Formant tuning strategies in professional male opera singers.
Identifieur interne : 000587 ( Main/Exploration ); précédent : 000586; suivant : 000588Formant tuning strategies in professional male opera singers.
Auteurs : Johan Sundberg [Suède] ; Filipa M B. Lã ; Brian P. GillSource :
- Journal of voice : official journal of the Voice Foundation ; 2013.
English descriptors
- KwdEn :
- MESH :
Abstract
The term "formant tuning" is generally used for the case that one of the lowest formant frequencies coincides with the frequency of a source spectrum partial. Some authors claim that such coincidence is favorable and belongs to the goals of classical opera voice training, whereas other authors have found evidence for advising against it. This investigation analyzes the relationships between formant frequencies and partials in professional singers, who sang scales on the vowels /a/, /u/, /i/, and /ae/ in a pitch range including the passaggio, that is, the fundamental frequency range of approximately 300-400Hz, applying either of the two singing strategies that are typically used (1) in classical and (2) in nonclassical singing, respectively. Formant frequencies of each note in the scales were measured by inverse-filtering the acoustic signal. In the classical style, the first formant tended to be lower than in the nonclassical style. Neither the first nor the second formant tended to change systematically between scale tones, such that on some scale tones either or both formants was just below, just above, or right on a spectrum partial. In many cases, singers produced similar spectrum characteristics of the top tones of the scales with different first and second formant frequencies. Regardless of whether the first formant was slightly lower, slightly higher, or right on a partial, the properties of the voice source did not seem to be affected.
DOI: 10.1016/j.jvoice.2012.12.002
PubMed: 23453594
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Lã</name></author><author><name sortKey="Gill, Brian P" sort="Gill, Brian P" uniqKey="Gill B" first="Brian P" last="Gill">Brian P. Gill</name></author></analytic><series><title level="j">Journal of voice : official journal of the Voice Foundation</title><idno type="e-ISSN">1873-4588</idno><imprint><date when="2013" type="published">2013</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass><keywords scheme="KwdEn" xml:lang="en"><term>Acoustics</term><term>Adult</term><term>Electrodiagnosis</term><term>Humans</term><term>Male</term><term>Occupations</term><term>Phonation</term><term>Singing</term><term>Sound Spectrography</term><term>Time Factors</term><term>Voice Quality</term><term>Young Adult</term></keywords><keywords scheme="MESH" xml:lang="en"><term>Acoustics</term><term>Adult</term><term>Electrodiagnosis</term><term>Humans</term><term>Male</term><term>Occupations</term><term>Phonation</term><term>Singing</term><term>Sound Spectrography</term><term>Time Factors</term><term>Voice Quality</term><term>Young Adult</term></keywords></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">The term "formant tuning" is generally used for the case that one of the lowest formant frequencies coincides with the frequency of a source spectrum partial. Some authors claim that such coincidence is favorable and belongs to the goals of classical opera voice training, whereas other authors have found evidence for advising against it. This investigation analyzes the relationships between formant frequencies and partials in professional singers, who sang scales on the vowels /a/, /u/, /i/, and /ae/ in a pitch range including the passaggio, that is, the fundamental frequency range of approximately 300-400Hz, applying either of the two singing strategies that are typically used (1) in classical and (2) in nonclassical singing, respectively. Formant frequencies of each note in the scales were measured by inverse-filtering the acoustic signal. In the classical style, the first formant tended to be lower than in the nonclassical style. Neither the first nor the second formant tended to change systematically between scale tones, such that on some scale tones either or both formants was just below, just above, or right on a spectrum partial. In many cases, singers produced similar spectrum characteristics of the top tones of the scales with different first and second formant frequencies. Regardless of whether the first formant was slightly lower, slightly higher, or right on a partial, the properties of the voice source did not seem to be affected.</div></front></TEI><affiliations><list><country><li>Suède</li></country></list><tree><noCountry><name sortKey="Gill, Brian P" sort="Gill, Brian P" uniqKey="Gill B" first="Brian P" last="Gill">Brian P. Gill</name><name sortKey="La, Filipa M B" sort="La, Filipa M B" uniqKey="La F" first="Filipa M B" last="Lã">Filipa M B. Lã</name></noCountry><country name="Suède"><noRegion><name sortKey="Sundberg, Johan" sort="Sundberg, Johan" uniqKey="Sundberg J" first="Johan" last="Sundberg">Johan Sundberg</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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