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Acoustic Characteristics of Vocal Sounds

Joan Melton, PhD, Emeritus Professor of Theatre, CA State University Fullerton, Director, One Voice Centre for Integrative Studies, New York, NY 10023, joan.melton@joanmelton.com, 917-991-5199

Zachary Bradford, Advanced Certificate in Vocal ...Pedagogy, MMusSt, GDipMusSt, BMus. Head, New York Vocal Coaching Australia, Queensland 4509. zacharydbradford@gmail.com, 0490812757

Jessica Y. J. Lee, PhD Candidate, Advanced Certificate in Vocal Pedagogy, M.M., B.M., Steinhardt School of Culture, Education and Human Development, New York University, New York, NY 10003. jl4197@nyu.edu, 814-880-3734

Abstract
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Objective: Theatre actors use voice in virtually any physical position, moving or still, and perform in a wide range of venues. The present study investigated acoustic qualities required to perform classical material without electronic amplification in outdoor spaces.

Design: Eight professional actors, four female, four male, from NY Classical Theatre performed 1-minute monologues, first stationary, then moving, for audio recording in Central Park. Four subjects recorded two monologues each, from productions in which they played both male and female characters. Data were analyzed for fundamental frequency (F0), sound pressure level (SPL), and long-term average spectrum (LTAS).

Results: Overall, F0 ranged between 75.38 and 530.33 Hz. Average F0 was 326 Hz stationary and 335.78 Hz moving for females, 248.54 Hz stationary, 252.82 Hz moving for males. SPL ranged from 28.54 to 110.51 dB for females, and 56.69 to 124.44 dB for males. Average SPL was 82 dB for females, 96.98 dB for males. On LTAS, females had a peak between 3 to 4 kHz ranging from 1.5 to 4.5 dB and another between 4 to 5 kHz ranging from 1 to 4.5 dB, while males had a peak between 3 to 4 kHz ranging from 1 to 8.5 dB.

Conclusions: Actors appear to use a similar F0 range across gender and performing conditions. Average F0 increased from stationary to moving. Males had greater SPL values than females,
and the amplitude of peaks in the region of the Actor’s Formant of LTAS curves was higher in male than female voices.

Acknowledgement: Sincere thanks to Johan Sundberg, PhD, Research Advisor for Data Analysis and Study DesignShow More

Acoustic Characteristics of Vocal Sounds

Joan Melton, PhD, Emeritus Professor of Theatre, CA State University ...

Airflow Vibrato in Emotional Singing: A Pilot Study

Rosalie Gagnon, B.S. Student, Department of Communication Sciences and ...

Rosalie Gagnon, B.S. Student, Department of Communication Sciences and Disorders, Grand Valley State University, Grand Rapids, MI 49503
Sri Nandamudi, Ph.D., CCC-SLP, Assistant Professor in SLP, Department of Communication Sciences and ...Disorders, Grand Valley State University, Grand Rapids, MI 49503
Ronald Scherer, Ph.D., Distinguished Research Professor, Department of Communication Sciences and Disorders, Bowling Green State University, Bowling Green, OH 43403

Abstract:
Objectives: To compare objective acoustic and airflow (AF) measures across five different emotions – happiness, sadness, anger, tenderness, and neutral, sung by a Western classical singer. Such information is important to both basic phonatory science and to the pedagogy of expressive singing.

Method: The performer is an active Western classical soprano and university singing teacher with over 15 years of professional performance experience. The subject sang “The Star-Spangled Banner” using the five different emotions mentioned above. Praat, the Glottal Enterprises aerodynamic system (MSIF-2), and custom software were used. Eight words were analyzed: “oh”, “say”, “see”, “by”, “light”, “proudly”, “hailed”, and “gleaming”. The dependent variables were rate, extent, and variability of fo and AF vibrato, average AF, average fo, average intensity (dB), and the phase difference between fo and AF vibrato.

Results: The duration of the song for the emotions “sadness” and “tenderness” (ave. 29.76 sec) was longer compared to the other three (ave. 23.71 sec). “Anger” was produced with a higher average AF (M=293.6 cc/s, SD=39.8 cc/s) compared to other emotions, e.g., “gleaming” had an average of 109.8 cc/s. “Anger” also typically exhibited higher vibrato extents and variability (SD), and faster vibrato rates; this was followed by “happiness” and “neutral”. Figure 1 compares the means and standard deviations of all eleven variables for the word “Light”. “Sadness” and “Tenderness” primarily displayed lower AF values and less variability in vibrato rates and extents.

Conclusion: The greatest contrast was between “anger’ and “tenderness”, with higher average AF, fo and AF vibrato extents and rates, and greater variability (SDs). The decreased variability for “tenderness” suggests a more consistent production of vibrato. More singers need to participate in such a study as this in order to understand the variability of objective measures across emotional expressions.

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Figure 1: Relative measures of all eleven variables for the word “Light” (similar figures will be shown and discussed for the other words, as well).Show More

A Case Study of Vocal Maintenance of Singers on a National Broadway Tour

Christianne Roll, Ed.D.C.T. Musical Theatre Program Coordinator ...

Comparison of Vocal Dose Estimates for Popular Soprano Arias with Teacher Difficulty Rankings

Jasmine Fernandez, B.M., M.M. jasmine.fernandez@my.utsa.edu John Nix, ...

A Demographic Study of Professional Belters: Who They Are and How They Sing

A Demographic Study of Professional Belters: Who They Are and How They ...

A Demographic Study of Professional Belters: Who They Are and How They Sing

Amanda Chmela, BFA, MM, Adjunct Professor of Voice, Long Island University C.W. Post Campus, Department of Theatre, Dance ...& Arts Management, 631-275-8315, amanda.chmela@hotmail.com

Melanie Vaughan, BM Vocal Performance, Adjunct Professor, NYU Tisch - New Studio on Broadway, 917- 941-7187, yazoomiss@gmail.com

Jeannette L. LoVetri, Director, The Voice Workshop, New York, NY, 212-662-9338 lovetri@thevoiceworkshop.com

Objectives: The overall goal of the survey was to ascertain from belters common characteristics of belting and belters as determined by their own experience. The survey sought information from those who responded to an online questionnaire stating they were professional singers who had been paid to sing as belters and were comfortable using the sound quality called belting. The survey asked various questions regarding the definition of the word belting, how the singers learned to belt, whether or not they could explain the auditory and kinesthetic experience of belting and their history with vocal health. This was a partial follow-up to a study done by one of the authors in 2007 on the same topic and with the same general population which was never submitted for publication. The data from that study, which was longer and more complex, will be referenced where the present survey has similar data, partly to see if answers may have changed in the time since data was collected more than a decade ago.

Methods: The survey was an online questionnaire on Google. A call to respond to the survey was put forth by the authors through their network of colleagues, associates and students with the request that respondents also share the survey with others they knew. The questionnaire consisted of 30 questions and garnered a total of 238 responses from professional singers who consider themselves to be belters. Data was collected between February 1, 2019 and July 31, 2019 Topics included Demographics, Vocal Training Background, Definitions, and Vocal Health.

Results/Conclusion: The data collected presents demographics on vocal training, professional experience, gender, age, performance venues, definitions of key words, and vocal health issues. The majority of respondents are female, from the USA, have had training, and sing other styles of music in a belt quality. Specific statistics on each question are given. The earlier study, from 2007, referenced several similar questions from a smaller group of respondents. Corresponding information will be presented where applicable at the end of the article for purposes of comparison.Show More

Effects of Velopharyngeal Opening on Vocal Fold Contacting

Filipa M.B. Lã (Ph.D.) Brian P. Gill (DMA) Jessica Lee (MM) Svante ...

Filipa M.B. Lã (Ph.D.)
Brian P. Gill (DMA)
Jessica Lee (MM)
Svante Granqvist (Ph.D.)
Johan Sundberg (Ph.D.)

Objectives: To test the hypothesis that the increased level of the highest spectrum peak in the 2-4kHz region ...with a slight VPO observed in a previous investigation is due to a change in the vibratory pattern of the vocal folds, e.g., an extension of the contact phase. Thus, we investigated how a wide, a narrow or the absence of a VPO affects the duration of the contact phase relative to the period, i.e., the contact quotient (CQEGG), and the speed of contacting (SCEGG).
Methods: Four male and five female singers sang a sequence of five vowels at pitches covering one octave with a wide VPO, a narrow VPO and the velopharyngeal port closed. These conditions will be referred as ‘Much’, ‘Slight’ and ‘None’, respectively. Recordings of audio, electrolaryngograph, nasal and oral flows were made simultaneously using a hybrid system, a combination of a 110-MS computer interface and a Laryngograph microprocessor. The nasal and oral flows were captured by means of a flow mask that the singers held well sealed to their faces. A plastic divider plate at the level of the upper lip separated the oral and the nasal airflows. The VPO conditions were documented in terms of the amplitudes of the nasal and oral DC and AC airflows. The audio and the airflow signals were all digitized with a sampling frequency 48000 Hz and recorded in separate channels by the SpeechStudio software, providing also CQEGG. A Friedman test with a Bonferroni correction was used to test whether there were significant differences in CQEGG between the three VPO conditions.
Results: CQEGG was significantly higher for the ‘Much’ condition as compared to the ‘None’. No significant differences were found for the SQEGG, although the contacting was somewhat quicker in ‘Slight’ than in ‘None’.
Conclusion: A wide VPO seems to significantly increase the CQEGG. This could be caused by a source filter-interaction but also by a change of glottal configuration due to a singers’ compensatory reaction. An effect on vocal fold vibration of a narrow VPO is probably too small, suggesting that The effect on the spectrum found in previous studies would be caused mainly by vocal tract resonance.Show More

Flowball Phonatory Interventions in Collegiate Aged Singers

Caroline Roberts, BMus Student, Oakland University, (810) 623-6208, ...

Caroline Roberts, BMus Student, Oakland University, (810) 623-6208, carolineroberts@oakland.edu

Juliana Codino, CCC-SLP, Lakeshore Professional Voice Center; Lakeshore Ear, Nose, and Throat, (586) 779-7610, JCodino@LakeshoreEnt.com

Adam D. Rubin, MD, Lakeshore Professional Voice Center; ...Lakeshore Ear, Nose, and Throat; Assistant Professor, William Beaumont School of Medicine; Clinical Professor, Michigan State University; (586) 779-7610, ARubin@LakeshoreEnt.com

Drake Dantzler, DMA, Associate Professor, Oakland University, (248) 705-7645, Dantzler@Oakland.edu

Objective: In this present study, the effects of using a phonatory intervention were measured in collegiate aged singers. A Flowball device (“Flowball”) was used as the phonatory intervention, and transglottal airflow, closed quotient, and mean sound pressure level were forms of measurement. Additional tests were administered to determine if local or distal focuses significantly affected outcomes, indicated by change in ball height in the interventions.
Methods: Subjects (n = 8) created a set of baseline measurements by completing two phonatory exercises using a Phonetic Aerodynamic System and an electroglottogram. Subjects were then given baseline exercises to complete while phonating into the Flowball. A base and video camera were used to determine the height of the ball every 0.05s. Interventions consisted of 10 iterations of each baseline phonatory exercise. Subjects were instructed to maintain a stable ball height. Half of the subjects were told to focus on using their abdominal musculature while the other half were instructed to focus on the air at the end of the Flowball. All subjects completed both local and distal interventions.
Results: Statistical significance was found between baseline and post intervention measurements in both closed quotient (-1.604±1.55%) and mean sound pressure level (0.77±.47dB). Change in mean airflow was not statistically significant. Mean ball height in each iteration was found to increase in most interventions (12 of 16), with 7 of the 16 interventions displaying significant linear correlation (r greater than .7), and 7 of the 16 displaying minimal correlation (r greater than .3). Most subjects had an increase in mean deviation over the course of the experiment (13 of 16) despite instructions to maintain an even ball height. No significant changes were found between local and distal focuses in any variable.
Conclusions: The Flowball could be used to increase flow volume and open quotient for subjects. An increase in SPL with consistent perceived effort suggests more efficient vocal production. The unstable aerodynamics of the ball restricts the ability to make detailed conclusions about the flow volume during use.Show More

Focus of Attention in Voice Training

Focus of Attention in Voice Training Melissa Treinkman, DMA ...

Navigating Contemporary Commercial Music (CCM) Styles: A Foundational Singing Voice Pedagogy

Author: Marisa Lee Naismith, Doctor of Philosophy, Singing Teacher ...

Author: Marisa Lee Naismith, Doctor of Philosophy,
Singing Teacher
... Queensland Conservatorium, Griffith University, Queensland, Australia

Contact: m.naismith@griffith.edu.au

Abstract:
Objectives: Contemporary Commercial Music (CCM) is a dynamic industry and, as new styles and sub styles emerge, research into the science and pedagogical practice of voice training has failed to acknowledge the realities and demands of today’s music industry. While the overwhelming growth in CCM production over the past 100 years indicates the legitimacy of this music, the pedagogy has not evolved sufficiently to reflect this diverse landscape of music styles and its associated vocal characteristics. This recognition poses major problems for teachers and students of CCM. In the absence of a pedagogical framework specifically tailored for CCM singing voice, teachers often struggle to equip students with a firm understanding of how to produce the myriad of style-related effects and embellishments inherent to the CCM genre, successfully and safely. Forming part of a larger study, this paper addresses the challenges of teaching singers in CCM styles and seeks to inform the development of a tailored CCM pedagogical framework.

Method: This paper reports the findings from a research study that investigates the teaching beliefs and approaches of nine pedagogues who have extensive experience and/or prominence in the field of teaching CCM singing voice. Using semi structured interviews, this study thematically explores these pedagogues’ perceptions and teaching approaches in relation to alignment, breath management, breath flow and support, resonance, articulation, repertoire, style authenticity, performance and artistry, vocal health and the territory of CCM.

Results: Although a preliminary analysis identified both commonalties and distinctions in the management of CCM singers, the pedagogues all agreed that efficient vocal instruction must be geared to function and style based on individual student needs. The results from this research offers a foundational pedagogical framework and informed recommendations for teachers, and other industry professionals about progressing the field of CCM singing voice pedagogy.Show More

Objective Measures of Two Musical Interpretations of An Excerpt from Berlioz’s "La mort d’Ophélie"

Hiu Yan (Crystal) Lau, B.M.A., M.M., Ronald C. Scherer, Ph.D Abstract: ...

Hiu Yan (Crystal) Lau, B.M.A., M.M., Ronald C. Scherer, Ph.D
Abstract:

An Objective Exploratory Study of Musical Interpretations of an
Excerpt from a Classical Art Song
Objective: Art song is a unique genre ...in the realm of European classical music, which embraces the combined beauty of vocal melody, instrumental accompaniment, and text. Due to the evolving stylistic differences among the composers over time, it is difficult to pinpoint the distinct stylistic characteristics. This purpose of the study was to determine sound production differences relative to two emotional interpretations in performing an excerpt from a classical art song.
Methods/Design: The first author, a soprano with a master degree in vocal performance, recorded an excerpt from an art song composed by Hector Berlioz (1803-69). The excerpt was sung in two contrasting musical interpretations: an empathetic legato approach, and a sarcastic approach with emphatic attacks. Microphone, airflow (Glottal Enterprises MSIF-2), and EGG (Kay Model 6103) signals were digitized. These raw recordings were analyzed and quantified with acoustic, airflow, and glottographic measures. The vowels in the musical excerpt were analyzed in terms of intensity, LTAS formant frequencies, fundamental frequency extent in vibrato, onset, harmonic frequencies in narrow-band spectrograms, and glottal measures based on electroglottograph waveforms. Relative to consonants, the following measures were obtained; the duration of frication of the French consonant /f/, and the stop gap, voice onset time, and aspiration airflow of the French plosives /p, t/.

Results & Conclusions: In comparison to the legato approach, findings were that the emphatic approach was distinguished by overall greater intensity, greater glottal closed time (EGGW25), longer VOTs, faster vowel onsets, longer /f/ duration, and greater aspiration airflow, but no significant change in the LTAS formant frequency structure. The figure below suggests the differences in the LTAS formant intensity structure, with the emphatic having great intensity throughout most of the spectrum. The results suggest that subglottal pressure was increased during the emphatic approach. In general, the study emphasizes the reality and informative nature of physiological, aerodynamic, and acoustic production differences related to pedagogical and interpretive differences of art song performance.

Hiu Yan (Crystal) Lau, B.M.A., M.M., Candidate in Interdisciplinary Studies, Bowling Green State University
Ronald C. Scherer, Ph.D., Department of Communication Sciences and Disorders, Bowling Green State University, Bowling Green, Ohio 43403Show More

Piloting A New Model for Treating MPA: Training a Singing Teacher to Use ACT Coaching w/ a Student

Author 1: Teresa Shaw, MA, University of Chichester, UK, ...

Author 1: Teresa Shaw, MA, University of Chichester, UK, teresashaw.voice@gmail.com

Author 2: David Juncos, PsyD, Hornstein, Platt & Associates, Philadelphia, PA, USA, drdavidjuncos@gmail.com

Author 3: Debbie Winter, LLB Hons, ...MA, Director of Studies, Centre for Voice Studies, East Bergholt, UK +44 01206298172, debbie@voiceworkshop.co.uk

In this video we discuss the results of a recent publication, in which we piloted an alternative model for treating music performance anxiety (MPA): Training a singing teacher to use techniques from Acceptance & Commitment Coaching directly with her student with problematic MPA, rather than outsource this work to a psychologist. Part of this work was presented by the 2nd author at the International Symposium for Performance Science's 2019 conference, Melbourne, Australia.

Abstract:

Piloting A New Model for Treating Music Performance Anxiety: Training a Singing Teacher to Use Acceptance and Commitment Coaching with a Student

Objective: Thus far, treatments for music performance anxiety (MPA) have focused primarily on using clinical interventions administered by mental health clinicians with training and education in psychotherapy. While these interventions are promising or even efficacious, many musicians prefer not to work with a mental health clinician due to stigma and lack of time/access. Student musicians are particularly vulnerable to developing MPA, and while they may prefer consulting with their teachers about MPA over psychotherapy, many teachers feel unqualified to help.

Method: We investigated an alternative model for intervention, in which a clinical psychologist with MPA expertise trained a singing teacher with no training or education in psychotherapy to use an evidence-based coaching model, Acceptance and Commitment Coaching (ACC), with a university student vocalist with debilitating MPA in a single-case design format. ACC is a version of Acceptance and Commitment Therapy (ACT) that has been used effectively in a variety of non-clinical settings, i.e., with athletes, at the workplace, with undergraduate students, to help people enhance psychological flexibility and improve well-being.

The professor received approximately seven hours of ACC training via Skype. In turn, she provided six one-hour ACC sessions to her student, a 19-yr-old male studying Musical Theatre Performance. The materials for both the training and coaching sessions were taken from an ACC book and an ACT-based self-help book for musicians.

Results and Conclusions: The vocalist made clinically significant improvements in two ACT-based processes shown to correlate with improved psychological flexibility in previous ACT for MPA psychotherapy research, i.e., acceptance of MPA related discomfort, & defusion from MPA related thoughts. The student also reported a significant shift had occurred in his thinking about MPA: he became more willing to have it, and so he volunteered to sing in class early in the semester and auditioned for a lead role, both of which were things he previously avoided doing. These results indicate ACC is a promising MPA intervention that can be administered by a teacher with no formal training or education in psychotherapy.Show More

Range, Tessitura, and Vowel Analysis of the TMEA All-State Choral Audition Music

Range, Tessitura, and Vowel Analysis of the Texas Music Educators ...

Range, Tessitura, and Vowel Analysis of the Texas Music Educators Association (TMEA) All-State Choral Audition Music: Tools for Successful Part Assignments

Paul M. Patinka, MM, MM
Jesus De Hoyos, MM
James Rodriguez, ...DMA

Objective: To test the applicability and comparative rigor of range, tessituragrams, and passaggio vowel analysis in determining part assignments for the TMEA All-State choral auditions.

Methods/Design: Utilizing models presented by Titze, Nix, and Schloneger, the range, tessitura, and given vowels in the passaggio of the TMEA All-State Large School choral audition music were analyzed. The highest and lowest extremes of the vocal lines for each part were recorded for their musical value, converted to hertz, and compared across voice parts. Tessituragram analysis was conducted on all pieces and converted into hertz for vocal dosing and recovery time. Vowels located in the zona di passaggio as defined by Miller were rated on a sliding scale for their usefulness in facilitating a timbre appropriate for western choral music.

Results: While range was determined to be an important factor to consider when assigning voice parts, vowel and tessitura analysis proved to be more accurate measures of difficulty. Results indicate that vowel analysis in passaggio regions can serve as a useful and succinct way of measuring a part’s difficulty, though a tessitura analysis remains the most comprehensive. Using this analysis, the investigators were able to describe vocal characteristics that individual singers would need to possess to successfully navigate the exacting All-State audition and rehearsal process.

Conclusions: Adolescent voices experience a multitude of dramatic physiological and hormonal changes that impact vocal production. As a result, singing a voice part that demands more than an adolescent laryngeal structure can readily support may be detrimental to vocal enjoyment and health. Teachers can better prepare their students for success by evaluating these factors ahead of time and assigning parts based on these methods. Further research is warranted to develop electronic analysis models to conserve time.

Key words: tessituragram, tessitura, range, passaggio, choral, analysis, all-stateShow More

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Acoustic Characteristics of Vocal Sounds

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