The Vocal Tract in Loud Twang-Like Singing While Producing High and Low Pitches.

Twang-like vocal qualities have been related to a megaphone-like shape of the vocal tract (epilaryngeal tube and pharyngeal narrowing, and a wider mouth opening), low-frequency spectral changes, and tighter and/or increased vocal fold adduction. Previous studies have focused mainly on loud and high-pitched singing, comfortable low-pitched spoken vowels, or are based on modeling and simulation. There is no data available related to twang-like voices in loud, low-pitched singing. PURPOSE: This study investigates the possible contribution of the lower and upper vocal tract configurations during loud twang-like singing on high and low pitches in a real subject. METHODS: One male contemporary commercial music singer produced a sustained vowel [a:] in his habitual speaking pitch (B2) and loudness. The same vowel was also produced in a loud twang-like singing voice on high (G4) and low pitches (B2). Computerized tomography, acoustic analysis, inverse filtering, and audio-perceptual assessments were performed. RESULTS: Both loud twang-like voices showed a megaphone-like shape of the vocal tract, being more notable on the low pitch. Also, low-frequency spectral changes, a peak of sound energy around 3 kHz and increased vocal fold adduction were found. Results agreed with audio-perceptual evaluation. CONCLUSIONS: Loud twang-like phonation seems to be mainly related to low-frequency spectral changes (under 2 kHz) and a more compact formant structure. Twang-like qualities seem to require different degrees of twang-related vocal tract adjustments while phonating in different pitches. A wider mouth opening, pharyngeal constriction, and epilaryngeal tube narrowing may be helpful strategies for maximum power transfer and improved vocal economy in loud contemporary commercial music singing and potentially in loud speech. Further studies should focus on vocal efficiency and vocal economy measurements using modeling and simulation, based on real-singers' data.

Water Resistance Therapy as Vocal Warm-Up Method in Contemporary Commercial Music Singers.

BACKGROUND/AIMS: Although water resistance therapy (WRT) has been widely used in voice training, no data are supporting the effectiveness of WRT as vocal warm-up for singers. The present study aimed to determine the effects of WRT as a vocal warm-up method in contemporary commercial music (CCM) singers. METHODS: Twenty-two CCM singers were randomly assigned to one of two types of 15-min vocal warm-up: open vocal tract (OVT) warm-up and WRT. Self-perceived resonant voice quality and aerodynamic, electroglottographic, and acoustic measures were assessed before, immediately after vocal warm-up, and after 40 min of vocal loading. RESULTS: Significant results were found immediately after vocal warm-up. Subglottic pressure and inspiratory airflow duration decreased in both groups. SPL decreased for the OVT group. No changes in SPL were found for the WRT group. Significant results were observed after vocal loading. Subglottic pressure and inspiratory airflow duration decreased for both groups after vocal loading. Expiratory airflow duration and electroglottographic contact quotient decreased for the OVT group. CONCLUSION: Some objective data suggest that the WRT method is more effective as vocal warm-up than OVT exercises. Since outcomes in self-perceived resonant voice quality for both methods were similar but physiological effects were different, vocal warm-up strategies might produce a placebo effect.

A Computerized Tomography Study of Vocal Tract Setting in Hyperfunctional Dysphonia and in Belting.

BACKGROUND: Vocal tract setting in hyperfunctional patients is characterized by a high larynx and narrowing of the epilaryngeal and pharyngeal region. Similar observations have been made for various singing styles, eg, belting. The voice quality in belting has been described to be loud, speech like, and high pitched. It is also often described as sounding "pressed" or "tense". The above mentioned has led to the hypothesis that belting may be strenuous to the vocal folds. However, singers and teachers of belting do not regard belting as particularly strenuous. PURPOSE: This study investigates possible similarities and differences between hyperfunctional voice production and belting. This study concerns vocal tract setting. METHODS: Four male patients with hyperfunctional dysphonia and one male contemporary commercial music singer were registered with computerized tomography while phonating on [a:] in their habitual speaking pitch. Additionally, the singer used the pitch G4 in belting. The scannings were studied in sagittal and transversal dimensions by measuring lengths, widths, and areas. RESULTS: Various similarities were found between belting and hyperfunction: high vertical larynx position, small hypopharyngeal width, and epilaryngeal outlet. On the other hand, belting differed from dysphonia (in addition to higher pitch) by a wider lip and jaw opening, and larger volumes of the oral cavity. CONCLUSIONS: Belting takes advantage of "megaphone shape" of the vocal tract. Future studies should focus on modeling and simulation to address sound energy transfer. Also, they should consider aerodynamic variables and vocal fold vibration to evaluate the "price of decibels" in these phonation types.