Aerodynamic and acoustical measures of speech, operatic, and broadway vocal styles in a professional female singer

Stone, Ruth M.; Cleveland, Thomas F.; Sundberg, P.Johan; Prokop, J.

doi:10.1067/s0892-1997(03)00074-2

Cited by 55 publications

(14 citation statements)

References 8 publications

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“…The dissemination potential of operatic versus popular singing may also differ [29]. In addition, singers often perform facing out to large, captive audiences for several hours.…”

Section: Discussionmentioning

confidence: 99%

Qualitative Real-Time Schlieren and Shadowgraph Imaging of Human Exhaled Airflows: An Aid to Aerosol Infection Control

et al. 2011

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Using a newly constructed airflow imaging system, airflow patterns were visualized that were associated with common, everyday respiratory activities (e.g. breathing, talking, laughing, whistling). The effectiveness of various interventions (e.g. putting hands and tissues across the mouth and nose) to reduce the potential transmission of airborne infection, whilst coughing and sneezing, were also investigated. From the digital video footage recorded, it was seen that both coughing and sneezing are relatively poorly contained by commonly used configurations of single-handed shielding maneuvers. Only some but not all of the forward momentum of the cough and sneeze puffs are curtailed with various hand techniques, and the remaining momentum is disseminated in a large puff in the immediate vicinity of the cougher, which may still act as a nearby source of infection. The use of a tissue (in this case, 4-ply, opened and ready in the hand) proved to be surprisingly effective, though the effectiveness of this depends on the tissue remaining intact and not ripping apart. Interestingly, the use of a novel ‘coughcatcher’ device appears to be relatively effective in containing coughs and sneezes. One aspect that became evident during the experimental procedures was that the effectiveness of all of these barrier interventions is very much dependent on the speed with which the user can put them into position to cover the mouth and nose effectively.From these qualitative schlieren and shadowgraph imaging experiments, it is clear that making some effort to contain one's cough or sneeze puffs is worthwhile. Obviously, there will be a large amount of variation between individuals in the exact hand or tissue (the most common methods) configuration used for this and other practical factors may hinder such maneuvers in daily life, for example, when carrying shopping bags or managing young children.

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“…The dissemination potential of operatic versus popular singing may also differ [29]. In addition, singers often perform facing out to large, captive audiences for several hours.…”

Section: Discussionmentioning

confidence: 99%

Qualitative Real-Time Schlieren and Shadowgraph Imaging of Human Exhaled Airflows: An Aid to Aerosol Infection Control

et al. 2011

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“…However, because there is a limit in how high this resonance frequency can be raised, music theatre singers are limited in their f o range if they want to retain the dominance of 2 f o in the spectrum. Conversely, in operatic styles in the C4 to C5 range (males and females), the first and second resonances are often lowered by widening the oropharynx (Sundberg et al 1993; Stone et al 2003; Miller, 2008) to balance the harmonic energies of f o , 2 f o and 3 f o . Mixed registration at the source can also be used along with the vocal tract modifications.…”

Section: Introductionmentioning

confidence: 99%

A Formant Range Profile for Singers

Titze

Maxfield²,

Walker³

2017

Journal of Voice

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Vowel selection is important in differentiating between singing styles. The timbre of the vocal instrument, which is related to its frequency spectrum, is governed by both the glottal sound source and the vowel choices made by singers. Consequently, the ability to modify the vowel space is a measure of how successfully a singer can maintain a desired timbre across a range of pitches. Formant range profiles (FRPs) were produced as a means of quantifying this ability. 77 subjects (including trained and untrained vocalists) participated, producing vowels with three intended mouth shapes, (1) neutral or speech-like, (2) megaphone-shaped (wide open mouth), and (3) inverted-megaphone-shaped (widened oropharynx with moderate mouth opening). The first and second formant frequencies (F1 and F2) were estimated with fry phonation for each shape and values were plotted in F1–F2 space. By taking four vowels of a quadrangle /i, æ, a, u/, the resulting area was quantified in kHz2 (kHz squared) as a measure of the subject’s ability to modify their vocal tract for spectral differences.

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“…Hollien [26] points out that the SF is detectable only in male voices. Finally, Stone et al [15] reported a relationship between the frequency of the SF and some singing categories: 2.2 kHz in basses, 2.7 kHz in baritones, 2.8 kHz in tenors, and 3.2 kHz in contraltos. By contrast, our study was unable to establish any sort of relationship between the SF and the voice emission of our singers, for none of them, not even the most experienced, was able to produce a noticeable SF.…”

Section: Discussionmentioning

confidence: 99%

“…Indeed, up to now, no standardized criteria have yet been formulated for the evaluation of the normal singing voice. One reason for the absence of formal criteria is that there are many different voice evaluation techniques, many of which are not always applicable in the same way to all styles and repertoires [9,10,11,12,13,14,15,16]. The European Laryngological Society and the Italian Phoniatric Society have both suggested a multiparametric voice evaluation protocol which should include strobovideolaryngoscopy, spectrography with the Multi-Dimensional Voice Program (MDVP), perceptual evaluation with the GRBAS scale, and the patient's subjective voice perception with the Voice Handicap Index questionnaire.…”

Section: Introductionmentioning

confidence: 99%

Qualitative and Quantitative Measurement of the Singing Voice

Cesari

Iengo

Apisa³

2012

Folia Phoniatr Logop

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Objective: The aim of the study was to clarify the mechanisms underlying the singing voice. Patients and Methods: Forty-eight professional opera singers underwent flexible and rigid endoscopy, spectrographic analysis and perceptual evaluation. Results: The data provided by voice analysis were not as clear and relevant to the aim of our study as those commonly obtained for speech evaluation. Laryngoscopy with rigid and flexible fiber optics and the singing power ratio (SPR) measurement provided more applicable data. Indeed, the former allowed us to assess laryngeal position, the glottic pattern and vocal tract modifications during the actual singing performance. The latter, already recommended by other authors as a reliable vocal emission index, also yielded more relevant information in comparison with the assessment of voice quality. Specifically, SPR provided data directly correlated to both the years of singing activity and the vocal category of each singer (the higher the singing pitch, the wider the vocal extension). More importantly, the data fully reflected the subjective assessment of each phoniatrician. Conclusions: We suggest that the SPR indices can be used as the electroacoustic equivalent of the subjective judgment of vocal focus.

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Aerodynamic and acoustical measures of speech, operatic, and broadway vocal styles in a professional female singer

Cited by 55 publications

References 8 publications

Qualitative Real-Time Schlieren and Shadowgraph Imaging of Human Exhaled Airflows: An Aid to Aerosol Infection Control

Qualitative Real-Time Schlieren and Shadowgraph Imaging of Human Exhaled Airflows: An Aid to Aerosol Infection Control

A Formant Range Profile for Singers

Qualitative and Quantitative Measurement of the Singing Voice

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