Articulatory and acoustic differences between lyric and dramatic singing in Western classical music.

Within the realm of voice classification, singers could be sub-categorized by the weight of their repertoire, the so-called "singer's Fach." However, the opposite pole terms "lyric" and "dramatic" singing are not yet well defined by their acoustic and articulatory characteristics. Nine professional singers of different singers' Fach were asked to sing a diatonic scale on the vowel /a/, first in what the singers considered as lyric and second in what they considered as dramatic. Image recording was performed using real time magnetic resonance imaging (MRI) with 25 frames/s, and the audio signal was recorded via an optical microphone system. Analysis was performed with regard to sound pressure level (SPL), vibrato amplitude, and frequency and resonance frequencies as well as articulatory settings of the vocal tract. The analysis revealed three primary differences between dramatic and lyric singing: Dramatic singing was associated with greater SPL and greater vibrato amplitude and frequency as well as lower resonance frequencies. The higher SPL is an indication of voice source changes, and the lower resonance frequencies are probably caused by the lower larynx position. However, all these strategies showed a considerable individual variability. The singers' Fach might contribute to perceptual differences even for the same singer with regard to the respective repertoire.

Machine learning based estimation of hoarseness severity using sustained vowelsa).

Auditory perceptual evaluation is considered the gold standard for assessing voice quality, but its reliability is limited due to inter-rater variability and coarse rating scales. This study investigates a continuous, objective approach to evaluate hoarseness severity combining machine learning (ML) and sustained phonation. For this purpose, 635 acoustic recordings of the sustained vowel /a/ and subjective ratings based on the roughness, breathiness, and hoarseness scale were collected from 595 subjects. A total of 50 temporal, spectral, and cepstral features were extracted from each recording and used to identify suitable ML algorithms. Using variance and correlation analysis followed by backward elimination, a subset of relevant features was selected. Recordings were classified into two levels of hoarseness, H<2 and H≥2, yielding a continuous probability score y∈[0,1]. An accuracy of 0.867 and a correlation of 0.805 between the model's predictions and subjective ratings was obtained using only five acoustic features and logistic regression (LR). Further examination of recordings pre- and post-treatment revealed high qualitative agreement with the change in subjectively determined hoarseness levels. Quantitatively, a moderate correlation of 0.567 was obtained. This quantitative approach to hoarseness severity estimation shows promising results and potential for improving the assessment of voice quality.

Neonatal hearing screening - does failure in TEOAE screening matter when the AABR test is passed?

PURPOSE: Newborns who fail the transient evoked otoacoustic emissions (TEOAE) but pass the automatic auditory brainstem response (AABR) in universal newborn hearing screening (UNHS), frequently have no further diagnostic test or follow-up. The present study aimed to investigate whether hearing loss might be missed by ignoring neonatal TEOAE failure in the presence of normal AABR. METHODS: A retrospective analysis was conducted in newborns presenting between 2017 and 2021 to a tertiary referral centre due to failure in the initial UNHS. The main focus was on infants who failed TEOAE tests, but passed AABR screening. The clinical characteristics and audiometric outcomes were analysed and compared with those of other neonates. RESULTS: Among 1,095 referred newborns, 253 (23%) failed TEOAE despite passing AABR screening. Of the 253 affected infants, 154 returned for follow-up. At 1-year follow-up, 46 (28%) achieved normal audiometric results. 32 (21%) infants had permanent hearing loss (HL) confirmed by diagnostic ABR, 58 (38%) infants had HL solely due to middle ear effusion (MEE), and for 18 (12%) infants HL was suspected without further differentiation. The majority of permanent HL was mild (78% mild vs. 13% moderate vs. 9% profound). The rate of spontaneous MEE clearance was rather low (29%) leading to early surgical intervention in 36 children. The profile of the risk factors for hearing impairment was similar to that of newborns with failure in both, TEOAE and AABR; however, there was a stronger association between the presence of risk factors and the incidence of HL (relative risk 1.55 vs. 1.06; odds ratio 3.61 vs. 1.80). CONCLUSION: In newborns, the discordance between a "refer" in TEOAE and a "pass" in AABR screening is associated with a substantial prevalence of hearing impairment at follow-up, especially in the presence of risk factors.

Dynamic changes of vocal tract dimensions with sound pressure level during messa di vocea).

The messa di voce (MdV), which consists of a continuous crescendo and subsequent decrescendo on one pitch is one of the more difficult exercises of the technical repertoire of Western classical singing. With rising lung pressure, regulatory adjustments both on the level of the glottis and the vocal tract are required to keep the pitch stable. The dynamic changes of vocal tract dimensions with the bidirectional variation of sound pressure level (SPL) during MdV were analyzed by two-dimensional real-time magnetic resonance imaging (25 frames/s) and synchronous audio recordings in 12 professional singer subjects. Close associations in the respective articulatory kinetics were found between SPL and lip opening, jaw opening, pharynx width, uvula elevation, and vertical larynx position. However, changes in vocal tract dimensions during plateaus of SPL suggest that perceived loudness could have been varied beyond the dimension of SPL. Further multimodal investigation, including the analysis of sound spectra, is needed for a better understanding of the role of vocal tract resonances in the control of vocal loudness in human phonation.

Boys Choirs in the Pandemic: Effects of Distance and Other Factors on Spectral and Temporal Accuracy.

During the Covid-19 pandemic, choral singing has been either completely prohibited or regulated with safety measures due to increased transmission risks. However, the impact of larger inter-singer spacings on the performance and educational process in boys' choirs is unclear. This study analyzed recordings of six groups of five singers each from two boys' choirs aged 7-16 who sang Beethoven's Ode to Joy while standing on an arc with a 4 m radius and an inter-subject spacing of 0.5-3 m. The effects of singers' masks, distance, group age, and relative position on the timing of articulation and fundamental frequency were investigated, along with the amount, rate, and sign of pitch drift and loudness. The ANOCOVA results showed that onsets were robust to the tested factors, while errors in fundamental frequency tended to decrease with increasing age/experience. Loudness was affected by distance, mask, and relative position, with increasing loudness as spacing decreased. Understanding influencing factors can inform recommendations for choral singing and education.

Articulatory and Phonatory Precision When Singing Staccato at Different Speeds.

INTRODUCTION: Vocal tract adjustments are important for resonatory modification of the voice and also with respect to interactions concerning the voice source production. It is not clear, however, how fast, separated notes (staccato) influence vocal tract adjustments. MATERIAL AND METHODS: Twelve professional singers (four sopranos, three mezzo-sopranos, three tenors, and two baritones/basses) were recorded with dynamic real-time 2D-magnetic resonance imaging (MRI) with 25 fps singing a scale in legato and different staccato speeds (60, 120, 180, and 240 bps). From the MRI material, the lip opening, jaw opening, jaw protrusion, tongue position, pharynx width, and larynx position were measured. Furthermore, the fundamental frequency was analyzed from the simultaneously recorded audio signal after noise cancellation. RESULTS: The data show only very small differences between the legato and the staccato tasks and no great variations for different staccato speeds. During the pauses in between the staccato notes, minimal vocal tract adjustments were only detectable for the slowest staccato task. CONCLUSION: There are no great differences in the vocal tract shapes for legato singing in contrast to staccato phonation and no great differences for different staccato speeds.

Boys Choirs in the Pandemic: Exploring Qualitative Aspects of Safety Measures.

INTRODUCTION: During the Covid-19 pandemic, choirs had to apply safety measures such as distances and wearing masks. For children's choirs, there is no knowledge of their reaction to these measures, regarding their age and experience. This study aimed to investigate boys choir singers' perceptions of the measures, regarding wellbeing and feasibility, as well as the quality of the performance outcomes. METHODS: Six groups were put together, assembling five singers of the same age (7-16 years, before voice change) and experience level. The boys sang one verse of the same song at inter-subject distances of 3, 1.5, 0.5, 0.5 m plus wearing a mask and again 3 m. Afterward they filled out questionnaires concerning difficulty, irritation, hearing themselves and their neighbors, and if they could imagine singing regularly in the respective setting. Fifteen parents were asked to fill out questionnaires about their opinions about choir safety measures during the pandemic. Six anonymous boys choir experts rated the randomized recordings of all tasks regarding homogenous sound quality, rhythmical precision, and uniform intonation. RESULTS: Even though most of the children preferred smaller distances, they were open to all kinds of settings. The answers given were very specific to the individuals. Masks were voted out by a majority of the subjects. Parents found choir singing very important for their children and did in majority neither fear infection of their children, nor mind precautions. The experts rated the performance outcomes of the largest distance (3 m) as best in most of the cases. CONCLUSION: Different interspatial settings do not harm the children and adolescents and could be introduced as a beneficial approach to give them a broader listening experience and to make them flexible, alert, adaptable, and resilient singers. Singers' masks are only recommended for compelling circumstances.

Differences of Electroglottographical Contact Quotients between Connected Speech and Sustained Phonation in Clinical Measurement of Voice.

INTRODUCTION: In clinical practice, sustained phonation is mostly used for acoustic voice measurements, while perceptual evaluation is based on connected speech. Since sustained phonation could be associated with the use of the singing voice, and since vocal registers are more relevant for singing rather than speech, it is unclear if vocal registers contribute to observable vocal fold contact differences between sustained phonation and speech. MATERIAL AND METHODS: Sustained phonation (vowel [a] on comfortable pitch and loudness) and connected speech (German text: Der Nordwind und die Sonne) were analyzed for 1216 subjects (426 with and 790 without dysphonia) using the Laryngograph system (combining electroglottography and audio recordings). From these samples, fundamental frequency (ƒo), contact quotient (CQ), sound pressure level (SPL) and frequency perturbation (jitter first for sustained and cFx for connected speech) were evaluated. RESULTS: Compared to connected speech, the values of ƒo and SPL were higher for sustained phonation. For female voices, ƒo difference was greater than for male voices. At the same time, and only for the females, CQ was lower for the sustained phonation, indicating a register difference. CONCLUSION: In order to achieve a better comparability, sustained phonation should be standardized regarding the ƒo and SPL values in correspondence to the ƒo and SPL range of reading a text. This should also reduce the risk of using a different register for different types of phonation.

Influence of Loudness on Vocal Stability in the Male Passaggio.

INTRODUCTION: Vocal registers and the frequency region where registration events occur, the passaggio, have been in focus of scientific research for almost 200 years. In professional tenors, it has been shown before that singing across the passaggio avoiding a register shift and therefore using their stage voice above the passaggio (SVaP) is associated with greater vocal stability than a register change to the falsetto. However, it is unclarified how much different loudness conditions contribute to this vocal stability. MATERIAL AND METHODS: Six professional tenors were asked to perform four pitch glides from A3 to A4 (220-440 Hz) on the vowel [i:]. These glides included (1) the passaggio from modal register to falsetto. The following glides into SVaP were performed under different loudness conditions, (2) mezzoforte (average loudness), (3) pianissimo (as quietly as possible), and (4) fortissimo (the loudest possible). During phonation, high speed videoendoscopy (HSV), electroglottography, and audio signals were recorded simultaneously. The glottal area waveform was derived based on the HSV material. RESULTS: Modal to falsetto transitions were associated with relatively low sound pressure level and rise of open quotients (OQ) for the falsetto. Transitions to SVaP showed a clear dependence on the intended loudness. The OQs were lower the louder the task was. There was no clear evidence that transitions with softer voice showed greater stability of vocal fold oscillation patterns than louder tasks. CONCLUSIONS: The vocal fold oscillation pattern show- differences among various loudness conditions within the tenors' passaggio but no clear differences with regard to oscillatory stability.

Effects of Nasalization on Vocal Tract Response Curve.

BACKGROUND: Earlier studies have shown that nasalization affects the radiated spectrum by modifying the vocal tract transfer function in a complex manner. METHODS: Here we study this phenomenon by measuring sine-sweep response of 3-D models of the vowels /u, a, ᴂ, i/, derived from volumetric MR imaging, coupled by means of tubes of different lengths and diameters to a 3-D model of a nasal tract. RESULTS: The coupling introduced a dip into the vocal tract transfer function. The dip frequency was close to the main resonance of the nasal tract, a result in agreement with the Fujimura & Lindqvist in vivo sweep tone measurements [Fujimura & Lindqvist, 1972]. With increasing size of the coupling tube the depth of the dip increased and the first formant peak either changed in frequency or was split by the dip. Only marginal effects were observed of the paranasal sinuses. For certain coupling tube sizes, the spectrum balance was changed, boosting the formant peaks in the 2 - 4 kHz range. CONCLUSION: A velopharyngeal opening introduces a dip in the transfer function at the main resonance of the nasal tract. Its depth increases with the area of the opening and its frequency rises in some vowels.

Sources of Aerosol Dispersion During Singing and Potential Safety Procedures for Singers.

INTRODUCTION: With respect to the Covid-19 pandemic, singing is assumed to be associated with a high potential person-to-person transmission. However, it remains unclear how the impulse dispersion varies with different types of articulation, intensity levels of diction, or body position. Furthermore, it has not been understood in detail how to prevent aerosol dispersion during singing. MATERIAL AND METHODS: Single professional singers from the Bavarian Radio Chorus were asked to sing in different head positions, with different articulation patterns and different masks after inhaling the basic liquid of an e-cigarette. The vapor cloud was segmented and tracked over time. RESULTS: Consonants and exaggeration of diction enhanced the distance reached by the impulse dispersion. Furthermore, the greatest dispersion was reached for a neutral head position. All protection masks stopped the initial jet of the aerosols but the FFP2 masks were the most effective. CONCLUSION: Some protection equipment has been identified to be promising in reducing aerosol dispersion. However, systematic effects have to be evaluated in greater collectives.

Primary injection laryngoplasty after chordectomy for small glottic carcinomas.

OBJECTIVES: The purpose of this study was to analyze the short- and middle-term effects of primary injection laryngoplasty in patients having tumor resection within the same surgery concerning the vocal outcome. Injection laryngoplasty was performed after harvesting autologous adipose tissue via lipoaspiration. METHODS: A prospective study was performed with 16 patients (2 female; 14 male) who received tumor resection and an injection laryngoplasty using autologous adipose tissue during a single stage procedure. Multidimensional voice evaluation including videostroboscopy, patient self-assessment, voice perception, aerodynamics, and acoustic parameters was performed preoperatively, as well as 1.5, 3 and 6 months postoperatively. RESULTS: Results show an improvement in the roughness-breathiness-hoarseness (RBH) scale, voice dynamics and subjective voice perception 6 months postoperatively. Maintenance of Voice Handycap Index, jitter and shimmer could be observed 6 months postoperatively. There was no deterioration in RBH and subjective voice perception 2 and 6 weeks postoperatively. No complications occurred in the fat harvesting site. CONCLUSIONS: Using the lipoaspiration and centrifugation approach, primary fat injection laryngoplasty shows short-term maintenance und middle-term improvement in voice quality in patients with vocal fold defect immediately after chordectomy 6 months postoperatively. Cancer recurrence rate is comparable to the reported cancer recurrence rate for laryngeal carcinoma and thus not elevated through primary augmentation.

Differences of respiratory kinematics in female and male singers - A comparative study using dynamic magnetic resonance imaging.

Breath control is an important factor for singing voice production, but pedagogic descriptions of how a beneficial movement pattern should be performed vary widely and the underlying physiological processes are not understood in detail. Differences in respiratory movements during singing might be related to the sex of the singer. To study sex-related differences in respiratory kinematics during phonation, 12 singers (six male and six female) trained in the Western classical singing tradition were imaged with dynamic magnetic resonance imaging. Singers were asked to sustain phonation at five different pitches and loudness conditions, and cross-sectional images of the lung were acquired. In each dynamic image frame the distances between anatomical landmarks were measured to quantify the movements of the respiratory apparatus. No major difference between male and female singers was found for the general respiratory kinematics of the thorax and the diaphragm during sustained phonation. However when compared to sole breathing, male singers significantly increased their thoracic movements for singing. This behavior could not be observed in female singers. The presented data support the hypothesis that professional singers follow sex-specific breathing strategies. This finding may be important in a pedagogical context where the biological sex of singer and student differ and should be further investigated in a larger cohort.

Impulse dispersion of aerosols during playing the recorder and evaluation of safety measures.

INTRODUCTION: Group musical activities using wind instruments have been restricted during the CoVID19 pandemic due to suspected higher risk of virus transmission. It was presumed that the aerosols exhaled through the tubes while playing would be ejected over larger distances and spread into the room due to jet stream effects. In particular, the soprano recorder is widely used as an instrument in school classes, for beginners of all age groups in their musical education, in the context of leisure activities and in professional concert performances. Understanding the aerosol impulse dispersion characteristics of playing the soprano recorder could assist with the establishment of concepts for safe music-making. METHODS: Five adult professionally trained soprano recorder players (4 female, 1 male) played four bars of the main theme of L. van Beethoven's "Ode to Joy" in low and in high octaves, as well as with 3 different potential protection devices in the high octave. For comparison they spoke the corresponding text by F. Schiller. Before each task, they inhaled .5 L of vapor from an e-cigarette filled with base liquid. The vapor cloud escaping during speaking or playing was recorded by cameras and its spread was measured as a function of time in the three spatial dimensions. The potential safety devices were rated for practicability with a questionnaire, and their influence on the sound was compared, generating a long-term average spectrum from the audio data. RESULTS: When playing in the high octave, at the end of the task the clouds showed a median distance of 1.06 m to the front and .57 m diameter laterally (maxima: x: 1.35 m and y: .97 m). It was found that the clouds' expansion values in playing the recorder with and without safety measures are mostly lower when compared to the ordinary, raised speaking voice of the same subjects. The safety devices which covered the instrument did not show clear advantages and were rated as unpractical by the subjects. The most effective reduction of the cloud was reached when playing into a suction funnel. CONCLUSION: The aerosol dispersion characteristics of soprano recorders seem comparable to clarinets. The tested safety devices which covered holes of the instrument did not show clear benefits.

The Effect of Water Resistance Therapy on the Impulse Dispersion of Aerosols During Sustained Phonation.

INTRODUCTION: Group singing has been associated with higher transmission risks via exhaled and spread aerosols in the CoVID19 pandemic. For this reason, many musical activities, such as rehearsals and lessons, but also voice therapy sessions, have been restricted in many countries. Consequently, transmission risks and pathways have been studied, such as aerosol amounts generated by exhalation tasks, convectional flows in rooms, or the impulse dispersion of different kinds of phonation. The use of water resistance exercises such as those utilizing LAX VOX®, are common in voice lessons and as vocal warm-ups. With this context, this study investigates the impulse dispersion characteristics of aerosols during a voiced water resistance exercise in comparison to normal singing. METHODS: Twelve professional singers (six male, six female) were asked to phonate a stable pitch through a silicone tube into a bottle filled with water, holding the end of the tube 5 cm below the surface. Before performing the tasks, the singers inhaled the vapor consisting of 0.5 L base liquid from an e-cigarette. The exhaled gas cloud coming out of the bottle was recorded in all three spatial directions and the dispersion was measured as a function of time. RESULTS: At the end of the phonation task, the median distance to the front was 0.55 m and the median of the lateral expansion of the cloud was 0.89 m, the maximum to the front reached 0.88 m, and the maximum of lateral expansion 1.05 m. For the upwards direction of the clouds a median of 1.00 m and a maximum of 1.34 m from the mouth were measured. Three seconds after the end of the task, the medians were declining. CONCLUSION: The exhaled aerosol cloud can expand despite the obstacle of the water when using LAX VOX® during phonation.

Impulse dispersion of aerosols during playing wind instruments.

Musical activities, especially singing and playing wind instruments, have been singled out as potentially high-risk activities for the transmission of SARS CoV-2, due to a higher rate of aerosol production and emission. Playing wind instruments can produce condensation, droplets of saliva, and aerosol particles, which hover and spread in the environmental air's convectional flows and which can be potentially infectious. The aim of this study is to investigate the primary impulse dispersion of aerosols that takes place during the playing of different wind instruments as compared to breathing and to speaking. Nine professional musicians (3 trumpeters, 3 flautists and 3 clarinetists) from the Bavarian Symphony Orchestra performed the main theme from the 4th movement of Ludwig van Beethoven's 9th symphony in different pitches and loudness. The inhaled air volume was marked with small aerosol particles produced using a commercial e-cigarette. The expelled aerosol cloud was recorded by cameras from different perspectives. Afterwards, the dimensions and dynamics of the aerosol cloud were measured by segmenting the video footage at every time point. Overall, the flutes produced the largest dispersion at the end of the task, reaching maximum forward distances of 1.88 m. An expulsion of aerosol was observed in different directions: upwards and downwards at the mouthpiece, at the end of the instrument, and along the flute at the key plane. In comparison, the maximum impulse dispersions generated by the trumpets and clarinets were lower in frontal and lateral direction (1.2 m and 1.0 m towards the front, respectively). Also, the expulsion to the sides was lower.

Velocity differences in laryngeal adduction and abduction gestures.

The periodic repetitions of laryngeal adduction and abduction gestures were uttered by 16 subjects. The movement of the cuneiform tubercles was tracked over time in the laryngoscopic recordings of these utterances. The adduction velocity and abduction velocity were determined objectively by means of a piecewise linear model fitted to the cuneiform tubercle trajectories. The abduction was found to be significantly faster than the adduction. This was interpreted in terms of the biomechanics and active control by the nervous system. The biomechanical properties could be responsible for a velocity of abduction that is up to 51% higher compared to the velocity of adduction. Additionally, the adduction velocity may be actively limited to prevent an overshoot of the intended adduction degree when the vocal folds are approximated to initiate phonation.

Re-Training of Convolutional Neural Networks for Glottis Segmentation in Endoscopic High-Speed Videos.

Endoscopic high-speed video (HSV) systems for visualization and assessment of vocal fold dynamics in the larynx are diverse and technically advancing. To consider resulting "concepts shifts" for neural network (NN)-based image processing, re-training of already trained and used NNs is necessary to allow for sufficiently accurate image processing for new recording modalities. We propose and discuss several re-training approaches for convolutional neural networks (CNN) being used for HSV image segmentation. Our baseline CNN was trained on the BAGLS data set (58,750 images). The new BAGLS-RT data set consists of additional 21,050 images from previously unused HSV systems, light sources, and different spatial resolutions. Results showed that increasing data diversity by means of preprocessing already improves the segmentation accuracy (mIoU + 6.35%). Subsequent re-training further increases segmentation performance (mIoU + 2.81%). For re-training, finetuning with dynamic knowledge distillation showed the most promising results. Data variety for training and additional re-training is a helpful tool to boost HSV image segmentation quality. However, when performing re-training, the phenomenon of catastrophic forgetting should be kept in mind, i.e., adaption to new data while forgetting already learned knowledge.

Voice efficiency for different voice qualities combining experimentally derived sound signals and numerical modeling of the vocal tract.

Purpose: Concerning voice efficiency considerations of different singing styles, from western classical singing to contemporary commercial music, only limited data is available to date. This single-subject study attempts to quantify the acoustic sound intensity within the human glottis depending on different vocal tract configurations and vocal fold vibration. Methods: Combining Finite-Element-Models derived from 3D-MRI data, audio recordings, and electroglottography (EGG) we analyzed vocal tract transfer functions, particle velocity and acoustic pressure at the glottis, and EGG-related quantities to evaluate voice efficiency at the glottal level and resonance characteristics of different voice qualities according to Estill Voice Training®. Results: Voice qualities Opera and Belting represent highly efficient strategies but apply different vowel strategies and should thus be capable of predominate orchestral sounds. Twang and Belting use similar vowels, but the twang vocal tract configuration enabled the occurrence of anti-resonances and was associated with reduced vocal fold contact but still partially comparable energy transfer from the glottis to the vocal tract. Speech was associated with highly efficient glottal to vocal tract energy transfer, but with the absence of psychoactive strategies makes it more susceptible to noise interference. Falsetto and Sobbing apply less efficiently. Falsetto mainly due to its voice source characteristics, Sobbing due to energy loss in the vocal tract. Thus technical amplification might be appropriate here. Conclusion: Differences exist between voice qualities regarding the sound intensity, caused by different vocal tract morphologies and oscillation characteristics of the vocal folds. The combination of numerical analysis of geometries inside the human body and experimentally determined data outside sheds light on acoustical quantities at the glottal level.