The Perception of Formant Tuning in Soprano Voices. / Vos, Rebecca; Murphy, Damian Thomas; Howard, David; Daffern, Helena.

In: Journal of Voice, Vol. 32, No. 1, 01.2018, p. 126.e1-126.e10.

Research output: Contribution to journalArticle

Published

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The Perception of Formant Tuning in Soprano Voices. / Vos, Rebecca; Murphy, Damian Thomas; Howard, David; Daffern, Helena.

In: Journal of Voice, Vol. 32, No. 1, 01.2018, p. 126.e1-126.e10.

Research output: Contribution to journalArticle

Harvard

Vos, R, Murphy, DT, Howard, D & Daffern, H 2018, 'The Perception of Formant Tuning in Soprano Voices', Journal of Voice, vol. 32, no. 1, pp. 126.e1-126.e10. https://doi.org/10.1016/j.jvoice.2017.03.017

APA

Vos, R., Murphy, D. T., Howard, D., & Daffern, H. (2018). The Perception of Formant Tuning in Soprano Voices. Journal of Voice, 32(1), 126.e1-126.e10. https://doi.org/10.1016/j.jvoice.2017.03.017

Vancouver

Vos R, Murphy DT, Howard D, Daffern H. The Perception of Formant Tuning in Soprano Voices. Journal of Voice. 2018 Jan;32(1):126.e1-126.e10. https://doi.org/10.1016/j.jvoice.2017.03.017

Author

Vos, Rebecca ; Murphy, Damian Thomas ; Howard, David ; Daffern, Helena. / The Perception of Formant Tuning in Soprano Voices. In: Journal of Voice. 2018 ; Vol. 32, No. 1. pp. 126.e1-126.e10.

BibTeX

@article{e7ca6a1ff0b34c5898c93ea82a2cc32c,
title = "The Perception of Formant Tuning in Soprano Voices",
abstract = "Introduction. At the upper end of the soprano range, singers adjust their vocal tract to bring one or more of its resonances (Rn) toward a source harmonic, increasing the amplitude of the sound; this process is known as resonance tuning. This study investigated the perception of (R1) and (R2) tuning, key strategies observed in classically trained soprano voices, which were expected to be preferred by listeners. Furthermore, different vowels were com- pared, whereas previous investigations have usually focused on a single vowel.Methods. Listeners compared three synthetic vowel sounds, at four fundamental frequencies (f0), to which four tuning strategies were applied: (A) no tuning, (B) R1 tuned to f0, (C) R2 tuned to 2f0, and (D) both R1 and R2 tuned. Partici- pants compared preference and naturalness for these strategies and were asked to identify each vowel.Results. The preference and naturalness results were similar for /ɑ/, with no clear pattern observed for vowel iden- tification. The results for /u/ showed no clear difference for preference, and only slight separation for naturalness, with poor vowel identification. The results for /i/ were striking, with strategies including R2 tuning both preferred and con- sidered more natural than those without. However, strategies without R2 tuning were correctly identified more often. Conclusions. The results indicate that perception of different tuning strategies depends on the vowel and perceptual quality investigated, and the relationship between the formants and (f0). In some cases, formant tuning was beneficial at lower f0s than expected, based on previous resonance tuning studies.",
keywords = "soprano, resonance, formant, tuning, perception",
author = "Rebecca Vos and Murphy, {Damian Thomas} and David Howard and Helena Daffern",
year = "2018",
month = jan,
doi = "10.1016/j.jvoice.2017.03.017",
language = "English",
volume = "32",
pages = "126.e1--126.e10",
journal = "Journal of Voice",
issn = "0892-1997",
publisher = "Mosby Inc.",
number = "1",

}

RIS

TY - JOUR

T1 - The Perception of Formant Tuning in Soprano Voices

AU - Vos, Rebecca

AU - Murphy, Damian Thomas

AU - Howard, David

AU - Daffern, Helena

PY - 2018/1

Y1 - 2018/1

N2 - Introduction. At the upper end of the soprano range, singers adjust their vocal tract to bring one or more of its resonances (Rn) toward a source harmonic, increasing the amplitude of the sound; this process is known as resonance tuning. This study investigated the perception of (R1) and (R2) tuning, key strategies observed in classically trained soprano voices, which were expected to be preferred by listeners. Furthermore, different vowels were com- pared, whereas previous investigations have usually focused on a single vowel.Methods. Listeners compared three synthetic vowel sounds, at four fundamental frequencies (f0), to which four tuning strategies were applied: (A) no tuning, (B) R1 tuned to f0, (C) R2 tuned to 2f0, and (D) both R1 and R2 tuned. Partici- pants compared preference and naturalness for these strategies and were asked to identify each vowel.Results. The preference and naturalness results were similar for /ɑ/, with no clear pattern observed for vowel iden- tification. The results for /u/ showed no clear difference for preference, and only slight separation for naturalness, with poor vowel identification. The results for /i/ were striking, with strategies including R2 tuning both preferred and con- sidered more natural than those without. However, strategies without R2 tuning were correctly identified more often. Conclusions. The results indicate that perception of different tuning strategies depends on the vowel and perceptual quality investigated, and the relationship between the formants and (f0). In some cases, formant tuning was beneficial at lower f0s than expected, based on previous resonance tuning studies.

AB - Introduction. At the upper end of the soprano range, singers adjust their vocal tract to bring one or more of its resonances (Rn) toward a source harmonic, increasing the amplitude of the sound; this process is known as resonance tuning. This study investigated the perception of (R1) and (R2) tuning, key strategies observed in classically trained soprano voices, which were expected to be preferred by listeners. Furthermore, different vowels were com- pared, whereas previous investigations have usually focused on a single vowel.Methods. Listeners compared three synthetic vowel sounds, at four fundamental frequencies (f0), to which four tuning strategies were applied: (A) no tuning, (B) R1 tuned to f0, (C) R2 tuned to 2f0, and (D) both R1 and R2 tuned. Partici- pants compared preference and naturalness for these strategies and were asked to identify each vowel.Results. The preference and naturalness results were similar for /ɑ/, with no clear pattern observed for vowel iden- tification. The results for /u/ showed no clear difference for preference, and only slight separation for naturalness, with poor vowel identification. The results for /i/ were striking, with strategies including R2 tuning both preferred and con- sidered more natural than those without. However, strategies without R2 tuning were correctly identified more often. Conclusions. The results indicate that perception of different tuning strategies depends on the vowel and perceptual quality investigated, and the relationship between the formants and (f0). In some cases, formant tuning was beneficial at lower f0s than expected, based on previous resonance tuning studies.

KW - soprano

KW - resonance

KW - formant

KW - tuning

KW - perception

U2 - 10.1016/j.jvoice.2017.03.017

DO - 10.1016/j.jvoice.2017.03.017

M3 - Article

VL - 32

SP - 126.e1-126.e10

JO - Journal of Voice

JF - Journal of Voice

SN - 0892-1997

IS - 1

ER -