Comparing Pitch-Matched Classical and CCM Tenor Strategies Across Their Range using Laryngostroboscopic Imaging, Acoustics, and EGG

Introduction: Operatic tenor strategies through the passaggio area have been studied previously by acoustic and electroglottographic measures, with only recent studies documenting the physiological adjustments via magnetic-resonance imaging and stroboscopic imaging. At present, a systematic rating useful for both classical and contemporary styles of singing has not been adopted for laryngeal imaging allowing direct comparisons of findings across populations in pitch-matched tasks elucidating chosen strategies navigating through the passaggi.

Aim: The purpose of the present study was to adopt a physiologically-grounded terminology and conceptual framework allowing for comparison between singing styles and genres to study how tenors in classical and contemporary singing styles navigated the passaggio areas.

Methods: 4 classically trained tenors and 3 contemporary commercial music singers were examined using laryngostroboscopic imaging with the Endstrobe 4K Workstation simultaneously capturing images and the acoustic and EGG signals synchronized for analyses in Speech Studio. Singers were instructed to perform an ascending and descending sustained vowel task on scales from C4 to A4, as well as sustained vowel tasks on C5 and G3, and repertoire samples to contrast. CCM singing samples covered the same singing tasks, with free choice of stylistically appropriate sound coloring. The systematic rating scale from Aaen et al., (2021) was adopted for quantifying the visually-observed laryngeal gestures for later analysis. Singers documented their expected acoustic and physical strategy for each task prior to the sample collection. The self-reported strategies were compared with auditory-perceptual ratings performed by two expert listeners.

Expected Results: Classical tenors will traverse a predictable series of metallic and reduced metallic phonation modes to create the illusion of an “even” tone color through the scale, whereas CCM singers will keep a single phonation mode matching their desired tone color and volume through the task. It is expected that the currently accepted acoustic observation that classical tenors shift from F1 to F2 dominance as they move through the passaggio will be related to the choice of phonation mode and laryngeal gestures chosen, with a shift in amount of metal and degree of density, allowing for said dominance.

Discussion: The study proposes one of the first direct comparisons of tenor strategies through the passaggio area across both classical and CCM styles of singing, with stroboscopic systematic breakdown of laryngeal gestures, EGG, acoustics, and self-reported technical adjustments compared to auditory-perceptual expert ratings.