Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains xii, 136 p. : ill. Advisor: Hilary Apfelstadt, School of Music. Includes bibliographical references (p. 102-107).

Thesis (M.M.)--University of Wisconsin-Madison, 1980. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 82-84).

A study was undertaken to identify the effect of head flexion/extension on singing voice quality. The amplitude of the fundamental frequency (F0), and the singing power ratio (SPR), an indirect measure of singer’s formant activity, were measured. F0 and SPR scores at four experimental head positions were compared with the subjects’ scores at their habitual positions. Three vowels and three pitch levels were tested. F0 amplitudes and low frequency partials in general were greater with more extended head positions, while SPR increased with neck flexion. No effect of pitch or vowel was found. Gains in SPR appear to be the result of damping low frequency partials rather than amplifying those in the singer’s formant region. Raising the amplitude of F0 is an important resonance tool for female voices in the high range, and may be of benefit to other voice types in resonance, loudness, and laryngeal function.

Report (Ed.D.)--Teachers College. / Sponsor: Craig Timberlake. Dissertation Committee: Charles W. Walton, . Issued also on microfilm. Includes bibliography.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Robert Wells; submitted to the School of Music. Title from PDF t.p. (viewed Apr. 29, 2010). Includes bibliographical references (p. 63-66).

Thesis--University of Iowa. / "Reprinted from Psychological review monograph. 69." Includes bibliographical references (p. 65-66).

Throughout our history, the singing voice has been a fundamental tool for musical expression. While analysis and digital synthesis techniques have been developed for normal speech, few models and techniques have been focused on the singing voice. The central theme of this research is the development of models aimed at the characterization and synthesis of the singing voice. First, a spectral model is presented in which asymmetric generalized Gaussian functions are used to represent the formant structure of a singing voice in a flexible manner. Efficient methods for searching the parameter space are investigated and challenges associated with smooth parameter trajectories are discussed. Next a model for glottal characterization is introduced by first presenting an analysis of the relationship between measurable spectral qualities of the glottal waveform and perceptually relevant time-domain parameters. A mathematical derivation of this relationship is presented and is extended as a method for parameter estimation. These concepts are then used to outline a procedure for modifying glottal textures and qualities in the frequency domain. By combining these models with the Analysis-by-Synthesis/Overlap-Add sinusoidal model, the spectral and glottal models are shown to be capable of characterizing the singing voice according to traits such as level of training and registration. An application is presented in which these parameterizations are used to implement a system for singing voice enhancement. Subjective listening tests were conducted in which listeners showed an overall preference for outputs produced by the proposed enhancement system over both unmodified voices and voices enhanced with competitive methods.

Purpose: The purpose of the present study was to examine SLPs' preparation to work with singers by examining their knowledge and training levels regarding vocal hygiene, assessment and treatment for singers, vocal pedagogy and competency in working with singers. Method: A 66-item survey designed to address the research questions was distributed via email to possible participants found through American Speech Language Hearing Association's (ASHA) "Find a Professional" service. Each email contained a password-protected web link to the survey, which was hosted on Survey Monkey. Results: The majority of participants reported low amounts of academic and clinical exposure to singers. The largest percentage demonstrated adequate knowledge of vocal hygiene, but had difficulty with knowledge items regarding assessment and treatment considerations for singers and vocal pedagogy. The majority expressed low levels of competency in working with singers. However, these effects appeared to be mediated by voice specialization. Voice specialists (VS), a subset of the total participants, were found to have received significantly more total hours studying voice and had significantly more voice clients, including singers, than non-voice specialists (NVS). A combination of academic and clinical exposure at the graduate level was found to lead to continued study regarding voice disorders and vocal function for singers. VS also reported higher levels of training in vocal pedagogy and performance and demonstrated significantly higher knowledge levels regarding assessment and treatment considerations for singers and vocal pedagogy than NVS. Similarly, they also reported higher overall competency in working with singers than the NVS. Conclusions: This preliminary data suggests that overall preparation to work with singers is somewhat lacking in most graduate programs. The majority of SLPs appears to retain information regarding vocal hygiene, but does not appear to remember some basic facts about the treatment of voice disorders. Improvements towards education in voice would serve as a worthy goal in improving SLP's service delivery in general to voice clients and singers. Additionally, providing more opportunities to work with voice clients and singers would also help better prepare SLPs as a whole to work with singers. Finally, a structured accreditation process to become a singing voice specialist (SVS) is sorely needed to ensure optimal service delivery to this unique population. / text

Thesis (Ph.D.)--University of Western Sydney, Nepean, 1997. / Includes bibliography.

Extraction of singing voice from music is one of the ongoing research topics in the field of speech recognition and audio analysis. In particular, this topic finds many applications in the music field, such as in determining music structure, lyrics recognition, and singer recognition. Although many studies have been conducted for the separation of voice from the background, there has been less study on singing voice in particular. In this study, efforts were made to design a new methodology to improve the separation of vocal and non-vocal components in audio clips using REPET [14]. In the newly designed method, we tried to rectify the issues encountered in the REPET method, while designing an improved repeating mask which is used to extract the non-vocal component in audio. The main reason why the REPET method was preferred over previous methods for this study is its independent nature. More specifically, the majority of existing methods for the separation of singing voice from music were constructed explicitly based on one or more assumptions.