The standard vocal repertoire for soprano requires use of the uppermost segment of the female voice, which is typically produced using whistle register phonation. Voice teachers recognize that sopranos use whistle register phonation during performance to produce pitches in the highest segment of their range; however, the use of whistle register phonation as a training tool for female singers of all voice types is less common and the benefits of using whistle registration exercises to condition the female voice are not widely known. While several pedagogical manuals recommend vocal exercises that use whistle register phonation in the range of the second passaggio and in the highest segment of the female voice, no research has been conducted to investigate the benefits of singing in whistle register. The purpose of this study was to measure the efficacy of vocal exercises that incorporate whistle register phonation as treatment for poor intonation and pressed and/or breathy vocal quality in female singers with vocal challenges in the second passaggio of their voice. The influence of whistle register phonation on extending vocal range was also investigated. A treatment-no treatment (ABAB) research design was used. Five female vocalists attended 16 weekly sessions. During the treatment phases, participants received weekly instruction in vocal exercises using whistle register phonation and practiced these activities daily. Audio samples of two vocal exercises and a repertoire excerpt were collected weekly. Measurements taken during the treatment phases were compared to measurements taken during the no-treatment phases. Results of comparative Voice Range Profiles and a weekly Range Extension Measurement Task showed a positive relationship between practice of whistle register exercises and an increase in the upper pitch range in all subjects. Subjects gained an average of 2.4 semitones during Treatment Phase 1, when the whistle register tasks were introduced. Subjects lost an average of 1.2 semitones during the No Treatment phase, when the practice of whistle register tasks was withdrawn. Subjects gained an average of 2.2 semitones during Treatment Phase 2, when the whistle register tasks were reintroduced. The average overall gain in the upper pitch range was +4.3 semitones for mezzo-sopranos and +2 semitones for sopranos. In addition, data collected to measure the pitch range over which whistle register phonation was possible showed an average range of 14 semitones (D5 - E6); supporting the notion that whistle register phonation is possible in the range of the second passaggio and could be developed in this range by female singers of all voice types. Eight voice teachers rated each audio sample for intonation and vocal quality during register transition through the second passaggio. Mixed-model ANOVA (analysis of variance) was conducted to compare the effect of whistle register phonation exercises on quality of intonation, vocal quality, the presence and severity of breathiness, and the presence and severity of strain at each phase of the study. Significance was determined at the p<.05 level. There was a significant effect of whistle register phonation exercises on severity of Breathiness [F(3,209) = 6.66, p = 0.0003]. Mean severity ratings for Breathiness for all subjects were significantly lower during No Treatment than in Treatment Phase 1 and Treatment Phase 2, suggesting that breathiness was less severe when the subjects were not practicing whistle register exercises. Severity of strain generally decreased continually throughout all phases. Mean severity ratings for Strain were consistently lower for Treatment Phase 1, No Treatment, and Treatment Phase 2 compared to Baseline. The differences between Treatment Phase 1, No Treatment, and Treatment Phase 2 were statistically significant [F(3,209) = 3.52, p = 0.0161]. Mean Intonation ratings generally increased through Treatment Phase 1 and were significantly higher for the No Treatment phase and Treatment Phase 2 compared to Baseline [F(3,209) = 2.99, p = 0.0322]. The effect of whistle register phonation exercises on vocal quality was not significant at the p<.05 level. A Pearson Correlation Coefficient (PCC) was used to calculate the intra-judge reliability for perceptual evaluation of all vocal tasks. Statistical analysis comparing the judges' ratings for identical audio samples shows that in this study the judges were consistent in their rating of Breathiness (PCC = 0.76) and had difficulty rating Strain (0.57), Vocal Quality (0.60), and Intonation (0.65). A PCC was used to calculate the correlations between each pair of judges' rating for all vocal tasks, and Cronbach's Alpha was used as an overall measure of the inter-rater reliability. Statistical analysis comparing the judges' ratings for all audio samples shows that in this study the judges were consistent in their rating of Breathiness (α = 0.80), mediocre in rating Strain (0.62) and Vocal Quality (0.69), and not consistent in their rating of Intonation (0.53). The results of the current study suggest that whistle register exercises can be used to facilitate range extension for all female voice types. That performance of whistle register phonation exercises correlated to increased breathiness implies that the exercises tested in this study may not be an effective treatment for singers with breathy voices. Further research investigating the influence of whistle register exercises on intonation, overall vocal quality, and severity of strain is needed. Results of the intra- and inter-rater reliability tests demonstrate a need for research that explores more reliable ways to quantify perceptual evaluation of vocal quality in singers.

Background: To date, research has primarily focused on the subjective and objective measurement of vocal fatigue in professional voice users such as teachers and singers. However, these studies have not examined the effects of psychosocial factors (e.g., lack of sleep, emotional distress) leading to vocal fatigue in depth. Much like the professional voice users, students seeking to be professional voice users may face several psychosocial difficulties, may also experience similar vocal demands, and may develop vocal fatigue. Goal: The purpose of this study is to identify the relationship between psychosocial factors and vocal fatigue in students majoring in Communication Sciences and Disorders. Methods: During this study, graduate and undergraduate students completed a survey consisting of questions on employment, general health, vocal demands, and several standardized measures, (e.g., Beck’s Depression Inventory, Perceived Stress Scale, and the Vocal Fatigue Index). Vocal fatigue was induced using an adapted LingWAVES vocal loading task (~30-min duration) where participants had to meet a specific intensity goal as well as modify their pitch and voice quality. Recordings of phonation and passage reading were also made pre- and post-loading to evaluate the effects of vocal exertion. The VFI score and two objective measures (fundamental frequency and sound pressure level) were acquired and analyzed in addition to the scores from the surveys. Results: Results revealed that all students were moderately stressed, while graduate students reported more depression. All students demonstrated vocal fatigue in both subjective and objective outcome measures. Moderate-high correlation between total psychosocial scores and VFI as well as phonation Sound Pressure Level (SPL) were observed.

Speech signal is basically meant to carry the information about the linguistic message. But, it also contains the speaker-specific information. It is generated by acoustically exciting the cavities of the mouth and nose, and can be used to recognize (identify/verify) a person. This thesis deals with the speaker identification task; i.e., to find the identity of a person using his/her speech from a group of persons already enrolled during the training phase. Listeners use many audible cues in identifying speakers. These cues range from high level cues such as semantics and linguistics of the speech, to low level cues relating to the speaker's vocal tract and voice source characteristics. Generally, the vocal tract characteristics are modeled in modern day speaker identification systems by cepstral coefficients. Although, these coeficients are good at representing vocal tract information, they can be supplemented by using both pitch and voicing information. Pitch provides very important and useful information for identifying speakers. In the current speaker recognition systems, it is very rarely used as it cannot be reliably extracted, and is not always present in the speech signal. In this thesis, an attempt is made to utilize this pitch and voicing information for speaker identification. This thesis illustrates, through the use of a text-independent speaker identification system, the reasonable performance of the cepstral coefficients, achieving an identification error of 6%. Using pitch as a feature in a straight forward manner results in identification errors in the range of 86% to 94%, and this is not very helpful. The two main reasons why the direct use of pitch as a feature does not work for speaker recognition are listed below. First, the speech is not always periodic; only about half of the frames are voiced. Thus, pitch can not be estimated for half of the frames (i.e. for unvoiced frames). The problem is how to account for pitch information for the unvoiced frames during recognition phase. Second, the pitch estimation methods are not very reliable. They classify some of the frames unvoiced when they are really voiced. Also, they make pitch estimation errors (such as doubling or halving of pitch value depending on the method). In order to use pitch information for speaker recognition, we have to overcome these problems. We need a method which does not use the pitch value directly as feature and which should work for voiced as well as unvoiced frames in a reliable manner. We propose here a method which uses the autocorrelation function of the given frame to derive pitch-related features. We call these features the maximum autocorrelation value (MACV) features. These features can be extracted for voiced as well as unvoiced frames and do not suffer from the pitch doubling or halving type of pitch estimation errors. Using these MACV features along with the cepstral features, the speaker identification performance is improved by 45%.

The technique of �open throat� is a pedagogical concept transmitted through the oral tradition of singing. This thesis explored the pedagogical perceptions and practices of �open throat� using empirical methodologies to assess technical skill and associated vocal quality. In the first study (Mitchell, Kenny, Ryan, & Davis, 2003), we assessed the degree of consensus amongst singing pedagogues regarding the definition of, and use in the singing studio of the technique called �open throat.� Results indicated that all fifteen pedagogues described �open throat� technique as fundamental to singing training and were positive about the sound quality it achieved, especially in classical singing. It was described as a way of maximising pharyngeal space or abducting the false vocal folds. Hypotheses generated from pedagogical beliefs expressed in this first study were then tested acoustically (Mitchell & Kenny, 2004a, 2004b). Six advanced singing students sang in two conditions: �optimal� (O), using maximal open throat, �sub-optimal� (SO), using reduced open throat and loud sub-optimal (LSO) to control for the effect of loudness. From these recordings, acoustic characteristics of vibrato (Mitchell & Kenny, 2004b) and energy distribution (Mitchell & Kenny, 2004a) were examined. Subsequent investigations of the vibrato parameters of rate, extent and onset, revealed that extent was significantly reduced and onset increased when singers did not use the technique. As inconsistent vibrato is considered indicative of poor singing, it was hypothesized that testing the energy distribution in these singers� voices in each condition would identify the timbral changes associated with open throat. Visual inspection of long term average spectra (LTAS) confirmed differences between O and SO, but conventional measures applied to long term average spectra (LTAS), comparing energy peak height [singing power ratio (SPR)] and peak area [energy ratio (ER)] were not sensitive to the changes identified through visual inspection of the LTAS. These results were not consistent with the vibrato findings and suggest that conventional measures of SPR and ER are not sufficiently sensitive to evaluate LTAS. In the fourth study, fifteen expert listeners consistently and reliably identified the presence of open throat technique with 87% accuracy (Mitchell & Kenny, in press). In the fifth study, LTAS measurements were examined with respect to the perceptual ratings of singers. There was no relationship between perceptual rankings of vocal beauty and acoustic rankings of vocal quality (Kenny & Mitchell, 2004, in press). There is a vast literature of spectral energy definitions of good voice but the studies in this thesis have indicated that current acoustic methods are limited in defining vocal quality. They also suggest that current work in singing has not sufficiently incorporated perceptual ratings and descriptions of sound quality or the relationship between acoustic and perceptual factors with pedagogical practices.

<p>I am a practising classical soprano. After more than 20 years of professional singing, I re-trained my voice according to principles of the old Italian school of singing. In this essay, I examine the origins and priciples of bel canto, with special focus on appoggio and chiaroscuro, two key ingredients in the bel cantao tradition. I explore the relationship between science and the craft of singing, and what modern voice science has to say about the efficiency and health aspects of this technique, I also describe the profound effect it has had on me as an artist.</p>

The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of each of the four piano-vocal score editions; a discussion of the realizations’ quality; examples by the author of plausible modifications; and the author’s suggestions for practice, fingering, pedaling, and dealing with various performance issues. This essay can provide a stimulus for vocal pianists to explore the countless possibilities in piano realizations of the orchestral accompaniments of operatic works, and to continue to refine and improve their ability to imitate orchestral sonorities and textures at the piano.

<p>Mice produce many ultrasonic vocalizations (USVs) in the 30 - 100 kHz range including pup isolation calls and adult male songs. These USVs are often used as behavioral readouts of internal states, to measure effects of social and pharmacological manipulations, and for behavioral phenotyping of mouse models for neuropsychiatric and neurodegenerative disorders; however, little is known about the biophysical and neurophysiological mechanisms of USV production in rodents. This lack of knowledge restricts the interpretation of data from vocalization-related experiments on mouse models of communication disorders and vocal medical conditions. Meanwhile, there has been increased interest in the social communication aspect of neural disorders such as autism, in addition to the common disorders involving motor control of the larynx: stroke, Parkinson's disease, laryngeal tremor, and spasmodic dysphonia. Therefore, it is timely and critical to begin assessing the neural substrate of vocal production in order to better understand the neuro-laryngeal deficits underlying communication problems.</p><p>Additionally, mouse models may generate new insight into the molecular basis of vocal learning. Traditionally, songbirds have been used as a model for speech learning in humans; however, the model is strongly limited by a lack of techniques for manipulating avian genetics. Accordingly, there has long been strong interest in finding a mammalian model for vocal learning studies. The characteristic features of accepted vocal learning species include programming of phonation by forebrain motor areas, a direct cortical projection to brainstem vocal motoneurons, and dependence on auditory feedback to develop and maintain vocalizations. Unfortunately, these features have not been observed in non-human primates or in birds that do not learn songs. Thus, in addition to elucidating vocal brain pathways it is also critical to determine the extent of any vocal learning capabilities present in the mouse USV system.</p><p>It is generally assumed that mice lack a forebrain system for vocal modification and that their USVs are innate; however, these basic assumptions have not been experimentally tested. I investigated the mouse song system to determine if male mouse song behavior and the supporting brain circuits resemble those of known vocal learning species. By visualizing activity-dependent immediate early gene expression as a marker of global activity patterns, I discovered that the song system includes motor cortex and striatal regions active during singing. Retrograde and anterograde tracing with pseudorabies virus and biodextran amines, respectively, revealed that the motor cortical region projects directly to the brainstem phonatory motor nucleus ambiguus. Chemical lesions in this region showed that it is not critical for producing innate templates of song syllables, but is required for producing more stereotyped acoustic features of syllables. To test for the basic components of adaptive learning I recorded the songs of mechanically and genetically deaf mice and found that male mice depend on auditory feedback to develop and maintain normal ultrasonic songs. Moreover, male mice that display natural strain specific song features may use auditory experience to copy the pitch of another strain when housed together and stimulated to compete sexually. I conclude that male mice have neuroanatomical and behavioral features thought to be unique to humans and song learning birds, suggesting that mice are capable of adaptive modification of the spectral features of their songs.</p> / Dissertation

There is no abstract available for this thesis. / School of Music

The technique of �open throat� is a pedagogical concept transmitted through the oral tradition of singing. This thesis explored the pedagogical perceptions and practices of �open throat� using empirical methodologies to assess technical skill and associated vocal quality. In the first study (Mitchell, Kenny, Ryan, & Davis, 2003), we assessed the degree of consensus amongst singing pedagogues regarding the definition of, and use in the singing studio of the technique called �open throat.� Results indicated that all fifteen pedagogues described �open throat� technique as fundamental to singing training and were positive about the sound quality it achieved, especially in classical singing. It was described as a way of maximising pharyngeal space or abducting the false vocal folds. Hypotheses generated from pedagogical beliefs expressed in this first study were then tested acoustically (Mitchell & Kenny, 2004a, 2004b). Six advanced singing students sang in two conditions: �optimal� (O), using maximal open throat, �sub-optimal� (SO), using reduced open throat and loud sub-optimal (LSO) to control for the effect of loudness. From these recordings, acoustic characteristics of vibrato (Mitchell & Kenny, 2004b) and energy distribution (Mitchell & Kenny, 2004a) were examined. Subsequent investigations of the vibrato parameters of rate, extent and onset, revealed that extent was significantly reduced and onset increased when singers did not use the technique. As inconsistent vibrato is considered indicative of poor singing, it was hypothesized that testing the energy distribution in these singers� voices in each condition would identify the timbral changes associated with open throat. Visual inspection of long term average spectra (LTAS) confirmed differences between O and SO, but conventional measures applied to long term average spectra (LTAS), comparing energy peak height [singing power ratio (SPR)] and peak area [energy ratio (ER)] were not sensitive to the changes identified through visual inspection of the LTAS. These results were not consistent with the vibrato findings and suggest that conventional measures of SPR and ER are not sufficiently sensitive to evaluate LTAS. In the fourth study, fifteen expert listeners consistently and reliably identified the presence of open throat technique with 87% accuracy (Mitchell & Kenny, in press). In the fifth study, LTAS measurements were examined with respect to the perceptual ratings of singers. There was no relationship between perceptual rankings of vocal beauty and acoustic rankings of vocal quality (Kenny & Mitchell, 2004, in press). There is a vast literature of spectral energy definitions of good voice but the studies in this thesis have indicated that current acoustic methods are limited in defining vocal quality. They also suggest that current work in singing has not sufficiently incorporated perceptual ratings and descriptions of sound quality or the relationship between acoustic and perceptual factors with pedagogical practices.

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.