Modeling source-filter interaction in belting and high-pitched operatic male singing
Identifieur interne : 000337 ( Pmc/Checkpoint ); précédent : 000336; suivant : 000338Modeling source-filter interaction in belting and high-pitched operatic male singing
Auteurs : Ingo R. TitzeSource :
- The Journal of the Acoustical Society of America [ 0001-4966 ] ; 2009.
Abstract
Nonlinear source-filter theory is applied to explain some acoustic differences between two contrasting male singing productions at high pitches: operatic style versus jazz belt or theater belt. Several stylized vocal tract shapes (caricatures) are discussed that form the bases of these styles. It is hypothesized that operatic singing uses vowels that are modified toward an inverted megaphone mouth shape for transitioning into the high-pitch range. This allows all the harmonics except the fundamental to be “lifted” over the first formant. Belting, on the other hand, uses vowels that are consistently modified toward the megaphone (trumpet-like) mouth shape. Both the fundamental and the second harmonic are then kept below the first formant. The vocal tract shapes provide collective reinforcement to multiple harmonics in the form of inertive supraglottal reactance and compliant subglottal reactance. Examples of lip openings from four well-known artists are used to infer vocal tract area functions and the corresponding reactances.
Url:
DOI: 10.1121/1.3160296
PubMed: 19739766
PubMed Central: 2757425
Affiliations:
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PMC:2757425Le document en format XML
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<front><div type="abstract" xml:lang="en"><p>Nonlinear source-filter theory is applied to explain some acoustic differences between two contrasting male singing productions at high pitches: operatic style versus jazz belt or theater belt. Several stylized vocal tract shapes (caricatures) are discussed that form the bases of these styles. It is hypothesized that operatic singing uses vowels that are modified toward an inverted megaphone mouth shape for transitioning into the high-pitch range. This allows all the harmonics except the fundamental to be “lifted” over the first formant. Belting, on the other hand, uses vowels that are consistently modified toward the megaphone (trumpet-like) mouth shape. Both the fundamental and the second harmonic are then kept below the first formant. The vocal tract shapes provide collective reinforcement to multiple harmonics in the form of inertive supraglottal reactance and compliant subglottal reactance. Examples of lip openings from four well-known artists are used to infer vocal tract area functions and the corresponding reactances.</p>
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<aff>National Center for Voice and Speech, The Denver Center for the Performing Arts, Denver, Colorado 80204 and Department of Communication Sciences and Disorders, The University of Iowa, Iowa City, Iowa 52242</aff>
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<contrib-group><contrib contrib-type="author"><name><surname>Worley</surname>
<given-names>Albert S.</given-names>
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<aff>National Center for Voice and Speech, The Denver Center for the Performing Arts, Denver, Colorado 80204</aff>
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<pub-date pub-type="ppub"><month>9</month>
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<volume>126</volume>
<issue>3</issue>
<fpage>1530</fpage>
<lpage>1540</lpage>
<history><date date-type="received"><day>07</day>
<month>6</month>
<year>2008</year>
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<date date-type="rev-recd"><day>14</day>
<month>5</month>
<year>2009</year>
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<date date-type="accepted"><day>09</day>
<month>6</month>
<year>2009</year>
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<permissions><copyright-statement>Copyright © 2009 Acoustical Society of America</copyright-statement>
<copyright-year>2009</copyright-year>
<copyright-holder>Acoustical Society of America</copyright-holder>
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<abstract><p>Nonlinear source-filter theory is applied to explain some acoustic differences between two contrasting male singing productions at high pitches: operatic style versus jazz belt or theater belt. Several stylized vocal tract shapes (caricatures) are discussed that form the bases of these styles. It is hypothesized that operatic singing uses vowels that are modified toward an inverted megaphone mouth shape for transitioning into the high-pitch range. This allows all the harmonics except the fundamental to be “lifted” over the first formant. Belting, on the other hand, uses vowels that are consistently modified toward the megaphone (trumpet-like) mouth shape. Both the fundamental and the second harmonic are then kept below the first formant. The vocal tract shapes provide collective reinforcement to multiple harmonics in the form of inertive supraglottal reactance and compliant subglottal reactance. Examples of lip openings from four well-known artists are used to infer vocal tract area functions and the corresponding reactances.</p>
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