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At least 127 records · Page 7Linked to original sources
PubMed1993

Comparisons of pharynx, source, formant, and pressure characteristics in operatic and musical theatre singing.

Belting, a vocal technique typically cultivated in musical theatre singing, differs timbrally from operatic singing in many interesting respects. The underlying phonatory differences have not been previously investigated in detail. Yet, belting is frequently associated with disturbances of voice function. Articulatory and phonatory characteristics are investigated in a female subject who is a professional singer (co-author JL) trained in both the operatic and belting styles and in an intermediate vocal technique ("mixed"). This article presents data obtained from this subject by video-fiberoptic observation of the pharynx, inverse filtering of airflow, and measurement of subglottal pressure. The results reveal that belting was characterized by very high subglottal pressures and sound levels, and apparently also by a comparatively high degree of glottal adduction. Comparisons with other investigations of related aspects of belting and operatic singing support the assumption that the data obtained from our subject are representative for these vocal techniques.

Female↗
PubMed1993

Overtone singing: productive mechanisms and acoustic data.

Overtone singing is where one person sings in two voices, the first voice represented by the fundamental and the second by an enhanced harmonic. Overtone singing is performed in chest register. Tuning of the first or second formant and a reduction of the formant bandwidth down to 20 Hz make harmonics prominent. Narrowing the pharynx, velar constriction, variation of the small mouth opening, and a tension of the walls of the mouth cavity are used. Changing prominent harmonics has the effect of creating an overtone melody with sustained tones, tone steps, and trillos.

Humans↗
PubMed1996

Respiratory function during speaking and singing in professional country singers.

Respiratory function during speaking and singing was investigated in six male professional country singers. Function was studied using magnetometers to transduce anteroposterior diameter changes of the rib cage and abdomen while subjects performed various respiratory maneuvers, speaking activities, and singing activities. Results indicated that respiratory behavior during speaking was generally the same as that of other normal subjects. Respiratory behavior during singing resembled that of speaking. Discussion includes comparison of respiratory performance of present singers with untrained singers and classically trained singers. Implications are offered regarding how the results might be applied to the prevention of voice disorders by education and training of country singers.

Adult↗
PubMed1998

Vocal fold strain and vocal pitch in singing: radiographic observations of singers and nonsingers.

The relationship between vocal fold strain and vocal pitch in singers and nonsingers singing a rising pitch series has been indirectly investigated by means of lateral radiographs. Nonsingers tend to exhibit more strain than singers. To standardize the degree of strain, an index of strain per semitone is proposed. The semitone strain indicates the average amount of strain per 1 semitone of pitch increase or decrease. The index has been shown to be affected by several factors: gender, singing training, singing technique, voice class, age, and status of muscle function. Observations suggest that similar groups of individuals occupy different positions on the stress-strain curve, indicated by their semitone strain values.

Adolescent↗
PubMed1999

A report on alterations to the speaking and singing voices of four women following hormonal therapy with virilizing agents.

Four women aged between 27 and 58 years sought otolaryngological examination due to significant alterations to their voices, the primary concerns being hoarseness in vocal quality, lowering of habitual pitch, difficulty projecting their speaking voices, and loss of control over their singing voices. Otolaryngological examination with a mirror or flexible laryngoscope revealed no apparent abnormality of vocal fold structure or function, and the women were referred for speech pathology with diagnoses of functional dysphonia. Objective acoustic measures using the Kay Visipitch indicated significant lowering of the mean fundamental frequency for each woman, and perceptual analysis of the patients' voices during quiet speaking, projected voice use, and comprehensive singing activities revealed a constellation of features typically noted in the pubescent male. The original diagnoses of a functional dysphonia were queried, prompting further exploration of each woman's medical history, revealing in each case onset of vocal symptoms shortly after commencing treatment for conditions with medications containing virilizing agents (eg, Danocrine (danazol), Deca-Durabolin (nandrolene decanoate), and testosterone). Although some of the vocal symptoms decreased in severity with the influences from 6 months voice therapy and after withdrawal from the drugs, a number of symptoms remained permanent, suggesting each subject had suffered significant alterations in vocal physiology, including muscle tissue changes, muscle coordination dysfunction, and propioceptive dysfunction. This retrospective study is presented in order to illustrate that it was both the projected speaking voice and the singing voice that proved so highly sensitive to the virilization effects. The implications for future prospective research studies and responsible clinical practice are discussed.

Adult↗
PubMed1997

FOS is induced by singing in distinct neuronal populations in a motor network.

Mechanisms underlying the learned vocal behavior of songbirds were studied by examining expression of the protein product of the immediate early gene c-fos (Fos) in zebra finches. Auditory stimuli including the bird's own song did not induce Fos in the song system. In contrast, the motor act of singing induced Fos in two song sensorimotor nuclei, HVc and RA. This induction was independent of auditory feedback, since it occurred in deafened birds that sang. Double-labeling studies demonstrated that only one of the two sets of projection neurons in HVc expressed singing-related Fos. The motor-driven induction of Fos identifies functionally distinct cell populations in a network for singing and may point to sites of cellular plasticity necessary for song maintenance.

Animals↗
PubMed1989

Somatic reversion of P transposable element insertion mutations in the singed locus of Drosophila melanogaster requiring specific P insertions and a trans- acting factor.

Destabilization in somatic cells of P-element insertions in the X-linked singed gene of Drosophila melanogaster has been studied. We have shown that some but not all unstable P-element insertions in singed can form mosaics. The cause of this variation is not clear from studies of the restriction maps of the mutations tested. The transposable element movements occur early in development and require, in addition to an appropriate P-element insertion in singed, a trans-acting maternal effect component. Movements appear to occur preferentially in attached-X stocks. However, the maternal effect component maps to the central region of chromosome 2.

Animals↗
PubMed2006

Representation and execution of vocal motor programs for expert singing of tonal melodies.

Three experiments were conducted to study motor programs used by expert singers to produce short tonal melodies. Each experiment involved a response-priming procedure in which singers prepared to sing a primary melody but on 50% of trials had to switch and sing a different (secondary) melody instead. In Experiment 1, secondary melodies in the same key as the primary melody were easier to produce than secondary melodies in a different key. Experiment 2 showed that it was the initial note rather than key per se that affected production of secondary melodies. In Experiment 3, secondary melodies involving exact transpositions were easier to sing than secondary melodies with a different contour than the primary melody. Also, switches between the keys of C and G were easier than those between C and E. Taken together, these results suggest that the initial note of a melody may be the most important element in the motor program, that key is represented in a hierarchical form, and that melodic contour is represented as a series of exact semitone offsets.

Adult↗
PubMed2000

Can singing exercises reduce snoring? A pilot study.

BACKGROUND: Snoring is not merely a common nuisance but has been identified as a risk factor for poor health. Last resort treatments for palate-based snoring are surgical - reducing the amount of soft palate and/or stiffening it by causing scarring. They carry a burden of risk and expense and have a high recurrence rate. OBJECTIVE: This pilot study was a first step in determining whether singing exercises could be used as a non-invasive treatment to increase muscle tone in the tissues of the throat and thereby reduce snoring. METHOD: The duration of snoring of 20 chronic snorers was recorded by voice-activated tape recorder for 7 nights both before and after treatment. The therapeutic intervention consisted of instruction in singing technique and singing exercises which subjects were directed to practice for 20 minutes a day for 3 months. Compliance was encouraged by a further visit and regular telephone follow-ups. RESULTS: Snoring was on average reduced, especially in subjects who performed the exercises accurately and consistently and who were not overweight. Those who did best, in addition, had no nasal problems and began snoring only in middle age. CONCLUSION: A further randomized controlled study focusing on this group would appear justified and is being planned.

Adult↗
PubMed2003

Effects of vocal training on the acoustic parameters of the singing voice.

Vocal training (VT) has, in part, been associated with the distinctions in the physiological, acoustic, and perceptual parameters found in singers' voices versus the voices of nonsingers. This study provides information on the changes in the singing voice as a function of VT over time. Fourteen college voice majors (12 females and 2 males; age range, 17-20 years) were recorded while singing, once a semester, for four consecutive semesters. Acoustic measures included fundamental frequency (F0) and sound pressure level (SPL) of the 10% and 90% levels of the maximum phonational frequency range (MPFR), vibrato pulses per second, vibrato amplitude variation, and the presence of the singer's formant. Results indicated that VT had a significant effect on the MPFR. F0 and SPL of the 90% level of the MPFR and the 90-10% range increased significantly as VT progressed. However, no vibrato or singers' formant differences were detected as a function of training. This longitudinal study not only validates previous cross-sectional research, ie, that VT has a significant effect on the singing voice, but also it demonstrates that these effects can be acoustically detected by the fourth semester of college vocal training.

Acoustics↗
PubMed2002

Voice source changes of child and adolescent subjects undergoing singing training--a preliminary study.

Many vocal practitioners have strong beliefs regarding the age at which singing training of a child should begin, and the different ways in which male and female children should be treated. These beliefs are not substantiated by any scientific research, leading to considerable dispute between vocal coaches and choral directors. The singing voices of over 127 child singers and non-singers aged 8-18 were analysed using electrolaryngographic measures. Analysis particularly concentrated on the laryngographically derived vocal fold closed quotient (CQ). Results indicated that the voice source characteristics of subjects could be divided into groups according to age, gender and the level of vocal training received. Female subjects in particular exhibited a marked development of voice source production according to the length of training received, while male subjects exhibited patterning according to both age (and related pubertal development), and training received. It was concluded that the process of training a young voice has a quantifiable effect upon the singing voice production of the child, and in particular on the female voice, while pubertal development also creates measurable effects on the voice source production of the male child.

Adolescent↗
PubMed2005

Objective analysis of the singing voice as a training aid.

A new tool for robust tracking of fundamental frequency is proposed, along with an objective measure of main singing voice parameters, such as vibrato rate, vibrato extent, and vocal intonation. High-resolution Power Spectral Density estimation is implemented, based on AutoRegressive models of suitable order, allowing reliable formant tracking also in vocalizations characterized by highly varying values. The proposed techniques are applied to about 1000 vocalizations, coming from both professional and non-professional singers, and show better performance as compared to classical Fourier-based approaches. If properly implemented, and with a user-friendly interface, the new tool would allow real-time analysis of singing voice. Hence, it could be of help in giving non-professional singers and singing teachers reliable measures of possible improvements during and after training.

Acoustics↗
PubMed2006

Mirroring the voice from Garcia to the present day: some insights into singing voice registers.

Starting from Garcia's definition, the historical evolution of the notion of vocal registers from then until now is considered. Even though much research has been carried out on vocal registers since then, the notion of registers is still confused in the singing voice community, and defined in many different ways. While some authors consider a vocal register as a totally laryngeal event, others define it in terms of overall voice quality similarities. This confusion is reflected in the multiplicity of labellings, and it lies in the difficulty of identifying and specifying the mechanisms distinguished by these terms. The concept of laryngeal mechanism is then introduced, on the basis of laryngeal transition phenomena detected by means of electroglottography. It helps to specify at least the laryngeal nature of a given singing voice register. On this basis, the main physiological, acoustic, and perceptual characteristics of the most common singing voice registers are surveyed.

History, 19th Century↗
PubMed2004

SING: a novel strategy for identifying tumor-specific, CTL-recognized tumor antigens.

Traditional methods for identifying T cell-recognized tumor antigens (Ags) are laborious and time-consuming. In an attempt to simplify the procedure, a novel strategy, SING (SIgnal transduction molecule-mediated, NFAT-controlled, GFP expression) was established as a direct approach for cloning T cell-recognized tumor Ags. In the SING system, a mouse T cell line (BW5147) was transduced with a chimeric H-2Kb construct containing T cell-signaling domains and a green fluorescent protein (GFP) reporter gene under the transcriptional control of nuclear factor of activated T cells (NFAT). The resultant BW5147 cells were named BS cells. This cell line could "sense" TCR stimulation through the T cell-signaling domains after coculture with Ag-specific T cells and then become fluorescent (expressing green fluorescence protein, GFP+) in the presence of Ag peptides. The interaction between BS cells and Ag-specific T cells could be enhanced by addition of costimulatory signals. Currently, BS cells have been optimized to "sense" TCR stimulation after being pulsed with the relevant peptides at concentrations as low as 10(-9) M. Endogenous Ag-expressing BS cells could also become fluorescent after coculture with Ag-specific T cells. Our results provide a proof of principle for using the SING system to directly isolate Ag-expressing BS cells from BS cell repertoires, which are retrovirally transduced with tumor-derived cDNA libraries. Once tumor Ag-marked BS cells are identified, the sequences encoding tumor Ags could be easily retrieved by PCR amplification of the genomic DNA using vector-specific primers.

3T3 Cells↗
PubMed1997

Brain gene regulation by territorial singing behavior in freely ranging songbirds.

To investigate the ecological relevance of brain gene regulation associated with singing behavior in songbirds, we challenged freely ranging song sparrows with conspecific song playbacks within their breeding territories. Males responded by approaching the speaker, searching for an intruder and actively singing. In situ hybridization of brain sections revealed significantly higher expression of the transcriptional regulator ZENK in challenged birds than in unstimulated controls in several auditory structures and song control nuclei. We conclude that singing behavior in the context of territorial defense is associated with gene regulation in brain centers that control song perception and production, and that behaviorally regulated gene expression can be used to investigate brain areas involved in the natural behaviors of freely ranging animals.

Animals↗
PubMed2000

Opposite hemispheric lateralization effects during speaking and singing at motor cortex, insula and cerebellum.

Aside from spoken language, singing represents a second mode of acoustic (auditory-vocal) communication in humans. As a new aspect of brain lateralization, functional magnetic resonance imaging (fMRI) revealed two complementary cerebral networks subserving singing and speaking. Reproduction of a non-lyrical tune elicited activation predominantly in the right motor cortex, the right anterior insula, and the left cerebellum whereas the opposite response pattern emerged during a speech task. In contrast to the hemodynamic responses within motor cortex and cerebellum, activation of the intrasylvian cortex turned out to be bound to overt task performance. These findings corroborate the assumption that the left insula supports the coordination of speech articulation. Similarly, the right insula might mediate temporo-spatial control of vocal tract musculature during overt singing. Both speech and melody production require the integration of sound structure or tonal patterns, respectively, with a speaker's emotions and attitudes. Considering the widespread interconnections with premotor cortex and limbic structures, the insula is especially suited for this task.

Adult↗
PubMed1986

Acoustic comparison of voice use in solo and choir singing.

An experiment was carried out in which eight bass/baritone singers were recorded while singing in both choral and solo modes. Together with their own voice, they heard the sound of the rest of the choir and a piano accompaniment, respectively. The recordings were analyzed in several ways, including computation of long-time-average spectra for each passage, analysis of the sound levels in the frequency ranges corresponding to the fundamental and the "singer's formant," and a comparison of the sung levels with the levels heard by the singers. Matching pairs of vowels in the two modes were inverse filtered to determine the voice source spectra and formant frequencies for comparison. Differences in both phonation and articulation between the two modes were observed. Subjects generally sang with more power in the singer's formant region in the solo mode and with more power in the fundamental region in the choral mode. Most singers used a reduced frequency distance between the third and fifth formants for increasing the power in the singer's formant range, while the difference in the fundamental was mostly a voice source effect. In a choral singing mode, subjects usually adjusted their voice levels to the levels they heard from the other singers, whereas in a solo singing mode the level sung depended much less on the level of an accompaniment.

Acoustics↗
PubMed1986

The sound level of the singer's formant in professional singing.

The relative sound level of the "singer's formant," measured in a 1/3-oct band with a center frequency of 2.5 kHz for males and of 3.16 kHz for females, has been investigated for 14 professional singers, nine different modes of singing, nine different vowels, variations in overall sound-pressure level, and fundamental frequencies ranging from 98 up to 880 Hz. Variation in the sound level of the singer's formant due to differences among male singers was small (4 dB), the factors vowels (16 dB) and fundamental frequency (9-14 dB) had an intermediate effect, while the largest variation was found for differences among female singers (24 dB), between modes of singing (vocal effort) (23 dB), and in overall sound-pressure level (more than 30 dB). In spite of this great potential variability, for each mode of singing the sound level of the singer's formant was remarkably constant up to F0 = 392 Hz, due to adaptation of vocal effort. This may be explained as the result of the perceptual demand of a constant voice quality. The definition of the singer's formant is discussed.

Female↗