The Singing Power Ratio as an Objective Measure of Singing Voice Quality in Untrained Talented and Nontalented Singers

Aplicaciones clínicas del análisis acústico de la voz

“…LTAS es una herramienta útil para cuantificar la calidad vocal general 44,45,[49][50][51] vinculando la contribución tanto de la fuente como del filtro 39,51 . Permite identificar diferencias de géne-ro 51,52 , edad, profesión, valorar la presencia de disfonía 24,39,41,45,51,53 , determinar la presencia de nasalidad 27,41 , soplosidad, tensión 54,55 , la aparición del formante del cantante, hablante y actor 37-40 , analizar la posición laríngea 41,55 , los cambios en la sonoridad 42 , como método de seguimiento terapéutico 55 y para comprobar la eficacia de las técnicas de entrenamiento o rehabilitación 15 .…”

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

“…The importance of the singer's formant as a voice quality metric, especially in case of solo singers, is under discussion by number of researches [18][19][20][21][22][23]. It is characterized by an increase in the signal intensity between the third and fourth formants that enhances the richness and ringing of a singer's voice and allows audiences to hear the singer's voice with amplification over the sounds of accompanying music [20].…”

“…It is characterized by an increase in the signal intensity between the third and fourth formants that enhances the richness and ringing of a singer's voice and allows audiences to hear the singer's voice with amplification over the sounds of accompanying music [20]. Consequently, a spectral range profile provides additional important information with respect to the voice quality and allows the detection of good quality, as well as potentially talented voices [18][19][20][21][22][23]. Recent studies have shown that singers also have higher energy level in the speaker's formant region, which is related to the perceptual characteristics of a "better normal voice quality", when compared to non-singers [24,25].…”

Peer learning and reflection: strategies developed by vocal students in a transforming tertiary setting

“…Despite this paper pointing out a gap in the research, I did not find any research papers addressing this problem of how teachers imparted knowledge. Instead there was a great deal of literature that focused on voice science and increasing pedagogical content knowledge in areas such as breath management (Cowley, 1999;Miller, 1986Miller, , 1993, phonation (Titze, 1995;Watts, Barnes-Burroughs, Etis, & Blanton, 2006;Westerman Gregg & Scherer, 2006), resonance and articulation (Kenny & Mitchell, 2006;Mürbe, Sundberg, Iwarsson, Pabst, & Hofmann, 1999;Oates, Bain, Davis, Chapman, & Kenny, 2006), registration, vocal health, control of voice ( Callaghan, 1997), acoustical measurements of good singing and what happens physiologically to achieve this (Oates, Bain, Davis, Chapman, & Kenny, 2006), ventricular fold abduction and differentiated movement in the vocal apparatus Kayes, 2004;Obert & Chicurel, 2005). challenged the dominant paradigm that exists that airflow is processed by vocal folds and then modified by pharynx, mouth and vocal cavities (Sundberg, Leanderson, von Euler, & Knutsson, 1991) Research carried out into motor skill acquisition and practice organization (Schmidt, 1975;Sherwood, 1996;Sherwood & Lee, 2003) is very useful for singing in that it gives insight into how people can acquire long term learning, which was an important aim of this study.…”