Emotional expressivity in singing. Assessing physiological and acoustic indicators of two opera singers' voice characteristics.

In an earlier study, we analyzed how audio signals obtained from three professional opera singers varied when they sang one octave wide eight-tone scales in ten different emotional colors. The results showed systematic variations in voice source and long-term-average spectrum (LTAS) parameters associated with major emotion "families". For two of the singers, subglottal pressure (PSub) also was recorded, thus allowing analysis of an additional main physiological voice control parameter, glottal resistance (defined as the ratio between PSub and glottal flow), and related to glottal adduction. In the present study, we analyze voice source and LTAS parameters derived from the audio signal and their correlation with Psub and glottal resistance. The measured parameters showed a systematic relationship with the four emotion families observed in our previous study. They also varied systematically with values of the ten emotions along the valence, power, and arousal dimensions; valence showed a significant correlation with the ratio between acoustic voice source energy and subglottal pressure, while Power varied significantly with sound level and two measures related to the spectral dominance of the lowest spectrum partial. the fundamental.

Fundamental frequency disturbances in female and male singers' pitch glides through long tube with varied resistances.

Source-filter interaction can disturb vocal fold vibration frequency. Resonance frequency/bandwidth ratios (Q-values) may affect such interaction. Occurrences of fundamental frequency (fo) disturbances were measured in ascending pitch glides produced by four female and five male singers phonating into a 70 cm long tube. Pitch glides were produced with varied resonance Q-values of the vocal tract + tube compound (VT + tube): (i) tube end open, (ii) tube end open with nasalization, and (iii) with a piece of cotton wool in the tube end (conditions Op, Ns, and Ct, respectively). Disturbances of fo were identified by calculating the derivative of the low-pass filtered fo curve. Resonance frequencies of the compound VT+tube system were determined from ringings and glottal aspiration noise observed in narrowband spectrograms. Disturbances of fo tended to occur when a partial was close to a resonance of the compound VT+tube system. The number of such disturbances was significantly lower when the resonance Q-values were reduced (conditions Ns and Ct), particularly for the males. In some participants, resonance Q-values seemed less influential, suggesting little effect of source-filter interaction. The study sheds light on factors affecting source-filter interaction and fo control and is, therefore, relevant to voice pedagogy and theory of voice production.

Voice source, formant frequencies and vocal tract shape in overtone singing. A case study.

Purpose: In overtone singing a singer produces two pitches simultaneously, a low-pitched, continuous drone plus a melody played on the higher, flutelike and strongly enhanced overtones of the drone. The purpose of this study was to analyse underlying acoustical, phonatory and articulatory phenomena.Methods: The voice source was analyzed by inverse filtering the sound, the articulation from a dynamic MRI video of the vocal tract profile, and the lip opening from a frontal-view video recording. Vocal tract cross-distances were measured in the MR recording and converted to area functions, the formant frequencies of which computed.Results: Inverse filtering revealed that the overtone enhancement resulted from a close clustering of formants 2 and 3. The MRI material showed that for low enhanced overtone frequencies (FE) the tongue tip was raised and strongly retracted, while for high FE the tongue tip was less retracted but forming a longer constriction. Thus, the tongue configuration changed from an apical/anterior to a dorsal/posterior articulation. The formant frequencies derived from the area functions matched almost perfectly those used for the inverse filtering. Further, analyses of the area functions revealed that the second formant frequency was strongly dependent on the back cavity, and the third on the front cavity, which acted like a Helmholtz resonator, tuned by the tongue tip position and lip opening.Conclusions: This type of overtone singing can be fully explained by the well-established source-filter theory of voice production, as recently found by Bergevin et al. [1] for another type of overtone singing.

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.

Female adolescent singing voice characteristics: an exploratory study using LTAS and inverse filtering.

Background and Aim: To date, little research is available that objectively quantifies female adolescent singing-voice characteristics in light of the physiological and functional developments that occur from puberty to adulthood. This exploratory study sought to augment the pool of data available that offers objective voice analysis of female singers in late adolescence.Methods: Using long-term average spectra (LTAS) and inverse filtering techniques, dynamic range and voice-source characteristics were determined in a cohort of vocally healthy cis-gender female adolescent singers (17 to 19 years) from high-school choirs in Aotearoa New Zealand. Non-parametric statistics were used to determine associations and significant differences.Results: Wide intersubject variation was seen between dynamic range, spectral measures of harmonic organisation (formant cluster prominence, FCP), noise components in the spectrum (high-frequency energy ratio, HFER), and the normalised amplitude quotient (NAQ) suggesting great variability in ability to control phonatory mechanisms such as subglottal pressure (Psub), glottal configuration and adduction, and vocal tract shaping. A strong association between the HFER and NAQ suggest that these non-invasive measures may offer complimentary insights into vocal function, specifically with regard to glottal adduction and turbulent noise in the voice signal.Conclusion: Knowledge of the range of variation within healthy adolescent singers is necessary for the development of effective and inclusive pedagogical practices, and for vocal-health professionals working with singers of this age. LTAS and inverse filtering are useful non-invasive tools for determining such characteristics.

Classification of voice quality using neck-surface acceleration: Comparison with glottal flow and radiated sound.

OBJECTIVES: The aim of the present study is to investigate the usefulness of features extracted from miniature accelerometers attached to speaker's tracheal wall below the glottis for classification of phonation type. The performance of the accelerometer features is evaluated relative to features obtained from inverse filtered and radiated sound. While the former is a good proxy for the voice source, obtaining robust voice source features from the latter is considered difficult since it also contains information about the vocal tract filter. By contrast, the accelerometer signal is largely unaffected by the vocal tract and although it is shaped by subglottal resonances and the transfer properties of the neck tissue, these properties remain constant within a speaker. For this reason, we expect it to provide a better approximation of the voice source than the raw audio. We also investigate which aspects of the voice source are derivable from the accelerometer and microphone signals. METHODS: Five trained singers (two females and three males) were recorded producing the syllable [pæ:] in three voice qualities (neutral, breathy and pressed) and at three pitch levels as determined by the participants' personal preference. Features extracted from the three signals were used for classification of phonation type using a random forest classifier. In addition, accelerometer and microphone features with highest correlation with the voice source features were identified. RESULTS: The three signals showed comparable classification error rates, with considerable differences across speakers both with respect to the overall performance and the importance of individual features. The speaker-specific differences notwithstanding, variation of phonation type had consistent effects on the voice source, accelerometer and audio signals. With regard to the voice source, AQ, NAQ, L1L2 and CQ all showed a monotonic variation along the breathy - neutral - pressed continuum. Several features were also found to vary systematically in the accelerometer and audio signals: HRF, L1L2 and CPPS (both the accelerometer and the audio), as well as the sound level (for the audio). The random forest analysis revealed that all of these features were also among the most important for the classification of voice quality. CONCLUSION: Both the accelerometer and the audio signals were found to discriminate between phonation types with an accuracy approaching that of the voice source. Thus, the accelerometer signal, which is largely uncontaminated by vocal tract resonances, offered no advantage over the signal collected with a normal microphone.

Kulning: Acoustic and Perceptual Characteristics of a Calling Style Used Within the Scandinavian Herding Tradition.

Kulning, a loud, high-pitched vocal calling technique pertaining to the Scandinavian herding system, has attracted several researchers' attention, mainly focusing on cultural, phonatory and musical aspects. Less attention has been paid to the spectral and physiological properties that characterize Kulning tones, and also if there is a physiologically optimum pitch range. We analyzed tones produced by ten participants with varying experience in Kulning. They performed a phrase, pitch range G5 to C6 (784 to 1046 Hz), in three different conditions: starting (1) on pitch A5, (2) on the participant's preferred pitch, and (3) after the deepest possible inhalation, also on the participant's preferred pitch subglottal pressure (Psub) was measured as the oral pressure during /p/-occlusion. The quality of the Kulning was rated by a group of experts. The highest-rated tones all had a sound pressure level (SPL) at 0.3 m exceeding 115 dB and a pitch higher than 1010 Hz, while the SPL of the lowest rated tones was less than 108 dB at a pitch below 900 Hz. A multiple regression analysis was performed to evaluate the relationship between the ratings and Psub), SPL, level of the fundamental and the frequency at which a spectrum envelope dip occurred. Highly rated tones were started at maximum lung volumes, and on participants' preferred pitches. They all shared a high frequency of the spectrum envelope dip and a high level of the fundamental. In decreasing order of ratings, Condition 3 showed the highest values followed by Condition 2 and Condition 1. Each singer seemed to perform best within an individual Psub and pitch range. The relevance of the results to voice pedagogy, artistic, and compositional work is discussed.

CPPS and Voice-Source Parameters: Objective Analysis of the Singing Voice.

INTRODUCTION: In recent years cepstral analysis and specific cepstrum-based measures such as smoothed cepstral peak prominence (CPPS) has become increasingly researched and utilized in attempts to determine the extent of overall dysphonia in voice signals. Yet, few studies have extensively examined how specific voice-source parameters affect CPPS values. OBJECTIVE: Using a range of synthesized tones, this exploratory study sought to systematically analyze the effect of fundamental frequency (fo), vibrato extent, source-spectrum tilt, and the amplitude of the voice-source fundamental on CPPS values. MATERIALS AND METHODS: A series of scales were synthesised using the freeware Madde. Fundamental frequency, vibrato extent, source-spectrum tilt, and the amplitude of the voice-source fundamental were systematically and independently varied. The tones were analysed in PRAAT, and statistical analyses were conducted in SPSS. RESULTS: CPPS was significantly affected by both fo and source-spectrum tilt, independently. A nonlinear association was seen between vibrato extent and CPPS, where CPPS values increased from 0 to 0.6 semitones (ST), then rapidly decreased approaching 1.0 ST. No relationship was seen between the amplitude of the voice-source fundamental and CPPS. CONCLUSION: The large effect of fo should be taken into account when analyzing the voice, particularly in singing-voice research, when comparing pre and posttreatment data, and when comparing inter-subject CPPS data.

Measuring Voice Effects of Vibrato-Free and Ingressive Singing: A Study of Phonation Threshold Pressures.

BACKGROUND: Phonation threshold pressure (PTP), showing the lowest subglottal pressure producing vocal fold vibration, has been found useful for documenting various effects of phonatory conditions. The need for such documentation is relevant also to the teaching of singing, particularly in view of vocal demands raised in some contemporary as well as early music compositions. The aim of the present study was to test the usefulness of PTP measurement for evaluating phonatory effects of vibrato-free and ingressive singing in professional singers. METHODS: PTP was measured at a middle, a high and a low pitch in two female and two male singers before and after recording voice range profiles (i) in habitual technique, ie, with vibrato, (ii) in vibrato-free, and (iii) in ingressive phonation. Effects on vocal fold status were examined by videolaryngostroboscopy. RESULTS: After careful instruction of the singers, no problems were found in applying the PTP method. In some singers videolaryngostroboscopy showed effects after the experiment, eg, in terms of increased mucus and more complete glottal closure. After ingressive phonation PTP increased substantially at high pitch in one singer but changed marginally in the other singers. CONCLUSION: The method seems useful for assessing and interpreting effects of singing in different styles and as a part of voice diagnostics. Therefore, it seems worthwhile to automatize PTP measurement.

Glottal Airflow and Glottal Area Waveform Characteristics of Flow Phonation in Untrained Vocally Healthy Adults.

OBJECTIVE: To examine flow phonation characteristics with regard to vocal fold vibration and voice source properties in vocally healthy adults using multimodality voice measurements across various phonation types (breathy, neutral, flow, and pressed) and loudness conditions (typical, loud, and soft). PARTICIPANTS AND METHODS: Vocal fold vibration, airflow, acoustic, and subglottal pressure was analyzed in 13 untrained voices (six female and seven male). Participants repeated the syllable / pæ:/ using breathy, neutral, flow, and pressed phonation during typical, loud, and soft loudness conditions. Glottal area (GA) waveforms were extracted from high-speed videoendoscopy; glottal flow was derived from inverse filtering the airflow or the audio signal; and subglottal pressure was measured as the intraoral pressure during /p/ occlusion. RESULTS: Changes in phonation type and loudness conditions resulted in systematic variations across the relative peak closing velocity derived from the GA waveform for both males and females. Amplitude quotient derived from the flow glottogram varied across phonation types for males. CONCLUSION: Multimodality evaluation using the GA waveform and the inverse filtered waveforms revealed a complex pattern that varied as a function of phonation types and loudness conditions across males and females. Emerging findings from this study suggests that future large-scale studies should focus on spatial and temporal features of closing speed and closing duration for differentiating flow phonation from other phonation types in untrained adults with and without voice disorders.

Objective Characterization of Phonation Type Using Amplitude of Flow Glottogram Pulse and of Voice Source Fundamental.

Phonation type, a phonatory dimension ranging from hypofunctional/breathy to hyperfunctional/pressed, is important both from a clinical and acoustical point of view; hyperfunctional voice can lead to voice disorders and hypofunctional voice reduces text intelligibility. Five male singers sang diminuendo sequences of the syllable /pae/ and three of them also produced speech or singing samples with different phonation types which were rated for phonatory pressedness by a panel of voice experts. The sequences were analyzed by inverse filtering and the associated subglottal pressures were estimated as the oral pressures during the /p/ occlusion. The results showed strong quasi-linear correlations between the peak-to-peak amplitude of the flow glottogram (henceforth pulse amplitude) and mean subglottal pressure, mean airflow, and the level difference between the first and second voice source partials L1-L2. These correlations were found to vary systematically with phonation type. Regardless of phonation type, the correlation between the pulse amplitude and the amplitude of the voice source fundamental frequency was very close to 1.0. The level difference between the first and second spectrum partials L1-L2 in narrow-band long-term-average spectra of speech and singing was found to vary systematically with phonation type in a manner related to voice experts' ratings of perceived degree of pressedness. The findings support the assumption that the combination of subglottal pressure and level of the voice source fundamental is useful for an objective measure of phonation type.

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.

Analyzing Emotion Expression in Singing via Flow Glottograms, Long-Term-Average Spectra, and Expert Listener Evaluation.

BACKGROUND: Acoustic aspects of emotional expressivity in speech have been analyzed extensively during recent decades. Emotional coloring is an important if not the most important property of sung performance, and therefore strictly controlled. Hence, emotional expressivity in singing may promote a deeper insight into vocal signaling of emotions. Furthermore, physiological voice source parameters can be assumed to facilitate the understanding of acoustical characteristics. METHOD: Three highly experienced professional male singers sang scales on the vowel /ae/ or /a/ in 10 emotional colors (Neutral, Sadness, Tender, Calm, Joy, Contempt, Fear, Pride, Love, Arousal, and Anger). Sixteen voice experts classified the scales in a forced-choice listening test, and the result was compared with long-term-average spectrum (LTAS) parameters and with voice source parameters, derived from flow glottograms (FLOGG) that were obtained from inverse filtering the audio signal. RESULTS: On the basis of component analysis, the emotions could be grouped into four "families", Anger-Contempt, Joy-Love-Pride, Calm-Tender-Neutral and Sad-Fear. Recognition of the intended emotion families by listeners reached accuracy levels far beyond chance level. For the LTAS and FLOGG parameters, vocal loudness had a paramount influence on all. Also after partialing out this factor, some significant correlations were found between FLOGG and LTAS parameters. These parameters could be sorted into groups that were associated with the emotion families. CONCLUSIONS: (i) Both LTAS and FLOGG parameters varied significantly with the enactment intentions of the singers. (ii) Some aspects of the voice source are reflected in LTAS parameters. (iii) LTAS parameters affect listener judgment of the enacted emotions and the accuracy of the intended emotional coloring.

Spectrum Effects of a Velopharyngeal Opening in Singing.

The question whether or not a velopharyngeal opening is advantageous in singing has been discussed for a very long time among teachers of singing. The present investigation analyzes the acoustic consequences of a large, a narrow, and a nonexistent velopharyngeal opening (VPO). A divided flow mask (nasal and oral) connected to flow transducers recorded the nasal and oral DC flows in four female and four male classically trained singers while they sang vowel sequences at different pitches under these three experimental conditions. Acoustic effects were analyzed in three long-term average spectra parameters: (i) the sound level at the fundamental frequency, (ii) the level of the highest peak below 1 kHz, and (iii) the level of the highest peak in the 2-4 kHz region. For a narrow VPO, an increase in the level of the highest peak in the 2-4 kHz region was observed. As this peak is an essential voice component in the classical singing tradition, a narrow VPO seems beneficial in this type of singing.

Biofabrication of bacterial nanocellulose scaffolds with complex vascular structure.

Bacterial nanocellulose (BNC) has proven to be an effective hydrogel-like material for different tissue engineering applications due to its biocompatibility and good mechanical properties. However, as for all biomaterials, in vitro biosynthesis of large tissue constructs remains challenging due to insufficient oxygen and nutrient transport in engineered scaffold-cell matrices. In this study we designed, biofabricated and evaluated bacterial nanocellulose scaffolds with a complex vascular mimetic lumen structure. As a first step a method for creating straight channeled structures within a bacterial nanocellulose scaffold was developed and evaluated by culturing of Human Umbilical Vein Endothelial Cells (HUVECs). In a second step, more complex structures within the scaffolds were produced utilizing a 3D printer. A print mimicking a vascular tree acted as a sacrificial template to produce a network within the nanoporous bacterial nanocellulose scaffolds that could be lined with endothelial cells. In a last step, a method to produce large constructs with interconnected macro porosity and vascular like lumen structure was developed. In this process patient data from x-ray computed tomography scans was used to create a mold for casting a full-sized kidney construct. By showing that the 3D printing technology can be combined with BNC biosynthesis we hope to widen the opportunities of 3D printing, while also enabling the production of BNC scaffolds constructs with tailored vascular architectures and properties.

Prognostic scoring systems for myelodysplastic syndromes (MDS) in a population-based setting: a report from the Swedish MDS register.

The myelodysplastic syndromes (MDS) have highly variable outcomes and prognostic scoring systems are important tools for risk assessment and to guide therapeutic decisions. However, few population-based studies have compared the value of the different scoring systems. With data from the nationwide Swedish population-based MDS register we validated the International Prognostic Scoring System (IPSS), revised IPSS (IPSS-R) and the World Health Organization (WHO) Classification-based Prognostic Scoring System (WPSS). We also present population-based data on incidence, clinical characteristics including detailed cytogenetics and outcome from the register. The study encompassed 1329 patients reported to the register between 2009 and 2013, 14% of these had therapy-related MDS (t-MDS). Based on the MDS register, the yearly crude incidence of MDS in Sweden was 2·9 per 100 000 inhabitants. IPSS-R had a significantly better prognostic power than IPSS (P < 0·001). There was a trend for better prognostic power of IPSS-R compared to WPSS (P = 0·05) and for WPSS compared to IPSS (P = 0·07). IPSS-R was superior to both IPSS and WPSS for patients aged ≤70 years. Patients with t-MDS had a worse outcome compared to de novo MDS (d-MDS), however, the validity of the prognostic scoring systems was comparable for d-MDS and t-MDS. In conclusion, population-based studies are important to validate prognostic scores in a 'real-world' setting. In our nationwide cohort, the IPSS-R showed the best predictive power.

Flow Glottogram and Subglottal Pressure Relationship in Singers and Untrained Voices.

This article combines results from three earlier investigations of the glottal voice source during phonation at varying degrees of vocal loudness (1) in five classically trained baritone singers (Sundberg et al., 1999), (2) in 15 female and 14 male untrained voices (Sundberg et al., 2005), and (3) in voices rated as hyperfunctional by an expert panel (Millgård et al., 2015). Voice source data were obtained by inverse filtering. Associated subglottal pressures were estimated from oral pressure during the occlusion for the consonant /p/. Five flow glottogram parameters, (1) maximum flow declination rate (MFDR), (2) peak-to-peak pulse amplitude, (3) level difference between the first and the second harmonics of the voice source, (4) closed quotient, and (5) normalized amplitude quotient, were averaged across the singer subjects and related to associated MFDR values. Strong, quantitative relations, expressed as equations, are found between subglottal pressure and MFDR and between MFDR and each of the other flow glottogram parameters. The values for the untrained voices, as well as those for the voices rated as hyperfunctional, deviate systematically from the values derived from the equations.

The expression of emotion in the singing voice: Acoustic patterns in vocal performance.

There has been little research on the acoustic correlates of emotional expression in the singing voice. In this study, two pertinent questions are addressed: How does a singer's emotional interpretation of a musical piece affect acoustic parameters in the sung vocalizations? Are these patterns specific enough to allow statistical discrimination of the intended expressive targets? Eight professional opera singers were asked to sing the musical scale upwards and downwards (using meaningless content) to express different emotions, as if on stage. The studio recordings were acoustically analyzed with a standard set of parameters. The results show robust vocal signatures for the emotions studied. Overall, there is a major contrast between sadness and tenderness on the one hand, and anger, joy, and pride on the other. This is based on low vs high levels on the components of loudness, vocal dynamics, high perturbation variation, and a tendency for high low-frequency energy. This pattern can be explained by the high power and arousal characteristics of the emotions with high levels on these components. A multiple discriminant analysis yields classification accuracy greatly exceeding chance level, confirming the reliability of the acoustic patterns.

The "Overdrive" Mode in the "Complete Vocal Technique": A Preliminary Study.

"Complete Vocal Technique," or CVT, is an internationally widespread method for teaching voice. It classifies voicing into four types, referred to as "vocal modes," one of which is called "Overdrive." The physiological correlates of these types are unclear. This study presents an attempt to analyze its voice source and formant frequency characteristics. A male and a female expert of CVT sang a set of "Overdrive" and falsetto tones on the syllable /pᴂ/. The voice source could be analyzed by inverse filtering in the case of the male subject. Results showed that subglottal pressure, measured as the oral pressure during /p/ occlusion, was low in falsetto and high in "Overdrive", and it was strongly correlated with each of the voice source parameters. These correlations could be described in terms of equations. The deviations from these equations of the different voice source parameters for the various voice samples suggested that "Overdrive" phonation was produced with stronger vocal fold adduction than the falsetto tones. Further, the subject was also found to tune the first formant to the second partial in "Overdrive" tones. The results support the conclusion that the method used, to compensate for the influence of subglottal pressure on the voice source, seems promising to use for analyses of other CVT vocal modes and also for other types of phonation.

Duration, Pitch, and Loudness in Kunqu Opera Stage Speech.

OBJECTIVES: Kunqu is a special type of opera within the Chinese tradition with 600 years of history. In it, stage speech is used for the spoken dialogue. It is performed in Ming Dynasty's mandarin language and is a much more dominant part of the play than singing. Stage speech deviates considerably from normal conversational speech with respect to duration, loudness and pitch. This paper compares these properties in stage speech conversational speech. METHOD: A famous, highly experienced female singer's performed stage speech and reading of the same lyrics in a conversational speech mode. Clear differences are found. RESULTS: As compared with conversational speech, stage speech had longer word and sentence duration and word duration was less variable. Average sound level was 16 dB higher. Also mean fundamental frequency was considerably higher and more varied. Within sentences, both loudness and fundamental frequency tended to vary according to a low-high-low pattern. CONCLUSIONS: Some of the findings fail to support current opinions regarding the characteristics of stage speech, and in this sense the study demonstrates the relevance of objective measurements in descriptions of vocal styles.