Acoustics/Resonance

  • Resource Type: Print
    by Lesley Wolk, Nassima B. Abdelli-Beruh, Dianne Slavin
    posted 11 months ago
    This article appeared in the Journal of Voice in May 2012. The article summary states that this study "was a preliminary attempt 1) to determine the prevalence of the use of this register in young adult college-aged American speakers and 2) to describe the acoustic characteristics of vocal fry for these speakers."
  • Resource Type: Print
    by Ingo R. Titze
    posted 2 years ago
    To achieve a more resonant voice, a formant is not placed directly on a harmonic, but rather slightly above a harmonic. Stated conversely, the harmonic chases the formant, but never quite catches up with it. The advantage of this maneuver is a strengthening of all harmonics, not just a single one.
  • Resource Type: Print
    by Ingo R. Titze
    posted 2 years ago
    A voice is acoustically strong if the glottal flow can be reduced from a high value to a low value in a short time interval. The total collapse of flow per second is called the maximum flow declination rate. It can be increased by increasing lung pressure, by increasing vibration at the bottom of the vocal fold, or by narrowing the acoustic tube immediately above the vocal folds. In practice, a combination of these control strategies is probably utilized by singers.
  • Resource Type: Print
    by John Nix
    posted 2 years ago
    Modification involves shading vowels with respect to the location of vowel formants, so the sung pitch or one of its harmonics receives an acoustical boost by being near a formant. The goals of modification include a unified quality, throughout the entire range, smoother transitions between register, enhanced dynamic range and control, and improved intelligibility.
  • Resource Type: Print
    by Ingo R. Titze
    posted 2 years ago
    The author has a long-term goal to understand and appreciate proven exercises and vocalizes used by singing teachers. One such exercise is the downward glide in pitch on a vowel [u] or [o], beginning on about D5 and ending one to two octaves lower.
  • Resource Type: Print
    by Ingo R. Titze
    posted 2 years ago
    The author suggests that the Favorable Vowel Chart included in the writings of Berton Coffin over thirty years ago, needs to be resurrected, employing new theories of vowel modification and voice registers.
  • Resource Type: Print
    by Ingo R. Titze
    posted 2 years ago
    In a previous issue the author proposed a new way of looking at pitch-vowel interaction in singing as promulgated by Berton Coffin. In a yearly update, Dr. Titze writes that the basic goal of understanding why certain vowels are favored at certain pitches has not changed.
  • Resource Type: Print
    Level: Basic
    by Donald Miller
    posted 2 years ago
    The author asks the question: “Is there a lesson in the Olympic games that can be applied to singing?” Much of the new information that has advanced the coaching of sports is taken from analysis of precisely timed video. Because so little of the movement of the voice producing organs can be captured by noninvasive video, singing teachers have to rely on self-reporting of singers regarding what they “do” to achieve desired results. However, one particularly measurement of the singing voice that is now within reach for all is that of spectrum analysis, which is discussed in detail.
  • Resource Type: Print
    Level: Basic
    by Ingo R. Titze
    posted 2 years ago
    In summary, harmonics in the glottal waveform are produced by adducing the vocal folds sufficiently so that they can collide. This changes the waveform from a simple oscillatory shape that has only one frequency. Alternately, or in conjunction with collision, the vocal tract can be engaged to feed back an acoustic wave to the glottal flow.
  • Resource Type: Print
    by Ingo R. Titze, Albert S. Worley, Brad H. Story
    posted 2 years ago
    Contrasting operatic and musical theatre voice production, the authors seek “to explain the female opera-belt contrast in terms of source-vocal tract interaction.” The study shows that despite aesthetic differences, many of the technical approaches overlap between these otherwise markedly different genres.
  • Resource Type: Print
    Level: Advanced
    by Ingo Titze
    posted 2 years ago
    In this article Ingo Titze presents research from an informal study conducted in Salt Lake City in 2010. Titze discusses the shift in formant frequencies that take place when a singer switches between classical singing and belt singing.
  • Resource Type: Print
    by Kenneth Bozeman
    posted 2 years ago
    Awareness of the acoustic registration events caused by changing interactions between the lower harmonics of the voice source and the first formant of the vocal tract can assist both teacher and student in working out a smooth, comfortable transition through the passaggio into the upper range of the male voice. This paper explains how knowledge and anticipation of these events, and of the passive vowel modifications that accompany them, can form the basis for effective pedagogic strategies. A relatively stable tube (vocal tract) length is necessary for timbral consistency and balance across the fundamental frequency range, since this can stabilize the general location of all formants and especially the singer’s formant cluster. However, upon ascending the scale, untrained males instinctively tend to activate muscles that shorten the tube in order to preserve the strong first formant/second harmonic (F1/H2) acoustic coupling of open timbre, resulting in “yell” timbre. If tube length and shape are kept stable during pitch ascent, the yell can be avoided by allowing the second harmonic to pass through and above the first formant. This results in the timbral shift referred to as covering or “turning over,” a shift which enables avoidance of the laryngeal muscular adjustments associated with pressed phonation. The variety of first formant locations, vowel by vowel, where these shifts occur creates opportunities for developing effective strategies for training the male passaggio.
  • Resource Type: Web
    Level: Basic
    by senorsfu
    posted 2 years ago
    Vowels are synthesized using vocal tract solid models, demonstrating functions of the vocal tract and vocal cords waves. The models were shaped based on 3D MRI and stereolithography (Rapid Prototyping), and glottal waves are generated using Rosenberg-Klatt waveform with 1/f fluctuation of its cycle. Male and female models are used to produce vowels. Voice qualities are well enough to identify the persons whom MR images were taken from.
  • Resource Type: Web
    Level: Basic
    by Krishna Nayak
    posted 2 years ago
    real-time MRI of vocal performance, with examples from an opera soprano, and an emcee/beatboxer. Presented at the ISMRM Sounds and Visions Session, May 2006, Seattle.
  • Resource Type: Print
    Level: Advanced
    by Bozeman, Kenneth
    posted 2 years ago
    A new edition of the MADDE Synthesizer by Svante Granqvist was introduced in the spring of 2011 that added the top octave of the keyboard and a keyboard display of formants and partials. These improvements have rendered MADDE an especially clear pedagogic tool for explaining and demonstrating the basic acoustic elements of the voice source and the vocal tract filter, as well as all source/filter interactions. This paper shows how MADDE can be used to explain and display the effect of the number of source harmonics, the roll off in power of the source spectrum, the implication of roll off on the laryngeal registration of the voice source, the locations and bandwidths of vocal tract formants, the acoustic effects of harmonic/formant relationships and crossings, such as open timbre, “turning over,” close timbre, and “whoop” timbre.
RSS rss
Advanced Search

Related

None

Categories

Acoustics/Resonance   
Anatomy & Physiology   
Brain & Learning   
Diction   
History of Scientific Study of Voice   
Pedagogy   
Repertoire   
Style/Genre   
Vocal Health and Wellness   

Keywords

Abduct (1)
ACTH (1)
Actors (1)
Adduct (1)
Airway (2)
ALS (1)
Apathy (1)
Attack (1)
Audio (1)
Aural (1)
Belt (7)
BET (1)
Brain (2)
Breath (4)
CAM (3)
Cancer (1)
CCM (25)
Choir (2)
Choral (3)
Cramps (1)
Creak (1)
CT (2)
CVA (1)
Diet (2)
Edema (2)
ENT (1)
Fach (1)
FESS (1)
Filter (1)
fMRI (1)
FNA (1)
FNAB (1)
Formant (13)
Fry (1)
FSH (1)
Garlic (1)
GERD (5)
Glide (1)
Glottis (12)
Goiter (1)
Growl (1)
HPSM (1)
HRT (1)
Hyoid (1)
IA (1)
Injury (1)
IPA (1)
Jazz (1)
Kava (1)
Larynx (18)
LCA (1)
Legato (1)
Lesion (3)
LH (1)
LMA (1)
LPR (2)
LPRD (2)
LSVT (1)
Lungs (1)
Lupron (1)
Mania (1)
MBSR (1)
Mic (2)
MRI (2)
Mucosa (3)
Muscle (4)
Nerves (1)
Nodes (1)
Nodule (1)
Nose (1)
NSAIDS (1)
Onset (2)
Palate (2)
Panic (1)
PCA (1)
Pitch (1)
PMS (2)
Polyp (2)
Polyps (1)
Praat (1)
Prayer (1)
Range (1)
Reflux (11)
Rock (1)
Scale (1)
Scales (1)
Scar (2)
Septum (1)
SGA (1)
SHS (1)
Sighs (1)
Sinus (1)
Sirens (1)
SLP (1)
Strain (1)
Straw (4)
Stress (1)
Stroke (2)
Style (1)
SVS (1)
TA (1)
Timbre (1)
Tongue (3)
Tremor (1)
Trill (1)
Ulcer (1)
URI (1)
Uvula (1)
Velum (1)
Volume (1)
Vowel (4)
Warmup (5)
WHO (1)
Whoop (1)
Yoga (2)