Emotional expressivity in singing. Assessing physiological and acoustic indicators of two opera singers' voice characteristics.

In an earlier study, we analyzed how audio signals obtained from three professional opera singers varied when they sang one octave wide eight-tone scales in ten different emotional colors. The results showed systematic variations in voice source and long-term-average spectrum (LTAS) parameters associated with major emotion "families". For two of the singers, subglottal pressure (PSub) also was recorded, thus allowing analysis of an additional main physiological voice control parameter, glottal resistance (defined as the ratio between PSub and glottal flow), and related to glottal adduction.

Analyzing Emotion Expression in Singing via Flow Glottograms, Long-Term-Average Spectra, and Expert Listener Evaluation.

Background: Acoustic aspects of emotional expressivity in speech have been analyzed extensively during recent decades. Emotional coloring is an important if not the most important property of sung performance, and therefore strictly controlled. Hence, emotional expressivity in singing may promote a deeper insight into vocal signaling of emotions.

Prediction of three articulatory categories in vocal sound imitations using models for auditory receptive fields.

Vocal sound imitations provide a new challenge for understanding the coupling between articulatory mechanisms and the resulting audio. In this study, the classification of three articulatory categories, , , and , have been modeled from audio recordings. Two data sets were assembled, consisting of different vocal imitations by four professional imitators and four non-professional speakers in two different experiments.

Natural Voice Use in Patients With Voice Disorders and Vocally Healthy Speakers Based on 2 Days Voice Accumulator Information From a Database.

Objectives And Study Design: Information about how patients with voice disorders use their voices in natural communicative situations is scarce. Such long-term data have for the first time been uploaded to a central database from different hospitals in Sweden. The purpose was to investigate the potential use of a large set of long-term data for establishing reference values regarding voice use in natural situations.

What do male singers mean by modal and falsetto register? An investigation of the glottal voice source.

The voice source differs between modal and falsetto registers, but singers often try to reduce the associated timbral differences, some even doubting that there are any. A total of 54 vowel sounds sung in falsetto and modal register by 13 male more or less experienced choir singers were analyzed by inverse filtering and electroglottography. Closed quotient, maximum flow declination rate, peak-to-peak airflow amplitude, normalized amplitude quotient, and level difference between the two lowest source spectrum partials were determined, and systematic differences were found in all singers, regardless of experience of singing.

Relation between perceived voice register and flow glottogram parameters in males.

The perception of modal and falsetto registers was analyzed in a material consisting of a total of 104 vowel sounds sung by 13 choir singers, 52 sung in modal register, and 52 in falsetto register. These vowel sounds were classified by 16 expert listeners in a forced choice test and the number of votes for modal was compared to the voice source parameters: (1) closed quotient (Q(closed)), (2) level difference between the two lowest source spectrum partials (H1-H2), (3) AC amplitude, (4) maximum flow declination rate (MFDR), and (5) normalized amplitude quotient (NAQ, AC amplitude/MFDR(*) fundamental frequency). Tones with a high value of Q(closed) and low values of H1-H2 and of NAQ were typically associated with high number of votes for modal register, and vice versa, Q(closed) showing the strongest correlation.