Singing power ratio: Quantitative evaluation of singing voice quality

Omori, Koichi; Kacker, Ashutosh; Carroll, Linda M.; Riley, W. D.; Blaugrund, Stanley M.

doi:10.1016/s0892-1997(96)80003-8

Cited by 91 publications

(77 citation statements)

References 4 publications

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“…However, voice quality also showed a significant correlation with a participant's singing behavior during childhood, suggesting that the quality of voice is either an early developed skill or requires constant or a certain amount of time to be developed. The latter is also reported by singing professionals who propose that after four years of singing instruction singers are more proficient (Omori et al, 1996).…”

Section: Singing and Language Learningmentioning

confidence: 63%

“…Singing with lyrics or with certain consonant-vowel combinations, on the other hand, is a more complex task (Racette and Peretz, 2007). Singing with lyrics demonstrates a singer's vocal motor ability and their full vocal range to which the evaluation criteria of voice experts can be applied (for specific criteria see Omori et al, 1996;Ekholm et al, 1998). Singing with lyrics helps to address more of the evaluation criteria in a single singing task (Larrouy-Maestri et al, 2013).…”

Section: Introductionmentioning

confidence: 99%

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Song and speech: Examining the link between singing talent and speech imitation ability

Christiner¹,

Reiterer²

2013

PsycEXTRA Dataset

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In previous research on speech imitation, musicality, and an ability to sing were isolated as the strongest indicators of good pronunciation skills in foreign languages. We, therefore, wanted to take a closer look at the nature of the ability to sing, which shares a common ground with the ability to imitate speech. This study focuses on whether good singing performance predicts good speech imitation. Forty-one singers of different levels of proficiency were selected for the study and their ability to sing, to imitate speech, their musical talent and working memory were tested. Results indicated that singing performance is a better indicator of the ability to imitate speech than the playing of a musical instrument. A multiple regression revealed that 64% of the speech imitation score variance could be explained by working memory together with educational background and singing performance. A second multiple regression showed that 66% of the speech imitation variance of completely unintelligible and unfamiliar language stimuli (Hindi) could be explained by working memory together with a singer's sense of rhythm and quality of voice. This supports the idea that both vocal behaviors have a common grounding in terms of vocal and motor flexibility, ontogenetic and phylogenetic development, neural orchestration and auditory memory with singing fitting better into the category of "speech" on the productive level and "music" on the acoustic level. As a result, good singers benefit from vocal and motor flexibility, productively and cognitively, in three ways.(1) Motor flexibility and the ability to sing improve language and musical function. (2) Good singers retain a certain plasticity and are open to new and unusual sound combinations during adulthood both perceptually and productively. (3) The ability to sing improves the memory span of the auditory working memory.

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Section: Singing and Language Learningmentioning

confidence: 63%

Section: Introductionmentioning

confidence: 99%

Song and speech: Examining the link between singing talent and speech imitation ability

Christiner¹,

Reiterer²

2013

PsycEXTRA Dataset

View full text Add to dashboard Cite

show abstract

“…Se obtiene calculando la diferencia entre el pico más alto entre los 2 KHz -4KHz y el pico más alto entre los 0 Hz -2 KHz 43,[63][64][65] . Puede medirse también con el espectro FFT63.…”

Section: Energy Ratiounclassified

“…Se obtiene al aplicar dos FFT a la señal 9,15,36,57,64 . Se calcula como la transformada inversa de Fourier del logaritmo del espectro FFT 9,36 (Figura 7).…”

Section: Cepstrumunclassified

“…Permite determinar el F 0 , mediante el análisis del pico de mayor amplitud presente en la escala temporal 9 . La amplitud del pico da información sobre el grado de perioricidad de la señal 66 y su estructura armónica 64 , permitiendo valorar la calidad vocal, la presencia de disfonía y su grado de severidad 20,36,[66][67][68][69][70] . Un menor valor del cepstrum supone una voz menos estable, con menor energía o menos periódica 57,64,70,71 , al igual que un aumento de la anchura de su base 20,66 .…”

Section: Cepstrumunclassified

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