipe section. Conclusion: we can enhance that each of the four sections is useful. The combined, conscious application of them is correct. Using the new tool – called nose pipe – has dominant preference for developing the voice range of the singing voice. Keywords: vocalization, resonant tube, humming, nose-pipe, voice range "

Practicing Equity, Diversity, Inclusion, and Belonging in the Singing Voice Studio

2021 ◽  
pp. 1-14
Author(s):  
Elizabeth Ann Benson ◽  
Trineice Robinson-Martin ◽  
Marisa Lee Naismith
Keyword(s):  
Singing Voice ◽  
Voice Studio

Contributions of Voice and Nonverbal Communication to Perceived Masculinity–Femininity for Cisgender and Transgender Communicators

2020 ◽  
Vol 63 (4) ◽  
pp. 931-947
Author(s):  
Teresa L. D. Hardy ◽  
Carol A. Boliek ◽  
Daniel Aalto ◽  
Justin Lewicke ◽  
Kristopher Wells ◽  
...  
Keyword(s):  
Fundamental Frequency ◽  
Sound Pressure Level ◽  
Sound Pressure ◽  
Vocal Tract ◽  
Presentation Mode ◽  
Pressure Level ◽  
Presentation Modes ◽  
Audiovisual Stimuli ◽  
Vocal Tract Resonance ◽  
Point Light

Purpose The purpose of this study was twofold: (a) to identify a set of communication-based predictors (including both acoustic and gestural variables) of masculinity–femininity ratings and (b) to explore differences in ratings between audio and audiovisual presentation modes for transgender and cisgender communicators. Method The voices and gestures of a group of cisgender men and women ( n = 10 of each) and transgender women ( n = 20) communicators were recorded while they recounted the story of a cartoon using acoustic and motion capture recording systems. A total of 17 acoustic and gestural variables were measured from these recordings. A group of observers ( n = 20) rated each communicator's masculinity–femininity based on 30- to 45-s samples of the cartoon description presented in three modes: audio, visual, and audio visual. Visual and audiovisual stimuli contained point light displays standardized for size. Ratings were made using a direct magnitude estimation scale without modulus. Communication-based predictors of masculinity–femininity ratings were identified using multiple regression, and analysis of variance was used to determine the effect of presentation mode on perceptual ratings. Results Fundamental frequency, average vowel formant, and sound pressure level were identified as significant predictors of masculinity–femininity ratings for these communicators. Communicators were rated significantly more feminine in the audio than the audiovisual mode and unreliably in the visual-only mode. Conclusions Both study purposes were met. Results support continued emphasis on fundamental frequency and vocal tract resonance in voice and communication modification training with transgender individuals and provide evidence for the potential benefit of modifying sound pressure level, especially when a masculine presentation is desired.

Assessment of Tongue Position and Laryngeal Height in Two Professional Voice Populations

2020 ◽  
Vol 63 (1) ◽  
pp. 109-124
Author(s):  
Carly Jo Hosbach-Cannon ◽  
Soren Y. Lowell ◽  
Raymond H. Colton ◽  
Richard T. Kelley ◽  
Xue Bao
Keyword(s):  
Vocal Fold ◽  
Vocal Tract ◽  
Current Knowledge ◽  
Acoustic Resonance ◽  
Contact Dynamics ◽  
Voice Disorder ◽  
Music Program ◽  
Tongue Position ◽  
Singer Groups ◽  
Professional Voice

Purpose To advance our current knowledge of singer physiology by using ultrasonography in combination with acoustic measures to compare physiological differences between musical theater (MT) and opera (OP) singers under controlled phonation conditions. Primary objectives addressed in this study were (a) to determine if differences in hyolaryngeal and vocal fold contact dynamics occur between two professional voice populations (MT and OP) during singing tasks and (b) to determine if differences occur between MT and OP singers in oral configuration and associated acoustic resonance during singing tasks. Method Twenty-one singers (10 MT and 11 OP) were included. All participants were currently enrolled in a music program. Experimental procedures consisted of sustained phonation on the vowels /i/ and /ɑ/ during both a low-pitch task and a high-pitch task. Measures of hyolaryngeal elevation, tongue height, and tongue advancement were assessed using ultrasonography. Vocal fold contact dynamics were measured using electroglottography. Simultaneous acoustic recordings were obtained during all ultrasonography procedures for analysis of the first two formant frequencies. Results Significant oral configuration differences, reflected by measures of tongue height and tongue advancement, were seen between groups. Measures of acoustic resonance also showed significant differences between groups during specific tasks. Both singer groups significantly raised their hyoid position when singing high-pitched vowels, but hyoid elevation was not statistically different between groups. Likewise, vocal fold contact dynamics did not significantly differentiate the two singer groups. Conclusions These findings suggest that, under controlled phonation conditions, MT singers alter their oral configuration and achieve differing resultant formants as compared with OP singers. Because singers are at a high risk of developing a voice disorder, understanding how these two groups of singers adjust their vocal tract configuration during their specific singing genre may help to identify risky vocal behavior and provide a basis for prevention of voice disorders.

Effects of a 6-Week Straw Phonation in Water Exercise Program on the Aging Voice

2020 ◽  
Vol 63 (4) ◽  
pp. 1018-1032
Author(s):  
Chia-Hsin Wu ◽  
Roger W. Chan
Keyword(s):  
Acoustic Analysis ◽  
Vocal Tract ◽  
Exercise Program ◽  
Analysis Of Covariance ◽  
Elderly Subjects ◽  
Control Group ◽  
Perceptual Evaluation ◽  
Positive Effects ◽  
Aging Voice ◽  
Before And After

Purpose Semi-occluded vocal tract (SOVT) exercises with tubes or straws have been widely used for a variety of voice disorders. Yet, the effects of longer periods of SOVT exercises (lasting for weeks) on the aging voice are not well understood. This study investigated the effects of a 6-week straw phonation in water (SPW) exercise program. Method Thirty-seven elderly subjects with self-perceived voice problems were assigned into two groups: (a) SPW exercises with six weekly sessions and home practice (experimental group) and (b) vocal hygiene education (control group). Before and after intervention (2 weeks after the completion of the exercise program), acoustic analysis, auditory–perceptual evaluation, and self-assessment of vocal impairment were conducted. Results Analysis of covariance revealed significant differences between the two groups in smoothed cepstral peak prominence measures, harmonics-to-noise ratio, the auditory–perceptual parameter of breathiness, and Voice Handicap Index-10 scores postintervention. No significant differences between the two groups were found for other measures. Conclusions Our results supported the positive effects of SOVT exercises for the aging voice, with a 6-week SPW exercise program being a clinical option. Future studies should involve long-term follow-up and additional outcome measures to better understand the efficacy of SOVT exercises, particularly SPW exercises, for the aging voice.

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