Nasalance, Nasal Airflow and Perceived Nasality in Carnatic Singers and Non-singers

This study aims to compare the nasalance and nasal airflow between professional singers trained in Carnatic classical singing and non-singers. We also aimed to correlate perceived nasality with objective measurements of nasalance and nasal airflow. A total of 40 female participants (20 to 50 years) were involved in this study. The first group comprised 15 female professional Carnatic singers with a minimum of 10 years of classical training. The second group consisted of 25 non-singer females. These participants were compared on nasalance, nasal airflow and perceived nasality across three sets of stimuli (vowels, oral non-words, and nasal non-words) and three pitch-conditions (low, mid, and high). Correlations were also made between objective measures of nasalance and nasal airflow and perceived nasality. Mixed ANOVA showed a significant (P < 0.05) interaction in nasalance between pitch conditions and groups. Group differences were also observed in the nasalance scores of vowels, oral non-words, nasal non-words. There was a significant difference (P < 0.05) in nasalance with ascending pitch in singers and non-singers. A comparison of aerodynamic analysis of vowels, oral non-words, and nasal non-words between singers and non-singers suggested that nasal airflow was higher in singers. Perceptual nasality was significantly lower (P < 0.05) in Carnatic singers than non-singers. Correlations between objective measures of nasalance and nasal airflow and perceived nasality were not observed. Despite an increased airflow, nasality was lower in trained Carnatic singers than non-singers. Current findings suggest that vocal training impacts nasalance, nasal airflow and perceived nasality.

Task-Dependent Velopharyngeal Timing in Singers with Classical Training

OBJECTIVE

This study examined velopharyngeal (VP) timing characteristics during singing and speaking tasks among singers with varying degrees of classical training.

METHODS

Pressure-flow data were collected when eight soprano singers sang and spoke the phrase, "I will say hamper," at different pitch (C4 and C5) and loudness levels (soft, medium, and loud). VP aerodynamic variables (VP gap, peak nasal airflow [NF], and peak intraoral pressure [OP]) and timing variables (NF pulse duration, OP pulse duration, and total duration of the /mp/ sequence) were of particular interest.

RESULTS

Results of linear mixed-effects models showed no significant main effect of task type (speaking vs. singing) on VP aerodynamic variables. Task type was found to have a statistically significant main effect on OP pulse duration (F_{(1, 77)} = 27.590, P < 0.05) and total duration of the /mp/ sequence (F_{(1, 75.034)} = 17.895, P < 0.05), with both durational measures significantly shorter for singing (OP pulse duration: 200 ms, total duration of the /mp/ sequence: 212 ms) than for speaking (OP pulse duration: 228 ms, total duration of the /mp/ sequence: 238 ms). The pitch had a significant main effect on OP pulse duration, with C5 (207 ms) significantly shorter than C4 (221 ms). Loudness was found to have no significant main effects on any of the VP timing variables.

CONCLUSIONS

VP timing patterns significantly differed between the singing and the speaking task. Specifically, the singers employed a quick OP pulse rise time, which shortened OP pulse duration as well as the total duration of the /mp/ sequence during the singing task in comparison to the speaking task. Robust VP timing patterns observed during singing may reflect the singers' skilled control of the VP mechanism to achieve functional and esthetic goals.

Effects of Bel Canto Training on Acoustic and Aerodynamic Characteristics of the Singing Voice

OBJECTIVES

This study was designed to assess the impact of 2 years of operatic training on acoustic and aerodynamic characteristics of the singing voice.

STUDY DESIGN

This is a longitudinal study.

METHODS

Participants were 21 graduate students and 16 undergraduate students. They completed a variety of tasks, including laryngeal videostroboscopy, audio recording of pitch range, and singing of syllable trains at full voice in chest, passaggio, and head registers. Inspiration, intraoral pressure, airflow, and sound pressure level (SPL) were captured during the syllable productions.

RESULTS

Both graduate and undergraduate students significantly increased semitone range and SPL. The contributions to increased SPL were typically increased inspiration, increased airflow, and reduced laryngeal resistance, although there were individual differences. Two graduate students increased SPL without increased airflow and likely used supraglottal strategies to do so.

CONCLUSIONS

Students demonstrated improvements in both acoustic and aerodynamic components of singing. Increasing SPL primarily through respiratory drive is a healthy strategy and results from intensive training.