Characterizing vocal-fold dynamics in singing vocal modes from Complete Vocal Technique using high-speed laryngeal imaging and electroglottographic analysis (original) (raw)
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A Comparison of Sung and Spoken Phonation Onset Gestures Using High-Speed Digital Imaging
Journal of Voice, 2012
Phonation onset is important in the maintenance of healthy vocal production for speech and singing. The purpose of this preliminary study was to examine differences in vocal fold vibratory behavior between sung and spoken phonation onset gestures. Given the greater degree of precision required for the abrupt onset sung gestures, we hypothesize that differences exist in the timing and coordination of the vocal fold adductory gesture with the onset of vocal fold vibration. Staccato and German (a modified glottal plosive, so named for its occurrence in German classical singing) onset gestures were compared with breathy, normal, and hard onset gestures, using high-speed digital imaging. Samples were obtained from two subjects with no history of voice disorders (a female trained singer and a male nonsinger). Simultaneous capture of acoustical data confirmed the distinction among gestures. Image data were compared for glottal area configurations, degree of adductory positioning, number of small-amplitude prephonatory oscillations (PPOs), and timing of onset gesture events, the latter marked by maximum vocal fold abduction, maximum adduction, beginning of PPOs, and beginning of steady-state oscillation. Results reveal closer adductory positioning of the vocal folds for the staccato and German gestures. The data also suggest a direct relationship between the degree of adductory positioning and the number of PPOs. Results for the timing of onset gesture events suggest a relationship between discrete adductory positioning and more evenly spaced PPOs. By contrast, the overlapping of prephonatory adductory positioning with vibration onset revealed more unevenly spaced PPOs. This may support an existing hypothesis that less well-defined boundaries interfere with normal modes of vibration of the vocal fold tissue.
The Journal of the Acoustical Society of America, 2021
The acoustic measure, relative fundamental frequency (RFF), has been proposed as an objective metric for assessing vocal hyperfunction; however, its underlying physiological mechanisms have not yet been fully characterized. This study aimed to characterize the relationship between RFF and vocal fold kinematics. Simultaneous acoustic and high-speed videoendoscopic (HSV) recordings were collected as younger and older speakers repeated the utterances /ifi/ and /iti/. RFF values at voicing offsets and onsets surrounding the obstruents were estimated from acoustic recordings, whereas glottal angles, durations of voicing offset and onset, and a kinematic estimate of laryngeal stiffness (KS) were obtained from HSV images. No differences were found between younger and older speakers for any measure. RFF did not differ between the two obstruents at voicing offset; however, fricatives necessitated larger glottal angles and longer durations to devoice. RFF values were lower and glottal angles ...
Journal of Voice, 2015
The present study aimed to assess three different singing styles (pop, rock, and jazz) with laryngoscopic, acoustic, and perceptual analysis in healthy singers at different loudness levels. Special emphasis was given to the degree of anterior-posterior (A-P) laryngeal compression, medial laryngeal compression, vertical laryngeal position (VLP), and pharyngeal compression. Study Design. Prospective study. Methods. Twelve female trained singers with at least 5 years of voice training and absence of any voice pathology were included. Flexible and rigid laryngeal endoscopic examinations were performed. Voice recording was also carried out. Four blinded judges were asked to assess laryngoscopic and auditory perceptual variables using a visual analog scale. Results. All laryngoscopic parameters showed significant differences for all singing styles. Rock showed the greatest degree for all of them. Overall A-P laryngeal compression scores demonstrated significantly higher values than overall medial compression and VLP. High loudness level produced the highest degree of A-P compression, medial compression, pharyngeal compression, and the lowest VLP for all singing styles. Additionally, rock demonstrated the highest values for alpha ratio (less steep spectral slope), L1-L0 ratio (more glottal adduction), and Leq (more vocal intensity). Statistically significant differences between the three loudness levels were also found for these acoustic parameters. Conclusions. Rock singing seems to be the style with the highest degree of both laryngeal and pharyngeal activity in healthy singers. Although, supraglottic activity during singing could be labeled as hyperfunctional vocal behavior, it may not necessarily be harmful, but a strategy to avoid vocal fold damage.
Changes in Vocal Fold Morphology During Singing Over Two Octaves
Journal of Voice, 2020
Objective. Vocal folds are widely assumed to only elongate to raise vocal pitch. However, the mechanisms seem to be more complex and involve both elongation and tensioning of the vocal folds in series. The aim of the present study was to show that changes in vocal fold morphology depend on vocal fold elongation and tensioning during singing. Study design. This was a prospective study. Methods. Forty-nine professional female singers (25 sopranos, 24 altos) were recruited and three-dimensional laryngeal images analyzed in a coronal view derived from high-resolution computed tomography scans obtained at the mean speaking fundamental frequency (ƒ 0) and one (2ƒ 0) and two octaves (4ƒ 0) above ƒ 0. Results. The vocal fold angle, defined by a tangent above and below the vocal folds, was 58°at ƒ 0 , 47°at 2ƒ 0 , and 59°at 4ƒ 0. Conclusion. The decreased caudomedial angle of the vocal fold from ƒ 0 to 2ƒ 0 (change in muscle belly from ";fat" to "thin") and increased angle from 2ƒ 0 to 4ƒ 0 (from "thin" to "fat") strongly supports the hypothesis that the vocal folds elongate and then tension when singing from ƒ 0 to 4ƒ 0. This is the first study to show this relationship in vivo. Level of evidence: 4 .
Vocal Tract Shapes in Different Singing Functions Used in Musical Theater Singing—A Pilot Study
Journal of Voice, 2014
Objective. Singing styles in Musical Theater singing might differ in many ways from Western Classical singing. However, vocal tract adjustments are not understood in detail. Material and Methods. Vocal tract shapes of a single professional Music Theater female subject were analyzed concerning different aspects of singing styles using dynamic real-time magnetic resonance imaging technology with a frame rate of 8 fps. The different tasks include register differences, belting, and vibrato strategies. Results. Articulatory differences were found between head register, modal register, and belting. Also, some vibrato strategies (''jazzy'' vibrato) do involve vocal tract adjustments, whereas others (classical vibrato) do not. Conclusions. Vocal tract shaping might contribute to the establishment of different singing functions in Musical Theater singing.
Journal of Voice, 2009
We investigate the potential of high-speed digital imaging technique (HSI) and the phonovibrogram (PVG) analysis in normal vocal fold dynamics by studying the effects of continuous voice use (vocal loading) during the workday. One healthy subject was recorded at sustained phonation 13 times within 2 consecutive days in the morning before and in the afternoon after vocal loading, respectively. Vocal fold dynamics were extracted and visualized by PVGs. The characteristic PVG patterns were extracted representing vocal fold vibration types. The parameter values were then analyzed by statistics regarding vocal load, left-right PVG asymmetries, anterior-posterior PVG asymmetries, and opening-closing differences. For the first time, the direct impact of vocal load could be determined by analyzing vocal fold dynamics. For same vocal loading conditions, equal dynamical behavior of the vocal folds were confirmed. Comparison of recordings performed in the morning with the recordings after work revealed significant changes in vibration behavior, indicating impact of occurring vocal load. Left-right asymmetries in vocal fold dynamics were found confirming earlier assumptions. Different dynamics between opening and closing procedure as well as for anterior and posterior parts were found. Constant voice usage stresses the vocal folds even in healthy subjects and can be detected by applying the PVG technique. Furthermore, left-right PVG asymmetries do occur in healthy voice to a certain extent. HSI in combination with PVG analysis seems to be a promising tool for investigation of vocal fold fatigue and pathologies resulting in small forms of dynamical changes.
Comparing Vocal Fold Contact Criteria Derived From Audio and Electroglottographic Signals
Journal of Voice, 2016
Objectives. Collision threshold pressure (CTP), that is, the lowest subglottal pressure facilitating vocal fold contact during phonation, is likely to reflect relevant vocal fold properties. The amplitude of an electroglottographic (EGG) signal or the amplitude of its first derivative (dEGG) has been used as criterion of such contact. Manual measurement of CTP is time consuming, making the development of a simpler, alternative method desirable. Method. In this investigation, we compare CTP values measured manually to values automatically derived from dEGG and to values derived from a set of alternative parameters, some obtained from audio and some from EGG signals. One of the parameters was the novel EGG wavegram, which visualizes sequences of EGG or dEGG cycles, normalized with respect to period and amplitude. Raters with and without previous acquaintance with EGG analysis marked the disappearance of vocal fold contact in dEGG and in wavegram displays of /pa:/-sequences produced with continuously decreasing vocal loudness by seven singer subjects. Results. Vocal fold contact was mostly identified accurately in displays of both dEGG amplitude and wavegram. Automatically derived CTP values showed high correlation with those measured manually and with those derived from the ratings of the visual displays. Seven other parameters were tested as criteria of such contact. Mainly, because of noise in the EGG signal, most of them yielded CTP values differing considerably from those derived from the manual and the automatic methods, although the EGG spectrum slope showed a high correlation. Conclusion. The possibility of measuring CTP automatically seems promising for future investigations.
IEEE Transactions on Medical Imaging, 2000
Endoscopic high-speed laryngoscopy in combination with image analysis strategies is the most promising approach to investigate the interrelation between vocal fold vibrations and voice disorders. So far, due to the lack of an objective and standardized analysis procedure a unique characterization of vocal fold vibrations has not been achieved yet. We present a visualization and analysis strategy which transforms the segmented edges of vibrating vocal folds into a single 2-D image, denoted Phonovibrogram (PVG). Within a PVG the individual type of vocal fold vibration becomes uniquely characterized by specific geometric patterns. The PVG geometries give an intuitive access on the type and degree of the laryngeal asymmetry and can be quantified using an image segmentation approach. The PVG analysis was applied to 14 representative recordings derived from a high-speed database comprising normal and pathological voices. We demonstrate that PVGs are capable to differentiate and quantify different types of normal and pathological vocal fold vibrations. The objective and precise quantification of the PVG geometry may have the potential to realize a novel classification of vocal fold vibrations.
Laryngeal and pharyngeal behavior in countertenor and baritone singing—A videofiberscopic study
Journal of Voice, 1988
Changes in vocal tract configuration during singing were studied in four semiprofessional countertenors and one professional bass-baritone, by means of fiberoptic laryngoscopy. All of the countertenors showed a marked narrowing of the lower pharynx with increasing pitch when they used their countertenor voice (CT voice) but only a slight narrowing when using their baritone voice (B voice). The bass-baritone's pharynx remained unchanged with increasing pitch. Increasing loudness gave a widening of the pharynx in three of the four countertenors' CT voices, whereas no change was observed for the countertenors' B voices or for the bass-baritone voice. Vocal fold length seemed to decrease in one countertenor's B voice and in the bass-baritone with increasing loudness. Thus, the countertenors in this study exhibit several characteristic patterns of vocal tract gestures in countertenor voice that differ from both their own baritone voices and from the bass-baritone.
2016
It may be argued that singing requires a greater precision and control of timing and coordination of onset and offset mechanisms, as dictated by the musical score. Another important difference between sung and spoken phonation is the greater frequency range of phonation and control/precision necessary for smoother transition among registers in singing. HSDI has applied advantages in vocal pedagogy, by providing a direct visual example to help better understand the vocal fold (VF) vibratory mechanism during singing. It may also be used as a delayed visual feedback tool.