Title: Porovnání vlastností hlasu klasických a popových zpěvaček
Variant title
Comparison of voice properties of classical and pop female singers
Source document: Musicologica Brunensia. 2021, vol. 56, iss. 2, pp. 63-101
Extent
63-101
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2021-2-6
Stable URL (handle): https://hdl.handle.net/11222.digilib/144819
Type: Article
Language
Czech
License: CC BY-SA 4.0 International
Abstract(s)
The aim of this work is to compare perceptual, acoustic and electroglottographic features of voice within six opera female singers and five pop female singers. The analysis was done for vowels A, I and U and was performed on 0.5 s long samples of scales singing ranging from C4 to C6 in 4 dynamic levels and samples taken from 4 chosen tones within an octave sung with gradually increased intensity. Evaluation by listening proved a fundamental difference between the perception of darkened colour of the voice with pronounced vibrato typical for opera singers and light, bright and narrow sound without vibrato typical for pop singers. The style of voice modulation, especially the range of pitch modulation (the difference came up to 2 semitones in the highest notes), essentially differentiated individual styles of opera singers. Pop singers had a higher rate of periodical irregularities and also a higher frequency of pitch modulation. Opera singers generally reached higher maximum SPL levels in C5-C6 octave. Pop singers had higher maximum SPL levels only in the middle of C4-C5 octave for vowel A. Electroglottography demonstrated different phonation settings within singing genres. The most significant difference concerned medium and loud dynamic level in the range of one and a half octave, where the voice of pop singers showed higher values of contact quotient of vocal folds. Moreover, the systematic difference was proved in changes of the shape of EGG pulses (from wavegrams) with increasing pitch. Pop singers gradually reduced amplitude in vocal folds decontact area, while opera singers gradually increased relative amplitude of EGG pulses in the same area. Spectral analysis proved fundamental differences especially in lower in lower parts of the vocal range. Opera singers enriched the sound particularly between 2 and 5 kHz by bringing positions of third to fifth formants slightly together. Pop singers had significantly higher energy values in higher parts of vocal range. Acoustic properties have shown that acoustic energy of the pop singers reached higher frequency bands above 5 kHz. Global spectral features acoustically differentiated the best opera and pop singing styles, in particular features, which are independent on positions of vowel formants. The darkened timbre of opera voice can be explained by a generally lower larynx position, which also means that the first harmonic is strengthened. Together with thinner vocal folds (less vocal folds contact), the perception of a head voice is stronger. Also, an inertial effect of the vocal tract, which strengthens the oscillations of the entire vocal system, works better. In the C5-C6 octave, opera singers can change register to full head. Those two practices make it possible: preservation of the M2 mechanism even on the highest notes and tuning the first formant up to the first harmonic. On the other hand, the voice of pop singers is closer to the neutral speaking voice setting of the vocal tract. That means higher larynx position, thicker vocal folds (more vocal folds contact) and often even some noise element.
Note
- Tato studie vznikla na Akademii múzických umění v Praze v rámci projektu "Porovnání různých pěveckých technik a stylů, problematika terminologie a procesů tvorby hlasu" podpořeného z prostředků účelové podpory na specifický vysokoškolský výzkum, kterou poskytlo MŠMT v roce 2020.
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[4] BERGAN, C. C. – TITZE, I. R. – STORY, B. The perception of two vocal qualities in a synthesized vocal utterance: ring and pressed voice. J Voice, 2004, roč. 18, č. 3, s. 305–317.
[5] BESTEBREURTJE, M. E. – SCHUTTE, H. K. Resonance strategies for the belting style: results of a single female subject study. J Voice, 2000, roč. 14, č. 2, s. 194–204.
[6] BJÖRKNER, E. Musical theater and opera singing-why so different? A study of subglottal pressure, voice source, and formant frequency characteristics. J Voice, 2008, roč. 22, č. 5, s. 533–540. | DOI 10.1016/j.jvoice.2006.12.007
[7] BOERSMA P. – KOVACIC G. Spectral characteristics of three styles of Croatian folk singing, J Acoust Soc Am, 2006, roč. 119, č. 3, s. 1805–1816. | DOI 10.1121/1.2168549
[8] BOURNE T. – GARNIER M. Physiological and acoustic characteristics of the female Music Theater voice, J Acoust Soc Am, 2012, roč. 131, č. 2, s. 1586–1594. | DOI 10.1121/1.3675010
[9] DROMEY, Christopher – CARTER, Neisha – HOPKIN, Arden. Vibrato Rate Adjustmenty Journal of Voice, 2003, roč. 17, č. 2, s. 168–178.
[10] DVOŘÁKOVÁ, Eva – FRIČ, Marek. Efekt tréninku hlasu pomocí rezonančních cvičení brumenda u studentů – pilotní studie, Otorinolaryng. a Foniat. /Prague/. 2019, roč. 68, č. 2, s. 86–102.
[11] ECKLEY, C. A. – SATALOFF, R. T. – HAWKSHAW, M. – SPIEGEL, J. R. – MANDEL, S. Voice range in superior laryngeal nerve paresis and paralysis, J Voice, 1998, roč. 12, č. 3, s. 340–348.
[12] FRIČ, Marek a Iva PODZIMKOVÁ. Comparison of sound radiation between classical and pop singers. Biomedical Signal Processing and Control [online]. 2021, roč. 66 [cit. 2021-09-01]. Dostupné z: DOI 10.1016/j.bspc.2021.102426. |
[13] FRIČ, Marek – PAVLECHOVÁ, Angelika. Listening evaluation and classification of female singing voice categories. Logopedics Phoniatrics Vocology, 2020, roč. 45, č. 3, s. 97–109.
[14] FRIČ, Marek – BERTI, Alexandra – OTČENÁŠEK, Jan. Percepční hodnocení vlastností pěveckého provedení koloraturní árie. Musicologica Brunensia, 2019, roč. 54, č. 1, s. 187–222.
[15] FRIČ, Marek. Porovnání parametrů hlasových poli mezi muži a ženami, Akustika, 2018, roč. 30, č. 2, s. 42–63.
[16] FRIČ, Marek – BERTI, Alexandra – VOBĚRKOVÁ, Libuše. Percepční a vibro-akustické hodnocení změn tvaru vokálního traktu, Akustika, 2017, roč. 28, č. 2, s. 33–43.
[17] FRIČ, M. Efekt změny tvaru vokálního traktu na vibro-akustické vlastnosti hlasu. In Nové trendy akustického spektra 2017, Technická univerzita vo Zvolene, 2017, s. 35–53.
[18] FRIČ, Marek. Strategie poslechového hodnocení rezonance hlasu. In Nové trendy akustického spektra – vedecký recenzovaný zborník, Zvolen: Material – Acoustics – Place, 2014, s. 73–80.
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[20] FRIČ, Marek – KADLECOVÁ A. Klára. Porovnání vlastností a parametrů hlasu pěvecky trénovaných a netrénovaných žen. Akustické listy, 2012. roč. 18, č. 2–3, s. 5–24.
[21] FRIČ, Marek. Efekt zvyšování hlasitosti na spektrální charakteristiky hlasu u různých typů použití hlasu a u různých skupin hlasových profesí. Akustické listy, 2011, roč. 17, č. 1–2, s. 19–25.
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[23] GARNIER, Maeva – HENRICH, Nathalie – CASTELLENGO, Michele – SOTIROPOULO, David – DUBOIS, Daniele. Characterisation of Voice Quality in Western Lyrical Singing: from Teachers' Judgements to Acoustic Descriptions, Journal of Interdisciplinary Music Studies, 2008, roč. 1, č. 2, s. 62–91.
[24] HENRICH, N. – D'ALESSANDRO, C. – DOVAL, B. – CASTELLEGNO, M. On the use of the derivative of electroglottographic signals for characterization of nonpathological phonation. J Acoust Soc Am, 2004, roč. 115, č. 3, s. 1321–1332. | DOI 10.1121/1.1646401
[25] HERBST, C. T. – FITCH, W. T. – ŠVEC, J. G. Electroglottographic wavegrams: a technique for visualizing vocal fold dynamics noninvasively. J Acoust Soc Am, 2010, roč. 128, č. 5, s. 3070–3078. | DOI 10.1121/1.3493423
[26] KOCHIS-JENNINGS, K. A. – FINNEGAN, E. M. – HOFFMAN, H. T. – JAISWAL, S. Laryngeal muscle activity and vocal fold adduction during chest, chestmix, headmix, and head registers in females, J Voice, 2012, roč. 26, č. 2, s. 182–193.
[27] KNEES, P. – SCHEDL, M. Music Similarity and Retrieval: An Introduction to Audio- and Web- based Strategies. Springer, 2016, s. 41–49.
[28] KUČERA, M. – FRIČ, M. – FRITZLOVÁ, K. – HALÍŘ, M. Vokologie I: funkční diagnostika a léčba hlasových poruch. Praha: Akademie múzických umění v Praze, 2019. ISBN 978-80-270-6200-3.
[29] KULHÁNEK, Tomáš – FRIČ, Marek – OTČENÁŠEK, Jan. Software pro tvorbu percepčních testů na webovém rozhraní – software; MARC-Technologický list čís. 82/16, Praha: MARC HAMU, 2016.
[30] LAMARCHE A. – TERNSTROM S. – PABON P. The singer's voice range profile: female professional opera soloists, J Voice, 2010, roč. 24, č. 4, s. 410–426. | DOI 10.1016/j.jvoice.2008.12.008
[31] LARTILLOT, O. MIRtoolbox 1.7 User's Manual [online]. Oslo: University of Oslo, Department of Musicology, 2017. Dostupné z: https://www.jyu.fi/hytk/fi/laitokset/mutku/en/research/materials/mirtoolbox/manual1-7.pdf.
[32] LERCH, A. An Introduction to Audio Content Analysis: Application in Signal Processing and Music Informatics. IEEE Press, 2012, s. 158–160.
[33] MILLER, D.G. Registers in Singing. Empirical and Systematic Studies in the Theory of the Singing Voice. Groningen, 2000. Disertační práce. University of Groningen.
[34] NASIMITH, M. L. Toward a 21 century contemporary commercial music (CCM) singing pedagogy. In Pan-European Voice Congerence: Book of abstracts. Copenhagen: University of Copenhagen, 2019, s. 67–68. ISBN 978-87-971596-0-6.
[35] OATES, M. Jennifer – BAIN, Belinda – DAVIS, Pamela – CHAPMA, Janice – KENNY Dianna. Development of an auditory-perceptual rating instrument for the operatic singing voice, J Voice, 2006, roč. 20, č. 1, s. 71–81.
[36] ROUBEAU, B. – HENRICH, N. – CASTELLENGO, M. Laryngeal vibratory mechanisms: the notion of vocal register revisited. J Voice, 2009, roč. 23, č. 4, s. 425–38.
[37] SADOLIN, K. Complete vocal technique. Copenhagen: Shout Publishing, 2000.
[38] STEINHAUER, K. – MCDONALD KLIMEK, M. – ESTILL, J. The Estill Voice Model: Theory & Translation Book. Pittsburgh, Pennsylvania: Estill Voice International, 2017. ISBN 978-0-9859023-0-8.
[39] STONE, R. E., Jr. – CLEVELAND, T. F. – SUNDBERG, P. J. – PROKOP, J. Aerodynamic and acoustical measures of speech, operatic, and Broadway vocal styles in a professional female singer. J Voice, 2003, roč. 17, č. 3, s. 283–297.
[40] SUNDBERG, J. Articulatory interpretation of the "singing formant", J Acoust Soc Am, 1974, roč. 55, č. 4, s. 838–844. | DOI 10.1121/1.1914609
[41] SUNDBERG, J. The Science of Singing Voice. Illinois, 1989. Northern Illinois University Press.
[42] ŠTĚPÁNEK, J. Perception of sharpness and narrowness in violin tones: influence of spectral components with changing pitch. In 8. mezinárodní kolokvium "Acoustics Zvolen 2004". 8.–10. september 2004. Zvolen.
[43] ŠTĚPÁNEK, Jan – MORAVEC, Ondřej. Barva hudebního zvuku a její slovní popis – Výsledky grantového projektu GAČR 202/02/1370. 1. vyd. Praha: Hudební fakulta Akademie múzických umění v Praze, 2005, s. 47.
[44] TERNSTRÖM, Sten. Long-time average spectrum characteristics of different choirs in different rooms. Speech, Music and Hearing Quarterly Progress and Status Report 1989, roč. 30, č. 3, s. 15–31.
[45] TITZE, I. R. – WORLEY, A. S. – STORY, B. H. Source-vocal tract interaction in female operatic singing and theater belting. Journal of Singing, 2011, roč. 67, č. 5, s. 561–572.
[46] TITZE, I. R. – WORLEY, A. S. Modeling source-filter interaction in belting and high-pitched operatic male singing. The Journal of the Acoustical Society of America, 2009, roč. 126, č. 3, s. 1530–1540. | DOI 10.1121/1.3160296
[47] TITZE, I. R. A theoretical study of F0–F1 interaction with application to resonant speaking and singing voice, J Voice, 2004, roč. 18, č. 3, s. 292–298.
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