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Acoustics/Resonance

Resource Type: Print

Level: Intermediate

Category: Acoustics/Resonance

Habitual Use of Vocal Fry in Young Adult Female Speakers

by Lesley Wolk, Nassima B. Abdelli-Beruh, Dianne Slavin

This article appeared in the Journal of Voice in May 2012. The article summary states that this study "was a preliminary attempt 1) to determine the prevalence of the use of this register in young adult college-aged American speakers and 2) to describe the acoustic characteristics of vocal fry for these speakers."
Resource Type: Print

Level: Intermediate

Category: Acoustics/Resonance

More About Resonant Voice: Chasing the Formants But Staying Behind Them

by Ingo R. Titze

To achieve a more resonant voice, a formant is not placed directly on a harmonic, but rather slightly above a harmonic. Stated conversely, the harmonic chases the formant, but never quite catches up with it. The advantage of this maneuver is a strengthening of all harmonics, not just a single one.
Resource Type: Print

Level: Intermediate

Category: Acoustics/Resonance

What Makes a Voice Acoustically Strong?

by Ingo R. Titze

A voice is acoustically strong if the glottal flow can be reduced from a high value to a low value in a short time interval. The total collapse of flow per second is called the maximum flow declination rate. It can be increased by increasing lung pressure, by increasing vibration at the bottom of the vocal fold, or by narrowing the acoustic tube immediately above the vocal folds. In practice, a combination of these control strategies is probably utilized by singers.
Resource Type: Print

Level: Intermediate

Category: Acoustics/Resonance

Vowel Modification Revisited

by John Nix

Modification involves shading vowels with respect to the location of vowel formants, so the sung pitch or one of its harmonics receives an acoustical boost by being near a formant. The goals of modification include a unified quality, throughout the entire range, smoother transitions between register, enhanced dynamic range and control, and improved intelligibility.
Resource Type: Print

Level: Intermediate

Category: Acoustics/Resonance

The F0-F1 Crossover Exercise

by Ingo R. Titze

The author has a long-term goal to understand and appreciate proven exercises and vocalizes used by singing teachers. One such exercise is the downward glide in pitch on a vowel [u] or [o], beginning on about D5 and ending one to two octaves lower.
Resource Type: Print

Level: Intermediate

Category: Acoustics/Resonance

Resurrection from the Coffin

by Ingo R. Titze

The author suggests that the Favorable Vowel Chart included in the writings of Berton Coffin over thirty years ago, needs to be resurrected, employing new theories of vowel modification and voice registers.
Resource Type: Print

Level: Intermediate

Category: Acoustics/Resonance

Another Incremental Step in Reviving and Revising Coffin's Favorable Vowel Chart

by Ingo R. Titze

In a previous issue the author proposed a new way of looking at pitch-vowel interaction in singing as promulgated by Berton Coffin. In a yearly update, Dr. Titze writes that the basic goal of understanding why certain vowels are favored at certain pitches has not changed.
Resource Type: Print

Level: Basic

Category: Acoustics/Resonance

On Master Classes and the Olympic Games

by Donald Miller

The author asks the question: “Is there a lesson in the Olympic games that can be applied to singing?” Much of the new information that has advanced the coaching of sports is taken from analysis of precisely timed video. Because so little of the movement of the voice producing organs can be captured by noninvasive video, singing teachers have to rely on self-reporting of singers regarding what they “do” to achieve desired results. However, one particularly measurement of the singing voice that is now within reach for all is that of spectrum analysis, which is discussed in detail.
Resource Type: Print

Level: Basic

Category: Acoustics/Resonance

How Are Harmonics Produced at the Voice Source?

by Ingo R. Titze

In summary, harmonics in the glottal waveform are produced by adducing the vocal folds sufficiently so that they can collide. This changes the waveform from a simple oscillatory shape that has only one frequency. Alternately, or in conjunction with collision, the vocal tract can be engaged to feed back an acoustic wave to the glottal flow.
Resource Type: Print

Level: Intermediate

Category: Acoustics/Resonance

Source-Vocal Tract Interaction in Female Operatic Singing and Theater Belting

by Ingo R. Titze, Albert S. Worley, Brad H. Story

Contrasting operatic and musical theatre voice production, the authors seek “to explain the female opera-belt contrast in terms of source-vocal tract interaction.” The study shows that despite aesthetic differences, many of the technical approaches overlap between these otherwise markedly different genres.

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