Vocal Loudness Variation With Spectral Slope

Voice self-assessment in individuals with Parkinson's Disease as compared to general voice disorders

BACKGROUND

Individuals with Parkinson's Disease (IwPD) often fail to adjust their voice in different situations, without awareness of this limitation. Clinicians use self-report questionnaires that are typically designed for individuals with General Voice Disorders (GVD) in the vocal assessment of IwPD. However, these instruments may not consider that IwPD have a reduced self-perception of their vocal deficits. This study aimed to compare self-reported vocal symptoms and voice loudness between IwPD and GVD.

METHODS

28 IwPD and 26 with GVD completed the Voice Symptom Scale (VoiSS) questionnaire to evaluate their voice self-perception. Vocal loudness (dB) was also assessed. Univariate and multivariate analyses were used to compare the outcomes from these measures between the two groups. Principal Component Analysis and Hierarchical Clustering Analysis were applied to explore data patterns related to voice symptoms.

RESULTS

IwPD reported significantly fewer vocal symptoms than those with GVD in all VoiSS questionnaire domains. Multivariate principal component analysis found no significant correlations between VoiSS scores and participant similarities in voice measures. Despite experiencing hypophonia, IwPD scored lower in all VoiSS domains but still fell in the healthy voice range. Hierarchical Clustering Analysis grouped participants into three distinct categories, primarily based on age, vocal loudness, and VoiSS domain scores, distinguishing between PD and GVD individuals.

CONCLUSIONS

IwPD reported fewer vocal symptoms than GVD. The voice self-assessment seems to be unreliable to assess vocal symptoms in IwPD, at least regarding loudness. New self-report instruments tailored to PD individuals are needed due to their particular voice characteristics.

Spectral features related to the auditory perception of twang-like voices

BACKGROUND

To the best of our knowledge, studies on the relationship between spectral energy distribution and the degree of perceived twang-like voices are still sparse. Through an auditory-perceptual test we aimed to explore the spectral features that may relate with the auditory-perception of twang-like voices.

METHODS

Ten judges who were blind to the test's tasks and stimuli rated the amount of twang perceived on seventy-six audio samples. The stimuli consisted of twenty voices recorded from eight CCM singers who sustained the vowel [a:] in different pitches, with and without a twang-like voice. Also, forty filtered and sixteen synthesized-manipulated stimuli were included.

RESULTS AND CONCLUSIONS

Based on the intra-rater reliability scores, four judges were identified as suitable to be included in the analyses. Results showed that the frequency of F1 and F2 correlated strongly with the auditory-perception of twang-like voices (0.90 and 0.74, respectively), whereas F3 showed a moderate negative correlation (-0.52). The frequency difference between F1 and F3 showed a strong negative correlation (-0.82). The mean energy between 1-2 kHz and 2-3 kHz correlated moderately (0.51 and 0.42, respectively). The frequency of F4 and F5, and the energy above 3 kHz showed weak correlations. Since the spectral changes under 2 kHz have been associated with the jaw, lips, and tongue adjustments (i.e. vowel articulation) and a higher vertical laryngeal position might affect the frequency of all formants (including F1 and F2), our results suggest that vowel articulation and the laryngeal height may be relevant when performing twang-like voices.

Experienced Listeners' Perception of Timbre Dissimilarity Within and Between Voice Categories

OBJECTIVE/HYPOTHESES

The terms "soprano" and "mezzo-soprano" are frequently used by vocal pedagogues to describe a main category of singing timbre categorization, while the terms "lyric" and "dramatic" are often used to describe sub-categories of "soprano" and "mezzo-soprano". A handful of studies have reported on the perceptual dissimilarity of main voice categories, but few, if any, have focused on within voice category perceptual distinctions such as dramatic and lyric vocal timbre. Using stimuli collected from cisgender female singers of varying voice categories and voice weights across the pitches C4, G4, and F5, this study sought (1) to visualize an experienced listener's perception of vocal timbre dissimilarity within and between voice categories using the statistical technique of multidimensional scaling (MDS), (2) to identify salient acoustic predictors of voice category and voice weight, and (3) to determine any dependencies on pitch for the perception of vocal timbre.

METHOD/DESIGN

For the pitches C4, G4, and F5, experienced listeners (N=18) rated the dissimilarity of pairs of sung vowels produced by classically trained singers classified as follows: six mezzo-sopranos (three lighter and three heavier) and six sopranos (three lighter and three heavier). The resulting dissimilarity data were analyzed using MDS. Backward linear regression was used to see if one or more of the following variables predicted MDS dimensions: spectral centroid from 0 to 5 kHz, spectral centroid from 0 to 2 kHz, spectral centroid from 2 to 5 kHz, frequency vibrato rate, and frequency vibrato extent. Listeners also completed a categorization task where they rated each individual stimulus on two dimensions: voice category and voice weight.

RESULTS

Visual analysis of the MDS solutions appears to show that both voice category and voice weight emerged as dimensions at pitches C4 and G4. Discriminant analysis, on the other hand, statistically confirmed both these dimensions at G4, but only voice weight at C4. At pitch F5, only voice weight emerged as a dimension, both visually and statistically. Acoustic predictors of MDS dimensions were highly variable across pitches. At the pitch C4, no MDS dimension was predicted by the acoustic variables. At pitch G4, the dimension associated with voice weight was predicted by spectral centroid from 0 to 2 kHz. At pitch F5, the dimension associated with voice weight was predicted by spectral centroid from 2 to 5 kHz and frequency vibrato rate. In the categorization task, voice category and voice weight were highly correlated at the pitches C4, G4, and when all pitches were presented together, but weakly correlated at the pitch F5.

CONCLUSION

While voice category and sub-category distinctions are commonly used by singing voice professionals to describe the overall timbre of voices, these distinctions may not be able to consistently predict the perceptual difference between any given pair of vocal stimuli, particularly across pitch. Nonetheless, these dimensions do emerge in some fashion when listeners are presented with paired vocal stimuli. On the other hand, when asked to rate stimuli according to the specific labels of mezzo-soprano/soprano and dramatic/lyric, experienced listeners have a very difficult time disentangling voice category from voice weight when presented with a single-note stimulus or even a 3-note stimulus consisting of the pitches C3, G4, and F5.

Simulation of Vocal Loudness Regulation with Lung Pressure, Vocal Fold Adduction, and Source-Airway Interaction

In speaking, shouting, and singing, vocal loudness is known to be regulated with lung pressure, but the degree to which vocal fold adduction and airway shape play a role in loudness control is less well known. When loudness is quantified in sones instead of sound pressure level (SPL), the regulatory mechanisms are even less obvious. Here it is shown computationally that loudness is insensitive to changes in SPL produced with variable adduction. A trade-off exists between a reduction in glottal flow amplitude and a flatter spectral slope. When the airway configuration is changed from a uniform tube to a "belt" or "call" shape, loudness can increase with a slight decrease in SPL. When the airway configuration is changed from a uniform tube to an operatic "ring" shape, loudness is increased with only a small increase in SPL.

Effects of Resonant Voice Therapy on Perceptual and Acoustic Source and Tract Parameters - A Preliminary Study on Indian Carnatic Classical Singers

PURPOSE

The aim of the study was to examine the effects of resonant voice therapy (RVT) on the vocal resonance of trained Carnatic singers. The specific objectives were to evaluate the effects of resonant voice therapy on the auditory perceptual judgments and acoustic source and tract parameters before and after RVT on phonation and sung voice samples.

METHOD

Six vocally healthy trained Carnatic singers, three males and three females aged 18-25 years (M = 23; S.D = 2.09) participated in the study. All the participants were assigned to a 21-days-long Resonance Voice Therapy (RVT) training program. The participants' pre and post training phonation and sung samples were subjected to auditory perceptual analysis and acoustic analysis.

RESULTS

The results revealed that the post training auditory perceptual ratings of the phonation task showed a statistically significant difference from the pre training scores (Z= 2.35; P = 0.019). While for the singing task, the post training perceptual ratings were not significantly different from the pre training perceptual rating scores (Z= 2.66; P = 0.08). A significant difference was observed between the pre and post training values for all the measured acoustic parameters of the phonation task. In singing task, though the fundamental frequency, third and fourth formant frequencies showed no significant difference in the pre and post training conditions (P > 0.05), the parameter of- difference between the first formant frequency and the fundamental frequency showed a significant decrease (P = 0.028).

CONCLUSION

The effects of resonant voice production led to a high vocal economy, as evidenced from the improved source and filter acoustic parameters. Indication for formant tuning through vocal tract modifications, probably an enlarged pharyngeal area resulting in increased resonant voice quality in both phonation and singing tasks, is inferred from these results.

Embedded system design for classification of COPD and pneumonia patients by lung sound analysis

Chronic obstructive pulmonary disease (COPD) and pneumonia are lethal pulmonary illnesses with equivocal nature of abnormal pulmonic acoustics. Using lung sound signals, the classification of pulmonary abnormalities is a difficult task. A standalone system was conceived for screening COPD and Pneumonia patients through signal processing and machine learning methodologies. The proposed system will assist practitioners and pulmonologists in the accurate classification of disease. In this research work, ICBHI's and self-collected lung sound (LS) databases are used to investigate COPD and pneumonia patient. In this scheme, empirical mode decomposition (EMD), discrete wavelet transform (DWT), and analysis of variance (ANOVA) techniques are employed for segmentation, noise elimination, and feature selection, respectively. To overcome the inherent limitation of ICBHI's LS database, the adaptive synthetic (ADASYN) sampling technique is used to eradicate class imbalance. Lung sound features are used to train fine Gaussian support vector machine (FG-SVM) for classification of COPD, pneumonia, and heathy healthy subjects. This machine learning scheme is implemented on low cost and portable Raspberry pi 3 model B+ (Cortex-A53 (ARMv8) 64-bit SoC @ 1.4 GHz through hardware-supported language. Resultant hardware is capable of screening COPD and pneumonia patients accurately and assist health professionals.

A Mandarin Chinese Reading Passage for Eliciting Significant Vocal Range Variations

Purpose There is a lack of standardized Mandarin reading text material that could potentially elicit significant variations in fundamental frequency (F0) and in vocal intensity for clinical voice evaluation. In this study, a phonetically balanced "Three Bears Passage" was developed based on the classical "Goldilocks" story for this purpose. The hypothesis was that the vocal range (F0 range and Intensity range) elicited while reading aloud the passage could be similar to that of the voice range profile (VRP) obtained with sustained vowel production and significantly different from that while reading an existing standard Mandarin passage. Method One hundred twenty young adults (60 men and 60 women, aged 25.22 ± 3.74 years) without vocal pathologies and vocal training participated in the study. Vocal range data, including F0-related measures and intensity-related measures, were obtained with Praat in order to construct VRPs for the sustained /a/ and to construct speech range profiles for passage reading. Results F0 range and intensity range for the new passage were significantly larger than those for the existing Mandarin passage for both male and female participants. In particular, the F0 range for the passage was not significantly different from that of the VRP for male participants. Conclusions These findings suggested that the new passage could allow individuals without vocal training to demonstrate a large vocal range in both F0 and vocal intensity, in a passage reading setting in a relatively short time. Further studies should be pursued with the passage to investigate the vocal range and vocal potential of individuals with voice disorders.

The Effect of Single Harmonic Tuning on Vocal Loudness

The study addresses the benefit of tuning single harmonics with vocal tract resonances to increase vocal loudness. The loudness of theoretically constructed vocal sounds with variable levels of sound energy in the first, second, and third harmonics is computed on the basis of ISO standard 226:2003. In comparison to increased loudness with changes in overall spectral slope, it is shown that single harmonic tuning requires a greater range of SPL to produce a similar range of loudness. For example, a 10-40 dB increase in the level of a single harmonic produces less than two doublings of loudness, whereas a spectral slope change from -12 dB/octave to -3 dB/octave can produce a similar doubling of loudness with only a 5 dB SPL increase.