| 1. |
- Aronsson, Carina, et al.
(författare)
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Loud voice during environmental noise exposure in patients with vocal nodules
- 2007
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Ingår i: Logopedics, Phoniatrics, Vocology. - : Informa UK Limited. - 1401-5439 .- 1651-2022. ; 32:2, s. 60-70
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Tidskriftsartikel (refereegranskat)abstract
- The aim was to investigate how female patients with vocal nodules use their voices when trying to make themselves heard over background noise. Ten patients with bilateral vocal fold nodules and 23 female controls were recorded reading a text in four conditions, one without noise and three with noise from cafes/pubs, played over loudspeakers at 69, 77 and 85 dBA. The noise was separated from the voice signal using a high-resolution channel estimation technique. Both patients and controls increased voice sound pressure level (SPL), fundamental frequency (F0), subglottal pressure (Ps) and their subjective ratings of strain significantly as a main effect of the increased background noise. The patients used significantly higher Ps in all four conditions. Despite this they did not differ significantly from the controls in voice SPL, F0 or perceived strain. It was concluded that speaking in background noise is a risk factor for vocal loading. Vocal loading tests in clinical settings are important and further development of assessment methods is needed.
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| 2. |
- Grell, Anke, et al.
(författare)
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Rapid pitch correction in choir singers
- 2009
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Ingår i: Journal of the Acoustical Society of America. - : Acoustical Society of America (ASA). - 0001-4966 .- 1520-8524. ; 126:1, s. 407-413
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Tidskriftsartikel (refereegranskat)abstract
- Highly and moderately skilled choral singers listened to a perfect fifth reference, with the instruction to complement the fifth such that a major triad resulted. The fifth was suddenly and unexpectedly shifted in pitch, and the singers' task was to shift the fundamental frequency of the sung tone accordingly. The F0 curves during the transitions often showed two phases, an initial quick and large change followed by a slower and smaller change, apparently intended to fine-tune voice F0 to complement the fifth. Anesthetizing the vocal folds of moderately skilled singers tended to delay the reaction. The means of the response times varied in the range 197- 259 ms depending on direction and size of the pitch shifts, as well as on skill and anesthetization.
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| 3. |
- Herbst, Christian, et al.
(författare)
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A comparison of different methods to measure the EGG contact quotient
- 2006
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Ingår i: Logopedics, Phoniatrics, Vocology. - : Informa Healthcare. - 1401-5439 .- 1651-2022. ; 31:3, s. 126-138
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Tidskriftsartikel (refereegranskat)abstract
- The results from six published electroglottographic (EGG-based) methods for calculating the EGG contact quotient (CQEGG) were compared to closed quotients derived from simultaneous videokymographic imaging (CQKYM). Two trained male singers phonated in falsetto and in chest register, with two degrees of adduction in both registers. The maximum difference between methods in the CQEGG was 0.3 (out of 1.0). The CQEGG was generally lower than the CQKYM. Within subjects, the CQEGG co-varied with the CQkym, but with changing offsets depending on method. The CQEGG cannot be calculated for falsetto phonation with little adduction, since there is no complete glottal closure. Basic criterion-level methods with thresholds of 0.2 or 0.25 gave the best match to the CQKYM data. The results suggest that contacting and de-contacting in the EGG might not refer to the same physical events as do the beginning and cessation of airflow.
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| 4. |
- Herbst, Christian T., et al.
(författare)
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Investigation of four distinct glottal configurations in classical singing-A pilot study
- 2009
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Ingår i: Journal of the Acoustical Society of America. - : Acoustical Society of America (ASA). - 0001-4966 .- 1520-8524. ; 125:3, s. EL104-EL109
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Tidskriftsartikel (refereegranskat)abstract
- This study investigates four qualities of singing voice in a classically trained baritone: "naive falsetto," "countertenor falsetto," "lyrical chest" and "full chest." Laryngeal configuration and vocal fold behavior in these qualities were studied using laryngeal videostroboscopy, videokymography, electroglottography, and sound spectrography. The data suggest that the four voice qualities were produced by independently manipulating mainly two laryngeal parameters: (1) the adduction of the arytenoid cartilages and (2) the thickening of the vocal folds. An independent control of the posterior adductory muscles versus the vocalis muscle is considered to be the physiological basis for achieving these singing voice qualities.
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| 5. |
- Lamarche, Anick, et al.
(författare)
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An Exploration of Skin Acceleration Level as a Measureof Phonatory Function in Singing
- 2008
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Ingår i: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 22:1, s. 10-22
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Tidskriftsartikel (refereegranskat)abstract
- Summary: Two kinds of fluctuations are observed in phonetogram recordingsof singing. Sound pressure level (SPL) can vary due to vibrato and also due tothe effect of open and closed vowels. Since vowel variation is mostly a consequence of vocal tract modification and is not directly related to phonatory function, it could be helpful to suppress such variation when studying phonation. Skin acceleration level (SAL), measured at the jugular notch and on the sternum, might be less influenced by effects of the vocal tract. It is explored in this study as an alternative measure to SPL. Five female singers sang vowel series on selected pitches and in different tasks. Recorded data were used to investigate two null hypotheses: (1) SPL and SAL are equally influenced by vowel variation and (2) SPL and SAL are equally correlated to subglottal pressure (PS). Interestingly, the vowel variation effect was small in both SPL and SAL. Furthermore, in comparison to SPL, SAL correlated weakly to PS. SAL exhibited practically no dependence on fundamental frequency, rather, its major determinant was the musical dynamic. This results in a non-sloping, square-like phonetogram contour. These outcomes show that SAL potentially can facilitate phonetographic analysis of the singing voice.
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| 6. |
- Lamarche, Anick, et al.
(författare)
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Not just sound : Supplementing the voice range profile with the singer's ownperceptions of vocal challenges
- 2009
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Ingår i: Logopedics, Phoniatrics, Vocology. - : Informa UK Limited. - 1401-5439 .- 1651-2022. ; 34:1, s. 3-10
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Tidskriftsartikel (refereegranskat)abstract
- A commercial phonetograph was complemented with a response button, such that presses resulted in marked regions in the voice range profile (VRP). This study reports the VRP data of 16 healthy female professionally trained singers (7 mezzosopranos and 9 sopranos). Subjects pressed the button to indicate sensations of vocal instability or reduced control during phonation. Each press thereby marked potential areas of difficulty. A method is presented to quantify the consistency of button use for repeated tasks. The pattern of button presses was significantly consistent within subjects. As expected, the singers pressed at the extremes of VRP contours as well as at register transitions. These results and the potential of the method for the assessment of vocal problems of singers are discussed.
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| 7. |
- Lamarche, Anick, 1977-, et al.
(författare)
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Not Just Sound II : an Investigation of Singer patient Self-Perceptions Mapped into the Voice Range Profile
- 2008
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Ingår i: Journal of Speech, Language and Hearing Research. - 1092-4388 .- 1558-9102.
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Purpose: In aiming at higher specificity in clinical evaluations of the singing voice, singer perceptions were included and tested in conjunction with the voice range profile. Method: The use of a commercial phonetograph supplemented by a hand-held response button was clinically tested with 13 subjects presenting voice complaints. Singer patients were asked to press a button to indicate sensations of vocal discomfort or instability during phonation. Each press was registered at the actual position in the Voice Range Profile (VRP) so as to mark areas of difficulty. Consistency of button press behavior was assessed with a method developed previously. Results: In spite of their voice complaints, subjects did not press the button as much as healthy singers. Like healthy singers, the singer-patient group demonstrated consistent behavior but tended to press the button in completely different areas of the VRP space. The location of the presses was dominantly in the interior of the VRP and concentrated to a small fundamental frequency range. An extensive discussion examines carefully the reasons for such outcomes. Conclusion: The button augmented VRP could be a well needed resource for clinicians but requires further development and work.
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| 8. |
- Lamarche, Anick, 1977-
(författare)
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Putting the Singing Voice on the Map : Towards Improving the Quantitative Evaluation of Voice Status in Professional Female Singers
- 2009
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Diagnostic and evaluative methods used in voice care are mostly designedfor the speaking voice, and are not necessarily directly applicable to thesinging voice. This thesis investigated the possibilities of fine tuning, improvingand quantifying the voice status assessment of the singer, focusingespecially on the Western operatic female voice. In Paper I, possible singer-specific Voice Range Profile (VRP) characteristicsand tasks were explored and VRP data for 30 professional female Western opera singers was collected. Vocal productions were controlled for a physiological VRP (VRPphys) and for a stage performance context (VRPperf) and outcome differences were identified. Task design was critical for the(VRPphys) but had very little effect on the VRPperf. Significant voice category differences (between soprano,mezzo-soprano and contralto) were limited to frequencyrelated metrics. Two new VRP metrics, the area above 90 dB (Perc90dB) and the sound pressure level extent (SPLext), were found to be key metrics to the study of VRPs for singers. Paper II investigated, in conjunction with the VRP, whether the sound pressure level (SPL) or the skin acceleration level (SAL) was more correlated to the subglottal pressure (Ps). SAL was much less F0 dependent than SPL and facilitated the interpretation of VRP data. However, the correlation between SAL and Ps was found to be weaker than that between SPL and Ps. Papers III and IV explored the mapping of self-perceived impairmentrelated difficulties into the VRP. A modified phonetograph was tested first with a healthy singer population and then with a singer-patient group. Subjects used a button device to communicate their self-perceptions while singing, and were consistent in task replications as well as across different tasks. Healthy singers pressed mostly at the extreme limits of the VRP, where loss of vocal control could be expected and their presses were mostly concentrated on the periphery of the VRP area. Singer patient button- press patterns were distinct from patterns observed in healthy singers. Singer patients pressed mainly inside the VRP boundaries, in the higher range and at intermediate intensities. In Paper V, the Voice Handicap Index for singers was translated and adapted to Swedish (Röst Handikap Index för sångare or RHI-s). The questionnaire was found to be a reliable and a valid instrument. High correlations between general perceptual patient VAS ratings and the questionnaire scores underscored the instrument’s internal coherence. Overall, patient scores (including subscales) were significantly higher than healthy singer scores. The results showed implicitly the necessity and usefulness of adapting clinical procedures to specific patient populations.Together, the results of these five papers can ultimately be of value tovoice clinicians who are treating singers. The results obtained also contributeto the understanding of the singing voice and underline the importance ofproperly documenting the singing voice.
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| 9. |
- Murphy, D., et al.
(författare)
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The dynamically varying digital waveguide mesh
- 2007
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Ingår i: Proceedings of the 19th International Congress on Acoustics. ; , s. 210-
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The digital waveguide mesh (DWM) is a multi-dimensional numerical simulation technique used to model vibrating objects capable of supporting acoustic wave propagation, with the result being sound output for excitation by a given stimulus. To date most DWM based simulations result in the static system impulse response for given initial and boundary value conditions. This method is often applied to room acoustics modelling problems, where the offline generation of impulse responses for computationally large or complex systems might be rendered in real-time using convolution based reverberation. More recently, work has explored how the DWM might be extended to allow dynamic variation and the possibility for real-time interactive sound synthesis. This paper introduces the basic DWM model and how it might be extended to include dynamic changes and user interaction as part of the simulation. Example applications that make use of this new dynamic DWM are explored including the synthesis of simple sound objects and the more complex problem of articulatory speech and singing synthesis based on a multi-dimensional simulation of the vocal tract.
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| 10. |
- Reid, Katherine L. P., et al.
(författare)
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The acoustic characteristics of professional opera singers performing in chorus versus solo mode
- 2007
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Ingår i: Journal of Voice. - : Elsevier. - 0892-1997 .- 1873-4588. ; 21:1, s. 35-45
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Tidskriftsartikel (refereegranskat)abstract
- In this study, members of a professional opera chorus were recorded using close microphones, while singing in both choral and solo modes. The analysis included computation of long-term average spectra (LTAS) for the two song sections performed and calculation of singing power ratio (SPR) and energy ratio (ER), which provide an indication of the relative energy in the singer's formant region. Vibrato rate and extent were determined from two matched vowels, and SPR and ER were calculated for these vowels. Subjects sang with equal or more power in the singer's formant region in choral versus solo mode in the context of the piece as a whole and in individual vowels. There was no difference in vibrato rate and extent between the two modes. Singing in choral mode, therefore, required the ability to use a similar vocal timbre to that required for solo opera singing.
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