Accuracy in pitch production is fundamental to both singing and language. Since accurate control of pitch is a complicated motor control process, no conclusions can be drawn yet for the reasons why some individuals have trouble producing accurate pitches in singing, although different possible causes have been proposed in the literature such as deficits in pitch perception, pitch memory and mismatch of pitch range. Additionally, since auditory feedback plays a crucial role in the pitch control, some behavioral experiments have been conducted in the literature that involve manipulation of auditory feedback so as to remedy those with inaccurate pitch during singing but the effects varied. However, those studies in the literature had various limitations and mostly recruited participants who were speakers of non-tonal languages. The present study investigated the effect of augmented auditory feedback (AAF) as a method of feedback manipulation on pitch accuracy as well as its relationship with the three possible causes for pitch inaccuracy mentioned above. A total of 43 tonal-language-speaking adult participants who had no formal training of singing were recruited to participant in two tasks to measure their pitch accuracy: single-tone pitch matching and singing a familiar song. All participants were native speakers of tonal languages: Mandarin or Cantonese. The results showed that pitch accuracy was not significantly improved by AAF although moderately inaccurate singers seemed to benefit consistently in pitch matching task. The post-hoc analysis revealed that the intertrial consistency of the singer’s performance was significantly improved for inaccurate singers in both tasks. As for the causes for pitch inaccuracy, both pitch perception and pitch memory were found to have moderate correlation with pitch inaccuracy while mismatch of vocal range of the participants and the pitch targets seemed to be a major cause for most of the inaccurate participants. / published_or_final_version / Speech and Hearing Sciences / Master / Master of Philosophy

The integrated method proposed and worked out consisted of integration of vocal and voice-speech teaching techniques as well as integration of the empirical and mechanical methods of teaching. Balance and co-ordination between external and intra-pharyngeal articulation were considered as a framework for integration of various methods of teaching. Magnetic resonance imaging (MRI), along with spectral analysis, was used to demonstrate the work of intrapharyngeal muscles while singing and to assess the quality of vocalization. 54 MRI expositions were generated for the set of vowels, pitches and modes, of which over 400 MRI images were synthesized and measured. When switching from amateur to professional way of singing, radical transformations of size, shape and to some extent, changes in the surface properties (density, porosity) of muscular tissue of intra-pharyngeal cavities were observed. New acquired MR images clearly showed that the axial section of the back cavity appears indeed much larger in the professional mode than in the amateur mode. Statistical analysis showed that this difference is statistically significant. It is shown that the work on muscles development and use of mental images/imagination must progress in close collaboration. The strategy for the gradual mastering technique of the opening of the vocal tract was suggested, and developed. A new approach was developed to be applied for students to get stable repeatability when they work with mental images. Obtained MR images were used as a part of visualization method during experimental work with students. MR images helped students to create proper mental images. The theory of tangible images was suggested and then successfully applied in the form of experimental work with students. Experimental work with students of the ethnic group Maori was conducted. This experimental work with Maori students demonstrated that the integrated method of teaching helped to overcome some physiological and psychological specific problems which require special techniques of training. Case studies were carried out to assess individual and students' group perceptions, along with interview techniques and a survey questionnaire. The results of the survey are presented graphically, and statistical processing of the data was performed. The results of the survey are interpreted and discussed.

The primary purpose of this study was to clarify the underlying principles of singers' resonance and to examine some of the pedagogical practices associated with the traditional schools of singing and contemporary voice science. The secondary purpose was to determine which principles should be retained, discarded, or altered.An examination of the voice pedagogy literature revealed recurrent references to resonance. This implied that the concept is of some importance to voice pedagogy. Singers' resonance has, however, been presented in diverse contexts indicating that (1) it has a number of denotations and connotations, (2) it is sometimes used ambiguously, or inaccurately, and (3) a further investigation of the topic might yield clarity to the field of voice pedagogy.It was determined that though there are many important voice pedagogy methodologies, classically trained professional concert and opera singers of international reputation are taught to optimize singers' resonance both in order to be heard and to produce the accepted tone. It was found that those precepts which are based upon acoustic laws should be conserved and those which are not should be abandoned, altered, or when appropriate, acknowledged as metaphorical. / School of Music

The integrated method proposed and worked out consisted of integration of vocal and voice-speech teaching techniques as well as integration of the empirical and mechanical methods of teaching. Balance and co-ordination between external and intra-pharyngeal articulation were considered as a framework for integration of various methods of teaching. Magnetic resonance imaging (MRI), along with spectral analysis, was used to demonstrate the work of intrapharyngeal muscles while singing and to assess the quality of vocalization. 54 MRI expositions were generated for the set of vowels, pitches and modes, of which over 400 MRI images were synthesized and measured. When switching from amateur to professional way of singing, radical transformations of size, shape and to some extent, changes in the surface properties (density, porosity) of muscular tissue of intra-pharyngeal cavities were observed. New acquired MR images clearly showed that the axial section of the back cavity appears indeed much larger in the professional mode than in the amateur mode. Statistical analysis showed that this difference is statistically significant. It is shown that the work on muscles development and use of mental images/imagination must progress in close collaboration. The strategy for the gradual mastering technique of the opening of the vocal tract was suggested, and developed. A new approach was developed to be applied for students to get stable repeatability when they work with mental images. Obtained MR images were used as a part of visualization method during experimental work with students. MR images helped students to create proper mental images. The theory of tangible images was suggested and then successfully applied in the form of experimental work with students. Experimental work with students of the ethnic group Maori was conducted. This experimental work with Maori students demonstrated that the integrated method of teaching helped to overcome some physiological and psychological specific problems which require special techniques of training. Case studies were carried out to assess individual and students' group perceptions, along with interview techniques and a survey questionnaire. The results of the survey are presented graphically, and statistical processing of the data was performed. The results of the survey are interpreted and discussed.

Thesis (MMus)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: It is widely accepted that the singer’s formant cluster (Fs) – perceptual correlates being twang and ring, and pedagogically referred to as head resonance – is the defining trait of a classically trained voice. Research has shown that the spectral energy a singer harnesses in the Fs region can be measured quantitatively using spectral indicators Short-Term Energy Ratio (STER) and Singing Power Ratio (SPR). STER is a modified version of the standard measurement tool Energy Ratio (ER) that repudiates dependency on the Long-Term Average Spectrum (LTAS). Previous studies have shown that professional singers produce more Fs spectral energy when singing in ensemble mode than in solo mode; however for amateur singers, the opposite trend was noticed. Little empirical evidence in this regard is available concerning undergraduate vocal performance majors. This study was aimed at investigating the resonance tendencies of individuals from the latter target group, as evidenced when singing in two performance modes: ensemble and solo. Eight voice students (two per SATB voice part) were selected to participate. Subjects were recorded singing their parts individually, as well as in full ensemble. By mixing the solo recordings together, comparisons of the spectral content could be drawn between the solo and ensemble performance modes. Samples (n=4) were extracted from each piece for spectral analyses. STER and SPR means were highly proportional for both pieces. Results indicate that the singers produce significantly higher levels of spectral energy in the Fs region in ensemble mode than in solo mode for one piece (p<0.05), whereas findings for the other piece were insignificant. The findings of this study could inform the pedagogical approach to voice-training, and provides empirical bases for discussions about voice students’ participation in ensemble ventures. / AFRIKAANSE OPSOMMING: Dit word algemeen aanvaar dat die singer’s formant cluster (Fs) – die perseptuele korrelate is die Engelse “twang” en “ring”, en waarna daar in die pedagogie verwys word as kopresonansie – die bepalende eienskap is van ’n Klassiek-opgeleide stem. Navorsing dui daarop dat die spektrale energie wat ’n sanger in die Fs omgewing inspan kwantitatief gemeet kan word deur die gebruik van Short-Term Energy Ratio (STER) en Singing Power Ratio (SPR) as spektrale aanwysers. STER is ’n gewysigde weergawe van die standaard maatstaf vir energie in die Fs, naamlik Energy Ratio (ER), wat afhanklikheid van die Long-Term Average Spectrum (LTAS) verwerp. Vorige studies het getoon dat professionele sangers meer Fs energie produseer in ensemble konteks as in solo konteks, in teenstelling met amateur sangers waar die teenoorgestelde die norm is. Min empiriese data in hierdie verband is beskikbaar, m.b.t. voorgraadse uitvoerende sangstudente. Hierdie studie is daarop gemik om die tendense in resonansie by individue uit die laasgenoemde groep te ondersoek, soos dit blyk in die twee uitvoerende kontekste: ensemble en solo. Agt sangstudente (twee per SATB stemgroep) is geselekteer om aan die studie deel te neem. Die deelnemers het hul stempartye individueel en in volle ensemble gesing, en is by beide geleenthede opgeneem. Deur die soloopnames te meng, kon vergelykings van die spektrale inhoud gemaak word tussen die solo en ensemble konteks. ’n Steekproef (n=4) is uit elke stuk onttrek vir spektrale analise. Die STER en SPR gemiddeldes was eweredig vir beide stukke. Resultate toon dat die sangers beduidend hoër vlakke van spektrale energie in die Fs omgewing produseer in ensemble konteks as in solo konteks vir een stuk (p<0.05), terwyl die bevindinge vir die tweede stuk nie beduidend was nie. Die bevindinge van hierdie studie kan belangrik wees vir die pedagogiese benadering tot stemopleiding, en lewer empiriese basis vir gesprekke oor die betrokkenheid van sangstudente in die ensemble bedryf.

While a limited body of research pertaining to vocal sound quality exists, technological advances in sound analyses have facilitated a reexamination of vocal timbre. The sound quality of sung vowels ([ a], [e ], C i ]) produced by ten baritone/bass singers at the University of North Texas was analyzed by the use of Fourier analysis and electronic digital equipment. This procedure and equipment produced results over a wider frequency range with greater accuracy than prior studies on vocal timbre. The study sought to answer the following questions: (1) Using formant regions between 0-20 kHz for comparison, what similarities and differences can be observed among spectra produced from [a], [e], and [ i ] vowels sung by baritone/bass singers? (2) Using formant regions between 0-20 kHz for comparison, what similarities and differences can be observed among spectra produced from [a], [ e ], and [ i ] vowels sung by baritone/bass singers with regard to individual singers? (3) Approximately what vocal-tract tube lengths were used by baritone/bass singers when performing [a], [e ], and [ i ] vowels? (4) What similarities in vocal-tract tube lengths can be generalized as to [ a], L e ], and [ i ] vowels sung by individual baritone/bass singers? The results of the study suggested that: (1) Below approximately 4 kHz formant frequency location can be generalized by a specific vowel between subjects. (2) Above 4 kHz the generalization of formant frequency location is difficult between subjects singing the same vowels, but general frequency location for formants can be identified between samples produced by the same singer performing different vowels. (3) Subjects did alter their vocal-tract lengths as different vowel sounds were performed, but no overall pattern of tube length with reference to specific vowels was indicated. (4) Each singer did use a unique vocal-tract length. The average estimated vocal-tract length for all subjects singing a specific vowel revealed little variation in tube length with an average tube length of 278.97 mm.

The purpose of this study was to compare the speaking fundamental frequency, physiological vocal range, singing voice quality, and self-perceptions of the singing and speaking voice between two groups of girls ages 11 through 15 years, who were pre-menarcheal by 6 months and post-menarcheal by 10 months or more. Subjects were volunteers who attended a North Texas public school system. Each subject was examined by an otolaryngologist. Age, height, weight, a hearing screening, and information on music classes and/or private music lessons were obtained. The speaking fundamental frequency measure was obtained by having each subject speak for 30 seconds on a subject of choice and read a passage of approximately 100 syllables. The vocal range measure was obtained by having each subject begin at an arbitrary pitch and sing mah and moo up the scale as high as possible and mah and moo down the scale as low as possible. These four measures were repeated with the researcher giving visual gestures. For singing-voice quality, each subject sang "America" in the key of her choice and again in the key of F major. Each subjects singing voice was rated according to breathiness. Data regarding self-perceptions of the singing and speaking voice were obtained through a rating assessment of 10 questions and a conversation with each subject. There were no significant differences between the means of the pre-meanarcheal and post-menarcheal girls on speaking fundamental frequency, physiological vocal range, and singing-voice quality. But, more of the post-menarcheal girls exhibited lower speaking pitches, lower singing ranges, and increased breathiness in their singing voices than did the pre-menarcheal girls. Two questions of the perceptions rating assessment were significant, with the post-menarcheal girls citing higher incidences of vocal inconsistencies than the pre-menarcheal girls. The findings of the qualitative data analysis indicated that more post-menarcheal girls had an adequate vocabulary to describe various aspects of their singing and speaking voices than did the pre-menarcheal girls.

Good vocal health is a vital concern for those people who use the voice in a professional capacity, such as teachers, singers, actors, clergymen, and lawyers. Research in the area of vocal health reveals the need to determine if specific exercises are beneficial to the voice and if exercises used to train the singing voice might be beneficial to alleviate pathological and/or dysfunctional voice disorders. The purpose of this study was to describe the response of a variety of pathological voices to a selected set of singing exercises. Subjects were selected from the private practice of cooperating physicians who felt that the vocal instruction and exercise program might be helpful to the teachers, students, professional "pop" singers, and housewife-singers who were diagnosed to have muscle tension dysphonia, nodules, recurrent laryngeal nerve paralysis, or iatrogenic dysphonia. Instrumentation for assessing conditions before, during, and after exercise included a brief case history, subject interviews, attending physicians' medical charts, flexible fiberoptic video nasolaryngoscopy, video cassette recorder and video tape segments, three physician/observers, and a specific diagnostic procedure which provided a method of assessing organic, functional, and perceptual variables. For the exercise program the researcher chose seven vocalises from the routine designed by Allan R. Lindquest, whose techniques combined those of the Italian school with those of Swedish studios which produced such singers as Flagstad and Bjoerling. The seven vocalises included a warm up "massage" and exercises for separation and blending of the registers, vowel clarity and modification, tone focus, vocal attack, and flexibility. Since all the subjects showed improvement after exercise in the vocal conditions observed in this study, these vocalises and technique may be helpful to alleviate pathological conditions and/or dysfunctional behavior in other subjects. The researcher further suggests that the voice profession investigate the efficiency of other techniques, exercises, and musical vocalises which might bring about positive changes in vocal conditions and behavior.

An examination of the historical treatises of Manuel Garcia II and Giambattista Mancini, scientific studies pertaining to glottal closure, and Vocal Function Exercises used in clinical speech pathology led to an exploratory study that attempted to increase the glottal closure in an untrained university male chorus using only choral voice building exercises. The exploratory study used a single group, pre-test post-test design, and data was recorded using audio recordings of the entire chorus as well as electroglottograph measurements of individual subjects. The data show an increase in glottal closure as measured by closed quotient values, and an increase in energy in the upper partials of the recorded acoustic signal from the chorus.