Toward a definition of male 'head' register, passaggio, and 'cover' in western operatic singing

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.

Analysis of male singers laryngeal vertical displacement during the first passaggio and its implications on the vocal folds vibratory pattern

OBJECTIVES

The first voice passaggio in classical western singing is characterized by changes in the vocal tract resonance and configuration around the middle C region (261.62 Hz). Many singers agree that something occurs at the level of the vocal folds to aid the demand for higher frequencies. However, although many singers explore this transitional mechanism, little is known about its precise physiology and association with the vertical displacement of the larynx. The objective of this study is to describe the implications of the vocal tract readjustment and the vocal folds vibration during the passaggio.

METHODS

The study consisted of 11 well-experienced singers performing an ascending scale up to a few notes above middle C while maintaining a consistent vocal tract configuration and finally sustaining the very last note, hence violating the normal passaggio. Subsequently, they reproduced the last sustained note with their traditional configuration of the larynx--western opera singing style. The data were collected with an electroglottography device. A repeated-measures analysis of variance (ANOVA) was applied to analyze the vocal tract length changes, vocal fold contact area (VFCA), and closure quotient before and after the first passaggio. A paired sample t test was implemented to analyze the formants transition.

RESULTS

The results show a significant difference of scores for the formants transition, VFCA, and vocal tract length suggesting that the larynx lowers after the passaggio. This displacement of the larynx is associated with changes on the vocal folds vibratory pattern conjecturably altering from essentially isotonic contraction of the thyroarytenoid muscle to isometric contraction.

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

Starting from Garcia's definition, the historical evolution of the notion of vocal registers from then until now is considered. Even though much research has been carried out on vocal registers since then, the notion of registers is still confused in the singing voice community, and defined in many different ways. While some authors consider a vocal register as a totally laryngeal event, others define it in terms of overall voice quality similarities. This confusion is reflected in the multiplicity of labellings, and it lies in the difficulty of identifying and specifying the mechanisms distinguished by these terms. The concept of laryngeal mechanism is then introduced, on the basis of laryngeal transition phenomena detected by means of electroglottography. It helps to specify at least the laryngeal nature of a given singing voice register. On this basis, the main physiological, acoustic, and perceptual characteristics of the most common singing voice registers are surveyed.

Relation between perceived voice register and flow glottogram parameters in males

The perception of modal and falsetto registers was analyzed in a material consisting of a total of 104 vowel sounds sung by 13 choir singers, 52 sung in modal register, and 52 in falsetto register. These vowel sounds were classified by 16 expert listeners in a forced choice test and the number of votes for modal was compared to the voice source parameters: (1) closed quotient (Q(closed)), (2) level difference between the two lowest source spectrum partials (H1-H2), (3) AC amplitude, (4) maximum flow declination rate (MFDR), and (5) normalized amplitude quotient (NAQ, AC amplitude/MFDR(*) fundamental frequency). Tones with a high value of Q(closed) and low values of H1-H2 and of NAQ were typically associated with high number of votes for modal register, and vice versa, Q(closed) showing the strongest correlation. Some singer subjects produced tones that could not be classified as either falsetto or modal register, suggesting that classification of registers is not always feasible.

Resonance strategies revealed in recorded tenor high notes

With careers that depend to a large extent on the amplitude and sonorous beauty of their voices, opera singers must pay special attention to high notes, where the wide spacing of the harmonics of the voice source intensifies the critical importance of the tuning of the resonances of the vocal tract. This study uses spectrum analysis to examine a large number of recordings of a particularly challenging high note for tenors, the final sustained B4-flat of the aria 'Celeste Aida' from Verdi's opera Aida. The resonance strategy most frequently found uses a markedly displaced second formant to create a dominant resonance at the frequency of the third harmonic, about 1,400 Hz. Other strategies and combinations of strategies are examined as well. Arguments concerning the validity of drawing conclusions from the acoustic signals available in commercial recordings are considered, and it is concluded that such recordings can contain valuable information on resonance strategies for those who aspire to sing similar high notes.

The Interplay between Glottis and Vocal Tract during the Male Passaggio

The transition between 'chest' and 'head' register is essential for male opera singers in order to reach the higher pitches. The 'passaggio', which is a scale passage where this transition takes place, but also a maneuver of register equalization, is typically difficult to learn. Studies on parameters for a definition of this transition are restricted to a small number of singers so far. Audio, electroglottographic, and equivalent subglottic pressure signals of 11 male opera singers were recorded while singing scales on open back vowels and passing the register transition. A spectrum analysis of the audio signal revealed that the second harmonic (H2) dominates in 'chest', resonated by the first formant (F1), together with the fourth harmonic (H4), supported by the second formant (F2). During the passaggio, H2 level decreases because it loses the resonance of F1, while the third harmonic (H3) gains the resonance of F2. At this point the H4 level drops because that harmonic is no longer supported by F2. The transition from 'chest' to 'head' register is marked by characteristic changes in the amplitude patterns of the partials H2, H3, and H4, and the frequency progressions of the first two formants, defining an objective distinction between the two registers.

A theoretical study of f0-f1 interaction with application to resonant speaking and singing voice

An interactive source-filter system, consisting of a three-mass body-cover model of the vocal folds and a wave reflection model of the vocal tract, was used to test the dependence of vocal fold vibration on the vocal tract. The degree of interaction is governed by the epilarynx tube, which raises the vocal tract impedance to match the impedance of the glottis. The key component of the impedance is inertive reactance. Whenever there is inertive reactance, the vocal tract assists the vocal folds in vibration. The amplitude of vibration and the glottal flow can more than double, and the oral radiated power can increase up to 10 dB. As F0 approaches F1, the first formant frequency, the interactive source-filter system loses its advantage (because inertive reactance changes to compliant reactance) and the noninteractive system produces greater vocal output. Thus, from a voice training and control standpoint, there may be reasons to operate the system in either interactive and noninteractive modes. The harmonics 2F0 and 3F0 can also benefit from being positioned slightly below F1.

Resonance strategies for the belting style: results of a single female subject study

This study explores resonance strategies used for the belting style and associated vocal fold vibratory patterns, for the vowels /e/, /a/, /i/, and /u/ on G4 and B4-flat. Acoustic spectra of belted vowels and their unoptimized, "speech-like" equivalents were compared. Vocal fold vibratory patterns were quantified using electroglottography. Results show that /a/ is inherently suitable for belting and requires no adjustment. For /e/, F2-H5 tuning was observed. For /i/, F1 was detuned from H1, enhancing also H2. For /u/, both F1 and F2 were raised to accomplish F2-H3 tuning. These results show that the loud, bright sound of the belting style is achieved by the implementation of resonance strategies that enhance higher harmonics. Electroglottography revealed that resonance strategies also result in raising the closed quotient (CQ) above 52%, an apparent threshold value for belting.

Relating objective measurements to expert evaluation of voice quality in Western classical singing: critical perceptual parameters

Communication between voice pedagogues and voice scientists is often impeded by reliance on colorful and sometimes seemingly contradictory descriptions of vocal production and voice quality. A recent study identified perceptual criteria which are generally used by voice experts for the assessment of voice quality in classical singing. In the present study, performances by singers of various voice types and levels of accomplishment were rated by panels of expert voice teachers according to four perceptual criteria: "resonance/ring," "color/warmth," "clarity/focus," and "appropriate vibrato." Subjective ratings were related to objective measurements taken from acoustic analysis of the voice signal. Possible acoustic correlates of critical perceptual parameters influencing judgments of voice quality were thus identified. Results could help bridge the terminology gap between vocal artists and scientists, and help to promote understanding of the way in which acoustic stimuli influence perception of voice quality.

Comparison of vocal tract formants in singing and nonperiodic phonation

The skilled use of nonperiodic phonation techniques in combination with spectrum analysis has been proposed here as a practical method for locating formant frequencies in the singing voice. The study addresses the question of the degree of similarity between sung phonations and their nonperiodic imitations, with respect to both frequency of the first two formants as well as posture of the vocal tract. Using magnetic resonance imaging (MRI), linear predictive coding (LPC), and spectrum analysis, two types of nonperiodic phonation (ingressive and vocal fry) are compared with singing phonations to determine the degree of similarity/difference in acoustic and spatial dimensions of the vocal tract when these phonation types are used to approximate the postures of singing. In comparing phonation types, the close similarity in acoustic data in combination with the relative dissimilarity in spatial data indicates that the accurate imitations are not primarily the result of imitating the singing postures, but have instead an aural basis.

Measurement of formant frequencies and bandwidths in singing

That singers under certain circumstances adjust the articulation of the vocal tract (formant tuning) to enhance acoustic output is both apparent from measurements and understood in theory. The precise effect of a formant on an approaching (retreating) harmonic as the latter varies in frequency during actual singing, however, is difficult to isolate. In this study variations in amplitude of radiated sound components as well as supraglottal and subglottal (esophageal) pressures accompanying the vibrato-related sweep of voice harmonics were used as a basis for estimating the effective center frequencies and bandwidths of the first and second formants.

On the relation between the dimensions and resonance characteristics of the vocal tract: a study with MRI

The relation between the spatial configuration of the vocal tract as determined by magnetic resonance imaging (MRI) and the acoustical signal produced was investigated. A male subject carried out a set of phonatory tasks, comprising the utterance of the sustained vowels /i/ and /a/, each in a single articulation, and the vowel /epsilon/ with his larynx positioned variously on a vertical axis. Two- and three-dimensional measurements of the vocal tract were performed. The results of these measurements were used to calculate resonance frequencies, according to predictions from acoustical theory. Finally, calculated frequencies were compared with actually measured resonance frequencies in the audio signal. We found a strong relation between the acoustical signal produced and the spatial configuration for the first resonance frequencies of the articulations of the vowel /epsilon/, and first two resonance frequencies of the vowels /a/ and /i/. The capability to determine accurately vocal tract dimensions is a major advantage of this imaging technique.