Laryngeal Desiccation Challenge and Nebulized Isotonic Saline in Healthy Male Singers and Nonsingers: Effects on Acoustic, Aerodynamic, and Self-Perceived Effort and Dryness Measures.

OBJECTIVES: This study examined the effects of a laryngeal desiccation challenge and nebulized isotonic saline on voice production in young, healthy male singers and nonsingers. STUDY DESIGN: This is a prospective, double-blind, within-subjects experimental design. METHODS: Participants included 10 male university-trained singers and 10 age-matched nonsingers (mean age, 21.8 years; range, 18-26 years) who underwent a 30-minute oral breathing laryngeal desiccation challenge using medical grade dry air (<1% relative humidity) on two occasions in consecutive weeks. After the challenge, participants received either 3 mL or 9 mL of nebulized isotonic saline (0.9% Na+Cl-); order of administration was counterbalanced. Phonation threshold pressure (PTP), the cepstral spectral index of dysphonia (CSID) for sustained vowels and connected speech, and self-perceived vocal effort, mouth dryness, and throat dryness were measured at each recording (baseline, after challenge, and at 5, 35, and 65 minutes after treatment). RESULTS: Self-perceived effort and dryness measures increased (worsened) after desiccation challenge and decreased (improved) after nebulized treatment (P < 0.05). No consistent changes were observed for PTP or CSID over time. Overall, singers demonstrated significantly lower vocal effort and CSID as compared with nonsingers. CONCLUSIONS: Young, vocally healthy men may not experience physiologic changes in voice production associated with laryngeal desiccation and nebulized saline treatments; however, self-reported increases in vocal effort which are associated with dryness symptoms might improve with nebulized treatments. Future hydration research should consider age and sex variables.

The effects of emotional expression on vibrato.

OBJECTIVES/HYPOTHESIS: The purpose of this study was to investigate the effect of emotional expression on several acoustic measures of vibrato, including its rate, extent, and steadiness. We hypothesized that singing a passage with emotional content would influence these variables. STUDY DESIGN: This study used a within-subjects, repeated-measures design. Singer performance under different conditions was analyzed. METHODS: Ten graduate student singers (eight women, two men) completed a series of tasks including sustained sung vowels at several pitch and loudness levels, an assigned song that was judged to have relatively neutral emotion, and a personal selection that included passages of intense emotion. Vowel tokens were extracted from the recordings and averaged for each task. Dependent measures included the mean fundamental frequency (F0), mean intensity, frequency modulation (FM) rate, FM extent, and measures of FM rate and extent variability. RESULTS: The FM rate and extent were higher and the modulation variability was lower for the more emotional song than for the sustained vowels. Mean F0 and intensity were higher for the emotional song than for the neutral song. CONCLUSIONS: Singing an emotional passage influences acoustic features of vibrato when compared with isolated, sustained vowels. The wider dynamic and pitch ranges for emotional passages only partly explain vibrato differences between emotional and neutral singing.

The acoustic effects of vowel equalization training in singers.

Vowel equalization is a technique that can be used by singers to achieve a more balanced vocal resonance, or chiaroscuro, by balancing corresponding front and back vowels, which share approximate tongue heights, and also high and low vowels by means of a more neutral or centralized lingual posture. The goal of this single group study was to quantify acoustic changes in vowels after a brief training session in vowel equalization. Fifteen young adults with amateur singing experience sang a passage and sustained isolated vowels both before and after a 15-minute training session in vowel equalization. The first two formants of the target vowels /e, i, ɑ, o, u/ were measured from microphone recordings. An analysis of variance was used to test for changes in formant values after the training session. These formant values mostly changed in a manner reflective of a more central tongue posture. For the sustained vowels, all formant changes suggested a more neutral tongue position after the training session. The vowels in the singing passage mostly changed in the expected direction, with exceptions possibly attributable to coarticulation. The changes in the vowel formants indicated that even a brief training session can result in significant changes in vowel acoustics. Further work to explore the perceptual consequences of vowel equalization is warranted.

Laryngeal-level amplitude modulation in vibrato.

The goal of this investigation was to test a new methodology for measuring amplitude modulation (AM) at the level of the vocal folds during vibrato in trained singers, because previous research has suggested that AM arises in large part as an acoustic epiphenomenon through an interaction of the harmonics in the laryngeal source with the resonances of the vocal tract as the fundamental frequency oscillates. A within-subjects model was used to compare vocal activity across three pitch and three loudness conditions. Seventeen female singers with a range of training and experience were recorded with a microphone and an electroglottograph (EGG). Fluctuations in the ratio of closing to opening peaks in the first derivative of the EGG signal were used as an index of laryngeal-level AM. Evidence of laryngeal AM was found to a greater or lesser extent in all the singers, and its extent was not related to the degree of training. Across singers and pitch conditions, it was more prominent at lower intensities. The differentiated EGG signal lends itself to the measurement of AM at the level of the larynx, and the extent of the modulation appears more related to the level of vocal effort than to individual singer characteristics.