Change in Vibrato Rate and Extent During Tertiary Training in Classical Singing Students

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

“…In all listeners, the FM-rate and FM-excursion boundaries were within the range of values of voice vibrato reported in the literature (Castellengo, 1993;Horii, 1989;Mitchell & Kenny, 2008;Prame, 1994Prame, , 1997Seidner et al, 1995;Sundberg, 1994; see Area A in Figure 3). The sole addition of CFM to a typical vowel spectrum thus evoked the perception of a singing voice for a range of FM parameters that was consistent with the wide range of vibrato rates and extents produced by professional singers.…”

“…Cents correspond to the equal-tempered ST multiplied by 100 (i.e., the 12-ST scale consists of 1,200 cents). For human vocal vibrato, the FM rate may range from 3 to 10 Hz, with typical values around 5-6 Hz; the FM excursion is generally narrower than 100 cents but, depending on the repertoire, can range from 50 to more than 200 cents (Castellengo, 1993;Horii, 1989;Mitchell & Kenny, 2008;Prame, 1994Prame, , 1997Seidner, Nawka, & Cebulla, 1995;Sundberg, 1994).…”

CPPS and Voice-Source Parameters: Objective Analysis of the Singing Voice

“…We considered a VE of 0.4 ST to be typical for the Western classical singing voice (WCSV), however there is a wide range of aesthetically acceptable vibrato rate and extent within the genre. 53,77 The differences in CPPS values between Conditions 1.1 (VE of 0.4 ST) and 1.2 (VE of 0.0 ST), while not negligible in the upper frequencies, did not reach statistical significance overall (P = 0.07). Under Condition 2.0, the question arises as to why CPPS values increased when VE increased from 0.0 to 0.6 ST, and then rapidly decreased when VE increased from 0.6 to 1.0 ST. Perhaps a moderate f o oscillation contributes to the cepstral representation of a resonance-harmonics interaction, 53 whereby the strongest partial in the spectrum approximates F 1 , thus varying overall equivalent sound level (L eq ) and harmonic strength.…”

Vocal Assessment Before, After, and the Day After Opera Performance

“…Although researchers have investigated various aspects of singer development and training, [14][15][16][17][18][19][20] as well as vocal use in the weeks before performance, 12 no work to date has assessed changes in the voice with actual operatic performance. The present work was designed to investigate changes with performance in acoustic, aerodynamic, and laryngeal characteristics of the voice in highly trained opera singers.…”