Acoustic Parameters Critical for an Appropriate Vibrato

Anand, Supraja; Wingate, Judith M.; Smith, Brenda; Shrivastav, Rahul

doi:10.1016/j.jvoice.2012.06.004

Cited by 23 publications

(9 citation statements)

References 19 publications

(51 reference statements)

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“…According to reports by Ferrante 24 and Anand et al, 25 the extremes should be 17-145 cents for females and 38-130 cents for males. Actually, for extent, the relevant limit is the lower one.…”

Section: Methodsmentioning

confidence: 94%

Automatic Assessment of Acoustic Parameters of the Singing Voice: Application to Professional Western Operatic and Jazz Singers

et al. 2015

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Summary: Introduction. The obvious perceptual differences between various singing styles like Western operatic and jazz rely on specific dissimilarities in vocal technique. The present study focuses on differences in vibrato acoustics and in singer's formant as analyzed by a novel software tool, named BioVoice, based on robust high-resolution and adaptive techniques that have proven its validity on synthetic voice signals. Material and Methods. A total of 48 professional singers were investigated (29 females; 19 males; 29 Western operatic; and 19 jazz). They were asked to sing ''a cappella,'' but with artistic expression, a well-known musical phrase from Gershwin's Porgy and Bess, in their own style: either operatic or jazz. A specific sustained note was extracted for detailed vibrato analysis. Beside rate (s À1 ) and extent (cents), duration (seconds) and regularity were computed. Two new concepts are introduced: vibrato jitter and vibrato shimmer, by analogy with the traditional jitter and shimmer of voice signals. For the singer's formant, on the same sustained tone, the ratio of the acoustic energy in formants 1-2 to the energy in formants 3, 4, and 5 was automatically computed, providing a quality ratio (QR). Results. Vibrato rates did not differ among groups. Extent was significantly larger in operatic singers, particularly females. Vibrato jitter and vibrato shimmer were significantly smaller in operatic singers. Duration of vibrato was also significantly longer in operatic singers. QR was significantly lower in male operatic singers. Conclusions. Some vibrato characteristics (extent, regularity, and duration) very clearly differentiate the Western operatic singing style from the jazz singing style. The singer's formant is typical of male operatic singers. The new software tool is well suited to provide useful feedback in a pedagogical context.

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Section: Methodsmentioning

confidence: 94%

Automatic Assessment of Acoustic Parameters of the Singing Voice: Application to Professional Western Operatic and Jazz Singers

et al. 2015

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“…En el análisis acústico de la voz destaca que la F 0 en voces femeninas era más alta, como cabría esperar, a la observada en las voces masculinas, menos en el caso de la voz de tenor que se sitúa a la altura de la mezzosoprano y superior a la de contralto (Tabla 4). Estos datos coinciden con los de otros estudios publicados (Anand, Wingate, Smith y Shrivastav, 2012). Es bien conocido que la voz femenina tiene una F 0 más alta y, como es lógico, lo mismo ocurre en la clasificación vocal de los cantantes (Jackson-Menaldi y Núñez-Batalla, 2013).…”

Section: Discussionunclassified

La voz en los cantantes líricos. Protocolo para su valoración clínica y acústica

Gutiérrez

Álvarez²,

Rodríguez³

et al. 2021

RLOG

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El objetivo de esta investigación es elaborar un protocolo clínico y acústico con diversas técnicas para evaluar la voz de los cantantes líricos. Se seleccionaron 18 cantantes líricos, que se consideraban sanos, clasificados como soprano, mezzosoprano, contralto, tenor, barítono y bajo. A todos se les realizó la anamnesis, el S-VHI y una serie de estudios aerodinámicos (TMF, índice s/e y cociente de fonación) y acústicos (F0, intensidad, HNR, Jitter, Shimmer, espectrograma, fonetograma y LTAS), así como una exploración clínica e instrumental estroboscópica. El 33% eran fumadores, siendo este hábito más frecuente en hombres. El S-VHI detectó 20 puntos sobre 144 posibles, puntuación relativamente alta de su grado de incapacidad. Casi la mitad obtuvieron valores fuera del rango de normalidad en el TMF, índice s/e y cociente de fonación. Las características acústicas de su voz y los rangos vocales y dinámicos estaban, en la mayoría de los casos, dentro de la normalidad. En el 55% se observó algún tipo de patología laríngea. Los cantantes deberían evitar el uso del tabaco, así como hacer revisiones frecuentes para detectar patologías laríngeas que pasan desapercibidas. Los valores aerodinámicos y acústicos muestran alteraciones con respecto a los valores normales de referencia. La presencia de vibrato y formante del cantante puede verse en el espectrograma y el LAST, así como el rango dinámico y vocal con el fonetograma. El uso del protocolo clínico y acústico proporciona importante información que completa la obtenida por el terapeuta vocal o el profesor de técnica vocal en el análisis perceptual de la voz profesional.

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“…Moreover, it is possible that the listeners, especially the nonmusicians, changed their criterion over the course of the experiment, raising the question of the reliability and repeatability of the present sweet-spot measure. In a study of vibrato appropriateness for opera singers, Anand, Wingate, Smith, and Shrivastav (2012) found judgments of appropriate vibrato rates and extents to be very consistent in a similar subjective task. Despite this, a more quantitative evaluation of the present "sweetness" measure, as well as the use of more objective tasks, would be useful in future studies of singing-voice perception.…”

Section: Other Potential Factors Contributing To the Group And Indivimentioning

confidence: 94%

Perception of a Sung Vowel as a Function of Frequency-Modulation Rate and Excursion in Listeners With Normal Hearing and Hearing Impairment

Vatti

Santurette

Pontoppidan

et al. 2014

J Speech Lang Hear Res

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Acoustic Parameters Critical for an Appropriate Vibrato

Cited by 23 publications

References 19 publications

Automatic Assessment of Acoustic Parameters of the Singing Voice: Application to Professional Western Operatic and Jazz Singers

Automatic Assessment of Acoustic Parameters of the Singing Voice: Application to Professional Western Operatic and Jazz Singers

La voz en los cantantes líricos. Protocolo para su valoración clínica y acústica

Perception of a Sung Vowel as a Function of Frequency-Modulation Rate and Excursion in Listeners With Normal Hearing and Hearing Impairment

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