Common Vocal Effects and Partial Glottal Vibration in Professional Nonclassical Singers

Uncovering Gender-Specific and Cross-Gender Features in Mandarin Deception: An Acoustic and Electroglottographic Approach

PURPOSE

This study aimed to investigate the acoustic and electroglottographic (EGG) profiles of Mandarin deception, including global characteristics and the influence of gender.

METHOD

Thirty-six Mandarin speakers participated in an interactive interview game in which they provided both deceptive and truthful answers to 14 biographical questions. Acoustic and EGG signals of the participants' responses were simultaneously recorded; 20 acoustic and 14 EGG features were analyzed using binary logistic regression models.

RESULTS

Increases in fundamental frequency (F0) mean, intensity mean, first formant (F1), fifth formant (F5), contact quotient (CQ), decontacting-time quotient (DTQ), and contact index (CI) as well as decreases in jitter, shimmer, harmonics-to-noise ratio (HNR), and fourth formant (F4) were significantly correlated with global deception. Cross-gender features included increases in intensity mean and F5 and decreases in jitter, HNR, and F4, whereas gender-specific features encompassed increases in F0 mean, shimmer, F1, third formant, and DTQ, as well as decreases in F0 maximum and CQ for female deception, and increases in CQ and CI and decreases in shimmer for male deception.

CONCLUSIONS

The results suggest that Mandarin deception could be tied to underlying pragmatic functions, emotional arousal, decreased glottal contact skewness, and more pressed phonation. Disparities in gender-specific features lend support to differences in the use of pragmatics, levels of deception-induced emotional arousal, skewness of glottal contact patterns, and phonation types.

Population characteristics and self-assessment of speaking and singing voice in Polish contemporary commercial music singers-an exploratory, cross-sectional study

Background

The domination of the Contemporary Commercial Music (CCM) industry in music markets has led to a significant increase in the number of CCM performers. Performing in a wide variety of singing styles involves exposing CCM singers to specific risk factors potentially leading to voice problems. This, in turn, necessitates the consideration of this particular group of voice users in the Occupational Health framework. The aim of the present research was threefold. First, it sought to profile the group of Polish CCM singers. Second, it was designed to explore the prevalence of self-reported voice problems and voice quality in this population, in both speech and singing. Third, it aimed to explore the relationships between voice problems and lifetime singing involvement, occupational voice use, smoking, alcohol consumption, vocal training, and microphone use, as potential voice risk factors.

Materials and methods

The study was conducted in Poland from January 2020 to April 2023. An online survey included socio-demographic information, singing involvement characteristics, and singers' voice self-assessment. The prevalence of voice problems was assessed by the Polish versions of the Vocal Tract Discomfort Scale (VTDS) and the Singing Voice Handicap Index (SVHI). Also, a self-reported dysphonia symptoms protocol was applied. The perceived overall voice quality was assessed by a Visual Analogue Scale (VAS) of 100 mm.

Results

412 singers, 310 women and 102 men, completed the survey. Nearly half of the studied population declared lifetime singing experience over 10 years with an average daily singing time of 1 or 2 h. 283 participants received vocal training. For 11.4% of respondents, singing was the primary income source, and 42% defined their career goals as voice-related. The median scores of the VTDS were 11.00 (0-44) and 12.00 (0-40) for the Frequency and Severity subscales, respectively. The median SVHI score of 33 (0-139) was significantly higher than the normative values determined in a systematic review and meta-analysis (2018). Strong positive correlations were observed between SVHI and both VTD subscales: Frequency (r = 0.632, p < 0.001) and Severity (r = 0.611, p < 0.001). The relationships between most of the other variables studied were weak or negligible.

Conclusion

The examined CCM singers exhibited substantial diversity with regard to musical genre preferences, aspirations pertaining to singing endeavors, career affiliations, and source of income. Singing voice assessment revealed a greater degree of voice problems in the examined cohort than so far reported in the literature, based on the SVH and VTDS.

Extreme Vocal Effects Distortion, Growl, Grunt, Rattle, and Creaking as Measured by Electroglottography and Acoustics in 32 Healthy Professional Singers

Vocal effects - also called extreme or extended vocal techniques - with the intention to sound hoarse or rough are widely used as part of many genres and styles of singing, yet scarcely documented in research. Physiological studies detail the involvement of supraglottic structures for the production of vocal effects, yet the acoustic impact of such involvement has not been documented systematically across phonation types.

PURPOSE

To report acoustic measurements and electroglottography-specific measurements for the five rough-sounding vocal effects Distortion, Growl, Grunt, Rattle, and Creaking across phonation types to demonstrate differences between notes with and without vocal effects added.

METHODS

Thirty-two professional singers and singing teachers produced sustained vowels in each of the four vocal modes with alternations of adding and removing the vocal effects. The singers were recorded with a microphone at a constant distance as well as with EGG.

RESULTS

The vocal effects Distortion, Growl, Grunt, Rattle, and Creaking impact the acoustic spectra in separate and systematic ways across genders and phonation types. Each vocal effect impacted the spectrum in specific and particular frequency regions between 0 and 3.5 KHz as well as in higher partials after 12 kHz with statistical significance. EGG-waveforms were un-impacted by most of the vocal effects produced using supraglottic sound sources, whereas Grunt and Creaking conditions did impact EGG-waveform signals, though not consistently between participants. EGG measures confirmed sustained and unchanged Qx and Fx for most conditions, with statically significant changes in noise measurements Harmonic-to-Noise Ratio, Normalised Noise Energy, Relative Average Perturbation, and Cepstral Peak Prominence, despite Sound Pressure Level differing significantly only for a few specific conditions. Singers scored an average of 5,95 on Voice Handicap Index questionnaires and were all reportedly healthy.

CONCLUSIONS

Vocal effects added to phonation produce specific increases and specific decreases in particular frequency regions in a systematic way and can be produced in a healthy and sustainable manner, as measured by Voice Handicap Index. Vocal effects can be added to different phonation types with differing acoustic output and singers were able to sustain and control involvement of the supraglottic sound source(s) independently of phonation type.

Listeners' Perception of Vocal Effects During Singing

INTRODUCTION

Effective communication is a key feature of vocal music. Singers can communicate during singing by changing their voice qualities to express emotion. Varying acceptable standards are used by performers for voice quality secondary to musical genre. Types of voice qualities that are historically perceived as abusive by some teachers of singing (ToS) and speech-language pathologists (SLPs) are vocal effects. This study investigates the perceptions of vocal effects in professional and nonprofessional listeners (NPLs).

METHODS

Participants (n = 100) completed an online survey. Participants were divided into four professional groups; Classical ToS, Contemporary ToS, SLPs, and NPLs. Participants completed an identification task to assess their ability to identify the use of a vocal effect. Secondly, participants analyzed a singer performing a vocal effect, rated their preferences towards the effect, and gave objective performance ratings using a Likert scale. Finally, participants were asked if they had concerns about the singer's voice. If the participant responded yes, they were asked who they would refer the singer to, a SLP, ToS or medical doctor (MD).

RESULTS

Statistically significant differences were observed in SLPs ability to identify the use of vocal effects compared to classical ToS (P = 0.01), contemporary ToS (P = 0.001) as well as NPLs compared to contemporary ToS (P = 0.009). NPLs were reported to have a lesser rate of concern statistically compared to professional listeners (P = .006). Statically significant differences were found when comparing performance rating scores secondary to preference for the vocal effect when comparisons were larger than one Likert rating interval. With listeners giving higher performance ratings, if they reported higher preference ratings. Finally, no significant differences were identified when comparing referral scores secondary to occupation.

CONCLUSIONS

Findings provide support for the presence of specific biases towards the use of vocal effects although no bias was found in management and care recommendations. Future research is recommended to investigate the nature of these biases.

Extreme Vocals-A Retrospective Longitudinal study of Vocal Health in 20 Professional Singers Performing and Teaching Rough Vocal Effects

BACKGROUND

Rough vocal effects, extreme, or extended vocal techniques to sound intentionally hoarse or rough are an integral part of many genres and styles, and research has recently demonstrated the involvement of supraglottic narrowing and vibrations to produce such sounds. The vocal health of singing with rough vocal effects is poorly documented, especially in a longitudinal manner, while much vocal pedagogy continuously treats the sounds as harming to or dangerous for the vocal mechanism.

OBJECTIVE

To longitudinally investigate the vocal health of professional singers who perform the five rough-sounding vocal effects Distortion, Growl, Grunt, Rattle, and Creaking as part of their singing and teaching.

METHODS

Twenty singers underwent nasoendoscopic examination, filled in SVHI questionnaires, and were assessed by GRBAS with a 14-year interval in a retrospective longitudinal study (from 2007 to 2021). Endoscopic materials were assessed by Reflux Finding Score and a hybrid version of the Stroboscopy Rating Scale.

RESULTS

Singers presented at initiation of study with an average SVHI of 9.2 (±9), which decreased at time of follow up 14 years later to an average of 5.12 (±6). Laryngeal assessments (RFS and SRS) revealed low averages at initiation of study as well as at conclusion of the study with only small fluctuations in averages, with findings mainly relating to arytenoid asymmetry.

CONCLUSION

The participating singers perform and teach rough vocal effects continually and present with healthy laryngeal mechanisms and within-normal SVHI and GRBAS scores. The findings suggest that controlled supraglottic narrowing and techniques to allow for supraglottic structures to engage in vibration as an additional noise source can be performed sustainable and in a healthy manner if performed with correct vocal technique.

Occupational voice is a work in progress: active risk management, habilitation and rehabilitation

The current article reviews recent literature examining occupational voice use and occupational voice disorders (January 2018–July 2019).

The effects of age and pitch level on electroglottographic measures during sustained phonation

The aim of the present study was to use electroglottography (EGG) to explore the effects of age and pitch level on sustained vowel phonation. Thirty female individuals (10 young, 10 middle-aged, and 10 older speakers) without voice disorders or training in singing participated in this study. Eight EGG parameters were measured during sustained vowel production with a high, mid, or low pitch: fundamental frequency, contact quotient, contacting-time quotient, decontacting-time quotient, speed quotient with a midslope criterion (SQ-mid), jitter, shimmer, and the harmonics-to-noise ratio. Age was found to be a significant factor in fundamental frequency, contact quotient, contacting-time quotient, decontacting-time quotient, and SQ-mid. With increasing age, the mean fundamental frequency decreased while the contact quotient increased. The middle-aged and older speakers had more asymmetrical vocal fold vibratory patterns than the young speakers. As for pitch level, the high pitch had a significantly less decontacting-time quotient and greater SQ-mid than low and mid pitches. The lack of significant interaction between age and pitch level indicates that the effects of age and pitch level could be additive. Finally, the discriminant analyses show that contact quotient is an important factor in predicting the age of a voice.

Aerodynamic Characteristics of Growl Voice and Reinforced Falsetto in Metal Singing

OBJECTIVES

The present study aimed to assess the aerodynamic characteristics of vocally healthy metal singers when producing growl voice or reinforced falsetto.

METHODS

Fifty-four participants (metal singers) were initially enrolled in this study, with 23 meeting the inclusion criteria. Sixteen participants performed growl voice and seven performed reinforced falsetto as a voice resource during metal singing. All participants were asked to undergo rigid laryngeal videostroboscopy to confirm the absence of laryngeal pathology. Then, subjects were aerodynamically assessed while performing growl voice or reinforced falsetto.

RESULTS

Higher glottal airflow rate, sound pressure level, and subglottic pressure (Psub) for growl voice samples compared to vowel production without growl voice (keeping the same fundamental frequency [F0]) were found. Higher Psub, sound pressure level, and glottal resistance for high-pitched reinforced falsetto compared to naïve falsetto (keeping the same F0) were found. No differences for F0 were found for neither growl voice nor reinforced falsetto.

CONCLUSIONS

It seems that growl voice is produced by decreasing vocal folds adduction and increasing Psub, which in turn, promotes an increased airflow rate. Reinforced falsetto is characterized by an increased vocal fold adduction and an increased Psub. A proper resonance strategy in reinforced falsetto and a decreased glottal adduction in growl voice might probably be the factors that contribute to prevent voice problems in singers who use these vocal resources, classically labeled as vocal abuse.

Efficacy of Phonosurgery, Logopedic Voice Treatment and Vocal Pedagogy in Common Voice Problems of Singers

INTRODUCTION

Functional and organic impairments of the singing voice are common career-threatening problems of singers presenting in phoniatric and laryngological departments. The objective was to evaluate the efficacy of phonosurgery, logopedic voice treatment and vocal pedagogy in common organic and functional voice problems of singers, including investigation of the recently introduced parameter vocal extent measure (VEM).

METHODS

In a prospective clinical study, the analysis of treatment outcome in 76 singers [57 female, 19 male; 38 ± 11 years (mean ± SD)] was based on pre- and post-therapeutic voice function diagnostics and videolaryngostroboscopy. Examination instruments included auditory-perceptual voice assessment, voice range profile (VRP), the VEM calculated from area and shape of the VRP, acoustic-aerodynamic analysis, and patients' self-assessment (e.g., Singing Voice Handicap Index).

RESULTS

While 28% of all singers (21/76) presented with functional dysphonia, 72% (55/76) were diagnosed with organic vocal fold changes, of which marginal edema (n = 25), nodules (n = 9), and polyps (n = 8) were the most common pathologic changes. Of the 76 singers, 57% (43) received phonosurgery, 43% (33) had conservative pedagogic (14) and logopedic (19) treatment. Three months post-therapeutically, most parameters had significantly improved. The dysphonia severity index (DSI) increased on average from 6.1 ± 2.0 to 7.4 ± 1.8 (p < 0.001), and the VEM from 113 ± 20 to 124 ± 14 (p < 0.001). Both parameters correlated significantly with each other (rs = 0.41). Phonosurgery had the largest impact on the improvement of vocal function. Conservative therapies provided smaller quantitative enhancements but also qualitative vocal restoration with recovered artistic capabilities.

CONCLUSIONS

Depending on individual medical indication, phonosurgery, logopedic treatment and voice teaching are all effective, objectively and subjectively satisfactory therapies to improve the impaired singing voice. The use of VEM in singers with functional and organic dysphonia objectifies and quantifies their vocal capacity as documented in the VRP. Complementing the established DSI, VEM introduction into practical objective voice diagnostics is appropriate and desirable especially for the treatment of singers.