Скачать с ютуб In Search of the Soprano Singer's Formant: A Perceptual Approach в хорошем качестве

In Search of the Soprano Singer's Formant: A Perceptual Approach

This video is of Dr. Ian Howell's presentation at the 2017 Society for Music Perception and Cognition Conference in San Diego. This material is a combination of his model for understanding the special psychoacoustics of the singing voice, as found in his VOICEPrints article, "Necessary roughness in the voice pedagogy classroom: The special psychoacoustics of the singing voice," (https://www.academia.edu/32786831/Nec..., and research in collaboration with Rebecca Worthington , GD, MM. http://www.necmusic.edu/vocal-pedagogy The spectrograph used in this video is Overtone Analyzer. The company that makes it has just recently merged with VoceVista. If you are interested in exploring sound with this program, the equivalent program available from the new company is called VoceVista Video Pro. More info can be found here: http://www.sygyt.com Abstract: One critical difference between speech and classical singing is the presence of the "Singer's Formant" (Fs). Bartholomew (1935), Vennard (1967), Sundberg (1987), McCoy (2005), Bozeman (2013), and others locate the Fs phenomenon below approximately 4kHz, placing it within the frequency band preferred for speech comprehension. Sundberg demonstrates that the third, fourth, and fifth vocal tract resonances cluster to profoundly amplify nearby voice source harmonics. At pitches typically sung by classical male, non treble singers, multiple harmonics fall within this boosted frequency range. Since the number of harmonics present within this frequency range necessarily decreases as pitch rises, and harmonics must be present to express vocal tract resonances, the voice pedagogy literature tends to present the Fs as a characteristic of the male singing voice, absent in the female voice above C5. If, however, the Fs is defined neither by frequency range nor specific vocal tract resonances, but by perceptual qualities, one may begin to search for harmonics exhibiting similar qualities above C5 in the elite soprano voice. Auditory roughness, a buzzy quality present when harmonics fall within critical bands, is generally related to position within the harmonic series rather than frequency range. A tenor singing Bb4 may have as many as four harmonics in a critical band below 4kHz (his observed Fs). A soprano's F5 has no roughness in sub-4kHz harmonics. However, a spectrogram of an elite female singing above the treble staff frequently reveals high frequency spectral peaks in the range higher than typically studied in speech perception. They are composed of harmonics that fall within critical bands, a key perceptual quality of the male Fs. This presentation features analysis from a pilot study (n=4) of advanced graduate level sopranos demonstrating Fs-like peaks that exhibit acoustic roughness in the elite female voice, albeit at higher frequencies than in males. Defining the Fs perceptually and searching for such qualities where they arise in the female voice---analysis of what is present rather than what is missing vis a vis a male voice---allows one to begin to consider how these Fs-like peaks are characteristic of, rather than incidental to the timbre of the elite female singing voice.