ORCID Profile
0000-0002-3944-611X
Current Organisation
CNRS en Alpes
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Publisher: Acoustical Society of America (ASA)
Date: 02-2011
DOI: 10.1121/1.3518766
Abstract: The first two vocal tract resonances (R1 and R2) of 22 classically trained sopranos, altos, tenors, and baritones were measured while they sang four different vowels over their normal pitch range. The resonances of the tract and the harmonics of the voice were measured simultaneously by injecting a broadband acoustic current into the tract at their mouth. Sopranos were found to tune R1 close to the fundamental frequency f0 (R1:f0 tuning) over at least part of their upper range for all vowels studied, particularly when f0 was around or above the value of R1 for speech. Additionally, most sopranos employed R2:2f0 tuning over some of their range, often simultaneously with R1:f0 tuning. Altos used R1:f0 tuning for vowels having lower values of R1 in speech, but can switch to R1:2f0 tuning in the lower part of their range. Tenors and baritones generally used R1:2f0 and R1:3f0 tunings over part of their range and employed a number of different tunings to higher harmonics at lower pitch. These results indicate that singers can repeatedly tune their resonances with precision, and that there can be considerable differences in the resonance strategies used by in idual singers, particularly for voices in the lower ranges.
Publisher: Acoustical Society of America (ASA)
Date: 2012
DOI: 10.1121/1.3664008
Abstract: The high soprano range was investigated by acoustic and electroglottographic measurements of 12 sopranos and high-speed endoscopy of one of these. A single laryngeal transition was observed on glissandi above the primo passaggio. It supports the existence of two distinct laryngeal mechanisms in the high soprano range: M2 and M3, underlying head and whistle registers. The laryngeal transition occurred gradually over several tones within the interval D#5-D6. It occurred over a wider range and was completed at a higher pitch for trained than untrained sopranos. The upper limit of the laryngeal transition during glissandi was accompanied by pitch jumps or instabilities, but, for most singers, it did not coincide with the upper limit of R1:f0 tuning (i.e., tuning the first resonance to the fundamental frequency). However, pitch jumps could also be associated with changes in resonance tuning. Four singers demonstrated an overlap range over which they could sing with a full head or fluty resonant quality. Glottal behaviors underlying these two qualities were similar to the M2 and M3 mechanisms respectively. Pitch jumps and discontinuous glottal and spectral changes characteristic of a M2-M3 laryngeal transition were observed on decrescendi produced within this overlap range.
Publisher: Acoustical Society of America (ASA)
Date: 06-2010
DOI: 10.1121/1.3419907
Abstract: Twelve sopranos with different levels of expertise (4 nonexperts, 4 advanced, 4 professionals) sustained pitches from A4 (∼440 Hz) to their highest pitch (ranging from C6 to D7, i.e., from ∼1000 to 2300 Hz). The frequencies of their first two vocal tract resonances (R1 and R2) were measured by broadband excitation at the mouth and compared with the voice harmonics (f0, 2f0, etc). Lip articulation was measured from simultaneous video recordings. Adjustment of R1 near to f0 (R1:f0 tuning) was observed below C6 to D6 (∼1000–1200 Hz) for both expert and non-expert singers. Experts began this tuning at lower pitches. Some singers combine R2:2f0 adjustment with R1:f0 tuning. Some singers increased mouth area with increasing pitch over the whole R1:f0 tuning range. Other singers showed this strategy on the higher part of the R1:f0 range only, and used another, as yet unidentified, articulatory strategy on the lower part. To achieve very high pitches, some singers extended the range of R1:f0 tuning as far as E6 to F#6 (∼1300–1500 Hz) while others adjusted R2 near f0 over the highest pitch range.
Publisher: Acoustical Society of America (ASA)
Date: 05-2015
DOI: 10.1121/1.4919349
Publisher: Bentham Science Publishers Ltd.
Date: 09-2011
Publisher: Informa UK Limited
Date: 2007
DOI: 10.1080/14015430600891504
Abstract: Are the characteristic timbre and loudness of Bulgarian women's singing related to tuning of resonances of the vocal tract? We studied an Australian female singer, who practises and teaches Bulgarian singing technique. Two different vocal qualities of this style were studied. The louder teshka is characterized by a sonorous voice production. The less loud leka has a smoother timbre that is closer to that of the head voice register. Six vowels in each of teshka, leka and the subject's 'normal' (i.e. Western rather than Bulgarian) style were studied. The acoustic resonances of the singer's vocal tract were measured directly during singing by injecting a synthesized, broad-band acoustic current. This singer does not use resonance tuning consistently in her classical Western style. However, in both teshka and leka, she tunes the first tract resonance close to the second harmonic of the voice for most vowels. This tuning boosts the power output in the radiation field for that harmonic. This tuning also contributes to the very strong second harmonic which is a characteristic of the timbre identified as the Bulgarian style.
Publisher: Acoustical Society of America (ASA)
Date: 2014
DOI: 10.1121/1.4836255
Abstract: Seven male operatic singers sang the same notes and vowels in their chest and their falsetto registers, covering the overlap frequency range where two main laryngeal mechanisms can be identified by means of electroglottography: M1 in chest register and M2 in falsetto register. Glottal contact quotients determined using electroglottography were typically lower by 0.27 in M2 than in M1. Vocal tract resonance frequencies were measured by using broadband excitation at the lips and found to be typically lower in M2 than in M1 sung at the same pitch and vowel R1 typically by 65 Hz and R2 by 90 Hz. These shifts in tract resonances were only weakly correlated with the changes in the contact quotient or laryngeal height that were measured simultaneously. There was considerable variability in the resonance tuning strategies used by the singers, and no evidence of a uniform systematic tuning strategy used by all singers. A simple model estimates that the shifts in resonance frequencies are consistent with the effective glottal area in falsetto register (M2) being 60%–70% of its value in chest register (M1).
No related grants have been discovered for Nathalie Henrich Bernardoni.