Kiyoshi Makiyama 1 , Ryoji Hirai 1 , Shuichiro Yada 1 , Kazutaka Shiba 1 , Minoru Ikeda 1 , Yukari Makiyama 2

1 Nihon University, Otorhinolaryngology-Head Neck Surgery, Tokyo

2 Sanshodo ENT Clinic, , Ibaraki

Objective: Because exhalation causes the vocal cords to passively vibrate, there appears to be some correlation between aerodynamic parameters and various parameters. The present study investigated the relationship between vocal cord vibration parameters and aerodynamic parameters.

Method: Testing was performed on 13 patients with various voice disorders. Observations of the vocal cord vibration were conducted using a high-speed video system (Kay). Subjects were instructed to vocalize the vowel sound /a/ at a comfortable pitch and intensity. The predetermined area was analyzed for 20 cycles. Images taken at a speed of 2000 frames/s were analyzed using Kay Image Processing Software (KIPS). Using the airway interruption method, the phonatory function analyzer PS77E was used to measure sound pressure level (SPL), mean flow rate, expiratory lung pressure, and airway resistance. The present study was approved by the ethics review board and informed consent was obtained. Interrelations among the parameters were investigated by Fisher r-to-Z transformation with the level of significance set at p<0.05.

Results: A correlation existed between SPL and posterior glottal vibration as assessed by kymograph edge analysis (KEA) (left: p=0.0199 and right: p=0.0372) and central glottal vibration (left: p=0.022 and right: p=0.0438). A negative correlation was seen between airway resistance and glottal area waveform (GAW) minimum opening (p=0.0256). A correlation existed between airway resistance and KEA glottal closure (posterior glottis: p=0.003; central glottis: p=0.0377; anterior glottis: p=0.0311).

Conclusions: The results confirmed a significant relationship between vocal cord vibration parameters and aerodynamic parameters.

Evgeniy Trofimov 1 , Evgeniy Fuki 1 , Ekaterina Osipenko 1

1 Federal Research Clinical Centre of ENT of the Russia, Director od laboratory of a vocal and scenic voice, Moscow

In most cases vocal changes after operations on the thyroid gland are connected with the trauma of the recurrent laryngeal nerve (RLN) and the external branch of the superior laryngeal nerve (EBSLN). The preservation of the larynx functions can be improved with the use of the intraoperative neuromonitoring.

The vocal function have been assessed among 82 patients after surgical operation on the thyroid gland. 105 RLNs and EBSLNs have been at risk of surgical trauma. During the operation we have been using Neurosine 100 and surgical microscope for RLN and EBSLN identification.  The survey of laryngeal nerve function has been carried out before and after operation. Electromyography (EMG), videolaryngostroboscopy, perceptual analysis of dysphonia and spectrographic voice analysis have been also carried out.

Results: 104 RLNs and 86 EBSLNs have been successfully identified. The vocal changes are typical of 23% of patients   after thyreoidectomy and 12% of patients after hemithyroidectomy.  Unilateral larynx paresis was typical of the 3 patients, 1 patient had the permanent one. These damages have been diagnosed with the use of the standard indirect laryngoscopy.

The 18 patients have had the postoperative changes after the use of EMG of cricothyroid muscle; the 4 patients had the bilateral ones. The postoperative changes of 6 patients have been found out more than 6 months after surgery.

 After videolaryngostroboscopy the damages of the glottis closure at the phonation have been revealed among 7 patients, in 6 months they remained in 5 cases.

The changes connected with the middle voice pitch reduction more then 5% of preoperative size have been found out among 20 patients, after 6 months they have been found out among   7 patients.   

Conclusion: The significant correlation has been found between spectrographic voice analysis and EMG. To our mind, it seems reasonable to assume that the degree of glottis insufficiency caused by the laryngeal nerve damages is associated with the aspirate dysphonia, a low harmonic- noise coefficient, and reduced middle voice pitch.

Ekaterina Osipenko 1 , Marina Gerasimenko 1

1 Federal Research Clinical Centre of ENT of the Russia, laboratory of a vocal and scenic voice, Moscow

The tendency to increase in different diseases of the vocal device of the professionals of the voice is connected both with non-observance of  the voice hygiene and with  the increase in the vocal loading among the  certain professional categories.

In this connection the purpose of our research was to estimate the efficiency of the application of the pulsatile electrostatic field for the prevention of  the voice disturbances in the condition of the raised vocal loading

Materials and methods: we have examined 9 TV journalists and sports commentators of the different television channels. Specificity of their work consists of   an extremely high voice loading, a high emotionality during the commentaries of the  sports matches or  when they spend too much time in the professional business trips. The last  thing  defines  the complexity of the prophylactic medical examination and impossibility of getting the timely treatment in case of onset of the vocal problem. All examined patients  complained about the hoarseness and fatigability of the voice after high voice loading during the day for a period of  3-7 days or 2,5 weeks during   the Olympic Games. During the Olympic Games in Beijing and television competition «the Eurovision 2008» the  prophylactic therapy was carried out with the application of the device Hivamat 200" (which  is comfortable for  using  in a trip because of its small size).

The work  of the device  is based on the action of  the pulsatile bi-phase electrostatic field which is created between the manual gauge and the patient. In the area of the local influence on the larynx  the depolarization of  electrically neutral molecules occurs. As a result of it   there is an intensive resonant vibration of the  tissues with the  frequency from 5 to 200 Hz.

This effect leads to  antiedematic,  anaesthetic, , regenerative   influence. During the examination the patients  filled in the questionnaire to estimate their  sensations, they estimated in marks the  dynamics of the voice condition. We  have written the individual program on a smart card for each patient. These procedures have been carried out  daily, at  the end of the working day, or in addition, in case of hoarseness and fatigability of the voice at  the end of translation.

As a result of  the prevention all patients have noticed the significant  increase in the tolerance of the vocal device, and the decrease in frequency of  hoarseness occurrence.

Conclusion: the obtained data  have shown the  effectiveness of using the method of the  pulsatile electrostatic field for recovery of the normal condition and  the maintenance of the tonus of the muscles of the vocal device among the  professionals of the voice in the condition of the raised vocal loading.

Elina Lehtinen 1 , Anne-Maria Laukkanen 1

1 University of Tampere, Dept. of Speech Communication and Voice Research, Tampere

This study investigated the acoustic and perceptual characteristics of a good shouting voice. A total of 35 males shouted a short monolog (an excerpt of Shakespeare‘s King Lear) in a studio. Their lowest possible tone (produced in soft voice, vocal fry excluded) was also measured. The recorded shouting samples were analyzed for mean fundamental frequency (F0), equivalent sound level (Leq), difference between the average Leq of the 1-5kHz region and the average Leq of the 50Hz-1kHz region (‘alpha ratio'), loudness (in sones) and difference between the average level of the F1 region and the average level of the F0 region (L1-L0). Long-term-average spectra (LTAS) were made. The relative F0 (difference between the lowest possible F0 and the mean F0 in shouting, measured in semitones) was also calculated. Nine listeners, trained in vocology, evaluated the samples for voice quality, timbre, perceived pitch, perceived loudness, firmness of phonation (along the axis from breathy to pressed), degree of turbulence noise, and roughness. Reliability between the listeners' evaluations was good (Cronbach's alpha 0,80-0,94). Lack of hypertension, perceived noise and roughness correlated with voice quality. Alpha ratio, firmness, Leq and F0 seemed to be related to perceived loudness. The main characteristics in good shouting voice, thus, seemed to be lack of perceived noise, lack of roughness, great alpha ratio, great Leq and appropriate firmness.

Key words: shouting, loudness, voice quality, perceptual evaluation, long-term average spectrum

Laura Sipilä 1 , Timo Leino 1 , Anne-Maria Laukkanen 1 , Tiina Syrjä 2

1 University of Tampere, Speech communication and voice research, Tampere

2 University of Tampere, Department of Acting, Tampere

The aim of the present study was to investigate whether the impression and spectral correlates of a good male voice of an actor (in Finland) are still the same as 20 years ago.  According to earlier studies [1, 2], a relatively gentle spectral slope and a strong sound energy concentration at about 3.5 kHz, the so-called actor's or speaker's formant, correlated with the evaluation of a good speaking voice.

In the present study, (1) the same text reading samples, recorded and evaluated 20 years ago were evaluated again by 12 student actors and 6 voice professionals, and (2) text reading samples of  32 student actors recorded before and after a 4 year actor's training (during the years 1993 -2004) were analyzed for long-term average spectrum (LTAS). Level differences were measured between the strongest spectral peak and the strongest peak between 1-2kHz, 2-3kHz, 3-4kHz and 4-5kHz.

According to the results, most of the earlier recorded text reading samples were still today evaluated to sound better after training, even though voice quality evaluation did not correlate with the relative sound level in the frequency bands.  

Sound level in the frequency bands 2-3 kHz and 3-4kHz had increased also after the more recent 4 years actor training. The results revealed no substantial changes in the evaluation of voice quality and, thus, in the voice training aims of student actors, although, the voice evaluation performed by the listeners of the present study seemed to be more wholistic and less focused on voice ‘ring'.

 

1. Leino T. (1994) Long-term average spectrum study on speaking voice quality in male actors. In SMAC93 Proceedings of the Stockholm Music Acoustics Conference July 28- August 1, 1993, A. Friberg, J. Iwarsson, E. Jansson & J. Sundberg, eds., pp 206-210.

2. Leino T., Kärkkäinen P. (1995) On the effects of vocal training on the speaking voice quality of male student actors. In: K. Elenius & P. Branderud, eds. Proceedings of The XIIIth International Congress of Phonetic Sciences, Stockholm, Sweden 13-19 August 1995. Stockholm: Department of Speech Communication and Music Acoustics, Royal Institute of Technology and the Department of Linguistics, Stockholm University, Vol.3 of 4, 496-499.

Heini Nikander 1 , Anne-Maria Laukkanen 1 , Timo Leino 1 , Tiina Syrjä 2

1 University of Tampere, Dept. of Speech Communication and Voice Research, Tampere

2 University of Tampere, Department of Acting, Tampere

The aim of this study was to investigate what is regarded as a good singing voice quality for stage singing among future actors and what spectral characteristics may be regarded as preferable. Relationship between perceptual voice quality and characteristics of long-term-average spectra (LTAS) were focused on. Of special interest was the relationship between voice evaluation and the possible singers' or actors' formant (strong sound energy concentration at frequency bands 2-3 kHz and 3-4 kHz respectively). Samples were collected from 11 female and 10 male student actors. Some of the subjects had had a little voice training earlier and some were at the beginning of their training. They sang a verse from a Finnish folk song, two times from two different pitches (ranges g-a¹ and c¹-c² for the females and one octave lower for the males). In total of seven voice experts (4 theatre professionals and 3 speech trainers with classical singing training) evaluated the voice quality of the samples using a visual analog scale (VAS), 0 being poor quality and 200 being excellent quality. Additionally, they marked whether they found the voices suited for music theatre, musical, neither of those, or both (suitability). From each pitch, the sample (out of two trials) that was evaluated as better was chosen for acoustical analysis. The perceptual quality ranged from 68 to 158, thus none of the samples were evaluated as very poor or excellent but clear differences existed, enabling the study of preferred vocal characteristics. LTAS were made and the level differences between the strongest spectral peak (below 1 kHz) and the strongest peaks between 1-2 kHz, 2-3 kHz, 3-4 kHz, 4-5 kHz and 5-6 kHz were calculated. Relations between the level differences and voice quality and suitability were also investigated. According to the results, mostly actor's formants, but also a few singer's formants, or at least signs of them were seen in the LTAS for both males and females. The voice quality correlated on the lower pitch with the relative sound level in the frequency bands 3-4 kHz and 4-5 kHz for the females and with that of the frequency band 1-2 kHz for the males. These results suggest that on lower pitch the good singing voice quality of future actors resembled more a good (loud) speaking voice quality than classical singing voice quality.

 

Key words: stage singing voice quality, LTAS, singer's formant, actor's formant

Hanna Tahvonen 1 , Timo Leino 1 , Anne-Maria Laukkanen 1 , Tuula Rajamäki 2

1 University of Tampere, Speech Communication and Voice Research, Tampere

2 Radio and TV Institute, , Helsinki

This study aimed to investigate what is regarded as a good radio professional’s voice and speech in Finland and whether different listener groups differ in their evaluation. Speech samples of professional Finnish radio speakers (41 females, 20 males) were recorded from news castings. The samples were evaluated for thirteen (13) parameters – such as suitability for radio voice, suitability for newscaster voice, fluency, clarity of articulation, speech rate – and overall impression by 6 naive listeners and 7 voice professionals. The thirteen parameters were evaluated on a visual analog scale and the overall impression by a number (4-10). The samples were acoustically analyzed for mean fundamental frequency (F0), F0 range, F0 mode, standard deviation of sound pressure level (SPL) and long-term average spectrum (LTAS). LTAS was studied by calculating the sum of sound energy levels every 25Hz filter bands in the ranges of 0-1kHz, 1-2 kHz, 2-3 kHz, 3-4 kHz and 4-5 kHz. The strongest spectral filter band below 1 kHz was given the value zero and, thus, all the other bands were compared to it, which reflects the spectral slope.

 

According to the results, the voice professionals evaluated the samples to represent in general a better radio and newscaster voice quality than the naïve listeners did, while the naïve listeners, in contrast to voice professionals, regarded the voices to be more suitable as newscaster voices than radio voices in general. Fluency and clarity of articulation correlated strongly both with good radio voice quality and newscaster voice quality. In female voices negative correlations were obtained between a good radio and newscaster voice quality and the sum of relative sound energy levels, especially in the range of 3-4 kHz.

 

The results suggest that voice professionals and naïve listeners evaluated radio and newscaster voice quality somewhat differently. However, both listener groups seemed to regard fluency and clarity of articulation as important characteristics of a good radio and newscaster speech and a softer voice quality (more tilting spectrum) as preferable for a female radio speaker. The strong correlations between voice quality and speech parameters point towards a rather wholistic evaluation of speech in both listener groups.

 

Key Words: Radio voice – Radio speech – News casting – Perceptual analysis – Acoustic analysis – LTAS – Voice quality – Fluency – Clarity of articulation.

Viggo Pettersen 1

1 University of Stavanger, Department of Music and Dance, Stavanger

Scientific abstract Introduction: The study is aimed at examining the activity of the Diaphragm (DPH) by electromyography (EMG). To survey crosstalk of respiratory and abdominal muscles EMG activity from the lower intercostals muscles (LINT) and the lateral abdominal muscles (ULAB) were recorded. Material and method: Four electrode sites recorded EMG activity from the lateral and dorsal sections of DHP. LINT and ULAB activity was recorded on both sides of the body. Sustained tones, ascending and descending quarts and a glissando served as sample performances. EMG activity was recorded in upright and supine positions Results: DHP activity during supine position was clearly lower than in upright position. It was observed that DHP was activated in idiosyncratic patterns during phonation and the result will be discussed.

Matthias Echternach 1 , Tobias Baumann 2 , Johan Sundberg 3 , Bernhard Richter 1 , Michael Markl 4

1 Institut of Musicians Medicine, Freiburg University Medical Center, Freiburg

2 Radiology, Freiburg University Medical Center, Freiburg

3 Department of Speech, Music and Hearing, KTH, Stockholm

4 MRI Physics, Freiburg University Medical Center, Freiburg

Introduction: The role of the vocal tract in registers is still unclarified. Material and Methods: We analysed 10 professional tenors vocal tract configurations with dynamic real time MRI and MRI volumetry. For dynamic analyses, all subjects produced a scale from C4 to A4 with or without a register shift from modal to falsetto register between E4 and F4. For volumetry, sustained tones on F4 on vowel (1) in modal and (2) in falsetto register were analysed. Formant frequencies were measured after reconstruction of the area function. Results:  Vocal tract shapes differed between modal and falsetto register. In modal register brighter lip opening, wider oral cavity and pharynx with were found. Formant frequencies for the first formants reveal lower frequencies for the falsetto.

Vlasta Lungova 1 , Jan G. Svec 2 , Jaromír Horacek 3 , Radan Havlik 4 , Mojmir Lejska 4 , Petr Krupa 5

1 Palacky University, Faculty of Science, Dept. of Zoology, Olomouc, CZ

2 Palacky University, Faculty of Science, Dept. of Experimental Physics, Olomouc, CZ

3 Academy of Sciences of the Czech Republic, Institute of Thermomechanics, Prague, CZ

4 Audio-Fon Centre, , Brno, CZ

5 Masaryk University, Dept. of Medical Imaging, Brno, CZ

It has been known that the shape of the vocal tract is important in classical singing. Little has been known, however, on the involvement of the muscles in shaping the vocal tract for achieving the desirable voice quality.  The goal of our work was to identify the distinct muscular groups based on magnetic resonance (MR) imaging of the vocal tract. Two male singers were studied who produced voice both in naive and operatic voice quality at the same fundamental  frequency for two different vowels  [a] and [e].  In operatic voice quality the MR images revealed following shaping tendencies of the vocal tract: a) Larynx lowering and narrowing of the epilaryngeal tube, b) raising of the soft palate, c) flattening of the tongue, and d) straightening of the spine. These adjustments suggest a complex involvement of many muscular groups including articulatory (laryngeal, lingual and velar-pharyngeal muscles that control the position, width and length of the structures shaping the vocal tract) as well as postural muscles (large muscles of the head, neck  and torso which control, e.g., the movement of the spine in anchoring to facilitate finer control of smaller muscles in the larynx). The data also indicate that both the singers have different anatomical dispositions which may influence their different resonance strategies in singing. The present study provides an overview of the different muscles and discusses their effects on the shape of the vocal tract.

The study was supported by the Grant Agency of the Czech Republic, project GACR 101/08/1155

Michèle Castellengo 1 , Sylvain Lamesch 1 , Boris Doval 1

1 LAM-IJLRA, , Paris

Anatomical observations and electroglottographic investigations lead to the concept of two main laryngeal vibratory mechanisms, common to men and women. The mechanism one (M1) allows production of sounds from the lowest frequencies to high medium (100-500 Hz). The mechanism two (M2) allows production of sounds from low medium to the higher part of the vocal range (200-1000 Hz). As a consequence the medium range (200-500Hz) is an overlapping area of both mechanisms inside which it is possible to shift from one to another. A mechanism shift is characterized by different events: frequency break, electroglottographic signal (EGG) amplitude change and Open quotient value (Oq) jump. Such accidents are avoided by western lyrical singers, but are common in Middle-Eastern traditional music.

 

We recorded simultaneously the sound and the EGG signal of an Iranian singer who sung musical excerpts in tahrir style and didactic examples such as stable notes of different frequencies with various vowels. Analyses showed that the specific ornament of tahrir, the tekye, is constituted of a quick alternation between laryngeal mechanisms M1-M2-M1, producing a short break (50 to 70 ms). Along the scale G3 (200 Hz) to C5 (523 Hz) the mean jump interval remains constant as a third (ratio between 6/5 and 5/4). It does not change with frequency.

 

Besides, a systematic study has been conducted with 7 male and female singers in order to investigate the dependency of the leap interval with frequency, intensity and vowel. Results show that leap intervals depend on SPL but remain constant for a given dynamics whatever the frequency.

 

In another study focused on the influence of the vowel on phonetograms in M1 and M2, it has been shown that the phonetogram upper limit is 10 dB louder on /i/ than on /a/ in M1, but not in M2. This may explain differences observed on sustained note with different vowels. It is also in agreement with the comments of expert tahrir singers.

Estella Ma 1 , Camille Yu 1

1 The University of Hong Kong, Division of Speech and Hearing Sciences, Hong Kong

Maria Ossovskaya 1 , Anna Brusser 1

1 The Vakhtangov Theatre Academy, Bolshoy Nikolopeskovskiy per. 12-a, Moscow

Amy Asbury 1 , Kathryn Green 1

1 Shenandoah University, Voice (Pedagogy), Winchester

Sandra Cornaz 1 , Nathalie Henrich 1 , Nathalie Vallée 1

1 CNRS, Speech and Cognition, GIPSA-lab, Saint Martin d'Hères

Ilter Denizoglu 1 , Murat Pehlivan 2

1 Alsancak State Hospital, ENT- Voice Clinic, Izmir

2 Ege University Faculty of Medicine, Biophysics, Izmir

Malgorzata Malicka 1

1 Medical University, Pepartment of Pediatric Otorhinolaryngology, Lodz

Jurjaan Snelleman 1 , Frederik Dikkers 1

1 Universitair Medisch Centrum Groningen, Otorhinolaryngology, Groningen

Isao Tokuda 1 , Miwako Kimura 2 , Hiroshi Imagawa 3 , Kenichi Sakakibara 4 , Niro Tayama 5

1 JAIST, School of Information Science, Nomi-city

2 University of Texas Southwestern, , Dallas

3 University of Tokyo Hospital, , Tokyo

4 Health Sciences University of Hokkaido, , Sapporo

5 International Medical Center, , Tokyo

Lev Rudin 1,2

1 Federal science and clinical centre of otolaryngology, otolaryngology, Moscow

2 Academic song and dance ensemble of Russian Army named after A.V. Aleksandrov, Room for phoniatrics , Moscow

Anne Rosing-Schow 1 , Solveig Gunvor Pedersen 2,3 , Niels Reinholt 3

1 University of Copenhagen, Department of Arts and Cultural Studies, DK Copenhagen

2 CSU, Communication Department, Roskilde

3 University of Copenhagen, Department of Scandinavian Studies and Linguistics, Copenhagen

Valeriy Svistushkin 1 , Vasif Isaev 1 , Djavanshir Mustafaev 1 , Idrak Ahmedov 1 , Ekaterina Osipenko 2

1 Moscow regional research clinical institute named after M.F. Vladimirsky, ENT, Moscow

2 Federal Research Clinical Centre of ENT of the Russia, Director od laboratory of a vocal and scenic voice, Moscow

Teija Waaramaa 1 , Anne-Maria Laukkanen 1 , Unto K. Laine 2

1 University of Tampere, Dept. of Speech Communication and Voice Research, Tampere

2 Helsinki University of Technology, Department of Signal Processing and Acoustics, Espoo

Ewa Niebudek-Bogusz 1 , Ewelina Woznicka 1 , Mariola Sliwinska-Kowalska 1

1 Nofer Institute of Occupational Medicine, Dep.of Audiology and Phoniatrics, Lodz

Leenamaija Kleemola 1

1 Tampere University Hospital, Phoniatric Department, Tampere

Manal El-Banna 1,2 , Yehia Abouras 1,2 , Riham El-Maghraby 1,2 , Amira Ibrahim 1,2

1 Faculty of Medicine, otorhinolaryngology, Alexandria

2 Alexandria University, unit of Phoniatrics, Alexandria

Maja Sereg Bahar 1 , Tanja Soklic Kosak 1 , Irena Hocevar Boltezar 1

1 University medical centre, ORL and HNS, Ljubljana

Kirsti Leppänen 1

1 University of Tampere, Department Speech communication and voice research, Tampere

Diane Hazlett 1 , Orla Duffy 2 , Anne Moorhead 1

1 University of Ulster, School of Communication, Newtownabbey

2 University of Ulster, School of Health Sciences, Newtownabbey

Jaana Tyrmi 1

1 University of Tampere, Department of Speech Communication and Voice Research, Tampere

Orietta Calcinoni 1

1 INAIL, CPDR, Milan

Carolina Perez Sanz 1

1 CSIC, Laboratorio de Fonética, Madrid

David Azul 1

1 La Trobe University, Communication, Arts, Critical Enquiry, Fairfield

Bozena Wiskirska-Woznica 1 , J. Kraśny 1 , A Zebryk-Stopa 1

1 University of Medical Sciences, Phoniatrics & Audiology, Poznan

Bodil Krog Rasmussen 1 , Ågot Grøntved 2

1 Center of Rehabilitation and Special Counseling, Speech Department, Odense

2 Odense University Hospital, oto-rhino-laryngo , Odense

Dominique Müller 1 , Friederike Roers 1 , Dirk Mürbe 1

1 University Hospital Carl Gustav Carus, Otorhinolaryngology, Dresden

Katharina Florek 1 , Dirk Mürbe 1

1 University Hospital Carl Gustav Carus, Otorhinolaryngology, Dresden

Mario Fleischer 1 , Matthias Bornitz 1 , Thomas Zahnert 1 , Dirk Mürbe 1 , Marcus Hofmann 2 , Kai Bachmann 3

1 Technische Universität, Clinic of Otorhinolaryngology, Dresden

2 Gesangstudio Bernau am Chiemsee, , Bernau

3 University Mozarteum, Department of Music Pedagogy, Salzburg