Biomedical subjects

Johan Sundberg

Publications and source records attributed to Johan Sundberg.

24 records · Page 2Linked to original sources

PubMed2004

Change of voice characteristics during +3 Gz acceleration.

BACKGROUND: This study was performed to test the feasibility of an experimental approach for assessing voice changes during exposure to increased +Gz acceleration. Such changes are probably due to mechanical alterations of the structures involved in voice production. This may be relevant to automatic speech analysis for flight control. Because voice control by means of auditory feedback may compensate for acceleration effects, the investigations included conditions with masked auditory feedback. METHOD: Four male subjects read standard speech test material while seated in a human centrifuge both during sustained +3 Gz acceleration and in a reference condition. Both test runs were repeated with masking of the auditory feedback by a white noise presented via headphones. Microphone and acceleration signals were recorded on a PC-based dynamic signal acquisition board. Long-time average spectra (LTAS), fundamental frequency (F0), and the frequency of the first, second, and third formant (F1, F2, F3) of the vowels /a/, /o/, and /i/ were extracted from the microphone signal for the different conditions. RESULTS: LTAS clearly differed between the masking conditions, but not between reference and +3 Gz conditions. F0 clearly rose with auditory masking and showed a small increase under +3 Gz acceleration. Several effects of +3 Gz acceleration on formant frequencies were found, all of rather small magnitude. Increased acceleration lowered F2 for the vowel /i/. A decrease of F3 was observed for vowels /i/ and /o/. CONCLUSION: This pilot study has shown the feasibility of an experimental approach to assessing voice changes during exposure to increased +Gz acceleration. Exposure to +3 Gz showed small effects on FO and several formant frequencies. A definitive forthcoming study should assess the significance of these effects by investigating a greater number of subjects during exposure to acceleration higher than +3 Gz.

Adult↗

PubMed2003

Measurements of vibrato parameters in long sustained crescendo notes as sung by ten sopranos.

Two high-pitched and long sustained notes, F5 and A5, were selected from an aria found in ten commercial recordings of G Verdi's opera Aida by ten different sopranos. Both notes were sung without any instrumental accompaniment and with a crescendo. These audio examples were analyzed with regard to fundamental frequency, vibrato rate, vibrato extent, intonation and sound level, and the relationship among these parameters. The results reveal that vibrato rate differed significantly between the tones in most of the singers and confirm Prame's observations that vibrato rate tends to increase exponentially toward the end of tones. Moreover, both vibrato extent and mean F0 often varied systematically with sound level. The regularity of the vibrato tended to be greater at F5 than at A5.

Humans↗

PubMed2003

Simultaneous analysis of vocal fold vibration and transglottal airflow: exploring a new experimental setup.

The purpose of this study was to develop an analysis system for studying the relationship between vocal fold vibration and the associated transglottal airflow. Recordings of airflow, electroglottography (EGG), oral air pressure, and acoustic signals were performed simultaneously with high-speed imaging at a rate of approximately 1900 frames/s. Inverse filtered airflow is compared with the simultaneous glottal area extracted from the high-speed image sequence. The accuracy of the synchronization between the camera images and the foot pedal synchronization pulse was examined, showing that potential synchronization errors increase with time distance to the synchronization pulse. Therefore, analysis was limited to material near the synchronization pulse. Results corroborate previous predictions that air flow lags behind area, but also they reveal that relationships between these two entities may be complex and apparently varying with phonation mode.

Acoustics↗

PubMed2002

Significance of auditory and kinesthetic feedback to singers' pitch control.

An accurate control of fundamental frequency (F0) is required from singers. This control relies on auditory and kinesthetic feedback. However, a loud accompaniment may mask the auditory feedback, leaving the singers to rely on kinesthetic feedback. The object of the present study was to estimate the significance of auditory and kinesthetic feedback to pitch control in 28 students beginning a professional solo singing education. The singers sang an ascending and descending triad pattern covering their entire pitch range with and without masking noise in legato and staccato and in a slow and a fast tempo. F0 was measured by means of a computer program. The interval sizes between adjacent tones were determined and their departures from equally tempered tuning were calculated. The deviations from this tuning were used as a measure of the accuracy of intonation. Statistical analysis showed a significant effect of masking that amounted to a mean impairment of pitch accuracy by 14 cent across all subjects. Furthermore, significant effects were found of tempo as well as of the staccato/legato conditions. The results indicate that auditory feedback contributes significantly to singers' control of pitch.

Adult↗

PubMed2002

Velum behavior in professional classic operatic singing.

The velopharyngeal opening (VPO) is analyzed in 17 professional operatic singers, 3 high sopranos, 3 sopranos, 2 mezzo-sopranos, 3 tenors, 2 baritones, 2 bass-baritones, and 2 basses singing the vowels [a, i, u] at middle degree of vocal loudness at different pitches throughout their pitch range. Three methods were used for detection of a VPO. One was nasofiberscopy, which revealed VPO of various shapes in several singers. Another method was recording nasal and oral airflow by means of a divided flow mask. These measurements showed a nasal DC airflow at least at some pitches in a majority of the singers. A third method was a comparison of the level of the fundamental in the nasal and oral airflow signals; this level difference was less than 15 dB in cases where a nasal DC airflow was observed. Values less than 15 dB were observed in some cases, thus suggesting the presence of a VPO. The tokens produced by the singers were assessed by an expert panel with respect to nasal quality of the vowel timbre; no correlation was found between rated nasal quality and the presence of a VPO.

Adult↗

PubMed2002

Spectral distribution of solo voice and accompaniment in pop music.

Singers performing in popular styles of music mostly rely on feedback provided by monitor loudspeakers on the stage. The highest sound level that these loudspeakers can provide without feedback noise is often too low to be heard over the ambient sound level on the stage. Long-term-average spectra of some orchestral accompaniments typically used in pop music are compared with those of classical symphonic orchestras. In loud pop accompaniment the sound level difference between 0.5 and 2.5 kHz is similar to that of a Wagner orchestra. Long-term-average spectra of pop singers' voices showed no signs of a singer's formant but a peak near 3.5 kHz. It is suggested that pop singers' difficulties to hear their own voices may be reduced if the frequency range 3-4 kHz is boosted in the monitor sound.

Acoustics↗