The Effect of Subharmonic Stimuli on Singing Voices
Identifieur interne : 000E45 ( Istex/Corpus ); précédent : 000E44; suivant : 000E46The Effect of Subharmonic Stimuli on Singing Voices
Auteurs : Marena Balinova ; Peter Reichl ; Inma Hernáez Rioja ; Ibon SaratxagaSource :
- Lecture Notes in Computer Science [ 0302-9743 ] ; 2011.
Abstract
Abstract: Unlike harmonics, which play a central role in the spectral analysis of voice signals, the equivalent concept of subharmonics is traditionally considered to be a rather theoretical one. In this paper, we introduce an approach for using them as stimuli in the context of voice teaching for opera singers. Starting from the observation that faulty vocal technique may be perceived by specifically trained listeners as lack of certain subharmonics in the vocal structure, we are interested in adaptation phenomena on the singer’s side which are triggered by playing low notes (potentially corresponding to those subharmonics) on a piano immediately prior to the execution of certain musical phrases. As a first step, we report on some initial experiments on the impact of such stimuli on the observed harmonic spectrum, and thus explore how such a novel voice formation approach could benefit from adequate signal processing support.
Url:
DOI: 10.1007/978-3-642-18184-9_26
Links to Exploration step
ISTEX:0318FDACD89065C512F04640AFF4E7ECE252A0F7Le document en format XML
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In this paper, we introduce an approach for using them as stimuli in the context of voice teaching for opera singers. Starting from the observation that faulty vocal technique may be perceived by specifically trained listeners as lack of certain subharmonics in the vocal structure, we are interested in adaptation phenomena on the singer’s side which are triggered by playing low notes (potentially corresponding to those subharmonics) on a piano immediately prior to the execution of certain musical phrases. 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In this paper, we introduce an approach for using them as stimuli in the context of voice teaching for opera singers. Starting from the observation that faulty vocal technique may be perceived by specifically trained listeners as lack of certain subharmonics in the vocal structure, we are interested in adaptation phenomena on the singer’s side which are triggered by playing low notes (potentially corresponding to those subharmonics) on a piano immediately prior to the execution of certain musical phrases. As a first step, we report on some initial experiments on the impact of such stimuli on the observed harmonic spectrum, and thus explore how such a novel voice formation approach could benefit from adequate signal processing support.</p></abstract><textClass><keywords scheme="Book Subject Collection"><list><label>SUCO11645</label><item><term>Computer Science</term></item></list></keywords></textClass><textClass><keywords scheme="Book Subject Group"><list><label>I</label><label>I18067</label><label>I18040</label><label>I21017</label><label>I24040</label><label>I13022</label><label>I18032</label><item><term>Computer Science</term></item><item><term>User Interfaces and Human Computer Interaction</term></item><item><term>Information Systems Applications (incl.Internet)</term></item><item><term>Artificial Intelligence (incl. 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University</OrgName><OrgAddress><City>Lancaster</City><Country>UK</Country></OrgAddress></Affiliation><Affiliation ID="Aff2"><OrgName>Carnegie Mellon University</OrgName><OrgAddress><City>Pittsburgh</City><State>PA</State><Country>USA</Country></OrgAddress></Affiliation><Affiliation ID="Aff3"><OrgName>University of Surrey</OrgName><OrgAddress><City>Guildford</City><Country>UK</Country></OrgAddress></Affiliation><Affiliation ID="Aff4"><OrgName>Cornell University</OrgName><OrgAddress><City>Ithaca</City><State>NY</State><Country>USA</Country></OrgAddress></Affiliation><Affiliation ID="Aff5"><OrgName>ETH Zurich</OrgName><OrgAddress><City>Zurich</City><Country>Switzerland</Country></OrgAddress></Affiliation><Affiliation ID="Aff6"><OrgName>Stanford University</OrgName><OrgAddress><City>Stanford</City><State>CA</State><Country>USA</Country></OrgAddress></Affiliation><Affiliation ID="Aff7"><OrgName>Weizmann Institute of Science</OrgName><OrgAddress><City>Rehovot</City><Country>Israel</Country></OrgAddress></Affiliation><Affiliation ID="Aff8"><OrgName>University of Bern</OrgName><OrgAddress><City>Bern</City><Country>Switzerland</Country></OrgAddress></Affiliation><Affiliation ID="Aff9"><OrgName>Indian Institute of Technology</OrgName><OrgAddress><City>Madras</City><Country>India</Country></OrgAddress></Affiliation><Affiliation ID="Aff10"><OrgName>University of Dortmund</OrgName><OrgAddress><City>Dortmund</City><Country>Germany</Country></OrgAddress></Affiliation><Affiliation ID="Aff11"><OrgName>Massachusetts Institute of Technology</OrgName><OrgAddress><State>MA</State><Country>USA</Country></OrgAddress></Affiliation><Affiliation ID="Aff12"><OrgName>University of California</OrgName><OrgAddress><City>Los Angeles</City><State>CA</State><Country>USA</Country></OrgAddress></Affiliation><Affiliation ID="Aff13"><OrgName>University of California</OrgName><OrgAddress><City>Berkeley</City><State>CA</State><Country>USA</Country></OrgAddress></Affiliation><Affiliation ID="Aff14"><OrgName>Rice University</OrgName><OrgAddress><City>Houston</City><State>TX</State><Country>USA</Country></OrgAddress></Affiliation><Affiliation ID="Aff15"><OrgName>Max-Planck Institute of Computer Science</OrgName><OrgAddress><City>Saarbrücken</City><Country>Germany</Country></OrgAddress></Affiliation></EditorGroup></SeriesHeader><Book Language="En"><BookInfo BookProductType="Proceedings" ContainsESM="No" Language="En" MediaType="eBook" NumberingDepth="2" NumberingStyle="ContentOnly" OutputMedium="All" TocLevels="0"><BookID>978-3-642-18184-9</BookID><BookTitle>Toward Autonomous, Adaptive, and Context-Aware Multimodal Interfaces. 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Caoamoeööp"</OrgDivision><OrgName>University of Salerno and IIASS, International Institute for Advanced Scientific Studies</OrgName><OrgAddress><Postcode>84081</Postcode><City>Baronissi (SA)</City><Country>Italy</Country></OrgAddress></Affiliation></EditorGroup></BookHeader><Part ID="Part2"><PartInfo TocLevels="0"><PartID>2</PartID><PartNumber>II</PartNumber><PartSequenceNumber>2</PartSequenceNumber><PartTitle>Synchrony through Verbal and Nonverbal Signals</PartTitle><PartChapterCount>21</PartChapterCount><PartContext><SeriesID>558</SeriesID><BookTitle>Toward Autonomous, Adaptive, and Context-Aware Multimodal Interfaces</BookTitle></PartContext></PartInfo><Chapter ID="Chap26" Language="En"><ChapterInfo ChapterType="OriginalPaper" ContainsESM="No" NumberingDepth="2" NumberingStyle="ContentOnly" TocLevels="0"><ChapterID>26</ChapterID><ChapterDOI>10.1007/978-3-642-18184-9_26</ChapterDOI><ChapterSequenceNumber>26</ChapterSequenceNumber><ChapterTitle Language="En">The Effect of Subharmonic Stimuli on Singing Voices</ChapterTitle><ChapterFirstPage>317</ChapterFirstPage><ChapterLastPage>323</ChapterLastPage><ChapterCopyright><CopyrightHolderName>Springer-Verlag Berlin Heidelberg</CopyrightHolderName><CopyrightYear>2011</CopyrightYear></ChapterCopyright><ChapterGrants Type="Regular"><MetadataGrant Grant="OpenAccess"></MetadataGrant><AbstractGrant Grant="OpenAccess"></AbstractGrant><BodyPDFGrant Grant="Restricted"></BodyPDFGrant><BodyHTMLGrant Grant="Restricted"></BodyHTMLGrant><BibliographyGrant Grant="Restricted"></BibliographyGrant><ESMGrant Grant="Restricted"></ESMGrant></ChapterGrants><ChapterContext><SeriesID>558</SeriesID><PartID>2</PartID><BookID>978-3-642-18184-9</BookID><BookTitle>Toward Autonomous, Adaptive, and Context-Aware Multimodal Interfaces</BookTitle></ChapterContext></ChapterInfo><ChapterHeader><AuthorGroup><Author AffiliationIDS="Aff21"><AuthorName DisplayOrder="Western"><GivenName>Marena</GivenName><FamilyName>Balinova</FamilyName></AuthorName><Contact><Email>balinova@technikum-wien.at</Email></Contact></Author><Author AffiliationIDS="Aff21 Aff22"><AuthorName DisplayOrder="Western"><GivenName>Peter</GivenName><FamilyName>Reichl</FamilyName></AuthorName><Contact><Email>reichl@ftw.at</Email></Contact></Author><Author AffiliationIDS="Aff22 Aff23"><AuthorName DisplayOrder="Western"><GivenName>Inma</GivenName><FamilyName>Hernáez Rioja</FamilyName></AuthorName><Contact><Email>inma.hernaez@ehu.es</Email></Contact></Author><Author AffiliationIDS="Aff23"><AuthorName DisplayOrder="Western"><GivenName>Ibon</GivenName><FamilyName>Saratxaga</FamilyName></AuthorName><Contact><Email>ibon.saratxaga@ehu.es</Email></Contact></Author><Affiliation ID="Aff21"><OrgName>University of Applied Sciences Technikum Wien</OrgName><OrgAddress><Street>Höchstädtplatz 5</Street><Postcode>A-1200</Postcode><City>Vienna</City><Country>Austria</Country></OrgAddress></Affiliation><Affiliation ID="Aff22"><OrgName>FTW Telecommunications Research Center Vienna</OrgName><OrgAddress><Street>Donaucitystr. 1</Street><Postcode>A-1220</Postcode><City>Vienna</City><Country>Austria</Country></OrgAddress></Affiliation><Affiliation ID="Aff23"><OrgDivision>AHOLAB</OrgDivision><OrgName>University of the Basque Country</OrgName><OrgAddress><Street>Alda. Urquijo, s/n</Street><Postcode>E-48013</Postcode><City>Bilbao</City><Country>Spain</Country></OrgAddress></Affiliation></AuthorGroup><Abstract ID="Abs1" Language="En"><Heading>Abstract</Heading><Para>Unlike harmonics, which play a central role in the spectral analysis of voice signals, the equivalent concept of subharmonics is traditionally considered to be a rather theoretical one. In this paper, we introduce an approach for using them as stimuli in the context of voice teaching for opera singers. Starting from the observation that faulty vocal technique may be perceived by specifically trained listeners as lack of certain subharmonics in the vocal structure, we are interested in adaptation phenomena on the singer’s side which are triggered by playing low notes (potentially corresponding to those subharmonics) on a piano immediately prior to the execution of certain musical phrases. As a first step, we report on some initial experiments on the impact of such stimuli on the observed harmonic spectrum, and thus explore how such a novel voice formation approach could benefit from adequate signal processing support.</Para></Abstract><KeywordGroup Language="En"><Heading>Keywords</Heading><Keyword>Singing voice</Keyword><Keyword>harmonic spectrum</Keyword><Keyword>subharmonics</Keyword><Keyword>voice teaching</Keyword></KeywordGroup></ChapterHeader><NoBody></NoBody></Chapter></Part></Book></Series></Publisher></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The Effect of Subharmonic Stimuli on Singing Voices</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>The Effect of Subharmonic Stimuli on Singing Voices</title></titleInfo><name type="personal"><namePart type="given">Marena</namePart><namePart type="family">Balinova</namePart><affiliation>University of Applied Sciences Technikum Wien, Höchstädtplatz 5, A-1200, Vienna, Austria</affiliation><affiliation>E-mail: balinova@technikum-wien.at</affiliation><role><roleTerm type="text">author</roleTerm></role></name><name type="personal"><namePart type="given">Peter</namePart><namePart type="family">Reichl</namePart><affiliation>University of Applied Sciences Technikum Wien, Höchstädtplatz 5, A-1200, Vienna, Austria</affiliation><affiliation>FTW Telecommunications Research Center Vienna, Donaucitystr. 1, A-1220, Vienna, Austria</affiliation><affiliation>E-mail: reichl@ftw.at</affiliation><role><roleTerm type="text">author</roleTerm></role></name><name type="personal"><namePart type="given">Inma</namePart><namePart type="family">Hernáez Rioja</namePart><affiliation>FTW Telecommunications Research Center Vienna, Donaucitystr. 1, A-1220, Vienna, Austria</affiliation><affiliation>AHOLAB, University of the Basque Country, Alda. Urquijo, s/n, E-48013, Bilbao, Spain</affiliation><affiliation>E-mail: inma.hernaez@ehu.es</affiliation><role><roleTerm type="text">author</roleTerm></role></name><name type="personal"><namePart type="given">Ibon</namePart><namePart type="family">Saratxaga</namePart><affiliation>AHOLAB, University of the Basque Country, Alda. Urquijo, s/n, E-48013, Bilbao, Spain</affiliation><affiliation>E-mail: ibon.saratxaga@ehu.es</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="conference [research-article]" displayLabel="OriginalPaper"></genre><originInfo><publisher>Springer Berlin Heidelberg</publisher><place><placeTerm type="text">Berlin, Heidelberg</placeTerm></place><dateIssued encoding="w3cdtf">2011</dateIssued><copyrightDate encoding="w3cdtf">2011</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><abstract lang="en">Abstract: Unlike harmonics, which play a central role in the spectral analysis of voice signals, the equivalent concept of subharmonics is traditionally considered to be a rather theoretical one. In this paper, we introduce an approach for using them as stimuli in the context of voice teaching for opera singers. Starting from the observation that faulty vocal technique may be perceived by specifically trained listeners as lack of certain subharmonics in the vocal structure, we are interested in adaptation phenomena on the singer’s side which are triggered by playing low notes (potentially corresponding to those subharmonics) on a piano immediately prior to the execution of certain musical phrases. As a first step, we report on some initial experiments on the impact of such stimuli on the observed harmonic spectrum, and thus explore how such a novel voice formation approach could benefit from adequate signal processing support.</abstract><relatedItem type="host"><titleInfo><title>Toward Autonomous, Adaptive, and Context-Aware Multimodal Interfaces. 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2011</recordOrigin></recordInfo></mods></metadata><enrichments><istex:refBibTEI uri="https://api.istex.fr/document/0318FDACD89065C512F04640AFF4E7ECE252A0F7/enrichments/refBib"><teiHeader></teiHeader><text><front></front><body></body><back><listBibl><biblStruct xml:id="b0"><monogr><title level="m" type="main">Versuch einer gründlichen Violinschule (A Treatise on the Fundamental Principles of Violin Playing)</title><author><persName><forename type="first">L</forename><surname>Mozart</surname></persName></author><imprint><biblScope unit="page" from="8" to="3"></biblScope></imprint></monogr></biblStruct><biblStruct xml:id="b1"><monogr><title level="m" type="main">Perception of Musical Intervals: Evidence for the Central Origin of the Pitch of Complex Tones</title><author><persName><forename type="first">A</forename><surname>Houtsma</surname></persName></author><author><persName><forename type="first">J</forename><surname>Goldstein</surname></persName></author><imprint><date 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