Comparative Analysis of Singer’s High Formant in Different Type of Singing Voices

Doskov, D.; Ivanov, Todor; Boyanov, B.

doi:10.1159/000266363

Cited by 5 publications

(3 citation statements)

References 8 publications

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“…As for the singer's formant, the specific presence in male classic singers is again in accordance with expectation based on comparisons of singing styles in the literature: eg, Doskov et al 35 already observed a stronger singer's formant in opera singers than in folk and pop singers. Traditional explanations pertain to the repertoire, the orchestral accompaniment, the working demands, and the environment (amplification), 4 but the difference in vocal (and musical) education level and in professionalism is an obvious possible bias, that could only be avoided in this study by a selective recruitment.…”

Section: E6supporting

confidence: 88%

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: E6supporting

confidence: 88%

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

et al. 2015

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“…A broader understanding of the singing voice has to involve investigating the acoustics of many non-classical styles, and some contributions have been made already on styles as diverse as pop (Schutte and Miller, 1993;Doskov et al, 1995;Thalén and Sundberg, 2001;Borch and Sundberg, 2002), Broadway/musicals (Thalén and Sundberg, 2001;Stone et al, 2003), country & western (Burns, 1986;Stone et al, 1999;Sundberg et al, 1999;Cleveland et al, 2001), jazz and blues (Thalén and Sundberg, 2001), Estonian folk (Ross, 1992), belting (Estill et al, 1994), and overtone singing (Bloothooft et al, 1992;Klingholz, 1993;Lindestad et al, 2001;Van Tongeren, 2002).…”

Section: Introductionmentioning

confidence: 99%

Spectral characteristics of three styles of Croatian folk singing

Boersma

Kovačić

2006

The Journal of the Acoustical Society of America

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This paper examines the differences between three Croatian folk singing styles, namely klapa, ojkanje and tarankanje. In order to factor out singer-specific properties, each of the styles was performed by the same 12 professional male singers. The 36 performances were analysed with a pitch-corrected LTAS (long-term average spectrum) method. After factoring out each singer's average, the 36 LTAS contours were reduced to a 2-dimensional representation in two ways: (1) a principal-component analysis, (2) a graphical plot of spectral slope versus speaker formant strength. Both ways clearly separate the three styles. The spectrum of the klapa style turns out to be similar to that of speech. The ojkanje style shows a high spectral peak around 3.5 kHz, which is implemented by high vocal effort and the articulation of a shouter's formant and can be explained by the desire to be heard across large distances on mountain slopes. The tarankanje style has a very flat spectrum, which is implemented by vocal pressedness and nasality and can be explained by the desire to match the timbral characteristics of the sopile folk instrument.

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“…Measurements derived from the VRP are useful in identifying voices which are well-equipped; in the diagnosis of vocal dysfunction; in suggesting starting points for voice training and in controlling training effectiveness or outcomes of the treatment. Some authors have emphasized an importance of energy measurement in the singers' formant region for an assessment of voice training effects, especially in case of solo singers [18][19][20]31]. However, the following main question remains: which of the methods and voice parameters are the most sensitive to voice training and could better quantitatively describe voice quality, as well as assess voice training effect.…”

Section: Discussionmentioning

confidence: 99%

Usefulness of Spectral Range Profile in Quantitative Assessment of Voice Quality in Adults and Children

Šiupšinskienė¹,

Lycke²

2017

IJCEO

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Comparative Analysis of Singer’s High Formant in Different Type of Singing Voices

Cited by 5 publications

References 8 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

Spectral characteristics of three styles of Croatian folk singing

Usefulness of Spectral Range Profile in Quantitative Assessment of Voice Quality in Adults and Children

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