Membranous and cartilaginous vocal fold adduction in 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.

Register transitions in an in vivo canine model as a function of intrinsic laryngeal muscle stimulation, fundamental frequency, and sound pressure level

Phonatory instabilities and involuntary register transitions can occur during singing. However, little is known regarding the mechanisms which govern such transitions. To investigate this phenomenon, we systematically varied laryngeal muscle activation and airflow in an in vivo canine larynx model during phonation. We calculated voice range profiles showing average nerve activations for all combinations of fundamental frequency (F0) and sound pressure level (SPL). Further, we determined closed-quotient (CQ) and minimum-posterior-area (MPA) based on high-speed video recordings. While different combinations of muscle activation favored different combinations of F0 and SPL, in the investigated larynx there was a consistent region of instability at about 400 Hz which essentially precluded phonation. An explanation for this region may be a larynx specific coupling between sound source and subglottal tract or an effect based purely on larynx morphology. Register transitions crossed this region, with different combinations of cricothyroid and thyroarytenoid muscle (TA) activation stabilizing higher or lower neighboring frequencies. Observed patterns in CQ and MPA dependent on TA activation reproduced patterns found in singers in previous work. Lack of control of TA stimulation may result in phonation instabilities, and enhanced control of TA stimulation may help to avoid involuntary register transitions, especially in the singing voice.

Laryngeal and Acoustic Analysis of Chest and Head Registers Extended Across a Three-Octave Range: A Case Study

Voice registers are assumed to be related to different laryngeal adjustments, but objective evidence has been insufficient. While chest register is usually associated with the lower pitch range, and head register with the higher pitch range, here we investigated a professional singer who claimed an ability to produce both these registers at every pitch, throughout her entire singing range. The singer performed separated phonations alternating between the two registers (further called chest-like and head-like) at all pitches from C3 (131 Hz) to C6 (1047 Hz). We monitored the vocal fold vibrations using high-speed video endoscopy and electroglottography. The microphone sound was recorded and used for blind listening tests performed by the three authors (insiders) and by six "naive" participants (outsiders). The outsiders correctly identified the registers in 64% of the cases, and the insiders in 89% of the cases. Objective analysis revealed larger closed quotient and vertical phase differences for the chest-like register within the lower range below G4 (<392 Hz), and also a larger closed quotient at the membranous glottis within the higher range above Bb4 (>466 Hz), but not between Ab4-A4 (415-440 Hz). The normalized amplitude quotient was consistently lower in the chest-like register throughout the entire range. The results indicate that that the singer employed subtle laryngeal control mechanisms for the chest-like and head-like phonations on top of the traditionally recognized low-pitched chest and high-pitched head register phenomena. Across all pitches, the chest-like register was produced with more rapid glottal closure that was usually, but not necessarily, accompanied also by stronger adduction of membranous glottis. These register changes were not always easily perceivable by listeners, however.

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.

Assessing and Quantifying Air Added to the Voice by Means of Laryngostroboscopic Imaging, EGG, and Acoustics in Vocally Trained Subjects

OBJECTIVE

To assess and quantify singers' strategies for adding air to phonation to sound "breathy" in a healthy manner STUDY DESIGN: Case-control study with 20 professional singers.

METHODS

Twenty singers were recorded performing sustained vowels in the Complete Vocal Technique Neutral vocal mode with and without audible air added to the voice by means of laryngostroboscopic imaging using a videonasoendoscopic camera system, electroglottography, long-term average spectrum, as well as acoustic signals and audio perception. Singers completed Voice Handicap Index and Reflux Symptom Index questionnaires prior to examination.

RESULTS

Air added to the voice resulted in an expected glottal gap along the length of the vocal folds, with little to no further difference in the supraglottic area, as compared with the Neutral phonation. Air added resulted in lowered Qx, mean Sound Pressure Level, and Cepstral Peak Prominence, but higher Harmonics-to-Noise Ratio, Jitter, and Shimmer, with decreased energy at the fundamental frequency. Adding audible air to the phonation did not exhibit similar effects on acoustics for males and females. Also, for females, H1-H2 difference decreased with air added, while it increased for males.

CONCLUSION

Singers produce an audible airy phonation similar yet significantly different to the breathy phonation reported for both healthy and pathological speakers.

Electroglottographic and acoustic analysis of voice in children with vocal nodules

PURPOSE

Vocal fold nodules are usually caused by voice overuse or vocal hyperfunction, and their symptoms include persistent hoarseness - a disturbance in the vocal fold vibrations which results in a turbulent passage of air in the glottis, manifested as a raspy, rough voice. The aim of the study was to present data concerning voice quality in patients with vocal nodules and to compare electroglottographic analysis (EGG) with acoustic analysis.

METHODS

The study examined 57 children with vocal fold nodules (Group 1). Each patient underwent a phoniatric evaluation of the vocal tract, a videolaryngoscopic examination, and a voice quality assessment, employing electroglottographic and acoustic analyses. The control group consisted of 37 healthy children (Group 2). The following parameters were analyzed: Closed Quotient (EGG signal), Peak Slope, Normalized Amplitude Quotient and Cepstral Peak Prominence (acoustic signal - waveform).

RESULTS

Changes in the EGG signal could be detected in 95% of the patients with vocal nodules, indicating the occurrence of vocal nodules and glottal insufficiency. The acoustic analysis confirmed breathy phonation in 63% of the patients. The Closed Quotient parameter proved to be more effective than Peak Slope. Closed Quotient, Peak Slope and Normalized Amplitude Quotient allowed for the differentiation of the EGG signal and the acoustic signal in groups 1 and 2 in a statistically significant way.

CONCLUSIONS

The results of electroglottographic and acoustic analysis show incorrect voice parameters in patients with vocal nodules with reference to the control group. At the same time, the EGG analysis proved to be more effective than the analysis of the acoustic signal.

A Simple Method to Obtain Basic Acoustic Measures From Video Recordings as Subtitles

PURPOSE

Sound pressure level (SPL) and fundamental frequency (fo) are very basic and important measures in the acoustical assessment of voice quality, and their variation influences also the vocal fold vibration characteristics. Most sophisticated laryngeal videostroboscopic systems therefore also measure and display the SPL and fo values directly over the video frames by means of a rather expensive special hardware setup. An alternative simple software-based method is presented here to obtain these measures as video subtitles.

METHOD

The software extracts acoustic data from the video recording, calculates the SPL and fo parameters, and saves their values in a separate subtitle file. To ensure the correct SPL values, the microphone signal is calibrated beforehand with a sound level meter.

RESULTS

The new approach was tested on videokymographic recordings obtained laryngoscopically. The results of SPL and fo values calculated from the videokymographic recording, subtitles creation, and their display are presented.

CONCLUSIONS

This method is useful in integrating the acoustic measures with any kind of video recordings containing audio data when inbuilt hardware means are not available. However, calibration and other technical aspects related to data acquisition and synchronization described in this article should be properly taken care of during the recording.

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.

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.

A Review of Singing Voice Subsystem Interactions-Toward an Extended Physiological Model of "Support"

During phonation, the respiratory, the phonatory, and the resonatory parts of the voice organ can interact, where physiological action in one subsystem elicits a direct effect in another. Here, three major subsystems of these synergies are reviewed, creating a model of voice subsystem interactions: (1) Vocal tract adjustments can influence the behavior of the voice source via nonlinear source-tract interactions; (2) The type and degree of vocal fold adduction controls the expiratory airflow rate; and (3) The tracheal pull caused by the respiratory system affects the vertical larynx position and thus the vocal tract resonances. The relevance of the presented model is discussed, suggesting, among others, that functional voice building work concerned with a particular voice subsystem may evoke side effects or benefits on other subsystems, even when having a clearly defined and isolated physiological target. Finally, four seemingly incongruous historic definitions of the concept of singing voice "support" are evaluated, showing how each of these pertain to different voice subsystems at various levels of detail. It is argued that presumed discrepancies between these definitions can be resolved by putting them into the wider context of the subsystem interaction model presented here, thus offering a framework for reviewing and potentially refining some current and historical pedagogical approaches.

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.

Voice pedagogy-what do we need?

The final keynote panel of the 10th Pan-European Voice Conference (PEVOC) was concerned with the topic 'Voice pedagogy-what do we need?' In this communication the panel discussion is summarized, and the authors provide a deepening discussion on one of the key questions, addressing the roles and tasks of people working with voice students. In particular, a distinction is made between (1) voice building (derived from the German term 'Stimmbildung'), primarily comprising the functional and physiological aspects of singing; (2) coaching, mostly concerned with performance skills; and (3) singing voice rehabilitation. Both public and private educators are encouraged to apply this distinction to their curricula, in order to arrive at more efficient singing teaching and to reduce the risk of vocal injury to the singers concerned.

Glottal Adduction and Subglottal Pressure in Singing

Previous research suggests that independent variation of vocal loudness and glottal configuration (type and degree of vocal fold adduction) does not occur in untrained speech production. This study investigated whether these factors can be varied independently in trained singing and how subglottal pressure is related to average glottal airflow, voice source properties, and sound level under these conditions. A classically trained baritone produced sustained phonations on the endoscopic vowel [i:] at pitch D4 (approximately 294 Hz), exclusively varying either (a) vocal register; (b) phonation type (from "breathy" to "pressed" via cartilaginous adduction); or (c) vocal loudness, while keeping the others constant. Phonation was documented by simultaneous recording of videokymographic, electroglottographic, airflow and voice source data, and by percutaneous measurement of relative subglottal pressure. Register shifts were clearly marked in the electroglottographic wavegram display. Compared with chest register, falsetto was produced with greater pulse amplitude of the glottal flow, H1-H2, mean airflow, and with lower maximum flow declination rate (MFDR), subglottal pressure, and sound pressure. Shifts of phonation type (breathy/flow/neutral/pressed) induced comparable systematic changes. Increase of vocal loudness resulted in increased subglottal pressure, average flow, sound pressure, MFDR, glottal flow pulse amplitude, and H1-H2. When changing either vocal register or phonation type, subglottal pressure and mean airflow showed an inverse relationship, that is, variation of glottal flow resistance. The direct relation between subglottal pressure and airflow when varying only vocal loudness demonstrated independent control of vocal loudness and glottal configuration. Achieving such independent control of phonatory control parameters would be an important target in vocal pedagogy and in voice therapy.

Complex vibratory patterns in an elephant larynx

Elephants' low-frequency vocalizations are produced by flow-induced self-sustaining oscillations of laryngeal tissue. To date, little is known in detail about the vibratory phenomena in the elephant larynx. Here, we provide a first descriptive report of the complex oscillatory features found in the excised larynx of a 25 year old female African elephant (Loxodonta africana), the largest animal sound generator ever studied experimentally. Sound production was documented with high-speed video, acoustic measurements, air flow and sound pressure level recordings. The anatomy of the larynx was studied with computed tomography (CT) and dissections. Elephant CT vocal anatomy data were further compared with the anatomy of an adult human male. We observed numerous unusual phenomena, not typically reported in human vocal fold vibrations. Phase delays along both the inferior-superior and anterior-posterior (A-P) dimension were commonly observed, as well as transverse travelling wave patterns along the A-P dimension, previously not documented in the literature. Acoustic energy was mainly created during the instant of glottal opening. The vestibular folds, when adducted, participated in tissue vibration, effectively increasing the generated sound pressure level by 12 dB. The complexity of the observed phenomena is partly attributed to the distinct laryngeal anatomy of the elephant larynx, which is not simply a large-scale version of its human counterpart. Travelling waves may be facilitated by low fundamental frequencies and increased vocal fold tension. A travelling wave model is proposed, to account for three types of phenomena: A-P travelling waves, 'conventional' standing wave patterns, and irregular vocal fold vibration.

Influence and interactions of laryngeal adductors and cricothyroid muscles on fundamental frequency and glottal posture control

The interactions of the intrinsic laryngeal muscles (ILMs) in controlling fundamental frequency (F0) and glottal posture remain unclear. In an in vivo canine model, three sets of intrinsic laryngeal muscles-the thyroarytenoid (TA), cricothyroid (CT), and lateral cricoarytenoid plus interarytenoid (LCA/IA) muscle complex-were independently and accurately stimulated in a graded manner using distal laryngeal nerve stimulation. Graded neuromuscular stimulation was used to independently activate these paired intrinsic laryngeal muscles over a range from threshold to maximal activation, to produce 320 distinct laryngeal phonatory postures. At phonation onset these activation conditions were evaluated in terms of their vocal fold strain, glottal width at the vocal processes, fundamental frequency (F0), subglottic pressure, and airflow. F0 ranged from 69 to 772 Hz and clustered into chest-like and falsetto-like groups. CT activation was always required to raise F0, but could also lower F0 at low TA and LCA/IA activation levels. Increasing TA activation first increased then decreased F0 in all CT and LCA/IA activation conditions. Increasing TA activation also facilitated production of high F0 at a lower onset pressure. Independent control of membranous (TA) and cartilaginous (LCA/IA) glottal closure enabled multiple pathways for F0 control via changes in glottal posture.

Kymographic imaging of laryngeal vibrations

PURPOSE OF REVIEW

Kymographic imaging is a modern method for displaying and evaluating vibratory behaviour of the vocal folds which is crucial for voice production. This review summarizes the state of the art of this method, and focuses on the progress in this area within the last 5 years.

RECENT FINDINGS

Videokymography, using a special videocamera, offers high-speed (video)kymographic images in real time, which is advantageous in daily clinical practice. Two other methods use software to create kymograms retrospectively: digital kymography processes high-speed videolaryngoscopic recordings and offers numerous research possibilities, whereas strobovideokymography processes videostroboscopic recordings, and its use is limited to regular vibration patterns. Current studies reveal that high-speed kymographic images allow more reliable visual evaluation of vibrations than by watching video recordings. Image analysis procedures have been advanced to quantify the vibration properties of the vocal folds. New information has been obtained on asymmetry, mucosal waves, irregularities, phonation onset, and nonlinear dynamic phenomena in voice disorders, as well as in singing.

SUMMARY

High-speed kymography visualizes vibratory features which are not simply observable via traditional methods. It shows large potential in better understanding the functional origin of hoarseness and unsteady phonatory states. Further research in this area is envisioned.

Acoustic and perceptual effects of changes in body layer stiffness in symmetric and asymmetric vocal fold models

At present, it is not well understood how changes in vocal fold biomechanics correspond to changes in voice quality. Understanding such cross-domain links from physiology to acoustics to perception in the "speech chain" is of both theoretical and clinical importance. This study investigates links between changes in body layer stiffness, which is regulated primarily by the thyroarytenoid muscle, and the consequent changes in acoustics and voice quality under left-right symmetric and asymmetric stiffness conditions. Voice samples were generated using three series of two-layer physical vocal fold models, which differed only in body stiffness. Differences in perceived voice quality in each series were then measured in a "sort and rate" listening experiment. The results showed that increasing body stiffness better maintained vocal fold adductory position, thereby exciting more high-order harmonics, differences that listeners readily perceived. Changes to the degree of left-right stiffness mismatch and the resulting left-right vibratory asymmetry did not produce perceptually significant differences in quality unless the stiffness mismatch was large enough to cause a change in vibratory mode. This suggests that a vibration pattern with left-right asymmetry does not necessarily result in a salient deviation in voice quality, and thus may not always be of clinical significance.

Vocal fold vibration amplitude, open quotient, speed quotient and their variability along glottal length: kymographic data from normal subjects

Abstract Quantitative knowledge about healthy vocal fold vibration characteristics provides the basis for an objective assessment of vocal fold vibrations. In this study, using high-speed videolaryngoscopy the alterations of the relative vibration amplitudes, open quotients, and speed quotients were analyzed along the glottal length in 30 male and 30 female healthy subjects. The maximum vibration amplitude was identified at 41.1% ± 10.8% and 46.5% ± 18.0% of the visible glottal length in females and males, respectively. The average open quotients decreased in females and males from posterior to anterior, while the speed quotients did not change systematically. The reported normative values can be used to distinguish normal and abnormal vibrations in clinical practice when aiming at quantitative diagnosis of functional voice disorders.

Neuromuscular control of fundamental frequency and glottal posture at phonation onset

The laryngeal neuromuscular mechanisms for modulating glottal posture and fundamental frequency are of interest in understanding normal laryngeal physiology and treating vocal pathology. The intrinsic laryngeal muscles in an in vivo canine model were electrically activated in a graded fashion to investigate their effects on onset frequency, phonation onset pressure, vocal fold strain, and glottal distance at the vocal processes. Muscle activation plots for these laryngeal parameters were evaluated for the interaction of following pairs of muscle activation conditions: (1) cricothyroid (CT) versus all laryngeal adductors (TA/LCA/IA), (2) CT versus LCA/IA, (3) CT versus thyroarytenoid (TA) and, (4) TA versus LCA/IA (LCA: lateral cricoarytenoid muscle, IA: interarytenoid). Increases in onset frequency and strain were primarily affected by CT activation. Onset pressure correlated with activation of all adductors in activation condition 1, but primarily with CT activation in conditions 2 and 3. TA and CT were antagonistic for strain. LCA/IA activation primarily closed the cartilaginous glottis while TA activation closed the mid-membranous glottis.

Vocal tract area functions and formant frequencies in opera tenors' modal and falsetto registers

According to recent model investigations, vocal tract resonance is relevant to vocal registers. However, no experimental corroboration of this claim has been published so far. In the present investigation, ten professional tenors' vocal tract configurations were analyzed using MRI volumetry. All subjects produced a sustained tone on the pitch F4 (349 Hz) on the vowel /a/ (1) in modal and (2) in falsetto register. The area functions were estimated from the MRI data and their associated formant frequencies were calculated. In a second condition the same subjects repeated the same tasks in a sound treated room and their formant frequencies were estimated by means of inverse filtering. In both recordings similar formant frequencies were observed. Vocal tract shapes differed between modal and falsetto register. In modal as compared to falsetto the lip opening and the oral cavity were wider and the first formant frequency was higher. In this sense the presented results are in agreement with the claim that the formant frequencies differ between registers.