Mirroring the voice from Garcia to the present day: Some insights into singing voice registers

Henrich, Nathalie

doi:10.1080/14015430500344844

Cited by 120 publications

(83 citation statements)

References 29 publications

(50 reference statements)

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“…The first transition in the soprano voice typically occurs around E4-F4 ($340 Hz) (Miller, D.G., 2000;Miller, R., 2000;Roubeau et al, 2004Roubeau et al, , 2009Henrich, 2006). Commonly known as the primo passaggio or the chest-head register transition, this transition corresponds to the M1-M2 change in laryngeal mechanism (Roubeau et al, 2009).…”

Section: Introductionmentioning

confidence: 99%

Glottal behavior in the high soprano range and the transition to the whistle register

Garnier

Henrich

Buchman

et al. 2012

The Journal of the Acoustical Society of America

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HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés. Glottal behavior in the high soprano range and the transition to the whistle register The high soprano range was investigated by acoustic and electroglottographic measurements of 12 sopranos and high-speed endoscopy of one of these. A single laryngeal transition was observed on glissandi above the primo passaggio. It supports the existence of two distinct laryngeal mechanisms in the high soprano range: M2 and M3, underlying head and whistle registers. The laryngeal transition occurred gradually over several tones within the interval D#5-D6. It occurred over a wider range and was completed at a higher pitch for trained than untrained sopranos. The upper limit of the laryngeal transition during glissandi was accompanied by pitch jumps or instabilities, but, for most singers, it did not coincide with the upper limit of R1:f 0 tuning (i.e., tuning the first resonance to the fundamental frequency). However, pitch jumps could also be associated with changes in resonance tuning. Four singers demonstrated an overlap range over which they could sing with a full head or fluty resonant quality. Glottal behaviors underlying these two qualities were similar to the M2 and M3 mechanisms respectively. Pitch jumps and discontinuous glottal and spectral changes characteristic of a M2-M3 laryngeal transition were observed on decrescendi produced within this overlap range.

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Section: Introductionmentioning

confidence: 99%

Glottal behavior in the high soprano range and the transition to the whistle register

Garnier

Henrich

Buchman

et al. 2012

The Journal of the Acoustical Society of America

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“…For the example shown in Figure 2 it can be hypothesized that, based on the observed EGG contact quotients, the first part (t = 0 s to ~4 s) was produced in the so-called 'falsetto register' (sometimes called laryngeal mechanism M1 (Henrich, 2006)), while the second part was produced in the so-called 'chest register' (laryngeal mechanism M2). During phonation in the chest register the thyroarytenoid muscle is typically more contracted as compared to the falsetto register (Hirano et al, 1969;Chhetri et al, 2012).…”

Section: Electroglottography: Methodsmentioning

confidence: 99%

Non-invasive documentation of primate voice production using electroglottography

Herbst

Dunn

2018

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Vocal communication in non-human primates has long been of interest to both academic researchers and the broader public. This interest exists for two principle reasons. Firstly, we have an intrinsic curiosity over how these animals, which are so closely related to us, communicate with one another. Secondly, and perhaps more importantly, understanding vocal communication in our primate relatives provides us with important insight into the evolution of human speech-a topic that has fascinated humans for centuries.Speech does not fossilize, and studying the evolution of this complex, yet critical aspect of human behavior using proxies from the fossil record (e.g. the shape of the skull or hyoid (Fitch, 2000a;Nishimura, 2003)) has led to little consensus (Fitch, 2000b;Hauser et al., 2002). A more powerful approach is provided by the comparative method, the primary tool used by Darwin to analyze evolutionary phenomena (Darwin, 1859(Darwin, , 1871. Comparative analyses use data from extant species to draw inferences about extinct ancestors and evolutionary processes. Several important advances in our understanding of the evolution of speech have been made using comparative data (Ghazanfar and Hauser, 1999;Fitch, 2000b;Fitch et al., 2016;Ghazanfar et al., 2012;Takahashi et al., 2013).Humans, non-human primates, most other mammals (Herbst et al., 2012), and even birds (Elemans et al., 2015) produce sound according to a universal physical principle, described by the myoelastic aerodynamic (MEAD) theory (van den Berg, 1958;Titze, 1980). Steady airflow, coming from the lungs, is converted into a sequence of airflow pulses by the passively vibrating vocal folds (or other laryngeal or syringeal tissue), resulting in self-sustained oscillation. The acoustic pressure waveform generated by this sequence of flow pulses excites the vocal tract, which filters the pulses acoustically, and the result is radiated from the mouth (and/ or the nose) (Story, 2002). The latter phenomenon, involving the individual contributions of the laryngeal sound source and the vocal tract to the quality of the emitted sound, has been described in the source-filter theory of sound production (Fant, 1960) Abstract Electroglottography (EGG) is a low-cost, non-invasive method for documenting laryngeal sound production during vocalization. The EGG signal represents relative vocal fold contact area and thus delivers physiological evidence of vocal fold vibration. While the method has received much attention in human voice research over the last five decades, it has seen very little application in other mammals. Here, we give a concise overview of mammalian vocal production principles. We explain how mammalian voice production physiology and the dynamics of vocal fold vibration can be documented qualitatively and quantitatively with EGG, and we summarize and discuss key issues from research with humans. Finally, we review the limited number of studies applying EGG to non-human mammals, both in vivo and in vitro. The potential of EGG for non-invasive assessm...

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“…In singing, the different laryngeal mechanisms can produce frequencies from a few Hz to more than 2000 Hz, depending on the laryngeal mechanism in use [20,22]. According to Roubeau [22], who measured it on a group of 42 subjects, men in M1 sing from about 78 Hz (D#2) to 370 Hz (F#4) and women from about 147 Hz (D3) to 392 Hz (G4).…”

Section: Rangesmentioning

confidence: 99%

“…The laryngeal nature of singing-voice registers, to which the term register may sometimes solely refer [20], can be described in terms of vocal-fold biomechanics, glottal-flow properties and non-linear dynamics (see section 5). From a physiological point of view, many researchers, including the present authors, described human voice production in terms of four laryngeal mechanisms (M0, M1, M2, M3), each associated with a different biomechanical configuration of the laryngeal vibrator over the voice frequency range [21].…”

Section: Registersmentioning

confidence: 99%

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

Kob¹,

Henrich²,

Herzel³

et al. 2011

CBIO

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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.

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Mirroring the voice from Garcia to the present day: Some insights into singing voice registers

Cited by 120 publications

References 29 publications

Glottal behavior in the high soprano range and the transition to the whistle register

Glottal behavior in the high soprano range and the transition to the whistle register

Non-invasive documentation of primate voice production using electroglottography

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

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