| 1. |
- Lehto, Laura, et al.
(författare)
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Comparison of two inverse filtering methods in parameterization of the glottal closing phase characteristics in different phonation types
- 2007
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Ingår i: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 21:2, s. 138-150
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Tidskriftsartikel (refereegranskat)abstract
- Inverse filtering (IF) is a common method used to estimate the source of voiced speech, the glottal flow. This investigation aims to compare two IF methods: one manual and the other semiautomatic. Glottal flows were estimated from speech pressure waveforms of six female and seven male subjects producing sustained vole /a/ in breathy, normal, and pressed phonation. The closing phase characteristics of the glottal pulse were parameterized using two time-based parameters: the closing quotient (C1Q) and the normalized amplitude quotient (NAQ). The information given by these two parameters indicates a strong correlation between the two IF methods. The results are encouraging in showing that the parameterization of the voice source in different speech sounds can be performed independently of the technique used for inverse filtering.
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| 2. |
- Mürbe, Dirk, et al.
(författare)
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Effects of professional singing education on vocal vibrato - A longitudinal study
- 2007
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Ingår i: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 21:6, s. 683-688
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Tidskriftsartikel (refereegranskat)abstract
- Vocal vibrato is regarded as one of the essential characteristics of voice quality in classical singing. Professional singers seem to develop vibrato automatically, without actively striving to acquire it. In this longitudinal investigation, the vocal vibrato of 22 singing students was examined at the beginning of and after 3 years of professional singing education. Subjects sang an ascending-descending triad pattern in slow tempo on vowel [a:] at a comfortable pitch level twice at soft (piano) and twice at medium (mezzo-forte) loudness. The top note of the triad pattern was sustained for approximately 5 s. The mean and the standard deviation (SD) of the vibrato rate were measured for this note. Results revealed that after 3 years of training, voices with vibrato slower than 5.2 Hz were found to have a faster vibrato, and voices with vibrato faster than 5.8 Hz were found to have a slower vibrato. Standard deviation of vibrato rate was higher in soft than in medium loudness, particularly before the education. Also high values of SD of vibrato rate, exceeding 0.65 Hz, had decreased after the education. These findings confirm that vibrato characteristics can be affected by singing education.
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| 3. |
- 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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| 4. |
- Sundberg, Johan, et al.
(författare)
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Experimental findings on the nasal tract resonator in singing
- 2007
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Ingår i: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 21:2, s. 127-137
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Tidskriftsartikel (refereegranskat)abstract
- Many professional operatic singers sing the vowel /a/ with a velopharyngeal opening.(1) Here resonatory effects of such an opening are analyzed. On the basis of CAT scan imaging of a baritone singer's vocal tract and nasal cavity system, including the maxillary sinuses, acoustic epoxy models were constructed, in which velopharyngeal openings were modeled by different tubes. The sound transfer characteristics of this model were determined by means of sine-tone sweep measurements. In an idealized (iron tube) model, the VPO introduced a zero in the transfer function at the frequency of the nasal resonance. In the epoxy models, however, the resonances of the nasal system, and hence the zero, were heavily damped, particularly when the maxillary sinuses were included in the nasal system. A velopharyngeal opening was found to attenuate the first formant in /a/, such that the relative level of the singer's formant increased. A similar effect was observed in a modified epoxy model shaped to approximate the vocal tract of an /u/ and an /i/, although it also showed a substantial widening of the first formant bandwidth. Varying the size of the velopharyngeal opening affected the transfer function only slightly. It seems likely that singers can enhance higher spectrum partials by a careful tuning of a velopharyngeal opening.
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| 5. |
- Sundberg, Johan, et al.
(författare)
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When does a sung tone start?
- 2007
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Ingår i: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 21:3, s. 285-293
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Tidskriftsartikel (refereegranskat)abstract
- Although the consonant is mostly considered as the start of a syllable in phonetics and orthography, musicians generally agree that the vowel onset in singing should be synchronized with the beat. As a test of this assumption, the current investigation analyzes the time interval between vowel onsets and piano accompaniment onsets in a set of songs performed by international vocal artists and published on commercial CD recordings. The results show that, most commonly, the accompanists synchronized their tones with the singers' vowel onsets. Nevertheless, examples of lead and lag were found, probably made for expressive purposes. The lead and lag varied greatly between songs, being smallest in a song performed in a fast tempo and longest in a song performed in a slow tempo.
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| 6. |
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