| 1. |
- Lã, F.M.B., et al.
(författare)
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Long-Term Average Spectrum Characteristics of Portuguese Fado-Canção from Coimbra
- 2023
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Ingår i: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 37:4, s. 631.e7-631.e15
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Tidskriftsartikel (refereegranskat)abstract
- Descriptions of acoustical characteristics of Fado, a Portuguese urban style sung in Lisbon and Oporto, are scarce, particularly concerning Fado-Canção, a related style sung in Coimbra. The present study aims at describing long-term average spectrum (LTAS) parameters of 16 professional singers while singing and reading the lyrics of a typical Fado-Canção. LTAS parameters were investigated in terms of: (1) equivalent sound level (Leq); (2) spectral differences between 3 frequency bands 0–2, 2–5, and 5–8 kHz; and (3) quantification of spectral prominence between 2 and 4 kHz, calculated as the level difference between the peak in this frequency region and a reference trendline between 1 and 5 kHz, henceforth Formant Cluster Prominence (FCP). Given that Fado-Canção, besides Fado and traditional styles, originated also from classical singing, and that previous studies on Fado suggest the absence of a singer's formant cluster, the averaged LTAS for all Fado-Canção singers was further compared to the LTAS of two world-touring opera baritones singing an operatic aria and a lied. Results show that Fado-Canção is commonly sung with a Leq of 86.4 dB and a FCP of about 10 dB, values significantly higher when compared to reading. The FCP in Fado-Canção, although smaller than for the two classical opera singers’ examples (14.8 and 20 dB, respectively), suggests that the style preserved some of its original lyrical influence. However, because younger singers present higher energy in the 5–8 kHz region relative to the remaining frequency bands as compared to older singers, it seems that Fado-Canção may be drifting towards non-classical vocal practices. FCP seems to be a promising straightforward method to quantify the degree of formant clustering around the region of the singer's formant in LTAS, allowing comparisons between different singers and singing styles.
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| 2. |
- Svec, Jan G., et al.
(författare)
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Three registers in an untrained female singer analyzed by videokymography, strobolaryngoscopy and sound spectrography
- 2008
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Ingår i: Journal of the Acoustical Society of America. - : Acoustical Society of America (ASA). - 0001-4966 .- 1520-8524. ; 123:1, s. 347-353
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Tidskriftsartikel (refereegranskat)abstract
- There has been a lack of objective data on the singing voice registers, particularly on the so called "whistle" register, occurring in the top part of the female pitch range, which is accessible only to some singers. This study offers unique strobolaryngoscopic and high-speed (7812.5 images/s) videokymographic data on the vocal fold behavior of an untrained female singer capable of producing three distinct voice qualities, i.e., the chest, head and whistle registers. The sound was documented spectrographically. The transition from chest to head register, accompanied by pitch jumps, occurred around tones 134-C#5 (500-550 Hz) and was found to be associated with a slight decrease in arytenoids adduction, resulting in decrease of the closed quotient. The register shifts from head to whistle, also accompanied by pitch jumps, occurred around tones E5-B5 (670-1000 Hz) without any noticeable changes in arytenoids adduction. Some evidence was found for the vocal. tract influence on this transition. The mechanism of the vocal fold vibration in whistle register was found principally similar to that at lower registers: vibrations along the whole glottal length and vertical phase differences (indicated by sharp lateral peaks in videokymography) were seen on the vocal folds up to the highest tone G6 (1590 Hz).
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