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BACKGROUND: To the best of our knowledge, studies on the relationship between spectral energy distribution and the degree of perceived twang-like voices are still sparse. Through an auditory-perceptual test we aimed to explore the spectral features that may relate with the auditory-perception of twang-like voices. METHODS: Ten judges who were blind to the test's tasks and stimuli rated the amount of twang perceived on seventy-six audio samples. The stimuli consisted of twenty voices recorded from eight CCM singers who sustained the vowel [a:] in different pitches, with and without a twang-like voice. Also, forty filtered and sixteen synthesized-manipulated stimuli were included. RESULTS AND CONCLUSIONS: Based on the intra-rater reliability scores, four judges were identified as suitable to be included in the analyses. Results showed that the frequency of F1 and F2 correlated strongly with the auditory-perception of twang-like voices (0.90 and 0.74, respectively), whereas F3 showed a moderate negative correlation (-0.52). The frequency difference between F1 and F3 showed a strong negative correlation (-0.82). The mean energy between 1-2 kHz and 2-3 kHz correlated moderately (0.51 and 0.42, respectively). The frequency of F4 and F5, and the energy above 3 kHz showed weak correlations. Since the spectral changes under 2 kHz have been associated with the jaw, lips, and tongue adjustments (i.e. vowel articulation) and a higher vertical laryngeal position might affect the frequency of all formants (including F1 and F2), our results suggest that vowel articulation and the laryngeal height may be relevant when performing twang-like voices.

RESUMO

BACKGROUND: Vocal tract setting in hyperfunctional patients is characterized by a high larynx and narrowing of the epilaryngeal and pharyngeal region. Similar observations have been made for various singing styles, eg, belting. The voice quality in belting has been described to be loud, speech like, and high pitched. It is also often described as sounding "pressed" or "tense". The above mentioned has led to the hypothesis that belting may be strenuous to the vocal folds. However, singers and teachers of belting do not regard belting as particularly strenuous. PURPOSE: This study investigates possible similarities and differences between hyperfunctional voice production and belting. This study concerns vocal tract setting. METHODS: Four male patients with hyperfunctional dysphonia and one male contemporary commercial music singer were registered with computerized tomography while phonating on [a:] in their habitual speaking pitch. Additionally, the singer used the pitch G4 in belting. The scannings were studied in sagittal and transversal dimensions by measuring lengths, widths, and areas. RESULTS: Various similarities were found between belting and hyperfunction: high vertical larynx position, small hypopharyngeal width, and epilaryngeal outlet. On the other hand, belting differed from dysphonia (in addition to higher pitch) by a wider lip and jaw opening, and larger volumes of the oral cavity. CONCLUSIONS: Belting takes advantage of "megaphone shape" of the vocal tract. Future studies should focus on modeling and simulation to address sound energy transfer. Also, they should consider aerodynamic variables and vocal fold vibration to evaluate the "price of decibels" in these phonation types.

Assuntos

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PURPOSE: This study investigated the influence of tube phonation into water on vocal fold vibration. METHOD: Eight participants were analyzed via high-speed digital imaging while phonating into a silicon tube with the free end submerged into water. Two test sequences were studied: (1) phonation pre, during, and post tube submerged 5 cm into water; and (2) phonation into tube submerged 5 cm, 10 cm, and 18 cm into water. Several glottal area parameters were calculated using phonovibrograms. RESULTS: The results showed individual differences. However, certain trends were possible to identify based on similar results found for the majority of participants. Amplitude-to-length ratio, harmonic-to-noise ratio, and spectral flatness (derived from glottal area) decreased for all tube immersion depths, while glottal closing quotient increased for 10 cm immersion and contact quotient for 18 cm immersion. Closed quotient decreased during phonation into the tube at 5 cm depth, and jitter decreased during and after it. CONCLUSION: Results suggest that the depth of tube submersion appears to have an effect on phonation. Shallow immersion seems to promote smoother and more stable phonation, while deeper immersion may involve increased respiratory and glottal effort to compensate for the increased supraglottal resistance. This disparity, which is dependent upon the degree of flow resistance, should be considered when choosing treatment exercises for patients with various diagnoses, namely hyperfunctional or hypofunctional dysphonia.

Assuntos

RESUMO

OBJECTIVE: The present study aimed to investigate the vocal tract and glottal function during and after phonation into a tube and a stirring straw. METHODS: A male classically trained singer was assessed. Computerized tomography (CT) was performed when the subject produced [a:] at comfortable speaking pitch, phonated into the resonance tube and when repeating [a:] after the exercise. Similar procedure was performed with a narrow straw after 15 minutes silence. Anatomic distances and area measures were obtained from CT midsagittal and transversal images. Acoustic, perceptual, electroglottographic (EGG), and subglottic pressure measures were also obtained. RESULTS: During and after phonation into the tube or straw, the velum closed the nasal passage better, the larynx position lowered, and hypopharynx area widened. Moreover, the ratio between the inlet of the lower pharynx and the outlet of the epilaryngeal tube became larger during and after tube/straw phonation. Acoustic results revealed a stronger spectral prominence in the singer/speaker's formant cluster region after exercising. Listening test demonstrated better voice quality after straw/tube than before. Contact quotient derived from EGG decreased during both tube and straw and remained lower after exercising. Subglottic pressure increased during straw and remained somewhat higher after it. CONCLUSION: CT and acoustic results indicated that vocal exercises with increased vocal tract impedance lead to increased vocal efficiency and economy. One of the major changes was the more prominent singer's/speaker's formant cluster. Vocal tract and glottal modifications were more prominent during and after straw exercising compared with tube phonation.

Assuntos

RESUMO

SUMMARY: This study investigates the possible differences between actors' and nonactors' vocal projection strategies using acoustic and perceptual analyses. A total of 11 male actors and 10 male nonactors volunteered as subjects, reading an extended text sample in habitual, moderate, and loud levels. The samples were analyzed for sound pressure level (SPL), alpha ratio (difference between the average SPL of the 1-5kHz region and the average SPL of the 50Hz-1kHz region), fundamental frequency (F0), and long-term average spectrum (LTAS). Through LTAS, the mean frequency of the first formant (F1) range, the mean frequency of the "actor's formant," the level differences between the F1 frequency region and the F0 region (L1-L0), and the level differences between the strongest peak at 0-1kHz and that at 3-4kHz were measured. Eight voice specialists evaluated perceptually the degree of projection, loudness, and tension in the samples. The actors had a greater alpha ratio, stronger level of the "actor's formant" range, and a higher degree of perceived projection and loudness in all loudness levels. SPL, however, did not differ significantly between the actors and nonactors, and no differences were found in the mean formant frequencies ranges. The alpha ratio and the relative level of the "actor's formant" range seemed to be related to the degree of perceived loudness. From the physiological point of view, a more favorable glottal setting, providing a higher glottal closing speed, may be characteristic of these actors' projected voices. So, the projected voices, in this group of actors, were more related to the glottic source than to the resonance of the vocal tract.

Assuntos