The Characterization of the Vibrato in Lyric and Sertanejo Singing Styles: Acoustic and Perceptual Auditory Aspects

Bezerra, Adriana de Almeida; Cukier-Blaj, Sabrina; Duprat, André de Campos; Camargo, Zuleica; Granato, Lídio

doi:10.1016/j.jvoice.2008.04.002

Cited by 14 publications

(13 citation statements)

References 4 publications

(1 reference statement)

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“…This could suggest that, referring to Titze's hypothesis 14 and in contrast to the other vibrato parameters, the vibrato rate is determined physiologically rather than stylistically. Nevertheless, de Almeida Bezerra et al 34 found slightly but significantly lower values (5.1 vs 5.82 Hz) of Vrate in lyric singers compared with sertanejo (Brazilian country western-like) singers.…”

Section: Discussionmentioning

confidence: 91%

“…This was expected because vibrato is a traditional feature of Western operatic singing. De Almeida Bezerra et al 34 observe mean semitone values of 1.10 in lyric singers versus 0.72 in ''sertanejo'' singers. However, the new information provided by our results is the significant quantitative …”

Section: Discussionmentioning

confidence: 96%

“…Vibrato of classic singers of both genders is much more regular than that of jazz singers. In the study of De Almeida Bezerra et al, 34 relying on spectrograms, it is reported that ''there is no regularity'' in the ''sertanejo'' style, while ''there is regularity in terms of frequency oscillation'' in the lyric genre.…”

Section: E6mentioning

confidence: 99%

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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: Discussionmentioning

confidence: 91%

Section: Discussionmentioning

confidence: 96%

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

et al. 2015

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“…23 The variability pointed out by Seashore 24 has been confirmed since then, with, for example, a mean extent of 71 cents 22 and a variation of between 0.38 and 3.26 semitones 25 or between 0.54 and 1.66 semitones. 14 Mean VE has been found to be greater for the operatic singing style (±98 cents) than the Broadway style (±78 cents). 16 The long-term average spectrum (LTAS) provides information on the spectral distribution of the sound.…”

Section: Introductionmentioning

confidence: 86%

“…13 Observing the variability in VRs across 10 prominent artists singing in the western classical music tradition, Prame 13 found an average rate of 6 Hz, with a mean variation from the singer's average of 8%. More recently, the values were defined between 4.55 and 6.25 Hz for classical voices 14 and between 6.28 and 7.14 Hz for operatic singing voices. 15 However, other authors found a mean VR of 5.7 Hz with this particular technique, slower than for the Broadway style of singing (6.1 Hz).…”

Section: Introductionmentioning

confidence: 99%

Effects of Melody and Technique on Acoustical and Musical Features of Western Operatic Singing Voices

2014

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Summary: Objective. The operatic singing technique is frequently used in classical music. Several acoustical parameters of this specific technique have been studied but how these parameters combine remains unclear. This study aims to further characterize the Western operatic singing technique by observing the effects of melody and technique on acoustical and musical parameters of the singing voice. Methods. Fifty professional singers performed two contrasting melodies (popular song and romantic melody) with two vocal techniques (with and without operatic singing technique). The common quality parameters (energy distribution, vibrato rate, and extent), perturbation parameters (standard deviation of the fundamental frequency, signal-to-noise ratio, jitter, and shimmer), and musical features (fundamental frequency of the starting note, average tempo, and sound pressure level) of the 200 sung performances were analyzed. Results. The results regarding the effect of melody and technique on the acoustical and musical parameters show that the choice of melody had a limited impact on the parameters observed, whereas a particular vocal profile appeared depending on the vocal technique used.Conclusions. This study confirms that vocal technique affects most of the parameters examined. In addition, the observation of quality, perturbation, and musical parameters contributes to a better understanding of the Western operatic singing technique.

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Singers' and Nonsingers' Perception of Vocal Vibrato

Reddy

Subramanian

2015

Journal of Voice

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The Characterization of the Vibrato in Lyric and Sertanejo Singing Styles: Acoustic and Perceptual Auditory Aspects

Cited by 14 publications

References 4 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

Effects of Melody and Technique on Acoustical and Musical Features of Western Operatic Singing Voices

Singers' and Nonsingers' Perception of Vocal Vibrato

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