Mirroring the voice from Garcia to the present day: Some insights into singing voice registers

Extrinsic Laryngeal Muscle Activity and Vocal Economy in Professionally Trained Voices During Vocal Vibrato

PURPOSE

The purpose of the present study was to determine the extrinsic laryngeal muscle activity and vocal economy during two different singing conditions (straight-tone- vs vibrato singing) over a physiologically relevant singing range.

METHODS

Thirty professional singers or voice coaches participated in the study. The participants sang a sustained /a:/ vowel for approximately 5seconds, once in straight-tone singing conditions and once more in vibrato. The target pitches were C3, F3, A3, C4, F4, A4, and C5. Surface electromyographic (sEMG) measures were performed in the infrahyoid (IH)- and the suprahyoid (SH) muscle region. Contact quotient (CQ), sound pressure level (SPL), and fundamental frequencies were measured to derive the electroglottographic-based vocal economy parameter quasi-output cost ratio (QOCR).

RESULTS

sEMG measures show that IH and SH muscles significantly increased in activity with ascending pitch. IH and SH muscle activity was also significantly higher when singing in vibrato than straight-tone. Moreover, SPL also increased with ascending pitch and when sung in vibrato. CQ increased and QOCR decreased as pitch ascended but did not significantly change when sung in vibrato.

CONCLUSION

Singing higher pitches was generally associated with higher extrinsic laryngeal muscle activity and lower QOCR values. When comparing two singing conditions, extrinsic laryngeal muscle activity was higher during vibrato, implicating that IH and the SH muscles may contribute to rhythmic pulsations of pitch modulation. Although the QOCR value did not show significant differences between the two singing conditions, a significantly higher SPL during vibrato may offer some acoustical and physiological advantages. Results also indicate that extrinsic muscle activity may not be reliably measure vocal economy.

Biomechanics of sound production in high-pitched classical singing

Voice production of humans and most mammals is governed by the MyoElastic-AeroDynamic (MEAD) principle, where an air stream is modulated by self-sustained vocal fold oscillation to generate audible air pressure fluctuations. An alternative mechanism is found in ultrasonic vocalizations of rodents, which are established by an aeroacoustic (AA) phenomenon without vibration of laryngeal tissue. Previously, some authors argued that high-pitched human vocalization is also produced by the AA principle. Here, we investigate the so-called "whistle register" voice production in nine professional female operatic sopranos singing a scale from C6 (≈ 1047 Hz) to G6 (≈ 1568 Hz). Super-high-speed videolaryngoscopy revealed vocal fold collision in all participants, with closed quotients from 30 to 73%. Computational modeling showed that the biomechanical requirements to produce such high-pitched voice would be an increased contraction of the cricothyroid muscle, vocal fold strain of about 50%, and high subglottal pressure. Our data suggest that high-pitched operatic soprano singing uses the MEAD mechanism. Consequently, the commonly used term "whistle register" does not reflect the physical principle of a whistle with regard to voice generation in high pitched classical singing.

A Comparison of Countertenor Singing at Various Professional Levels Using Acoustic, Electroglottographic, and Videofluoroscopic Methods

INTRODUCTION

The vocal characteristics of countertenors (CTTs) are poorly understood due to a lack of studies in this field. This study aims to explore differences among CTTs at various professional levels, examining both disparities and congruences in singing styles to better understand the CTT voice.

MATERIALS AND METHODS

Four CTTs (one student, one amateur, and two professionals) sang "La giustizia ha già sull'arco" from Handel's Giulio Cesare, with concurrent videofluoroscopic, electroglottography (EGG), and acoustic data collection. Auditory-perceptual analysis was employed to rate professional level. Acoustic analysis included LH1-LH2, formant cluster prominence, and vibrato analysis. EGG data was analyzed using FonaDyn software, while anatomical modifications were quantified using videofluoroscopic images.

RESULTS

CTTs exhibited EGG contact quotient values surpassing typical levels for inexperienced falsettos. Their vibrato characteristics aligned with expectations for classical singing, whereas the presence of the singer's formant was not observed. Variations in supraglottic adjustments among CTTs underscored the diversity of techniques employed by CTT singers.

CONCLUSIONS

CTTs exhibited vocal techniques that highlighted the influence of individual preferences, professional experience, and stylistic choices in shaping their singing characteristics. The data revealed discernible differences between professional and amateur CTTs, providing insights into the impact of varying levels of experience on vocal expression.

Aerodynamic Parameters in Byzantine Chant Voices: Comparisons Across Pitch and Loudness

OBJECTIVE

This study was designed to assess the impact of phonation frequency and loudness increase on aerodynamic parameters of the singing voice in Byzantine chant (BC).

DESIGN

Aerodynamic measurements in BC were obtained and statistically analyzed.

METHOD

Fifteen experienced BC chanters, all baritones, performed the ascending notes G2, C3, E3, G3, C4, E4, and G4, at normal and high levels of loudness within a mask, while repeating strings of /pi/ syllables. The parameters of airflow (FR), subglottal pressure (Psub), and sound pressure level (SPL) were directly measured, and from them, the glottal flow resistance (Rg) and vocal efficiency (VE) were calculated. All the parameters' values were statistically analyzed.

RESULTS

Statistically significant differences for FR, Psub, and SPL parameters in BC between the two loudness levels, at constant pitch, and for Psub, SPL, Rg, and VE among different pitches, at constant loudness levels were detected. When loudness increases, a) only the mean values of FR, Psub, and SPL, within C3-C4, increase, whereas those of Rg and VE do not show any change, and b) at G2, only the mean Psub increases, while in the upper range E4-G4, both mean SPL and mean VE decrease. When pitch is raised, a) for each level of loudness, within G2-E4 pitch range, the means of Psub, SPL, Rg, and VE increase while this is not the case for FR, and b) in the highest range (E4-G4), average SPL and VE drop while Rg and Psub remain stable. Our findings suggest that: a) most participants increase Psub and SPL without modification of Rg when loudness increases, and b) most participants increase both SPL and Psub while changing Rg with pitch rise. Idiosyncratic differences among the participants were detected in Rg and Psub, because of pitch rise, and, also, in Rg and VE due to loudness increase.

CONCLUSIONS

The results from this study reveal that, within the C3-C4 pitch range: a) there is independent control between the loudness and glottal adduction, and b) Psub is the main tool for increasing both the loudness and SPL. For some exceptions among the participants, either the Rg alteration or other modifications of the vocal system are, possibly, the cause of the loudness increase. The increased mean values of SPL, Rg, and Psub with pitch rise, for most participants, suggest that both glottal adduction and Psub increase together with the SPL and pitch increase. The VE increase within G2-E4 pitches reaches a maximum value at E4. Some exceptions among the participants exist that suggest the possible use of different phonatory strategies when changing either the pitch or the vocal loudness.

Flow-induced oscillations of vocal-fold replicas with tuned extensibility and material properties

Human vocal folds are highly deformable non-linear oscillators. During phonation, they stretch up to 50% under the complex action of laryngeal muscles. Exploring the fluid/structure/acoustic interactions on a human-scale replica to study the role of the laryngeal muscles remains a challenge. For that purpose, we designed a novel in vitro testbed to control vocal-folds pre-phonatory deformation. The testbed was used to study the vibration and the sound production of vocal-fold replicas made of (i) silicone elastomers commonly used in voice research and (ii) a gelatin-based hydrogel we recently optimized to approximate the mechanics of vocal folds during finite strains under tension, compression and shear loadings. The geometrical and mechanical parameters measured during the experiments emphasized the effect of the vocal-fold material and pre-stretch on the vibration patterns and sounds. In particular, increasing the material stiffness increases glottal flow resistance, subglottal pressure required to sustain oscillations and vibratory fundamental frequency. In addition, although the hydrogel vocal folds only oscillate at low frequencies (close to 60 Hz), the subglottal pressure they require for that purpose is realistic (within the range 0.5-2 kPa), as well as their glottal opening and contact during a vibration cycle. The results also evidence the effect of adhesion forces on vibration and sound production.

Vocal communication: The enigmatic production of low-frequency purrs in cats

Cat purring, the unusual, pulsed vibration that epitomizes comfort, enjoys a special status in the world of vocal communication research. Indeed, it has long been flagged as a rare exception to the dominant theory of voice production in mammals. A new study presents histological and biomechanical evidence that purring can occur passively, without needing muscle vibration in the larynx controlled by an independent neural oscillator.

Towards Automated Vocal Mode Classification in Healthy Singing Voice-An XGBoost Decision Tree-Based Machine Learning Classifier

Auditory-perceptual assessment is widely used in clinical and pedagogical practice for speech and singing voice, yet several studies have shown poor intra- and inter-rater reliability in both clinical and singing voice contexts. Recent advances in artificial intelligence and machine learning offer models for automated classification and have demonstrated discriminatory power in both pathological and healthy voice. This study develops and tests an XGBoost decision tree based machine learning classifier to develop automated vocal mode classification in healthy singing voice. Classification models trained on mel-frequency cepstrum coefficients, MFCC-Zero-Time Windowing, glottal features, voice quality features, and α-ratios demonstrated 92% average F1-score accuracy in distinguishing metallic and non-metallic singing for male singers and 87% average F1-score for female singers. The model distinguished vocal modes with 70% and 69% average F1-score for male and female samples, respectively. Model performance was compared to human auditory-perceptual assessments of 64 corresponding samples performed by 41 professional singers. The model performed with approximating or subpar performance to human assessors on task-matched problems. The XGBoost gains observed across tested features reveal that the most important attributes for the tested classification problems were MFCCs and α-ratios between high and low frequency energy, with models trained on only these features achieving performance not statistically significantly different from the best tested models. The best automated models in this study do not yet match human auditory-perceptual discrimination but improve on previously reported F1-average accuracies in automated classification in singing voice.

Vocal Fold Vibration of the Whistle Register Observed by High-Speed Digital Imaging

INTRODUCTION

Singers use a whistle register to sing at a fundamental frequency above 1000 Hz. In previous studies, vocal fold vibrations with or without complete closure and partial vocal fold vibrations were observed depending on the subject. However, the production mechanism of the whistle register is not yet clearly understood because of the limitations of the imaging device for the glottis and subjects.

OBJECTIVES

This study aims to examine vocal fold vibrations in a whistle register.

METHODS

The dynamic behavior of the glottis was recorded for six singers (four females and two males) using a high-speed digital imaging device with a frame rate above 10,000 fps. Audio signals were recorded simultaneously. The data were analyzed in the form of topography, glottal area waveforms, spectrograms, and phonovibrography to examine spatiotemporal patterns of glottal motion.

RESULTS

The vibratory motion of the vocal folds was classified into six patterns. The first pattern was the entire vocal fold vibration with complete closure during the closed phase. The second to fifth was the entire vocal fold vibration without complete closure, where a gap was observed for the full length of the vocal folds for the second, at the posterior part of the glottis for the third, at the anterior for the fourth, and at both ends for the fifth. In the sixth pattern, the vocal folds vibrated partially. Our results support the previous findings on the vibration of the vocal folds. In addition, we identified novel vibratory patterns in the vocal folds.

CONCLUSION

We conclude that the production of the whistle register is not just an extension of the falsetto register to the higher fundamental-frequency region; rather, the production mechanism of the whistle register appeared to be diverse as a means of vocalization.

Passaggio on chorists' voice range profile: preliminary study of frequency and intensity

PURPOSE

To analyze the passaggio in the voice range profile of choristers, by identifying the fundamental frequencies and intensities, both in the change to the high and low registers, comparing them, by voice types.

METHOD

67 choristers participated, mean age of 27.79 (± 7.50) years old, of the following voice types: soprano (n = 20), alto (n = 17), tenor (n = 15) and bass (n = 15). For data collection and analysis, the Vocalgram software (CTS Informática) was used, which recorded the emission of the vowel / Ɛ / in ascending and descending glissando, up to the lowest and highest note in the weakest and strongest intensities possible.

RESULTS

The values of frequencies and respective intensities of the passaggio were identified in ascending and descending, strong and weak emissions in all voice types. There was a higher occurrence of voice break in the high voices, compared to the low ones. The average values ​​of the frequencies found corresponded to different tones from those established in the literature for all voice types.

CONCLUSION

The passaggio identified in the vocal range profile of choristers, based on their frequencies and intensities were more frequent in soprano na tenor, compared to alto and bass, in changes to the low and high registers.

Acoustical Theory of Vowel Modification Strategies in Belting

Various authors have argued that belting is to be produced by "speech-like" sounds, with the first and second supraglottic vocal tract resonances (f_R1 and f_R2) at frequencies of the vowels determined by the lyrics to be sung. Acoustically, the hallmark of belting has been identified as a dominant second harmonic, possibly enhanced by first resonance tuning (f_R1≈2f_o). It is not clear how both these concepts - (a) phonating with "speech-like," unmodified vowels; and (b) producing a belting sound with a dominant second harmonic, typically enhanced by f_R1 - can be upheld when singing across a singer's entire musical pitch range. For instance, anecdotal reports from pedagogues suggest that vowels with a low f_R1, such as [i] or [u], might have to be modified considerably (by raising f_R1) in order to phonate at higher pitches. These issues were systematically addressed in silico with respect to treble singing, using a linear source-filter voice production model. The dominant harmonic of the radiated spectrum was assessed in 12987 simulations, covering a parameter space of 37 fundamental frequencies (f_o) across the musical pitch range from C3 to C6; 27 voice source spectral slope settings from -4 to -30 dB/octave; computed for 13 different IPA vowels. The results suggest that, for most unmodified vowels, the stereotypical belting sound characteristics with a dominant second harmonic can only be produced over a pitch range of about a musical fifth, centered at f_o≈0.5f_R1. In the [ɔ] and [ɑ] vowels, that range is extended to an octave, supported by a low second resonance. Data aggregation - considering the relative prevalence of vowels in American English - suggests that, historically, belting with f_R1≈2f_o was derived from speech, and that songs with an extended musical pitch range likely demand considerable vowel modification. We thus argue that - on acoustical grounds - the pedagogical commandment for belting with unmodified, "speech-like" vowels can not always be fulfilled.

Vocal Fold Vertical Thickness in Human Voice Production and Control: A Review

While current voice research often focuses on laryngeal adjustments in a two-dimensional plane from a superior endoscopic view, recent computational simulations showed that vocal control is three-dimensional and the medial surface vertical thickness plays an important role in regulating the glottal closure pattern and the spectral shape of the produced voice. In contrast, while a small glottal gap is required to initiate and sustain phonation, further changes in the glottal gap within this small range have only small effects on glottal closure and spectral shape. Vocal fold stiffness, particularly along the anterior-posterior direction, plays an important role in pitch control but has only a small effect on glottal closure and spectral shape. These results suggest that voice research should pay more attention to medial surface shape in the vertical dimension. Future studies in a large population of both normal speakers and patients are needed to better characterize the three-dimensional medial surface shape, its variability between speakers, changes throughout the life span, and how it is impacted by voice disorders and clinical interventions. The implications for voice pedagogy and clinical intervention are discussed.

Differences of Electroglottographical Contact Quotients between Connected Speech and Sustained Phonation in Clinical Measurement of Voice

INTRODUCTION

In clinical practice, sustained phonation is mostly used for acoustic voice measurements, while perceptual evaluation is based on connected speech. Since sustained phonation could be associated with the use of the singing voice, and since vocal registers are more relevant for singing rather than speech, it is unclear if vocal registers contribute to observable vocal fold contact differences between sustained phonation and speech.

MATERIAL AND METHODS

Sustained phonation (vowel [a] on comfortable pitch and loudness) and connected speech (German text: Der Nordwind und die Sonne) were analyzed for 1216 subjects (426 with and 790 without dysphonia) using the Laryngograph system (combining electroglottography and audio recordings). From these samples, fundamental frequency (ƒ_o), contact quotient (CQ), sound pressure level (SPL) and frequency perturbation (jitter first for sustained and cFx for connected speech) were evaluated.

RESULTS

Compared to connected speech, the values of ƒ_o and SPL were higher for sustained phonation. For female voices, ƒ_o difference was greater than for male voices. At the same time, and only for the females, CQ was lower for the sustained phonation, indicating a register difference.

CONCLUSION

In order to achieve a better comparability, sustained phonation should be standardized regarding the ƒ_o and SPL values in correspondence to the ƒ_o and SPL range of reading a text. This should also reduce the risk of using a different register for different types of phonation.

Voices in the ocean

Toothed whales evolved a third way of making sounds similar to that of land mammals and birds.

Influence of Loudness on Vocal Stability in the Male Passaggio

INTRODUCTION

Vocal registers and the frequency region where registration events occur, the passaggio, have been in focus of scientific research for almost 200 years. In professional tenors, it has been shown before that singing across the passaggio avoiding a register shift and therefore using their stage voice above the passaggio (SVaP) is associated with greater vocal stability than a register change to the falsetto. However, it is unclarified how much different loudness conditions contribute to this vocal stability.

MATERIAL AND METHODS

Six professional tenors were asked to perform four pitch glides from A3 to A4 (220-440 Hz) on the vowel [i:]. These glides included (1) the passaggio from modal register to falsetto. The following glides into SVaP were performed under different loudness conditions, (2) mezzoforte (average loudness), (3) pianissimo (as quietly as possible), and (4) fortissimo (the loudest possible). During phonation, high speed videoendoscopy (HSV), electroglottography, and audio signals were recorded simultaneously. The glottal area waveform was derived based on the HSV material.

RESULTS

Modal to falsetto transitions were associated with relatively low sound pressure level and rise of open quotients (OQ) for the falsetto. Transitions to SVaP showed a clear dependence on the intended loudness. The OQs were lower the louder the task was. There was no clear evidence that transitions with softer voice showed greater stability of vocal fold oscillation patterns than louder tasks.

CONCLUSIONS

The vocal fold oscillation pattern show- differences among various loudness conditions within the tenors' passaggio but no clear differences with regard to oscillatory stability.

Vocal fold vibration mode changes due to cricothyroid and thyroarytenoid muscle interaction in a three-dimensional model of the canine larynx

Using a continuum model based on magnetic resonance imaging of a canine larynx, parametric simulations of the vocal fold vibration during phonation were conducted with the cricothyroid muscle (CT) and the thyroarytenoid muscle (TA) independently activated from zero to full activation. The fundamental frequency (f₀) first increased and then experienced a downward jump as TA activity gradually increased under moderate to high CT activation. Proper orthogonal decomposition analysis revealed that the vocal fold vibrations were dominated by two modes representing a lateral motion and rotational motion, respectively, and the f₀ drop was associated with a switch on the order of the two modes. In another parametric set where only the vocalis was active, f₀ increased monotonically with both TA and CT activity and the mode switch did not occur. The results suggested that the active stress in the TA, which causes large stress differences between the body and cover, is essential for the occurrence of the rotational mode and mode switch. Relatively greater TA activity tends to promote the rotational mode, while relatively greater CT activity tends to promote the lateral mode. The results also suggested that the vibration modes affected f₀ by affecting the contribution of the TA stress to the effective stiffness. The switch in the dominant mode caused the non-monotonic change of f₀.

Respiratory kinematics and the regulation of subglottic pressure for phonation of pitch jumps - a dynamic MRI study

The respiratory system is a central part of voice production as it contributes to the generation of subglottic pressure, which has an impact on voice parameters including fundamental frequency and sound pressure level. Both parameters need to be adjusted precisely during complex phonation tasks such as singing. In particular, the underlying functions of the diaphragm and rib cage in relation to the phonation of pitch jumps are not yet understood in detail. This study aims to analyse respiratory movements during phonation of pitch jumps using dynamic MRI of the lungs. Dynamic images of the breathing apparatus of 7 professional singers were acquired in the supine position during phonation of upwards and downwards pitch jumps in a high, medium, and low range of the singer's tessitura. Distances between characteristic anatomical landmarks in the lung were measured from the series of images obtained. During sustained phonation, the diaphragm elevates, and the rib cage is lowered in a monotonic manner. During downward pitch jumps the diaphragm suddenly changed its movement direction and presented with a short inspiratory activation which was predominant in the posterior part and was associated with a shift of the cupola in an anterior direction. The magnitude of this inspiratory movement was greater for jumps that started at higher compared to lower fundamental frequency. In contrast, expiratory movement of the rib cage and anterior diaphragm were simultaneous and continued constantly during the jump. The data underline the theory of a regulation of subglottic pressure via a sudden diaphragm contraction during phonation of pitch jumps downwards, while the rib cage is not involved in short term adaptations. This strengthens the idea of a differentiated control of rib cage and diaphragm as different functional units during singing phonation.

Vocal fold oscillation pattern changes related to loudness in patients with vocal fold mass lesions

Introduction

Vocal fold mass lesions can affect vocal fold oscillation patterns and therefore voice production. It has been previously observed that perturbation values from audio signals were lower with increased loudness. However, how much the oscillation patterns change with gradual alteration of loudness is not yet fully understood.

Material and methods

Eight patients with vocal fold mass lesions were asked to perform a glide from minimum to maximum loudness on the vowel /i/, ƒ_o of 125 Hz for male or 250 Hz for female voices. During phonation the subjects were simultaneously recorded with transnasal high speed videoendoscopy (HSV, 20,000 fps), electroglottography (EGG), and an audio recording. Based on the HSV material the Glottal Area Waveform (GAW) was segmented and GAW parameters were computed.

Results

The greatest vocal fold irregularities were observed at different values between minimum and maximum sound pressure level. There was a relevant discrepancy between the HSV and EGG derived open quotients. Furthermore, the EGG derived sample entropy and GAW values also evidenced different behavior.

Conclusions

The amount of vocal fold irregularity changes with varying loudness. Therefore, any evaluation of the voice should be performed under different loudness conditions. The discrepancy between EGG and GAW values appears to be much stronger in patients with vocal fold mass lesions than those with normal physiological conditions.

Level of evidence

4.

Effect of Respiratory Muscle Training on Pitch Range and Sound Duration in Brass Instrument Players and Singers

OBJECTIVE

Effective use of respiratory organs is important for musicians. Therefore, the impact of Respiratory Muscle Training (RMT) on phonation is open to research. The aim of this study was to investigate the measurable effects of RMT on blowing in brass instrumental and on voice performance in singers.

METHODS

Thirty musicians were recruited and separated into a four groups. The brass instrumental and singers groups were further subdivided into control and RMT groups for a 4 week RMT intervention giving a total four groups: singers experimental (SE; n:10), singers control (SC; n:10), brass instrument players experimental (BIPE; n:5), and BIPC (n:5). The groups selected from the musicians of Samsun State Opera and Ballet Directorate and Samsun Metropolitan Municipality Band Team participated in the study.

RESULTS

After 4 weeks of RMT application in the study groups, significant increase in all parameters except Forced vital capacity/Forced expiratory volume in 1 second was observed in the values of pulmonary function tests and respiratory muscle strength in subjects with SE and BIPE (P < 0.05). The most significant results of this study are that in addition to changes in the duration of phonation (SE 36%), high-pitch (SE 79%, BIPE 27%) and low-pitch sounds (BIPE 61% and SE 42%), the SE (15%) and BIPE (3%) groups reached higher pitches in the high-pitch notes.

CONCLUSIONS

It was determined that performance of the highest and lowest pitch sounds within a vocal register in a single breath and phonation times can be improved by RMT.

A three-dimensional vocal fold posturing model based on muscle mechanics and magnetic resonance imaging of a canine larynx

In this work, a high-fidelity three-dimensional continuum model of the canine laryngeal framework was developed for simulating laryngeal posturing. By building each muscle and cartilage from magnetic resonance imaging (MRI), the model is highly realistic in anatomy. The muscle mechanics is modeled using the finite-element method. The model was tested by simulating vocal fold postures under systematic activations of individual as well as groups of laryngeal muscles, and it accurately predicted vocal fold posturing parameters reported from in vivo canine larynges. As a demonstration of its application, the model was then used to investigate muscle controls of arytenoid movements, medial surface morphology, and vocal fold abduction. The results show that the traditionally categorized adductor and abductor muscles can have opposite effects on vocal fold posturing, making highly complex laryngeal adjustments in speech and singing possible. These results demonstrate that a realistic comprehensive larynx model is feasible, which is a critical step toward a causal physics-based model of voice production.

The Effect of Nasalance on Vocal Fold Oscillation Patterns During the Male Passaggio

INTRODUCTION

It is generally assumed that when singing across the region where registration events for untrained voices occur (the passaggio), singers modify the voice production system in order to avoid changes of voice quality. In this context, it has been postulated that nasalance could be used to stabilize vocal function throughout the passaggio. However, whether nasalance is frequently used by professional singers and if so, if it has a stabilizing effect on vocal fold oscillation patterns, is not yet fully understood.

MATERIAL AND METHODS

Eight western classically trained professional male singers (6 tenors and 2 baritones) were asked to perform transitions (1) from modal to falsetto register and (2) from modal to stage voice above the passaggio (SVaP) during ascending pitch glides from A3 (ƒo approx. 220 Hz) to A4 (ƒo approx. 440 Hz) on the vowel /i/. Transnasal high-speed videoendoscopy at 20.000 fps was captured simultaneously with electroglottographic, nasal and oral flow, and audio signals, recorded using the same frame rate. The nasalance was calculated from both oral and nasal DC-flow signals.

RESULTS

Transitions to SVaP showed greater periodicity and regularity than transitions to falsetto. For 5 subjects, nasalance was increased during the passaggio for the transition to SVaP. For 4 subjects the increase of nasalance for the SVaP was associated with a stabilization of the open quotient and occurred at a comparable fundamental frequency as the increase of the open quotient for the transition to falsetto.

CONCLUSIONS

Nasalance can be used in order to stabilize oscillatory regularity and open quotient in male singers for singing across the passaggio.

Quantifying syringeal dynamics in vitro using electroglottography

The complex and elaborate vocalizations uttered by many of the 10,000 extant bird species are considered a major driver in their evolutionary success, warranting study of the underlying mechanisms of vocal production. Additionally, birdsong has developed into a highly productive model system for vocal imitation learning and motor control, where, in contrast to humans, we have experimental access to the entire neuromechanical control loop. In human voice production, complex laryngeal geometry, vocal fold tissue properties, airflow and laryngeal musculature all interact to ultimately control vocal fold kinematics. Quantifying vocal fold kinematics is thus critical to understanding neuromechanical control of voiced sound production, but in vivo imaging of vocal fold kinematics in birds is experimentally challenging. Here, we adapted and tested electroglottography (EGG) as a novel tool for examining vocal fold kinematics in the avian vocal organ, the syrinx. We furthermore imaged and quantified syringeal kinematics in the pigeon (Columba livia) syrinx with unprecedented detail. Our results show that EGG signals predict (1) the relative amount of contact between the avian equivalent of vocal folds and (2) essential parameters describing vibratory kinematics, such as fundamental frequency, and timing of syringeal opening and closing events. As such, EGG provides novel opportunities for measuring syringeal vibratory kinematic parameters in vivo Furthermore, the opportunity for imaging syringeal vibratory kinematics from multiple planar views (horizontal and coronal) simultaneously promotes birds as an excellent model system for studying kinematics and control of voiced sound production in general, including in humans and other mammals.

Japanese macaque phonatory physiology

Although the call repertoire and its communicative function are relatively well explored in Japanese macaques (Macaca fuscata), little empirical data are available on the physics and the physiology of this species' vocal production mechanism. Here, a 6 year old female Japanese macaque was trained to phonate under an operant conditioning paradigm. The resulting 'coo' calls and spontaneously uttered 'growl' and 'chirp' calls were recorded with sound pressure level (SPL) calibrated microphones and electroglottography (EGG), a non-invasive method for assessing the dynamics of phonation. A total of 448 calls were recorded, complemented by ex vivo recordings on an excised Japanese macaque larynx. In this novel multidimensional investigative paradigm, in vivo and ex vivo data were matched via comparable EGG waveforms. Subsequent analysis suggests that the vocal range (range of fundamental frequency and SPL) of the macaque was comparable to that of a 7-10 year old human, with the exception of low intensity chirps, the production of which may be facilitated by the species' vocal membranes. In coo calls, redundant control of fundamental frequency in relation to SPL was also comparable to that in humans. EGG data revealed that growls, coos and chirps were produced by distinct laryngeal vibratory mechanisms. EGG further suggested changes in the degree of vocal fold adduction in vivo, resulting in spectral variation within the emitted coo calls, ranging from 'breathy' (including aerodynamic noise components) to 'non-breathy'. This is again analogous to humans, corroborating the notion that phonation in humans and non-human primates is based on universal physical and physiological principles.

Characteristics and Responses of Human Vocal Fold Cells in a Vibrational Culture Model

OBJECTIVES/HYPOTHESIS

This study was conducted to provide a vibrational culture model to investigate the effects of mechanical environments on cellular functions, and elucidate physiological characteristics of two different types of cells in vocal folds under static and vibrational conditions.

STUDY DESIGN

In vitro study of human vocal fold fibroblasts (hVFFs) and human macula flava stellate cells (hMF-SCs).

METHODS

hVFFs and hMF-SCs were exposed to a 2-second-on/2-second-off, 205 Hz vibration regime for 4 hours by using a vibrational culture model. We compared cell morphology, cell viability, and gene expression in extracellular matrix-related components, growth factors, and differentiation markers under static and vibratory conditions.

RESULTS

hVFFs and hMF-SCs differed in their morphologies and gene expression levels under static condition. The applied vibration did not induce changes in morphology and viability of either cell type. However, gene expression levels changed in both cell types in response to vibration; in particular, hMF-SCs exhibited a more sensitive response to vibration than that shown by hVFFs.

CONCLUSIONS

The vibrational culture model developed in this study enabled us to investigate the effects of the applied vibration on two types of vocal fold resident cells. As a result, we could demonstrate that hVFFs and hMF-SCs exhibited distinctively different characteristics under vibrational conditions.

LEVEL OF EVIDENCE

NA. Laryngoscope, 128:E258-E264, 2018.

Vocal similarity predicts the relative attraction of musical chords

The foundations of human music have long puzzled philosophers, mathematicians, psychologists, and neuroscientists. Although virtually all cultures uses combinations of tones as a basis for musical expression, why humans favor some tone combinations over others has been debated for millennia. Here we show that our attraction to specific tone combinations played simultaneously (chords) is predicted by their spectral similarity to voiced speech sounds. This connection between auditory aesthetics and a primary characteristic of vocalization adds to other evidence that tonal preferences arise from the biological advantages of social communication mediated by speech and language.

Musical chords are combinations of two or more tones played together. While many different chords are used in music, some are heard as more attractive (consonant) than others. We have previously suggested that, for reasons of biological advantage, human tonal preferences can be understood in terms of the spectral similarity of tone combinations to harmonic human vocalizations. Using the chromatic scale, we tested this theory further by assessing the perceived consonance of all possible dyads, triads, and tetrads within a single octave. Our results show that the consonance of chords is predicted by their relative similarity to voiced speech sounds. These observations support the hypothesis that the relative attraction of musical tone combinations is due, at least in part, to the biological advantages that accrue from recognizing and responding to conspecific vocal stimuli.

[Impact of functional mass lesions in professional female singers : Biomechanics of vocal fold oscillation in the register transition regions]

BACKGROUND

The influence of functional mass lesions on vocal fold oscillation patterns in vocally challenging tasks is not yet understood in detail.

MATERIALS UND METHODS

Glissandi on the vowel [a:] from 220 to 440 Hz and 440 to 880 Hz were analyzed in three groups of four professional female singers: without a mass lesion or dysphony (group A), with a functional mass lesion (swellings without a great impact on oscillation patterns during stroboscopy; group B), and with organic dysphony (group C). High-speed digital imaging (HSDI; 20,000 fps), and acoustic and electroglottographic (EGG) signals were used for analysis. Based on the EGG sample entropy, time windows for analysis of register transition phenomena were constructed. The voice signals (glottal area waveform, GAW; acoustic and EGG signals) were perceptually rated in terms of the noticeability of registration events.

RESULTS

The absolute sample entropy revealed maxima in fundamental frequency regions where register transitions typically occur. Groups A and B could be distinguished neither by perceptual rating nor based on sample entropy values. In comparison to the other two groups, the absolute sample entropy values of group C were greater in the lower glissando. However, the larger vocal fold oscillatory irregularities were observable for the upper glissando in this group.

CONCLUSION

Functional mass lesions do not influence biomechanics adversely in vocally challenging tasks such as register transitions. The use of sample entropy as a criterion for detection of register transitions is promising, but needs further validation.

Laryngeal evidence for the first and second passaggio in professionally trained sopranos

Introduction

Due to a lack of empirical data, the current understanding of the laryngeal mechanics in the passaggio regions (i.e., the fundamental frequency ranges where vocal registration events usually occur) of the female singing voice is still limited.

Material and methods

In this study the first and second passaggio regions of 10 professionally trained female classical soprano singers were analyzed. The sopranos performed pitch glides from A3 (ƒ_o = 220 Hz) to A4 (ƒ_o = 440 Hz) and from A4 (ƒ_o = 440 Hz) to A5 (ƒ_o = 880 Hz) on the vowel [iː]. Vocal fold vibration was assessed with trans-nasal high speed videoendoscopy at 20,000 fps, complemented by simultaneous electroglottographic (EGG) and acoustic recordings. Register breaks were perceptually rated by 12 voice experts. Voice stability was documented with the EGG-based sample entropy. Glottal opening and closing patterns during the passaggi were analyzed, supplemented with open quotient data extracted from the glottal area waveform.

Results

In both the first and the second passaggio, variations of vocal fold vibration patterns were found. Four distinct patterns emerged: smooth transitions with either increasing or decreasing durations of glottal closure, abrupt register transitions, and intermediate loss of vocal fold contact. Audible register transitions (in both the first and second passaggi) generally coincided with higher sample entropy values and higher open quotient variance through the respective passaggi.

Conclusions

Noteworthy vocal fold oscillatory registration events occur in both the first and the second passaggio even in professional sopranos. The respective transitions are hypothesized to be caused by either (a) a change of laryngeal biomechanical properties; or by (b) vocal tract resonance effects, constituting level 2 source-filter interactions.

Are Instructions to Manipulate Specific Parameters of Laryngeal Function Associated with Auditory-Perceptual Ratings of Voice Quality in Nondisordered Speakers?

OBJECTIVES/HYPOTHESIS

This preliminary study investigated whether auditory-perceptual judgments of voice quality by experienced speech language pathologists were associated with instructions given to speakers to manipulate specific laryngeal postures.

STUDY DESIGN

Experimental, within-subject design.

METHODS

Nine speakers were instructed and trained to manipulate three vocal parameters implicated in functional voice disorders-false vocal fold constriction, vocal fold mass, and larynx height-while reading a standard passage. Experienced judges rated these standard passages in terms of the widely used perceptual voice qualities breathiness, roughness, vocal strain, glottal fry, tone onset, tone color, loudness, and pitch.

RESULTS

Between-subject factorial analysis of variance, controlling for judge unreliability, revealed some evidence that perceptual judgments are strongly associated with underlying laryngeal muscle activity that can then serve clinical planning of goals for intervention. Eta² effect sizes were large for all dependent measures, ranging from 0.39 for pitch to 0.77 for strained.

CONCLUSIONS

Although these results are encouraging, they were obtained under ideal conditions. Further research is warranted.

Can Genre Be "Heard" in Scale as Well as Song Tasks? An Exploratory Study of Female Singing in Western Lyric and Musical Theater Styles

OBJECTIVES

Using an empirical design, this study investigated perceptual and acoustic differences between the recorded vocal products of songs and scales of professional female singers of classical Western Lyric (WL) and non-legit Musical Theater (MT) styles.

METHODS

A total of 54 audio-recorded samples of songs and scales from professional female singers were rated in a blind randomized testing process by seven expert listeners as being performed by either a WL or MT singer. Songs and scales that were accurately perceived by genre were then analyzed intra- and inter-genre using long-term average spectrum analysis.

RESULTS

A high level of agreement was found between judges in ratings for both songs and scales according to genre (P < 0.0001). Judges were more successful in locating WL than MT, but accuracy was always >50%. For the long-term average spectrum analysis intra-genre, song and scale matched better than chance. The highest spectral peak for the WL singers was at the mean fundamental frequency, whereas this spectral area was weaker for the MT singers, who showed a marked peak at 1 kHz. The other main inter-genre difference appeared in the higher frequency region, with a peak in the MT spectrum between 4 and 5 kHz-the region of the "speaker's formant."

CONCLUSIONS

In comparing female singers of WL and MT styles, scales as well as song tasks appear to be indicative of singer genre behavior. This implied difference in vocal production may be useful to teachers and clinicians dealing with multiple genres. The addition of a scale-in-genre task may be useful in future research seeking to identify genre-distinctive behaviors.

A study of vocal nonlinearities in humpback whale songs: from production mechanisms to acoustic analysis

Although mammalian vocalizations are predominantly harmonically structured, they can exhibit an acoustic complexity with nonlinear vocal sounds, including deterministic chaos and frequency jumps. Such sounds are normative events in mammalian vocalizations, and can be directly traceable to the nonlinear nature of vocal-fold dynamics underlying typical mammalian sound production. In this study, we give qualitative descriptions and quantitative analyses of nonlinearities in the song repertoire of humpback whales from the Ste Marie channel (Madagascar) to provide more insight into the potential communication functions and underlying production mechanisms of these features. A low-dimensional biomechanical modeling of the whale’s U-fold (vocal folds homolog) is used to relate specific vocal mechanisms to nonlinear vocal features. Recordings of living humpback whales were searched for occurrences of vocal nonlinearities (instabilities). Temporal distributions of nonlinearities were assessed within sound units, and between different songs. The anatomical production sources of vocal nonlinearities and the communication context of their occurrences in recordings are discussed. Our results show that vocal nonlinearities may be a communication strategy that conveys information about the whale’s body size and physical fitness, and thus may be an important component of humpback whale songs.

Physiological and acoustic characteristics of the male music theatre voice

Six male music theatre singers were recorded in three different voice qualities: legit and two types of belt ("chesty" and "twangy"), on two vowels ([e] and [ɔ]), at four increasing pitches in the upper limit of each singer's belt range (∼250-440 Hz). The audio signal, the electroglottographic (EGG) signal, and the vocal tract impedance were all measured simultaneously. Voice samples were analyzed and then evaluated perceptually by 16 expert listeners. The three qualities were produced with significant differences at the physiological, acoustical, and perceptual levels: Singers produced belt qualities with a higher EGG contact quotient (CQEGG) and greater contacting speed quotient (Qcs), greater sound pressure level (SPL), and energy above 1 kHz (alpha ratio), and with higher frequencies of the first two vocal tract resonances (fR1, fR2), especially in the upper pitch range when compared to legit. Singers produced the chesty belt quality with higher CQEGG, Qcs, and SPL values and lower alpha ratios over the whole belt range, and with higher fR1 at the higher pitch range when compared to twangy belt. Consistent tuning of fR1 to the second voice harmonic (2f0) was observed in all three qualities and for both vowels. Expert listeners tended to identify all qualities based on the same acoustical and physiological variations as those observed in the singers' intended qualities.

Development of Vibrational Culture Model Mimicking Vocal Fold Tissues

The vocal folds (VFs) are connective tissues with complex matrix structures that provide the required mechanical properties for voice generation. VF injury leads to changes in tissue structure and properties, resulting in reduced voice quality. However, injury-induced biochemical changes and repair in scarred VF tissues have not been well characterized to date. To treat scarred VFs, it is essential to understand how physiological characteristics of VFs tissue change in response to external perturbation. In this study, we designed a simple vibrational culture model to mimic vibratory microenvironments observed in vivo. This model consists of a flexible culture plate, three linear actuators, a stereo splitter, and a function generator. Human vocal fold fibroblast (hVFF) monolayers were established on the flexible membrane, to which normal phonatory vibrations were delivered from linear actuators and a function generator. The hVFF monolayers were exposed to the vibrational stresses at a frequency of 205 Hz for 2, 6, and 10 h with maximum displacement of 47.1 μm, followed by a 6 h rest. We then observed the changes in cell morphology, cell viability, and gene expression related to extracellular matrix components. In our dynamic culture device mimicking normal phonatory frequencies, cell proliferation increased and expression of hyaluronic acid synthase 2 was downregulated in response to vibrational stresses. The results presented herein will be useful for evaluating cellular responses following VF injuries in the presence or absence of vibrational stresses.

Vocal and Neural Responses to Unexpected Changes in Voice Pitch Auditory Feedback During Register Transitions

OBJECTIVE/HYPOTHESIS

It is known that singers are able to control their voice to maintain a relatively constant vocal quality while transitioning between vocal registers; however, the neural mechanisms underlying this effect are not understood. It was hypothesized that greater attention to the acoustical feedback of the voice and increased control of the vocal musculature during register transitions compared with singing within a register would be represented as neurological differences in event-related potentials.

STUDY DESIGN/METHODS

Nine singers sang musical notes at the high end of the modal register (the boundary between the modal and the head/falsetto registers) and at the low end (the boundary between the modal and the fry/pulse registers). While singing, the pitch of the voice auditory feedback was unexpectedly shifted either into the adjacent register ("toward" the register boundary) or within the modal register ("away from" the boundary). Singers were instructed to maintain a constant pitch and ignore any changes to their voice feedback.

RESULTS

Vocal response latencies and magnitude of the accompanying N1 and P2 event-related potentials were greatest at the lower (modal-to-fry) boundary when the pitch shift carried the subjects' voices into the fry register as opposed to remaining within the modal register.

CONCLUSIONS

These findings suggest that when a singer lowers the pitch of his or her voice such that it enters the fry register from the modal register, there is increased sensory-motor control of the voice, reflected as increased magnitude of the neural potentials to help minimize qualitative changes in the voice.

Realistic glottal motion and airflow rate during human breathing

The glottal geometry is a key factor in the aerosol delivery efficiency for treatment of lung diseases. However, while glottal vibrations were extensively studied during human phonation, the realistic glottal motion during breathing is poorly understood. Therefore, most current studies assume an idealized steady glottis in the context of respiratory dynamics, and thus neglect the flow unsteadiness related to this motion. This is particularly important to assess the aerosol transport mechanisms in upper airways. This article presents a clinical study conducted on 20 volunteers, to examine the realistic glottal motion during several breathing tasks. Nasofibroscopy was used to investigate the glottal geometrical variations simultaneously with accurate airflow rate measurements. In total, 144 breathing sequences of 30s were recorded. Regarding the whole database, two cases of glottal time-variations were found: "static" or "dynamic" ones. Typically, the peak value of glottal area during slow breathing narrowed from 217 ± 54 mm(2) (mean ± STD) during inspiration, to 178 ± 35 mm(2) during expiration. Considering flow unsteadiness, it is shown that the harmonic approximation of the airflow rate underevaluates the inertial effects as compared to realistic patterns, especially at the onset of the breathing cycle. These measurements provide input data to conduct realistic numerical simulations of laryngeal airflow and particle deposition.

Vocal Qualities in Music Theater Voice: Perceptions of Expert Pedagogues

OBJECTIVES/HYPOTHESIS

To gather qualitative descriptions of music theater vocal qualities including belt, legit, and mix from expert pedagogues to better define this voice type.

STUDY DESIGN

This is a prospective, semistructured interview.

METHODS

Twelve expert teachers from United States, United Kingdom, Asia, and Australia were interviewed by Skype and asked to identify characteristics of music theater vocal qualities including vocal production, physiology, esthetics, pitch range, and pedagogical techniques. Responses were compared with published studies on music theater voice.

RESULTS

Belt and legit were generally described as distinct sounds with differing physiological and technical requirements. Teachers were concerned that belt should be taught "safely" to minimize vocal health risks. There was consensus between teachers and published research on the physiology of the glottis and vocal tract; however, teachers were not in agreement about breathing techniques. Neither were teachers in agreement about the meaning of "mix." Most participants described belt as heavily weighted, thick folds, thyroarytenoid-dominant, or chest register; however, there was no consensus on an appropriate term. Belt substyles were named and generally categorized by weightedness or tone color. Descriptions of male belt were less clear than for female belt.

CONCLUSIONS

This survey provides an overview of expert pedagogical perspectives on the characteristics of belt, legit, and mix qualities in the music theater voice. Although teacher responses are generally in agreement with published research, there are still many controversial issues and gaps in knowledge and understanding of this vocal technique. Breathing techniques, vocal range, mix, male belt, and vocal registers require continuing investigation so that we can learn more about efficient and healthy vocal function in music theater singing.

Analysis of vibratory states in phonation using spectral features of the electroglottographic signal

The vocal folds can oscillate in several different ways, manifest to practitioners and clinicians as "registers" or "mechanisms," of which the two most often considered are modal voice and falsetto voice. Here these will be taken as instances of different "vibratory states," i.e., distinct quasi-stationary patterns of vibration of the vocal folds. State transitions are common in biomechanical nonlinear oscillators, and they are often abrupt and impossible to predict exactly. Therefore, vibratory states are a source of confounding variation, for instance when acquiring a voice range profile (VRP). In the quest for a state-based, non-invasive VRP, a semi-automatic method based on the short-term spectrum of the electroglottographic (EGG) signal was developed. The method identifies rapid vibratory state transitions, such as the modal-falsetto switch, and clusters the EGG data based on their similarities in the relative levels and phases of the lower frequency components. Productions of known modal and falsetto voice were accurately clustered by a Gaussian mixture model. When mapped into the VRP, this EGG-based clustering revealed connected regions of different vibratory sub-regimes in both modal and falsetto.

Ventricular-fold dynamics in human phonation

PURPOSE

In this study, the authors aimed (a) to provide a classification of the ventricular-fold dynamics during voicing, (b) to study the aerodynamic impact of these motions on vocal-fold vibrations, and (c) to assess whether ventricular-fold oscillations could be sustained by aerodynamic coupling with the vocal folds.

METHOD

A 72-sample database of vocal gestures accompanying different acoustical events comprised high-speed cinematographic, audio, and electroglottographic recordings of 5 subjects. Combining the physiological correlates with a theoretical model of phonation, the vocal-ventricular aerodynamic interactions were investigated.

RESULTS

A ventricular-fold motion is found during (de)crescendos, shout, throat singing, yodel, growls, and glides with transitions between registers. Three main types of dynamics are identified: slow nonoscillatory motion and fast oscillatory motion with aperiodical or periodical vibrations. These patterns accompany a change in voice quality, pitch, and/or intensity. Alterations of glottal-oscillatory amplitude, frequency, and contact were predicted. It is shown that a ventricular oscillation can be initiated and sustained by aerodynamic coupling with the vocal folds.

CONCLUSIONS

Vocal-ventricular aerodynamic interactions can alter, enhance, or suppress vocal-fold vibrations or leave them unchanged, depending on the ventricular-fold dynamics involved. Depending on its variation in time, a similar level of ventricular-fold adduction impacts the glottal vibratory magnitude and contact much differently.

Bi-stable vocal fold adduction: a mechanism of modal-falsetto register shifts and mixed registration

The origin of vocal registers has generally been attributed to differential activation of cricothyroid and thyroarytenoid muscles in the larynx. Register shifts, however, have also been shown to be affected by glottal pressures exerted on vocal fold surfaces, which can change with loudness, pitch, and vowel. Here it is shown computationally and with empirical data that intraglottal pressures can change abruptly when glottal adductory geometry is changed relatively smoothly from convergent to divergent. An intermediate shape between large convergence and large divergence, namely, a nearly rectangular glottal shape with almost parallel vocal fold surfaces, is associated with mixed registration. It can be less stable than either of the highly angular shapes unless transglottal pressure is reduced and upper stiffness of vocal fold tissues is balanced with lower stiffness. This intermediate state of adduction is desirable because it leads to a low phonation threshold pressure with moderate vocal fold collision. Achieving mixed registration consistently across wide ranges of F0, lung pressure, and vocal tract shapes appears to be a balancing act of coordinating laryngeal muscle activation with vocal tract pressures. Surprisingly, a large transglottal pressure is not facilitative in this process, exacerbating the bi-stable condition and the associated register contrast.

Vocal tract resonances in singing: variation with laryngeal mechanism for male operatic singers in chest and falsetto registers

Seven male operatic singers sang the same notes and vowels in their chest and their falsetto registers, covering the overlap frequency range where two main laryngeal mechanisms can be identified by means of electroglottography: M1 in chest register and M2 in falsetto register. Glottal contact quotients determined using electroglottography were typically lower by 0.27 in M2 than in M1. Vocal tract resonance frequencies were measured by using broadband excitation at the lips and found to be typically lower in M2 than in M1 sung at the same pitch and vowel; R1 typically by 65 Hz and R2 by 90 Hz. These shifts in tract resonances were only weakly correlated with the changes in the contact quotient or laryngeal height that were measured simultaneously. There was considerable variability in the resonance tuning strategies used by the singers, and no evidence of a uniform systematic tuning strategy used by all singers. A simple model estimates that the shifts in resonance frequencies are consistent with the effective glottal area in falsetto register (M2) being 60%-70% of its value in chest register (M1).

Visualization of system dynamics using phasegrams

A new tool for visualization and analysis of system dynamics is introduced: the phasegram. Its application is illustrated with both classical nonlinear systems (logistic map and Lorenz system) and with biological voice signals. Phasegrams combine the advantages of sliding-window analysis (such as the spectrogram) with well-established visualization techniques from the domain of nonlinear dynamics. In a phasegram, time is mapped onto the x-axis, and various vibratory regimes, such as periodic oscillation, subharmonics or chaos, are identified within the generated graph by the number and stability of horizontal lines. A phasegram can be interpreted as a bifurcation diagram in time. In contrast to other analysis techniques, it can be automatically constructed from time-series data alone: no additional system parameter needs to be known. Phasegrams show great potential for signal classification and can act as the quantitative basis for further analysis of oscillating systems in many scientific fields, such as physics (particularly acoustics), biology or medicine.

Vocal fold vibrations at high soprano fundamental frequencies

Human voice production at very high fundamental frequencies is not yet understood in detail. It was hypothesized that these frequencies are produced by turbulences, vocal tract/vocal fold interactions, or vocal fold oscillations without closure. Hitherto it has been impossible to visually analyze the vocal mechanism due to technical limitations. Latest high-speed technology, which captures 20,000 frames/s, using transnasal endoscopy was applied. Up to 1568 Hz human vocal folds do exhibit oscillations with complete closure. Therefore, the recent results suggest that human voice production at very high F0s up to 1568 Hz is not caused by turbulence, but rather by airflow modulation from vocal fold oscillations.