Spectral features related to the auditory perception of twang-like voices.

BACKGROUND: To the best of our knowledge, studies on the relationship between spectral energy distribution and the degree of perceived twang-like voices are still sparse. Through an auditory-perceptual test we aimed to explore the spectral features that may relate with the auditory-perception of twang-like voices. METHODS: Ten judges who were blind to the test's tasks and stimuli rated the amount of twang perceived on seventy-six audio samples. The stimuli consisted of twenty voices recorded from eight CCM singers who sustained the vowel [a:] in different pitches, with and without a twang-like voice. Also, forty filtered and sixteen synthesized-manipulated stimuli were included. RESULTS AND CONCLUSIONS: Based on the intra-rater reliability scores, four judges were identified as suitable to be included in the analyses. Results showed that the frequency of F1 and F2 correlated strongly with the auditory-perception of twang-like voices (0.90 and 0.74, respectively), whereas F3 showed a moderate negative correlation (-0.52). The frequency difference between F1 and F3 showed a strong negative correlation (-0.82). The mean energy between 1-2 kHz and 2-3 kHz correlated moderately (0.51 and 0.42, respectively). The frequency of F4 and F5, and the energy above 3 kHz showed weak correlations. Since the spectral changes under 2 kHz have been associated with the jaw, lips, and tongue adjustments (i.e. vowel articulation) and a higher vertical laryngeal position might affect the frequency of all formants (including F1 and F2), our results suggest that vowel articulation and the laryngeal height may be relevant when performing twang-like voices.

Analysis of Voice in Parkinson's Disease Utilizing the Acoustic Voice Quality Index.

OBJECTIVES: The purpose of this study was to analyze the acoustic voice quality index (AVQI) in relation to perceptual analysis and disease stage in speakers with Parkinson's disease (PD). STUDY DESIGN: Cross-sectional study. METHODS: The following data were gathered from the Parkinson's Disease Speech corpus of Tampere University (PDSTU): prolonged vowels and reading samples from native Finnish speakers with PD (n = 34), speaker demographic information, and Hoehn and Yahr scale scores. AVQIv03.01 analysis was completed with Praat. Expert raters utilized the GRBASI scale (GRBASI: grade, roughness, breathiness, asthenia, strain, instability) to assess voice quality. AVQI scores were analyzed in relation to GRBASI ratings and disease stage, as measured by the Hoehn and Yahr scale, utilizing correlation analysis. RESULTS: AVQI scores ranged from -0.11 to 4.46 (mean = 1.64, SD = 1.39), GRBASI average total scores ranged from 0-1.83 (mean = 0.66, SD = 0.50), and Hoehn and Yahr scale scores ranged from 1- 4. A statistically significant correlation between AVQI scores and GRBASI ratings was found (rs = 0.508, P = 0.01). Several significant correlations were also found between the parameters of AVQI and scores for G, R, B and A from GRBASI. Hoehn and Yahr scores correlated significantly with GRBASI total score (rs =0.437, P = 0.01) but not with AVQI. CONCLUSION: A significant correlation was found between GRBASI ratings and Hoehn and Yahr scores, but not between AVQI and Hoehn and Yahr scores. DATA AVAILABILITY: Due to the nature of this research, participants of this study did not agree for their data to be shared publicly. Data may be made available on a case-by-case basis. Data will be available after the active phase of the study in 2028.

Pelvic floor status in opera singers. a pilot study using transperineal ultrasound.

BACKGROUND: Control of pelvic floor muscles (PFM) is emphasized as important to obtain functional breath support in opera singing, but there is not much research that proves PFM function as part of breath support in classical singing. Transperineal ultrasound is a reliable method for quantification of PFM contraction in urogynecology. Our aim was to establish if transperineal ultrasound can be used for observation of movement of the PFM during singing and to quantify pelvic floor contraction. METHODS: Cross sectional study of 10 professional opera singers examined with transperineal ultrasound in the supine position at rest and contraction, and standing at rest and during singing. Levator hiatal area was measured in a 3D rendered volume. Levator hiatal anteroposterior (AP) diameter and bladder neck distance from symphysis were measured in 2D images. RESULTS: The AP diameter was shortened from supine rest to contraction (15 mm), standing (6 mm) and singing (9 mm), all p < 0.01. The bladder neck had a non-significant descent of 3 mm during singing. The mean proportional change in AP diameter from rest to contraction was 24.2% (moderate to strong contraction) and from rest to singing was 15% (weak to moderate contraction). CONCLUSIONS: Transperineal ultrasound can be used to examine the PFM during singing. The classically trained singers had good voluntary PFM contraction and moderate contraction during singing. AP diameter was significantly shortened from supine to upright position, with further shortening during singing, confirming that female opera singers contracted their pelvic floor during singing.

Validation of the Acoustic Breathiness Index in Speakers of Finnish Language.

Breathiness (perception of turbulence noise in the voice) is one of the major components of hoarseness in dysphonic voices. This study aims to validate a multiparameter analysis tool, the Acoustic Breathiness Index (ABI), for quantification of breathiness in the speaking voice, including both sustained vowels and continuous speech. One hundred and eight speakers with dysphonia (28 M, 80 F, mean age 50, SD 15.4 years) and 87 non-dysphonic controls (18 M, 69 F, mean age 42, SD 14 years) volunteered as participants. They read a standard text and sustained vowel /a:/. Acoustic recordings were made using a head-mounted microphone. Acoustic samples were evaluated perceptually by nine voice experts of different backgrounds (speech therapists, vocologists and laryngologists). Breathiness (B) from the GRBAS scale was rated. Headphones were used in the perceptual analysis. The dysphonic and non-dysphonic speakers differed significantly from each other in the auditory perceptual evaluation of breathiness. A significant difference was also found for ABI, which had a mean value of 2.26 (SD 1.15) for non-dysphonic and 3.07 (SD 1.75) for dysphonic speakers. ABI correlated strongly with B (rs = 0.823, p = 0.01). ABI's power to distinguish the groups was high (88.6%). The highest sensitivity and specificity of ABI (80%) was obtained at threshold value 2.68. ABI is a valid tool for differentiating breathiness in non-dysphonic and dysphonic speakers of Finnish.

Coaching Opera Secco Recitatives by Using Singers' Native Dialects: A Pilot Study.

OBJECTIVES: This study investigated whether individual coaching can improve role portrayal and emotional expression in opera secco recitatives. STUDY DESIGN: An experimental comparative study. METHODS: Eighteen students (mean age 24 years) from Norway and Sweden majoring in opera singing volunteered as test persons. As singing tasks each test person studied a short opera secco recitative in their Voice Fach during 14 days. All recitatives were picked up from renowned Italian operas from the Classical period. The texts were translated in the singers' mother tongue but performed in Italian, a foreign language to all test persons Thirteen test persons were enrolled in a Test group, and they were coached individually for 1h in interpretation of their singing tasks. During the intervention the test persons combined speaking the translated text in their native dialects with singing the recitative in Italian. The test persons were asked to distinguish various emotions and motivation in the singing task, and rehearsed how to express the singing task equally distinctly in Italian as in their native dialects. The singing task was recorded a capella immediately before and after the intervention. The test persons in the Control group recorded their singing tasks pre and post 1 h self-directed rehearsing on their singing tasks, without any coaching.. The recordings of all test persons were presented in randomized order for ten expert listeners to rate the expression of emotions and role portrayal. The samples were also analysed acoustically. RESULTS: Post coaching samples were rated significantly better in expression of various emotions and motivation compared to pre coaching samples. The Control group singers showed no significant changes in perceptual variables. Pausing increased in both groups after rehearsing. CONCLUSIONS: A short individual coaching in performance of an opera recitative seemed to stimulate young opera singers` emotional and motivational expression.

High-Speed Image Analysis Comparing Loading of Vocal Folds During Coughing and Phonation: A Case Study.

PURPOSE: Coughing is related to voice problems, since it involves firm glottal closure, fast glottal opening, and high subglottic pressure and flow rate. In this study, the glottal area variation and movements of laryngeal structures during coughing and phonation are compared. METHODS: High-speed laryngoscopy recordings were made of a normophonic male participant with a healthy larynx producing a neutral vowel and coughing. Oral air pressure was registered in a mouthpiece, through which an endoscope was inserted into the pharynx. Electroglottography, acoustic, and pressure signals were recorded simultaneously. The glottal width variation at the membranous and cartilaginous parts of the glottis was derived from the high-speed images, and the strong vibration of the false vocal folds was also registered. RESULTS: In coughing, compared to ordinary vowel phonation in nearly the same sound pressure level (93-94 dB6cm), the glottal width was 25% larger at the middle of the vocal folds, the maximum glottal opening velocity was 39% higher, and the maximum glottal width declination rate during glottal closing was up to three times higher. The maximum acceleration was 40% higher, and the maximum deceleration was 47% higher. Fundamental frequency f0 was the highest (ca. 400 Hz) at the beginning of the first phase of a typical coughing process. During the last part of the coughing process, f0 decreased from ca. 250 Hz to ca. 85 Hz at the phonation offset. CONCLUSIONS: The remarkable increase in maximum glottal width declination rate implies much higher vocal fold loading in coughing compared to phonation.

Vocal Fatigue Index in Finnish-Speaking Population.

BACKGROUND AND OBJECTIVE: Vocal fatigue is an important complaint that may indicate a voice disorder or a risk thereof. There is a need for a reliable tool to detect and quantify vocal fatigue and distinguish dysphonic and vocally healthy speakers. The Vocal Fatigue Index (VFI) questionnaire has been found valid and reliable among speakers of different languages. This study aims to validate it for speakers of Finnish. STUDY DESIGN: Experimental comparative study. METHODS: The VFI questionnaire was translated from English to Finnish according to the WHO recommendations. Next, it was subjected to the validation procedure. In total, 160 Finnish speakers volunteered to participate in the study. Hundred-and-eight were voice patients (83 males, 25 females) and 52 were vocally healthy controls (37 females, 15 males). As a comparison, the Voice Handicap Index (VHI) questionnaire was completed and voice samples were recorded to enable Acoustic Voice Quality Index (AVQI03.01FIN) analysis. RESULTS: Results from the first and second completions of the VFI(F) questionnaire correlated strongly (Spearman's rho 0.901, P = 0.01). Answers to the individual questions the VFI(F) also correlated strongly, showing high internal consistency. Factor 1 (Tiredness of voice and avoidance of voice use) of the VFI correlated strongly with the VHI, and the two other factors (Physical discomfort associated with voicing and Improvement of symptoms) correlated moderately with the VHI. Factor one of the VFI(F) correlated moderately with AVQI03.01FIN and its sub-parameters, CPPS, HNR, and shimmer. The VFI(F) showed good construct validity, differentiating voice patients and controls at cut-off 13.5, with sensitivity of 0.963 and specificity of 0.885. Discriminatory power was strong for all factors: F1 AROC = 0.985, F2 AROC = 0.864, and F3 AROC = 0.821. CONCLUSION: The VFI(F) correlates with the VHI and with AVQI01.01FIN and it is a valid and reliable tool for detecting vocal fatigue in Finnish speakers.

Training the Vocal Expression of Emotions in Singing: Effects of Including Acoustic Research-Based Elements in the Regular Singing Training of Acting Students.

OBJECTIVES: This study examines the effects of including acoustic research-based elements of the vocal expression of emotions in the singing lessons of acting students during a seven-week teaching period. This information may be useful in improving the training of interpretation in singing. STUDY DESIGN: Experimental comparative study. METHODS: Six acting students participated in seven weeks of extra training concerning voice quality in the expression of emotions in singing. Song samples were recorded before and after the training. A control group of six acting students were recorded twice within a seven-week period, during which they participated in ordinary training. All participants sang on the vowel [a:] and on a longer phrase expressing anger, sadness, joy, tenderness, and neutral states. The vowel and phrase samples were evaluated by 34 listeners for the perceived emotion. Additionally, the vowel samples were analyzed for formant frequencies (F1-F4), sound pressure level (SPL), spectral structure (Alpha ratio = SPL 1500-5000 Hz - SPL 50-1500 Hz), harmonic-to-noise ratio (HNR), and perturbation (jitter, shimmer). RESULTS: The number of correctly perceived expressions improved in the test group's vowel samples, while no significant change was observed in the control group. The overall recognition was higher for the phrases than for the vowel samples. Of the acoustic parameters, F1 and SPL significantly differentiated emotions in both groups, and HNR specifically differentiated emotions in the test group. The Alpha ratio was found to statistically significantly differentiate emotion expression after training. CONCLUSIONS: The expression of emotion in the singing voice improved after seven weeks of voice quality training. The F1, SPL, Alpha ratio, and HNR differentiated emotional expression. The variation in acoustic parameters became wider after training. Similar changes were not observed after seven weeks of ordinary voice training.

Three Professional Singers' Vocal Tract Dimensions in Operatic Singing, Kulning, and Edge-A Multiple Case Study Examining Loud Singing.

OBJECTIVE: A comprehensive understanding of how vocal tract dimensions vary among different types of loud voice productions has not yet been fully formed. This study aims to expand the existing knowledge on the topic. METHODS: Three trained professional singers together practiced the vocal techniques underlying Opera and Kulning singing styles for one hour and, afterwards, phonated using these techniques on vowel [iː] at pitch C5 (523 Hz), while their vocal tracts were scanned via MRI. One of the participants also produced the samples in the Edge vocal mode using [ɛː]. Several dimensional vocal tract measurements were calculated from the MRIs. Spectral analysis was conducted on the filtered audio recorded during the MRI. RESULTS: The Operatic technique demonstrated a lower larynx, a larger tongue-palate distance, and larger epilaryngeal and pharyngeal tube diameters compared to Kulning. Edge showed the highest laryngeal position, narrowest pharynx and epilarynx tubes, and the least forward-tilted larynx out of the styles studied. The spectra of Opera and Kulning showed a dominant first harmonic, while in Edge, the second harmonic was the strongest. CONCLUSIONS: The results shed light on the magnitude of vocal tract changes necessary for genre-typical vocal projection. This information can be pedagogically helpful.

Has the Prevalence of Creaky Voice Increased Among Finnish University Students From the 1990'S to the 2010'S?

Everyday observations indicate that creaky voice has become common in Finland in recent years. Previous studies suggest that this trend is also occurring in other countries. This cross-sectional study investigates the use of creaky voice among Finnish university students from the 1990's to the 2010's. Material was obtained from a sound archive. It consisted of 200 samples from normophonic speakers (95 males, 105 females; mean age 23.7 years, SD 3.3 years, range 19-35 years). Normophonia was checked by two speech therapists in a preliminary perceptual analysis. Thereafter, two voice specialists rated the amount of creak and strain. A scale of 0-4 was used (0 = none, 4 = a lot). The inter- and intrarater reliability for the listening evaluations were satisfactory (for creaky phonation, rho = 0.611, P < 0.001 for interrater reliability and rho = 0.540, P < 0.001 for intrarater reliability; for strain, rho = 0.463, P < 0.001 and rho = 0.697, P < 0.001 for inter- and intrarater reliability, respectively). These results revealed a significant increase in the amount of perceived creak in females (from 1.04, SD 0.69 to 1.55, SD 1.06; P < 0.05, Mann-Whitney U test). In males, no significant change was found. However, the frequency of creaky voice use increased in both genders. No male speakers from the 1990's were rated as using "a lot" of creaky voice, but 2.3% of male speakers from the 2010's received this rating. Male speakers who were rated "quite a lot" increased from 5.9% in the 1990's to 18.1% in the 2010's. Female speakers rated "a lot" increased from 0% to 6%, and female speakers rated "quite a lot" increased from 7% to 25.8% over the studied time periods. Creaky phonation and strain correlated slightly in males (rho = 0.24, P < 0.05) and moderately in females (rho = 0.55, P < 0.001). Age did not correlate with the amount of creaky phonation (rho = 0.005, P > 0.10 for males, rho = -0.011, P > 0.10 for females). It can be concluded that the prevalence of creaky voice has increased among young Finnish speakers, particularly females.

Effects of Sixteen Month Voice Training of Student Actors Applying the Linklater Voice Method.

OBJECTIVE: This study investigates the perceptual and acoustic changes in student actors' voices after 16 months of Linklater Voice training, which is a holistic method to train actors' voices. METHODS: Eleven (n = 11) actor students' text and Voice Range Profile (VRP) recordings were analyzed pretraining and 16 months posttraining. From text readings at comfortable performance loudness, both perceptual and acoustic analyses were made. Acoustic measures included sound pressure level (SPL), fundamental frequency (fo), and sound level differences between different frequency ranges derived from long-term-average spectrum. Sustained vowels [i:], [o], and [e] abstracted from the text sample were analyzed for formant frequencies F1-F4 and the frequency difference between F4 and F3. The VRP was registered to investigate SPL of the softest and loudest phonations throughout the voice range. RESULTS: The perceived pitch range during text reading increased significantly. The acoustic result showed a strong trend toward decreasing in minimum fo, and increasing in maximum fo and fo range. The VRP showed a significant increase in the fo range and dynamics (SPL range). Perceived voice production showed a trend toward phonation balance (neither pressed-nor breathy) and darker voice color posttraining. CONCLUSION: The perceptual and acoustic analysis of text reading and acoustic measures of VRP suggest that LV training has a positive impact on voice.

A Nasoendoscopic Study of "Head Resonance" and "Imposto" in Classical Singing.

BACKGROUND: Classical singing pedagogy uses many concepts which lack precise definition and whose acoustic and physiologic correlates are unclear. This study focuses on the concepts "head resonance" and "imposto." In singing guidebooks, head resonance has been described as causing vibratory sensations on the face and head, auditively it has been described as a bright color especially predominating in the higher pitch range. "Imposto" has been related to the sensation of "air flow" or "sympathetic resonance vibrations" on or over the upper bridge of nose, and it also has been pursued using a "closing mechanism of the upper respiratory track" (activation of nasalis muscle). STUDY DESIGN: Experimental cross-sectional study. METHOD: Five subjects (three classical singers, one amateur singer, and a nonsinger) were investigated with nasofiberoscopy during phonation. The singers were instructed to sing [i:] on one comfortable self-chosen pitch in three ways: (1) without head resonance, (2) with head resonance, and (3) using imposto (exploiting the nasalis muscle). The nonsinger was investigated without phonation, while just holding his breath after inhalation first normally and then while producing imposto. The following measurements were made on the fiberoscopic images: (1) height of soft palate, (2) area of the hypopharynx, (3) area of the epilaryngeal tube inlet. RESULTS: The singers raised the soft palate and narrowed the epilaryngeal inlet during head resonance and even more during imposto. The pharynx to epilarynx ratio increased. Similar narrowing of the epilaryngeal tube inlet was observed in the nonsinger when constricting the nasalis, CONCLUSIONS: The results suggest that both the head resonance and imposto are related to control of the pharyngeal space and epilaryngeal tube, and that the nasal muscles may be used as an aid in regulating the epilaryngeal tube width, which in turn, improves the voice-source -tract interaction.

Does the Acoustic Voice Quality Index (AVQI) Correlate with Perceived Creak and Strain in Normophonic Young Adult Finnish Females?

BACKGROUND: The Acoustic Voice Quality Index (AVQI) is a correlate of dysphonia. It has been found to differentiate between dysphonic and normophonic speakers and to indicate the effects of voice therapy. This study investigates how the AVQI reacts towards creak and strain, which are common in normophonic speakers. METHODS: The material was obtained from an earlier study on 104 Finnish female university students (mean age 24.3 years, SD 6.3 years) with no known pathology of voice or hearing and a perceptually normal voice (G = 0 in GRBAS), who were recorded while reading aloud a standard text and sustaining the vowel [a:]. Perceptual analysis for the amount of creak and strain was carried out by 2 expert listeners. In this study, the AVQI v03.01 was analyzed and correlated with perceptual evaluations. Samples with low and high amounts of creak and strain were compared with t tests. RESULTS: On average, the AVQI was below the threshold value of dysphonia in the Finnish population. The AVQI (ρ = 0.35, p = 0.000) and its subparameters, smoothed cepstral peak prominence (CPPS; ρ = -0.35, p = 0.000) and harmonics-to-noise ratio (HNR; ρ = -0.30, p = 0.002) showed low but significant correlations with creak. Strain had low but significant correlations with spectral Slope (ρ = 0.38, p = 0.000) and Tilt (ρ = -0.40, p = 0.009). The AVQI was lower (better) in samples that were evaluated as having a high amount of strain, but the difference was not significant. Only CPPS differentiated significantly between low and high amounts of creak. CONCLUSION: The AVQI does not seem to differentiate between high and low amounts of creak and strain in normophonic speakers.

The Efficacy of the NHS Waterpipe in Superficial Hydration for People With Healthy Voices: Effects on Acoustic Voice Quality, Phonation Threshold Pressure and Subjective Sensations.

OBJECTIVES: This study examined the efficacy of the NHS waterpipe as a superficial hydration treatment in voice production in healthy young women. STUDY DESIGN: This is a prospective, single-blind, within- and between-subject experimental design. METHODS: Thirty six female university students (mean age 24.6 years, range 19-45 years) were recruited to the study. Participants were randomized to two experimental groups (E1 and E2) and a control group. E1 underwent hydration treatment with the NHS waterpipe filled with 0.9% saline that was immersed in a cup of heated water. E2 underwent a similar treatment but without heated immersion. The control group received no treatment. Acoustic Voice Quality Index (AVQI v03.01) and its subparameters, phonation threshold pressure, self-perceived phonatory effort and sensation of throat dryness was measured at three time points (before the intervention and immediately and 15 minutes after it). RESULTS: The Tilt of the AVQI's subparameters increased significantly in the E1 (P = 0.027) and E2 groups (P = 0.027) after the intervention. Furthermore, the E1 group had significantly lower harmonics-to-noise-ratio values at the third measurement point compared to the E2 group (P = 0.023). These findings may result from fluid transported to the vocal fold level. The sensations of throat dryness decreased in the E1 (P = 0.001) and E2 groups (P < 0.0005) after the intervention. Perceived phonatory effort decreased statistically significantly at the final measurement point in the E1 (P = 0.002) and E2 (P = 0.031) groups. No variables changed in the control group. CONCLUSIONS: The waterpipe seems to be efficient in hydrating vocal folds on single use. It seems to be more efficient when employed with a hot water bath, albeit slightly impairing some acoustic values in the short term. Without the heated fluid, it still seems to decrease sensations of throat dryness and affect acoustic voice quality. The waterpipe does not seem to have an effect on phonation threshold pressure, and it seems to lower self-perceived effort just as efficiently whether the waterpipe is employed using a hot water bath or not. Further research is needed to prove the efficacy of long-term usage and usage with voice patients.

Finite element modeling of the effects of velopharyngeal opening on vocal tract reactance in female voice.

Classical singers use nasal consonants as "resonance exercises," and experimental results have shown that singers may use some velopharyngeal opening (VPO), most often in [a:] and more seldom in [i:] or [u:]. In particular, male singers have been found to increase VPO as pitch rises toward register change frequencies (passaggi). Laryngoscopic findings have shown that some VPO stabilizes vocal fold vibration; the effect is related to positive reactance. This study investigates the effects of VPO on vocal tract (VT) reactance over the range of fundamental frequencies (f0) used in singing using a computerized tomography-based finite element model of the VT and nose of a female. According to the results, by raising the lowest VT resonances, the VPO increased the VT reactance in the frequency ranges 207-359 Hz for [i:], 265-411 Hz for [u:], and 500-611 Hz for [a:], depending on the VPO size (full or half VPO). These frequency ranges are close to the first and second passaggio of a female singer. The change may have an especially practical stabilizing effect for [a:], which is otherwise characterized by very large changes in VT reactance and negative reactance at the second passaggio.

Acoustic Voice Quality Index as a Potential Tool for Voice Screening.

INTRODUCTION: To diminish the risk of voice disorders in people who are highly dependent on their voices, such as teachers, vocal screening is important already at the beginning of such individuals' professional studies. A reliable, specified screening tool is needed. The Acoustic Voice Quality Index (AVQI) has been found to differentiate normal voices from abnormal voices and to serve as a treatment outcome measure. This study investigated whether AVQI could be a screening tool in combination with auditory- and self-perception of the voice to discriminate normal from slightly poor voices. TYPE OF STUDY: Experimental. METHODS: Some 128 female teaching students (mean age 26.39 years, SD 9.80 years) with no diagnosed voice disorders participated in this study. They read aloud a text in Finnish, sustained the vowel /a:/, and filled the Voice Handicap Index (VHI) questionnaire. Voice samples were recorded with an AKG C544L headset microphone, iFocusrite soundcard, and Praat software using a 44100 sample rate and 16-bit amplitude quantization. Five expert voice therapists evaluated the samples to determine the grade of dysphonia (G) using a scale of 0-0.5 (=normal), 0.5-1 (=mild), 1-2 (=moderate), and 2-3 (=severe). Three medial seconds of [a:] and the first 31 syllables of the text were analyzed using AVQI script version 03.01 in Praat (5.3.55). The analysis gives one AVQI score per participant (scale 0-10). The AVQI threshold of normal and disordered voices for Finnish speakers is 1.83; a Gmean = 0.0-0.5 and VHI score <19 were considered normal. Statistical analysis was done using the receiver operating characteristic (ROC) curve, Spearman's correlation coefficient, and the independent samples t test. RESULTS: According to the AVQI results, the area under the curve (AROC) was 0.554, which is fair. The Youden index gave a cutoff value of 0.30 with a sensitivity of 85% and a specificity of 81.1%. There were weak but significant correlations between Gmean and AVQI and two AVQI parameters, smoothed cepstral peak prominence and harmonic-to-noise ratio (r = 0.27; --0.24; -0.20, respectively; |P < 0.05); and between total VHI and AVQI score and cepstral peak prominence (r = 0.21; 0.20, respectively; P < 0.05). Furthermore, the AVQI scores differed significantly between the groups with a VHI total score <19 and ≥19. CONCLUSIONS: AVQI did not differentiate between voices that had been perceptually judged as normal or slightly abnormal, but a combination of perceptual assessment in the form of AVQI and VHI could better screen slightly deviant voices.

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.

Duration of biodynamic changes associated with water resistance therapy.

INTRODUCTION: In current voice research, there is a growing interest in semi-occluded vocal tract exercises and their contribution to an increased vocal efficiency. However, there are only few studies on the lasting effects. MATERIAL AND METHODS: Eight vocally healthy subjects were asked to sustain a phonation at a comfortable loudness on the vowel /i/, with a Fundamental Frequency of 250 Hz (females) or 125 Hz (males). During phonation the subjects were simultaneously recorded with transnasal High Speed Videoendoscopy (HSV, 20,000fps), electroglottography, and audio signals. The subjects then performed a water resistance therapy (WRT) for 10 min (tube: 30 cm length, 5 cm below water surface, diameter 9 mm). Repeated measurements of sustained phonation were performed 0, 5, 10, 20, and 30 min after exercising. From the HSV material the Glottal Area Waveform (GAW) was segmented and GAW parameters were computed. RESULTS: There were strong inter-individual differences concerning the changes of different measures over time after WRT. In general, directly after WRT there was a lowering of the GAW derived Period Perturbation Quotient, a lowering of the Closing Quotient and an increase of the Sound Pressure Level (SPL) in comparison to the pre-intervention measurement. However, only 5 min post WRT there was no longer a clear difference compared to baseline results before WRT. Other values such as Open Quotients exhibited no evident changes by WRT at any timepoint. CONCLUSIONS: WRT showed strong inter-individual effects concerning the changes in the evaluated measures post-intervention. General tendencies of some measures directly after the intervention showed a brief effect of only a few minutes.

Relations between Creaky Voice and Vocal Symptoms of Fatigue.

BACKGROUND: The use of a creaky voice in speech has become more common. Laryngeal findings relate creaky voice with strong adductive tension in the glottis, and thus it may be expected to be related to an increased risk of vocal fatigue. METHODS: The present study investigated the relation of creaky voice use and vocal symptoms in 104 Finnish female university students (mean age 24.3 years, SD 6.3 years). They had no known pathology of voice or hearing. The participants were recorded while reading aloud a text of approximately 40 s in duration. They also filled in a questionnaire consisting of the Voice Handicap Index (VHI, translation in Finnish), and half of them also answered questions about the frequency and severity of symptoms of vocal fatigue. The samples were perceptually analysed for the amount of creakiness and strain by a speech therapist and a voice trainer. RESULTS: The interrater reliability of the listeners was acceptable (Pearson's χ2 = 100.159, p = 0.000 for creak; χ2 = 69.199, p = 0.000 for strain). Neither creakiness nor strain correlated with vocal symptoms. Participants with a low and a high amount of creakiness or strain did not differ from each other in terms of vocal symptoms or VHI scores. Symptoms' total score correlated with VHI total score and total scores of VHI's physical subscale. Creakiness and strain correlated positively with each other (r = 0.40, p = 0.000). CONCLUSION: No significant relations were found between creakiness or strain and vocal symptoms in this sample of university students.

Comparing Contemporary Commercial and Classical Styles: Emotion Expression in Singing.

OBJECTIVE: This study examines the acoustic correlates of the vocal expression of emotions in contemporary commercial music (CCM) and classical styles of singing. This information may be useful in improving the training of interpretation in singing. STUDY DESIGN: This is an experimental comparative study. METHODS: Eleven female singers with a minimum of 3 years of professional-level singing training in CCM, classical, or both styles participated. They sang the vowel [ɑ:] at three pitches (A3 220Hz, E4 330Hz, and A4 440Hz) expressing anger, sadness, joy, tenderness, and a neutral voice. Vowel samples were analyzed for fundamental frequency (fo) formant frequencies (F1-F5), sound pressure level (SPL), spectral structure (alpha ratio = SPL 1500-5000 Hz-SPL 50-1500 Hz), harmonics-to-noise ratio (HNR), perturbation (jitter, shimmer), onset and offset duration, sustain time, rate and extent of fo variation in vibrato, and rate and extent of amplitude vibrato. RESULTS: The parameters that were statistically significantly (RM-ANOVA, P ≤ 0.05) related to emotion expression in both genres were SPL, alpha ratio, F1, and HNR. Additionally, for CCM, significance was found in sustain time, jitter, shimmer, F2, and F4. When fo and SPL were set as covariates in the variance analysis, jitter, HNR, and F4 did not show pure dependence on expression. The alpha ratio, F1, F2, shimmer apq5, amplitude vibrato rate, and sustain time of vocalizations had emotion-related variation also independent of fo and SPL in the CCM style, while these parameters were related to fo and SPL in the classical style. CONCLUSIONS: The results differed somewhat for the CCM and classical styles. The alpha ratio showed less variation in the classical style, most likely reflecting the demand for a more stable voice source quality. The alpha ratio, F1, F2, shimmer, amplitude vibrato rate, and the sustain time of the vocalizations were related to fo and SPL control in the classical style. The only common independent sound parameter indicating emotional expression for both styles was SPL. The CCM style offers more freedom for expression-related changes in voice quality.