Analysing and Understanding the Singing Voice: Recent Progress and Open Questions

Abstract

Abstract:The breadth of expression in singing depends on fine control of physiology and acoustics. In this review, the basic concepts from speech acoustics, including the source-filter model, models of the glottal source and source-filter interactions, are described. The precise control, the extended pitch range, the timbre control and, in some cases, the uses of alternate phonation modes all merit further attention and explanation. Here we review features of the singing voice and the understanding that has been delivered by new measurement techniques. We describe the glottal mechanisms and the control of vocal tract resonances used in singing. We review linear and nonlinear components of the voice and the way in which they are measured and modelled and discuss the aero-acoustic models. We conclude with a list of open questions and active fields of research.

A comparative study of pitch extraction algorithms on a large variety of singing sounds

“…More particularly, YIN* suffers from the most important degradation: with a GPE of 0.91%, it now reaches a value around 7%. In contrast, STRAIGHTv* turns out to be the most robust as it keeps almost the same GPE as in the 1 Figure omitted due to space constraints. clean conditions.…”

“…This development has brought a diverse set of algorithms and tools for analyzing, modeling and synthesizing the speech signal. Although singing is achieved by the same vocal apparatus, transposing the speech approaches to singing signals may not be straightforward [1]. In particular, pitch range in singing is wider than in speech, pitch variations are more controlled, dynamic range is greater, and voiced sounds are sustained longer.…”

Overdrive and Edge as Refiners of “Belting”?

“…Sub-styles of 'belt' have been proposed, such as heavy, brassy, ringy, nasal, speech-like, soft, quasi-belt, or low belt 9 . The sounds of 'Belting' have been investigated from vocal fold vibration patterns, closed quotient and speed quotient 1, 2,5,10,13,25 , subglottal pressure estimation 10,8 , laryngeal gestures and height 3,19 , resonance characteristics 11 , and acoustic properties including characterising the frequency content through FFT-based spectral analysis 12,8 . Additionally, it has been suggested that 'belting' as compared to other styles of singing does not result in difference in respiratory strategies 2,9 .…”

“…Methodologically, Estill 8 in her work on voice quality looked at vocal fold contact phase based on EGG, as a way to measure the activity in the larynx. This is a practice that has been used repeatedly for the measurement of characterisation of the laryngeal mechanisms [14][15][16][17][18][19] . Previous studies have shown that the belt style of singing is produced with a 'firmer glottal adduction' 2,10 , which substantiates the use of EGG as a part-measure of 'belting'.…”

Pitch Profile of the Glottal Whistle (M4)

“…In this paper we will focus on a previously unreported method of high pitch singing. Before that, it is worth noting that for the female voice, some methods of high pitched singing include the soprano coloratura which features a fundamental frequency (f0) range from approximately B3 (247 Hz) to A6 (1760 Hz) [1][2]. While, in the upper region of the coloratura range, a phenomenon known as the whistle register (M3) is often used.…”