Articulation and vocal tract acoustics at soprano subject's high fundamental frequencies

2015 ◽  
Vol 137 (5) ◽  
pp. 2586-2595 ◽  
Author(s):  
Matthias Echternach ◽  
Peter Birkholz ◽  
Louisa Traser ◽  
Tabea V. Flügge ◽  
Robert Kamberger ◽  
...  
Keyword(s):  
Vocal Tract ◽  
Fundamental Frequencies

Phonetics of Singing in Western Classical Style

2018 ◽  
Author(s):  
Johan Sundberg
Keyword(s):  
Fundamental Frequency ◽  
Vocal Fold ◽  
Vocal Tract ◽  
Formant Frequency ◽  
Vowel Identification ◽  
Fundamental Frequencies ◽  
Vocal Fold Vibration ◽  
Syllable Duration ◽  
Classical Singing ◽  
The Voice

The function of the voice organ is basically the same in classical singing as in speech. However, loud orchestral accompaniment has necessitated the use of the voice in an economical way. As a consequence, the vowel sounds tend to deviate considerably from those in speech. Male voices cluster formant three, four, and five, so that a marked peak is produced in spectrum envelope near 3,000 Hz. This helps them to get heard through a loud orchestral accompaniment. They seem to achieve this effect by widening the lower pharynx, which makes the vowels more centralized than in speech. Singers often sing at fundamental frequencies higher than the normal first formant frequency of the vowel in the lyrics. In such cases they raise the first formant frequency so that it gets somewhat higher than the fundamental frequency. This is achieved by reducing the degree of vocal tract constriction or by widening the lip and jaw openings, constricting the vocal tract in the pharyngeal end and widening it in the mouth. These deviations from speech cause difficulties in vowel identification, particularly at high fundamental frequencies. Actually, vowel identification is almost impossible above 700 Hz (pitch F5). Another great difference between vocal sound produced in speech and the classical singing tradition concerns female voices, which need to reduce the timbral differences between voice registers. Females normally speak in modal or chest register, and the transition to falsetto tends to happen somewhere above 350 Hz. The great timbral differences between these registers are avoided by establishing control over the register function, that is, over the vocal fold vibration characteristics, so that seamless transitions are achieved. In many other respects, there are more or less close similarities between speech and singing. Thus, marking phrase structure, emphasizing important events, and emotional coloring are common principles, which may make vocal artists deviate considerably from the score’s nominal description of fundamental frequency and syllable duration.

A Noninvasive Acoustic Method Using Frequency Perturbations and Computer-Generated Vocal-Tract Shapes

1983 ◽  
Vol 26 (2) ◽  
pp. 304-314 ◽  
Author(s):  
Debra A. Beckman ◽  
Donald C. Wold ◽  
James C. Montague
Keyword(s):  
Vocal Tract ◽  
Acoustic Method ◽  
Therapeutic Benefit ◽  
Waveform Data ◽  
Fundamental Frequencies ◽  
Fast Fourier Transform Spectrum ◽  
Normal Man ◽  
Speech Structures ◽  
Normal Shape ◽  
Fourier Transform Spectrum

This study investigated improved processing of acoustic data with two adult Down's syndrome subjects. Sustained vowel samples were processed through a fast-Fourier-transform spectrum analyzer, and digital waveform data were used to obtain period-by-period measurements of the fundamental frequencies. Unusual frequency perturbation (jitter), later identified as diplophonia, was found for one of the Drain's subjects. In addition, the first three formant frequencies of the vowels were determined and, utilizing an algorithm described by Ladefoged and his colleagues, computer-generated vocal-tract shapes were plotted. Differences in vocal-tract shapes, especially for the back vowels, were observed between the Down's female and the normal shape. Correlations between vocal-tract shapes of the Down's subjects and those for a normal man or woman were computed. A partial three-way factor analysis was carried out to determine those lead factors or coefficients for each subject that were due to individual differences. These procedures, offering synthesized techniques portraying the interparingeal/oral functioning of the speech structures, may eventually have direct noninvasive diagnostic and therapeutic benefit for voice/resonance-disordered clients.

Temporal-based acoustic-phonetic patterns in read speech: some evidence for speaker sex differences

1996 ◽  
Vol 26 (1) ◽  
pp. 23-40 ◽  
Author(s):  
Sandra P. Whiteside
Keyword(s):  
Sex Differences ◽  
Fundamental Frequency ◽  
Vocal Tract ◽  
Speaking Rate ◽  
Men And Women ◽  
Fundamental Frequencies ◽  
Recording Conditions ◽  
Glottal Source ◽  
Timit Database ◽  
Read Speech

The perception of speaker sex depends on the listener's integration of a complex range of factors. These may relate, for example, to the style of delivery, the use of particular language, pronunciation (Trudgill, 1983; Smith, 1979), the use of particular intonation patterns (McConnell-Ginet, 1983) and the perceived pitch of the speaker (Aronovitch, 1976, Elyan, 1978; Lass et al., 1976). Some acoustic-phonetic investigations have explored through instrumental analysis how speaker sex differences are perceived. These have shown that acoustic phonetic differences exist between the read speech of men and women speakers. It has been demonstrated that fundamental frequency differences exist between men and women, with men having on average, lower fundamental frequencies (Aronovitch, 1976; Coleman, 1973a). This can be explained in part by their larger larynges. However it is also acknowledged that it is not a low overall average fundamental frequency alone that contributes to the perception of an adult male voice. Some evidence shows for example that use of a wider pitch range will contribute to the perception of femininity, even where the overall pitch is low (Terrango, 1966). In addition women have been found to have on average higher formant frequencies (Coleman, 1976; Henton, 1986; Peterson & Barney, 1952; Childers & Wu, 1991; Wu & Childers, 1991) as a result of the smaller vocal tract. Women have different glottal source characteristics (Karlsson, 1989) which are reflected in the filter characteristics of the speech signal (Klatt & Klatt, 1990). There is also some evidence to suggest that other speaker sex differences exist in the temporal domain. Byrd (1992) found differences between men and women speakers in speaking rate in read speech in American English in the TIMIT database. Byrd states that under the recording conditions used for the TIMIT database, women spoke appreciably more slowly than the men and that men tended to reduce vowels to schwa ([ə]) more often than the women. Byrd also found that female speakers in the TIMIT database released stops in sentence-final position more frequently and produced more glottal stops than male speakers. All these findings were statistically significant.

A Tape Striation Counting Method for Determining Fundamental Frequency

1979 ◽  
Vol 10 (4) ◽  
pp. 246-248 ◽  
Author(s):  
Peter B. Mueller ◽  
Marla Adams ◽  
Jean Baehr-Rouse ◽  
Debbie Boos
Keyword(s):  
Fundamental Frequency ◽  
Counting Method ◽  
Male And Female ◽  
Fundamental Frequencies ◽  
Counting Procedure ◽  
Female Subjects

Mean fundamental frequencies of male and female subjects obtained with FLORIDA I and a tape striation counting procedure were compared. The fundamental frequencies obtained with these two methods were similar and it appears that the tape striation counting procedure is a viable, simple, and inexpensive alternative to more costly and complicated procedures and instrumentation.

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.

A digital vocal tract simulator with boundary conditions at lips and glottis

1981 ◽  
Vol 64 (11) ◽  
pp. 18-26 ◽  
Author(s):  
Tetsuya Nomura ◽  
Nobuhiro Miki ◽  
Nobuo Nagai
Keyword(s):  
Boundary Conditions ◽  
Vocal Tract
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