Acoustic analyses of trained singers perceptually identified from speaking samples.

This study investigated selected acoustic cues in the speaking voices of five professional singers; cues that may have enabled naïve listeners to differentiate them from nonsingers and other trained singers who were not consistently identified from their speaking voices. Subjects were divided into three groups based on listeners' perceptual judgments. Group I, the identified singers, consisted of five professional singers, three males and two females, with an average identification score, from their speaking utterances, of 79%. Group II, the unidentified singers, consisted of 15 trained singers, seven males and eight females, who, as a group, were identified correctly from their speaking utterances only 52% of the time. Group III consisted of 20 nonsingers who were incorrectly identified from their speaking utterances as singers only 36% of the time, that is, they were correctly identified as nonsingers from their speech 64% of the time. Acoustic parameters chosen for measurement from vowel productions were: (1) percent jitter, (2) percent shimmer, and (3) noise-to-harmonic ratio. The second sentence of the "Rainbow Passage" was selected to compare several frequency and duration measures between the three groups. These were: (1) mean speaking fundamental frequency, (2) standard deviation of the fundamental frequency, (3) sentence duration, (4) word duration, and (5) consonant/vowel ratio. The data indicated that the acoustic parameters that most consistently distinguished the identified singers from the unidentified singers and the nonsingers were fundamental frequency variation and durational differences. The identified singers varied their speaking fundamental frequency significantly more than did both the unidentified singers and the nonsingers. The identified singers also had longer vocalic segments than did the others.

Perceptual and acoustic study of professionally trained versus untrained voices.

Acoustic and perceptual analyses were completed to determine the effect of vocal training on professional singers when speaking and singing. Twenty professional singers and 20 nonsingers, acting as the control, were recorded while sustaining a vowel, reading a modified Rainbow Passage, and singing "America the Beautiful." Acoustic measures included fundamental frequency, duration, percent jitter, percent shimmer, noise-to-harmonic ratio, and determination of the presence or absence of both vibrato and the singer's formant. Results indicated that, whereas certain acoustic parameters differentiated singers from nonsingers within sex, no consistently significant trends were found across males and females for either speaking or singing. The most consistent differences were the presence or absence of the singer's vibrato and formant in the singers versus the nonsingers, respectively. Perceptual analysis indicated that singers could be correctly identified with greater frequency than by chance alone from their singing, but not their speaking utterances.

Comparing historical and contemporary opera singers with historical and contemporary Jewish cantors.

This study is an attempt to ascertain if singers from different traditions and milieus follow similar aesthetic trends regardless of training and/or background. Cantors who sang the Jewish synagogue liturgy during the Golden Age of cantorial singing prior to World War II came from Eastern and Central Europe. For the most part, they were not trained in the classical Western opera tradition. They received training from choir leaders and other cantors and the training was primarily in the modes of synagogue chant. Cantors today receive the same kinds of training that opera singers receive, often from the same teachers. Four groups of singers, consisting of four singers in each group, were utilized in this study. The four groups are: historical opera singers, contemporary opera singers, historical cantors, and contemporary cantors. The historical opera singer recordings date from as early as 1909 to as late as 1939. It was not possible to determine the dates of the historical cantor recordings. However, the four cantors chosen for this group were active only to the 1940s. Contemporary samples were taken from CDs and/or live recordings and all the singers from the contemporary groups are either still active or were active in the 1960s through the 1980s and all of them are considered to be premier-level singers in their respective areas. The variables analyzed were: vibrato pulse rate, frequency variation of the vibrato pulse above and below the mean sustained sung frequency in percent, the mean amplitude variation of the amplitude vibrato pulse above and below the mean sustained amplitude in percent and the fast Fourier transform (FFT) power spectrum of the sustained samples. Results indicate that most of the significant differences were found between eras and not between groups within a time period.

A comparison of speech using artificial larynx and tracheoesophageal puncture with valve in the same speaker.

Postlaryngectomy speech rehabilitation more frequently includes surgical-prosthetic methods since the introduction of a low morbidity tracheoesophageal puncture technique and a one-way airflow valve. This study compares speech using an artificial larynx and, in one case, esophageal speech with speech using a tracheoesophageal puncture and valve in the same speaker. Using nonprofessional listeners, speech was rated for intelligibility and preference. Voice spectrograms were employed for measurement of rate, fundamental frequency, and intensity. While no statistically significant differences were found in mean fundamental frequency or intensity, the rate of post-tracheoesophageal speech was considerably faster. In addition, when individual speakers are compared with themselves, post-tracheoesophageal speech is significantly more intelligible and preferred by naive listeners. We conclude that using the tracheoesophageal puncture with valve should be strongly considered in total laryngectomy patients whose present mode of communication is unsatisfactory.

Speech intelligibility at high helium-oxygen pressures.

Word-list intelligibility scores of unprocessed speech (mean of 4 subjects) were recorded in helium-oxygen atmospheres at stable pressures equivalent to 1600, 1400, 1200, 1000, 860, 690, 560, 392, and 200 fsw daring Predictive Studies IV-1975 by wide-bandwidth condenser microphones (frequency responses not degraded by increased gas density). Intelligibility scores were substantially lower in helium-oxygen a 200 fsw than in air at l ATA, but there was little difference between 200 fsw and 1600 fsw. A previously documented prominent decrease in intelligibility of speech between 200 or 600 fsw because of helium and pressure was probably due to degradation of microphone frequency response by high gas density.