Kulning: Acoustic and Perceptual Characteristics of a Calling Style Used Within the Scandinavian Herding Tradition

Abstract

Kulning, a loud, high-pitched vocal calling technique pertaining to the Scandinavian herding system, has attracted several researchers' attention, mainly focusing on cultural, phonatory and musical aspects. Less attention has been paid to the spectral and physiological properties that characterize Kulning tones, and also if there is a physiologically optimum pitch range. We analyzed tones produced by ten participants with varying experience in Kulning. They performed a phrase, pitch range G5 to C6 (784 to 1046 Hz), in three different conditions: starting (1) on pitch A5, (2) on the participant's preferred pitch, and (3) after the deepest possible inhalation, also on the participant's preferred pitch subglottal pressure (P sub ) was measured as the oral pressure during /p/-occlusion. The quality of the Kulning was rated by a group of experts. The highest-rated tones all had a sound pressure level (SPL) at 0.3 m exceeding 115 dB and a pitch higher than 1010 Hz, while the SPL of the lowest rated tones was less than 108 dB at a pitch below 900 Hz. A multiple regression analysis was performed to evaluate the relationship between the ratings and P sub ), SPL, level of the fundamental and the frequency at which a spectrum envelope dip occurred. Highly rated tones were started at maximum lung volumes, and on participants' preferred pitches. They all shared a high frequency of the spectrum envelope dip and a high level of the fundamental. In decreasing order of ratings, Condition 3 showed the highest values followed by Condition 2 and Condition 1. Each singer seemed to perform best within an individual P sub and pitch range. The relevance of the results to voice pedagogy, artistic, and compositional work is discussed.

Three Professional Singers’ Vocal Tract Dimensions in Operatic Singing, Kulning, and Edge—A Multiple Case Study Examining Loud Singing

“…16 The spectra of Opera and Kulning were both characterized by strong H1. This feature has been reported for soprano singing in several earlier studies 16,21,22 and for Kulning by Johnson et al 6 and Rosenberg et al 23 In the present study, the most substantial spectral differences between Opera and Kulning were observed in H3, H4, and H5. In Operatic singing, the energy distribution above H1 seemed to concentrate near H3 and H4, while in Kulning, it was slightly higher near H5.…”

“…From this data, it is not possible to determine if the tuning of R2 or R3 occurs in Kulning. Rosenberg et al discussed the possibility of resonances being tuned to several of the lowest harmonics, 23 however, the findings of Johnson et al, who used acoustic models to estimate the frequencies of the four lowest resonances, supported only tuning of R1 to H1. 6 It should be considered that resonance tuning strategies are highly vowel dependent.…”

“…Rosenberg et al also pondered that the tuning of VT resonances could help achieve a spectrum envelope without clear dips among the first five harmonics in Kulning, which was considered to be typical for well-representative samples. 23 In contrast to Opera and Kulning, in female Belting, R1 is usually kept near H2 or other higher harmonics. 13,24−26 Magnetic resonance imaging (MRI) is increasingly used for the examination of VT during phonation.…”

Affordances of musical instruments: Conceptual consideration

“…See also Aletta and Kang (2020) for examples of research on historical acoustics. 7 A rather drastic example of how stylistic development is constrained by the surrounding acoustics is kulning, herding calls found in Swedish traditional vocal music (Rosenberg et al, 2022). Acoustic characteristics that arose due to the desire to project sound over large distances remains as integral aspects of kulning, even when the practice is removed from its previous function and context, and instead performed on stage or in recording studios.…”