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Relevant bibliographies by topics / Vocal quality

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Academic literature on the topic 'Vocal quality'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Journal articles on the topic "Vocal quality"

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Watterson, Thomas, Stephen C. McFarlane, and Kari L. Diamond. "Phoneme Effects on Vocal Effort and Vocal Quality." American Journal of Speech-Language Pathology 2, no. 2 (May 1993): 74–78. http://dx.doi.org/10.1044/1058-0360.0202.74.

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This study demonstrated that "vocal effort" is a legitimate laryngeal perception that can be detected by many subjects who have voice disorders and by some normal control subjects. Further, subjects with voice disorders found that the degree of vocal effort in speech was greatest for voiceless obstruent consonants, followed by voiced obstruents; sonorants and nasals required the least effort. A panel of listeners, however, could not detect differences in roughness, breathiness, intonation, or overall vocal quality as the perceived vocal effort varied.

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Eskenazi, L., D. G. Childers, and D. M. Hicks. "Acoustic Correlates of Vocal Quality." Journal of Speech, Language, and Hearing Research 33, no. 2 (June 1990): 298–306. http://dx.doi.org/10.1044/jshr.3302.298.

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We have investigated the relationship between various voice qualities and several acoustic measures made from the vowel /i/ phonated by subjects with normal voices and patients with vocal disorders. Among the patients (pathological voices), five qualities were investigated: overall severity, hoarseness, breathiness, roughness, and vocal fry. Six acoustic measures were examined. With one exception, all measures were extracted from the residue signal obtained by inverse filtering the speech signal using the linear predictive coding (LPC) technique. A formal listening test was implemented to rate each pathological voice for each vocal quality. A formal listening test also rated overall excellence of the normal voices. A scale of 1–7 was used. Multiple linear regression analysis between the results of the listening test and the various acoustic measures was used with the prediction sums of squares (PRESS) as the selection criteria. Useful prediction equations of order two or less were obtained relating certain acoustic measures and the ratings of pathological voices for each of the five qualities. The two most useful parameters for predicting vocal quality were the Pitch Amplitude (PA) and the Harmonics-to-Noise Ratio (HNR). No acoustic measure could rank the normal voices.

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Krecicki, Tomasz, Marcin Just, Michal H. Tyc, Mateusz Kolator, and Monika Morawska-Kochman. "Vocal quality in postmenopausal women." Maturitas 81, no. 1 (May 2015): 180. http://dx.doi.org/10.1016/j.maturitas.2015.02.234.

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D'haeseleer, Evelien, Iris Meerschman, Sofie Claeys, Clara Leyns, Julie Daelman, and Kristiane Van Lierde. "Vocal Quality in Theater Actors." Journal of Voice 31, no. 4 (July 2017): 510.e7–510.e14. http://dx.doi.org/10.1016/j.jvoice.2016.11.008.

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Suire, Alexandre, Michel Raymond, and Melissa Barkat-Defradas. "Male Vocal Quality and Its Relation to Females’ Preferences." Evolutionary Psychology 17, no. 3 (July 1, 2019): 147470491987467. http://dx.doi.org/10.1177/1474704919874675.

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In both correlational and experimental settings, studies on women’s vocal preferences have reported negative relationships between perceived attractiveness and men’s vocal pitch, emphasizing the idea of an adaptive preference. However, such consensus on vocal attractiveness has been mostly conducted with native English speakers, but a few evidence suggest that it may be culture-dependent. Moreover, other overlooked acoustic components of vocal quality, such as intonation, perceived breathiness and roughness, may influence vocal attractiveness. In this context, the present study aims to contribute to the literature by investigating vocal attractiveness in an underrepresented language (i.e., French) as well as shedding light on its relationship with understudied acoustic components of vocal quality. More specifically, we investigated the relationships between attractiveness ratings as assessed by female raters and male voice pitch, its variation, the formants’ dispersion and position, and the harmonics-to-noise and jitter ratios. Results show that women were significantly more attracted to lower vocal pitch and higher intonation patterns. However, they did not show any directional preferences for all the other acoustic features. We discuss our results in light of the adaptive functions of vocal preferences in a mate choice context.

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Mencke, Thomas, Mathias Echternach, Stefan Kleinschmidt, Philip Lux, Volker Barth, Peter K. Plinkert, and Thomas Fuchs-Buder. "Laryngeal Morbidity and Quality of Tracheal Intubation." Anesthesiology 98, no. 5 (May 1, 2003): 1049–56. http://dx.doi.org/10.1097/00000542-200305000-00005.

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Background Vocal cord sequelae and postoperative hoarseness during general anesthesia are a significant source of morbidity for patients and a source of liability for anesthesiologists. Several risk factors leading to laryngeal injury have been identified in the past. However, whether the quality of tracheal intubation affects their incidence or severity is still unclear. Methods Eighty patients were randomized in two groups (n = 40 for each) to receive a propofol-fentanyl induction regimen with or without atracurium. Intubation conditions were evaluated with the Copenhagen Score; postoperative hoarseness was assessed at 24, 48, and 72 h by a standardized interview; and vocal cords were examined by stroboscopy before and 24 and 72 h after surgery. If postoperative hoarseness or vocal cord sequelae persisted, follow-up examination was performed until complete restitution. Results Without atracurium, postoperative hoarseness occurred more often (16 vs. 6 patients; P = 0.02). The number of days with postoperative hoarseness was higher when atracurium was omitted (25 vs. 6 patients; P < 0.001). Similar findings were observed for vocal cord sequelae (incidence of vocal cord sequelae: 15 vs. 3 patients, respectively, P = 0.002; days with vocal cord sequelae: 50 vs. 5 patients, respectively, P < 0.001). Excellent intubating conditions were less frequently associated with postoperative hoarseness compared to good or poor conditions (11, 29, and 57% of patients, respectively; excellent vs. poor: P = 0.008). Similar findings were observed for vocal cord sequelae (11, 22, and 50% of patients, respectively; excellent vs. poor: P = 0.02). Conclusions The quality of tracheal intubation contributes to laryngeal morbidity, and excellent conditions are less frequently associated with postoperative hoarseness and vocal cord sequelae. Adding atracurium to a propofol-fentanyl induction regimen significantly improved the quality of tracheal intubation and decreased postoperative hoarseness and vocal cord sequelae.

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Venkatraman, Anumitha, and M. Preeti Sivasankar. "Continuous Vocal Fry Simulated in Laboratory Subjects: A Preliminary Report on Voice Production and Listener Ratings." American Journal of Speech-Language Pathology 27, no. 4 (November 21, 2018): 1539–45. http://dx.doi.org/10.1044/2018_ajslp-17-0212.

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Purpose Vocal fry is prevalent in everyday speech. However, whether the use of vocal fry is detrimental to voice production is unclear. This preliminary study assessed the effects of using continuous vocal fry on voice production measures and listener ratings. Method Ten healthy individuals (equal male and female, mean age = 22.4 years) completed 2 counterbalanced sessions. In each session, participants read in continuous vocal fry or habitual voice quality for 30 min at a comfortable intensity. Continuous vocal fry was simulated. Phonation threshold pressure (PTP 10 and PTP 20 ), cepstral peak prominence, and vocal effort ratings were obtained before and after the production of each voice quality. Next, 10 inexperienced listeners (equal male and female, mean age = 24.1 years) used visual analog scales to rate paired samples of continuous vocal fry and habitual voice quality for naturalness, employability, and amount of listener concentration. Results PTP 10 and vocal effort ratings increased after 30 min of continuous vocal fry. Inexperienced listeners rated continuous vocal fry more negatively than the habitual voice quality. Conclusions Thirty minutes of simulated, continuous vocal fry worsened some voice measures when compared with a habitual voice quality. Samples of continuous vocal fry were rated as significantly less employable, less natural, and requiring greater listener concentration as compared with samples of habitual voice quality. Future studies should include habitual users of vocal fry to investigate speech stimulability and adaptation with cueing to further understand pathogenesis of vocal fry.

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Niimi, Seiji, and Mamiko Miyaji. "Vocal Fold Vibration and Voice Quality." Folia Phoniatrica et Logopaedica 52, no. 1-3 (August 17, 1999): 32–38. http://dx.doi.org/10.1159/000021510.

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Hillenbrand, James, Ronald A. Cleveland, and Robert L. Erickson. "Acoustic Correlates of Breathy Vocal Quality." Journal of Speech, Language, and Hearing Research 37, no. 4 (August 1994): 769–78. http://dx.doi.org/10.1044/jshr.3704.769.

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The purpose of this study was to evaluate the effectiveness of several acoustic measures in predicting breathiness ratings. Recordings were made of eight normal men and seven normal women producing normally phonated, moderately breathy, and very breathy sustained vowels. Twenty listeners rated the degree of breathiness using a direct magnitude estimation procedure. Acoustic measures were made of: (a) signal periodicity, (b) first harmonic amplitude, and (c) spectral tilt. Periodicity measures provided the most accurate predictions of perceived breathiness, accounting for approximately 80% of the variance in breathiness ratings. The relative amplitude of the first harmonic correlated moderately with breathiness ratings, and two measures of spectral tilt correlated weakly with perceived breathiness.

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Gerratt, Bruce R., and Jody Kreiman. "Measuring vocal quality with speech synthesis." Journal of the Acoustical Society of America 110, no. 5 (November 2001): 2560–66. http://dx.doi.org/10.1121/1.1409969.

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Dissertations / Theses on the topic "Vocal quality"

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Eadie, Tanya L. "A perceptual investigation of vocal quality using backward speech." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0004/MQ42063.pdf.

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Beck, J. M. "Organic variation and voice quality." Thesis, University of Edinburgh, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382921.

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Chan, Mei-mei Rainy. "The effect of hydration and vocal rest on vocal quality and function after Karaoke singing among people." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B36207457.

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Thesis (B.Sc)--University of Hong Kong, 2000.
"A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, May 10, 2000." Also available in print.

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Samlan, Robin Amy. "Kinematic Modeling of Asymmetric Vocal Fold Vibration." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/232456.

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Asymmetries of the vocal folds and vocal fold vibration are key features underlying unilateral vocal fold motion impairment (VFMI). The knowledge of what particular asymmetries contribute to breathy voice and which asymmetries must be eliminated to re-establish normal voice will be important to improving evaluation and treatment of VFMI. It was hypothesized that several structural and vibratory asymmetries should lead to predictable changes in the glottal area, flow, and acoustic waveforms, and subsequently a perceived breathy voice quality. The purpose of this project was threefold: 1) to determine how specific vocal fold structural and vibratory asymmetries alter vocal function and perceived voice quality, 2) to determine the improvement in vocal function and voice quality in an abnormal voice with elimination of individual asymmetries, and 3) to develop a battery of vocal function measures that vary with dysphonia in a predictable manner. The approach was to use a computational kinematic model of vocal fold vibration that allows for differential left/right control of parameters such as vocal fold adduction, medial surface bulging, vibratory nodal point, phase, amplitude of vibration, and fundamental frequency. The resultant signals were subjected to aerodynamic and acoustic measurement as well as perceptual rating of voice quality. Results revealed that the degree of vocal process separation was the most influential parameter tested, though asymmetry of bulging, nodal point ratio, and starting phase worsened normal voice quality. Conversely, increased symmetry of bulging, nodal point ratio, amplitude of vibration and starting phase improved disordered voice quality. The amount of improvement to disordered voices varied based on the number of other asymmetries present. None of the six vocal function measures tested were primarily responsive to one particular model parameter, though four measures generally decreased as vocal process separation increased: maximum flow declination rate (MFDR), spectral slope (B0-B2), cepstral peak prominence (CPP), and harmonics-to-noise ratio (HNR). Two of the measures, MFDR and CPP, co-varied with each of the five parameters and robustly correlated with perceived severity.

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Manickam, Kathiresan. "Objective voice quality modelling and analysis of vocal fold functionality in radiotherapy." Thesis, Liverpool John Moores University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421413.

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Malandraki, Georgia. "Persisting Effects of Aspiration and Penetration on Voice Quality and Vocal Pitch." Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1103140461.

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Malandraki, Georgia A. "Persisting effects of aspiration and penetration on voice quality and vocal pitch." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1103140461.

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Mitchell, Helen Frances. "Defining vocal quality in female classical singers: pedagogical, acoustical and perceptual studies." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/710.

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The technique of 'open throat' is a pedagogical concept transmitted through the oral tradition of singing. This thesis explored the pedagogical perceptions and practices of 'open throat' using empirical methodologies to assess technical skill and associated vocal quality. In the first study (Mitchell, Kenny, Ryan, & Davis, 2003), we assessed the degree of consensus amongst singing pedagogues regarding the definition of, and use in the singing studio of the technique called 'open throat.' Results indicated that all fifteen pedagogues described 'open throat' technique as fundamental to singing training and were positive about the sound quality it achieved, especially in classical singing. It was described as a way of maximising pharyngeal space or abducting the false vocal folds. Hypotheses generated from pedagogical beliefs expressed in this first study were then tested acoustically (Mitchell & Kenny, 2004a, 2004b). Six advanced singing students sang in two conditions: 'optimal' (O), using maximal open throat, 'sub-optimal' (SO), using reduced open throat and loud sub-optimal (LSO) to control for the effect of loudness. From these recordings, acoustic characteristics of vibrato (Mitchell & Kenny, 2004b) and energy distribution (Mitchell & Kenny, 2004a) were examined. Subsequent investigations of the vibrato parameters of rate, extent and onset, revealed that extent was significantly reduced and onset increased when singers did not use the technique. As inconsistent vibrato is considered indicative of poor singing, it was hypothesized that testing the energy distribution in these singers' voices in each condition would identify the timbral changes associated with open throat. Visual inspection of long term average spectra (LTAS) confirmed differences between O and SO, but conventional measures applied to long term average spectra (LTAS), comparing energy peak height [singing power ratio (SPR)] and peak area [energy ratio (ER)] were not sensitive to the changes identified through visual inspection of the LTAS. These results were not consistent with the vibrato findings and suggest that conventional measures of SPR and ER are not sufficiently sensitive to evaluate LTAS. In the fourth study, fifteen expert listeners consistently and reliably identified the presence of open throat technique with 87% accuracy (Mitchell & Kenny, in press). In the fifth study, LTAS measurements were examined with respect to the perceptual ratings of singers. There was no relationship between perceptual rankings of vocal beauty and acoustic rankings of vocal quality (Kenny & Mitchell, 2004, in press). There is a vast literature of spectral energy definitions of good voice but the studies in this thesis have indicated that current acoustic methods are limited in defining vocal quality. They also suggest that current work in singing has not sufficiently incorporated perceptual ratings and descriptions of sound quality or the relationship between acoustic and perceptual factors with pedagogical practices.

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Mitchell, Helen Frances. "Defining vocal quality in female classical singers: pedagogical, acoustical and perceptual studies." University of Sydney. Australian Centre for Applied Research in Music Performance, 2005. http://hdl.handle.net/2123/710.

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The technique of �open throat� is a pedagogical concept transmitted through the oral tradition of singing. This thesis explored the pedagogical perceptions and practices of �open throat� using empirical methodologies to assess technical skill and associated vocal quality. In the first study (Mitchell, Kenny, Ryan, & Davis, 2003), we assessed the degree of consensus amongst singing pedagogues regarding the definition of, and use in the singing studio of the technique called �open throat.� Results indicated that all fifteen pedagogues described �open throat� technique as fundamental to singing training and were positive about the sound quality it achieved, especially in classical singing. It was described as a way of maximising pharyngeal space or abducting the false vocal folds. Hypotheses generated from pedagogical beliefs expressed in this first study were then tested acoustically (Mitchell & Kenny, 2004a, 2004b). Six advanced singing students sang in two conditions: �optimal� (O), using maximal open throat, �sub-optimal� (SO), using reduced open throat and loud sub-optimal (LSO) to control for the effect of loudness. From these recordings, acoustic characteristics of vibrato (Mitchell & Kenny, 2004b) and energy distribution (Mitchell & Kenny, 2004a) were examined. Subsequent investigations of the vibrato parameters of rate, extent and onset, revealed that extent was significantly reduced and onset increased when singers did not use the technique. As inconsistent vibrato is considered indicative of poor singing, it was hypothesized that testing the energy distribution in these singers� voices in each condition would identify the timbral changes associated with open throat. Visual inspection of long term average spectra (LTAS) confirmed differences between O and SO, but conventional measures applied to long term average spectra (LTAS), comparing energy peak height [singing power ratio (SPR)] and peak area [energy ratio (ER)] were not sensitive to the changes identified through visual inspection of the LTAS. These results were not consistent with the vibrato findings and suggest that conventional measures of SPR and ER are not sufficiently sensitive to evaluate LTAS. In the fourth study, fifteen expert listeners consistently and reliably identified the presence of open throat technique with 87% accuracy (Mitchell & Kenny, in press). In the fifth study, LTAS measurements were examined with respect to the perceptual ratings of singers. There was no relationship between perceptual rankings of vocal beauty and acoustic rankings of vocal quality (Kenny & Mitchell, 2004, in press). There is a vast literature of spectral energy definitions of good voice but the studies in this thesis have indicated that current acoustic methods are limited in defining vocal quality. They also suggest that current work in singing has not sufficiently incorporated perceptual ratings and descriptions of sound quality or the relationship between acoustic and perceptual factors with pedagogical practices.

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Calaf, Neus. "Adaptació i validació d'una versió blingüe (català/castellà) del protocol consensus auditory-perceptual evaluation of voice (CAPE-V) per a l'avaluació clínica de la qualitat vocal." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/457560.

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Les alteracions de la veu afecten un percentatge significatiu de la població. Les persones amb alteracions vocals expressen patir efectes adversos en la seva qualitat de vida a conseqüència de la seva veu. L’avaluació de la qualitat vocal és un dels pilars clau de l’avaluació clínica de la veu. El Consensus Auditory-Perceptual Evaluation of Voice (CAPE-V), desenvolupat i avalat per l’American Speech-Language-Hearing Association, és l’instrument d’avaluació clínica perceptiva de la qualitat vocal més avançat disponible actualment. La seva utilització, però, exigeix ser adaptat a la llengua i cultura dels usuaris. L’objectiu d’aquest treball ha estat adaptar i validar una versió bilingüe (català/castellà) del CAPE-V (B-CC CAPE-V). Un procés de validació racional per experts ha permès obtenir un protocol de tasques que preserva els objectius de l’original i assegura la rellevància i pertinència dels criteris fonètics utilitzats en les llengües destí. De la mateixa manera, s’ha aconseguit també un consens en la terminologia dels atributs de qualitat vocal a avaluar, també amb contribucions de les autores de l’instrument original. A més, els resultats de la nostra investigació, demostren la validesa i fiabilitat de l’instrument adaptat a quatre nivells diferents: validesa de contingut de les tasques i els atributs, validesa concurrent, validesa de constructe i fiabilitat intrajutge. Un cinquè nivell analitzat, la fiabilitat interjutge, sembla dependre de l’existència d’estàndards interns compartits pels avaluadors. En l’estudi de la validesa de constructe s’ha aplicat una metodologia original, basada en avaluar l’experiència d’usuari. En conclusió, fruit d’aquesta tesi doctoral, es posa a disposició dels professionals clinics l’adaptació validada d’un instrument utilitzat internacionalment, per al seu ús en l’avaluació de la qualitat vocal en catalanoparlants i castellanoparlants.
A significant percentage of the population is affected by alterations of voice. Individuals experiencing voice alterations report adverse consequences in their life quality due to their voice. Evaluation of voice quality is one of the key foundations of clinical voice evaluation. The Consensus Auditory-Perceptual Evaluation of Voice (CAPE-V), developed and endorsed by the American Speech-Language- Hearing Association, is the most advanced instrument for the perceptual clinical evaluation of vocal quality currently available. However, the involved vocal tasks require that the instrument is adapted to the users’ language and culture. The objective of this work was to adapt and validate a bilingual (Catalan/Spanish) version of CAPE-V (B-CC CAPE-V). Through a process of rational validation by experts, a protocol of tasks was obtained that preserves the objectives of the original instrument, and also the relevance of the phonetic criteria in the target languages. Likewise, a consensus was reached for the terminology of the diferent evaluation attributes of voice quality, also with contributions from the authors of the original instrument. In addition, the results from our research demonstrate validity and reliability of the adapted instrument at four different levels, i.e. content validity for tasks and attributes, concurrent validity, construct validity, and intrajudge reliability. One more analysis, interjudge reliability, was found to depend on the extent to which evaluators share internal standards. An original methodology was employed for the study of construct validity, focused on the evaluators’ experiences using the instrument. In all, as a result of this PhD thesis, an adapted, validated version of an international instrument is made available to clinical professionals for the evaluation of vocal quality in Catalan and Spanish speakers.

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Books on the topic "Vocal quality"

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KEMPSTER. Perceptual Analysis Of Vocal Quality. Singular Publishing Group, 1998.

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Japan) Vocal Fold Physiology Conference 1994 (Kurume-Shi. Vocal Fold Physiology: Voice Quality Control (Vocal Fold Physiology). Singular Publishing Group, 1995.

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1927-, Fujimura Osamu, Hirano Minoru 1932-, and Vocal Fold Physiology Conference (8th : 1994 : Kurume-shi, Japan), eds. Vocal fold physiology: Voice quality control. San Diego, Calif: Singular Pub. Group, 1995.

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Tsur, Reuven. 'Kubla Khan' Poetic Structure, Hypnotic Quality And Cognitive Style: A Study in Mental, Vocal And Critical Performance (Human Cognitive Processing). John Benjamins Publishing Co, 2006.

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Owens, Matthew, and Graham F. Welch. Choral Pedagogy and the Construction of Identity. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.9.

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Following an initiative of the early 1990s, the majority of United Kingdom cathedrals now have girl as well as boy cathedral choristers, often alternating in the singing of the daily services. One of the original political challenges in this musico-cultural initiative was whether or not it was possible for girl choristers to attain the same vocal quality as their male counterparts. Empirical studies, however, suggest that there is considerable overlap between the psycho-acoustic vocal features of girls’ and boys’ singing, such that it is often difficult perceptually to distinguish between the two, particularly for the relatively naïve listener. Moreover, the music repertoire usually reaches across gender. The chapter provides an overview of these recent developments and explores how the musical director can best shape the vocal products of their choristers, while being sensitive to particular vocal production issues that relate to the development of girls’ voices.

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Day-O'Connell, Sarah. The Singing Style. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0010.

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Despite its cursory description by Leonard Ratner and its outright dismissal by Raymond Monelle, the “singing style” is frequently evoked by analysts referring loosely (and often contradictorily) to song-like qualities. This chapter presents the singing style within the wider discourse, culture, and practice surrounding eighteenth-century songs and singing. Contemporary discussions of vocal composition (Johann Mattheson, Heinrich Christoph Koch) and vocal performance (Pier Francesco Tosi, in translations with commentaries by John Ernest Galliard and Johann Friedrich Agricola) involve a range of musical qualities but share a focus on intelligibility and accessibility. Contemporary poetry, literature, and criticism may connect singing to femininity, amateurism, domesticity, nature, beauty, or sociability, but retain similar connotations of simplicity, purity, and directness. The singing style can thus be understood as centered on comprehensibility, an extra-musical quality that is available to migrate to instrumental music under many guises.

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Provenzano, Catherine. Auto-Tune, Labor, and the Pop-Music Voice. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0008.

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Long used in popular music to smooth vocal imperfections, Auto-Tune has become a much-discussed production tool since the early 2000s through artists including Cher, Daft Punk, and Kanye West. This chapter examines the relationship among artist skill, Auto-Tune, and reception. Artist T-Pain overtly used Auto-Tune to give his voice a synthetic, often robotic quality. Through T-Pain, overt use of Auto-Tune became associated with black music and was often reviled by the general public. T-Pain’s acoustic performance on NPR’s Tiny Desk Concert series redeemed him in the eyes of many listeners whose disdain for Auto-Tune arises from a belief that the technology erodes authenticity by making skillful singing irrelevant. In contrast, Taylor Swift’s producers also use Auto-Tune as well, but rather than treating it as a special effect, they use it to correct intonation and amplify desirable vocal timbre. This use is also controversial, as Swift’s recordings are often considered disingenuous.

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Malawey, Victoria. A Blaze of Light in Every Word. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190052201.001.0001.

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A Blaze of Light in Every Word presents a conceptual model for analyzing vocal delivery in popular song recordings focused on three overlapping areas of inquiry: pitch, prosody, and quality. The domain of pitch, which refers to listeners’ perceptions of frequency, considers range, tessitura, intonation, and registration. Prosody, the pacing and flow of delivery, comprises phrasing, metric placement, motility, embellishment, and consonantal articulation. Qualitative elements include timbre, phonation, onset, resonance, clarity, paralinguistic effects, and loudness. Intersecting all three domains is the area of technological mediation, which considers how external technologies, such as layering, overdubbing, pitch modification, recording transmission, compression, reverb, spatial placement, delay, and other electronic effects, impact voice in recorded music. Though the book focuses primarily on the sonic and material aspects of vocal delivery, it situates these aspects among broader cultural, philosophical, and anthropological approaches to voice with the goal to better understand the relationship between sonic content and its signification. Drawing upon transcription and spectrographic analysis as the primary means of representation, as well as modes of analysis, this book features in-depth analyses of a wide array of popular song recordings spanning genres from indie rock to hip-hop to death metal, develops analytical tools for understanding how individual dimensions make singing voices both complex and unique, and synthesizes how multiple aspects interact to better understand the multidimensionality of singing voices.

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Clay, Zanna, and Emilie Genty. Natural communication in bonobos: Insights into social awareness and the evolution of language. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198728511.003.0008.

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Our capacity for language is a central aspect of what it means to be human and sets us apart from the rest of the animal kingdom. Given that language does not fossilize, one way to understand how and when it first evolved is to examine the communicative capacities of our closest living relatives, the great apes. This chapter reviews recent research exploring natural communication in our least understood but closest living relative, the bonobo (Pan paniscus). It primarily focuses on what natural bonobo communication can tell us about their underlying social awareness and how this relates to the evolution of language. Examining vocal and gestural communication, we report findings that highlight considerable communicative complexity, flexibility, and intentionality which, cumulatively, suggest that many of the building blocks for language are deeply rooted in our primate past. Notre qualité de langage est un aspect central d’être humain, et nous sépare du reste de l’univers animal. Vu que le langage ne fige pas, les qualités communicatives des grands singes nous peuvent aider à expliquer comment et quand est-ce-que nos langues ont évolué. Ici nous révisons les recherches plus récentes explorant la communication naturelle chez notre plus proche relatif vivant, le bonobo (Pan paniscus). Nous nous concentrons sur ce que la communication naturelle des bonobos nous peut dire à propos de leur conscience sociale et comment cela se rapporte à l’évolution des langues. En examinant la communication vocale et gestuelle, nous signalons des trouvailles qui soulignent la complexité, la flexibilité et l’intentionnalité dans la communication. Ces aspects suggèrent que les fondations de notre langue sont enracinées dans notre passé primate.

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Wolf, Richard K. Drumming, Language, and the Voice in South Asia. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038587.003.0001.

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This book explores drumming and other instrumental traditions that are interconnected over vast regions of South and West Asia. The traditions considered here qualify broadly as functional music rather than concert music and include the public instrumental music of weddings, funerals, and religious holidays. The book examines patterns that pervade functional music of South Asia and to some extent North and South Indian classical music and how performed texts are related to their verbal or vocal models. It also considers what it means in particular contexts for musical instruments to be voicelike and carry textual messages. This chapter discusses the broad historical context in which voices and instruments have been co-constructed in the history of the Indian subcontinent and regions west. Many examples from South India are included to help create a picture that transcends the bounds of Muharram Ali's travels.

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Book chapters on the topic "Vocal quality"

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Bunch, Meribeth A. "Resonation and vocal quality." In Dynamics of the Singing Voice, 82–110. Vienna: Springer Vienna, 1995. http://dx.doi.org/10.1007/978-3-7091-2065-1_5.

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Bunch, Meribeth A. "Resonation and vocal quality." In Dynamics of the Singing Voice, 82–110. Vienna: Springer Vienna, 1997. http://dx.doi.org/10.1007/978-3-7091-3691-1_5.

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Sutcliffe, Bianca, Lindzi Wiggins, David M. Rubin, and Vered Aharonson. "Enhancing Voice Quality in Vocal Tract Rehabilitation Device." In Advances in Usability, User Experience and Assistive Technology, 1006–13. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94947-5_99.

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Jelassi, Sofiene, Habib Youssef, Lingfen Sun, and Guy Pujolle. "NIDA: A Parametric Vocal Quality Assessment Algorithm over Transient Connections." In Lecture Notes in Computer Science, 106–17. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04994-1_9.

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Place, Frank. "Sustaining Natural Resources in African Agriculture: What Have We Learned in the Past Two Decades?" In Emerging-Economy State and International Policy Studies, 139–50. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-5542-6_11.

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AbstractCalls for increased attention to natural resource management (NRM) in African agriculture have been around for many decades. They became more vocal around the turn of the century following decades of poor yield growth and emerging data showing concerns about land quality and productivity. In recent years, these intensified further with the specter of climate change and continuing rural population growth challenging agricultural systems on the continent. Researchers have responded to these challenges, advancing research frameworks and hypotheses, deploying more research tools, and conducting more studies. However, it is unclear that all this response has significantly advanced our state of knowledge on the extent and nature of land degradation in agricultural land, the particular practices that work in different socioeconomic contexts, and how best to induce their uptake by households facing different priorities and constraints. This chapter will motivate this conclusion and offer options for moving forward in some of these topical areas.

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"Resonation and vocal quality." In Dynamics of the Singing Voice, 116–44. Vienna: Springer Vienna, 2009. http://dx.doi.org/10.1007/978-3-211-88729-5_8.

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Malawey, Victoria. "Quality." In A Blaze of Light in Every Word, 94–125. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190052201.003.0004.

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Similar to what several researchers in the early 1980s dubbed “sonance,” quality comprises more than just timbre, including also intensity, harmonic spectrum, phonation, and changes in sound. Multiple dimensions—including timbre, phonation, onset, resonance, clarity, paralinguistic effects, and loudness—create a singer’s individual vocal quality. Songs recorded and re-recorded by Lucas Silveira demonstrate the dynamic aspects associated with an ever-evolving vocal quality due to the artist’s having undergone hormone replacement therapy. The concept of quality is framed in terms of three different orientations—the physiological, acoustic, and perceptual—all of which are essential to understanding qualitative aspects of vocal delivery, more so than aspects in the domains of pitch and prosody. While sonic markers of identities are fluid social constructions rather than static essential attributes, this chapter considers how qualitative elements may signify artists’ identities and genre.

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"Vocal Displays and Emotion." In Encyclopedia of Quality of Life and Well-Being Research, 6966. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-0753-5_104437.

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Chapman, Con. "The Quality of Song." In Rabbit's Blues, 139–44. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0018.

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The chapter discusses the way many contemporary singers compared Johnny Hodges’s sound to human song. Top singers of his day including Bing Crosby, Frank Sinatra, and Tony Bennett all thought of his playing in terms of song, and said as much. This was both a blessing and a curse; his tone stood out from ensemble sections and was a luscious vehicle for a solo, but it sometimes would overshadow rather than complement a singer who performed with him. Hodges recorded albums with Ella Fitzgerald, Rosemary Clooney, Ellington vocalist Al Hibbler, and Jo Stafford. Hodges not only enhanced the performance of vocalists, but he also influenced vocal styles, as reflected in the singing of Ivie Anderson, Ellington’s long-time vocalist, and singers such as Sinatra, as evidenced by the ensembles that arranger Billy May created in imitation of Hodges’s style.

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Jelassi, Sofiene, Habib Youssef, and Guy Pujolle. "Perceptual Quality Assessment of Packet-Based Vocal Conversations over Wireless Networks." In Wireless Technologies, 273–310. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-61350-101-6.ch204.

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In this chapter, the authors describe the intrinsic needs to effectively integrate interactive vocal conversations over heterogeneous networks including packet- and circuit- based networks. The requirement to harmonize transport networks is discussed and a foreseen architecture multi -operators and -services is presented. Moreover, envisaged remedies to the ever increasing network complexity are also summarized. Subjective and objective methodologies to evaluate voice quality under listening and conversational conditions are thoroughly described. In addition, software- and emulation- based frameworks developed in order to evaluate and improve voice quality are rigorously described. This chapter stresses parametric model-based assessment algorithms due to their ability to be useful for on-line network management. In particular, the authors describe parametric assessment algorithms over last-hop wireless Telecom networks and packet-based networks. The last part of this chapter describes several management applications which consider users’ preferences and providers’ needs.

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Conference papers on the topic "Vocal quality"

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Sutcliffe, Bianca, Lindzi Wiggins, David Rubin, and Vered Aharonson. "Voice quality enhancement for vocal tract rehabilitation." In 2018 3rd Biennial South African Biomedical Engineering Conference (SAIBMEC). IEEE, 2018. http://dx.doi.org/10.1109/saibmec.2018.8363197.

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Amato, Federica, Irene Rechichi, Luigi Borzi, and Gabriella Olmo. "Sleep Quality through Vocal Analysis: a Telemedicine Application." In 2022 IEEE International Conference on Pervasive Computing and Communications Workshops and other Affiliated Events (PerCom Workshops). IEEE, 2022. http://dx.doi.org/10.1109/percomworkshops53856.2022.9767372.

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Fu qi and Tigang Jiang. "Quality evaluation standard research of vowel singing in vocal music." In 2010 International Conference on Computer Application and System Modeling (ICCASM 2010). IEEE, 2010. http://dx.doi.org/10.1109/iccasm.2010.5620041.

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Manfredi, Claudia, Giorgio Peretti, Laura Magnoni, Fabrizio Dori, and Ernesto Iadanza. "Thyroplastic medialisation in unilateral vocal fold paralysis: assessing voice quality recovering." In Interspeech 2004. ISCA: ISCA, 2004. http://dx.doi.org/10.21437/interspeech.2004-89.

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Ning Xu and Zhen Yang. "A precise estimation of vocal tract parameters for high quality voice morphing." In 2008 9th International Conference on Signal Processing (ICSP 2008). IEEE, 2008. http://dx.doi.org/10.1109/icosp.2008.4697223.

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Deguchi, Shinji, and Kazutaka Kawashima. "Noncontact Determination of the Mechanical Properties of the Human Vocal Folds." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-193072.

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Mechanical properties of the vocal folds (such as stiffness or viscoelastic properties) play an essential role in phonation. They affect not only voice quality but also onset threshold of vocal fold self-excited oscillation, a sound source of voice [1]. Many experimental data on the mechanical properties have been reported so far, in which in vitro [2] or in vivo measurement techniques [3] were employed. In vitro measurements give us detailed information on the mechanical properties, yet it would be required to consider possible loss of freshness of the specimen. Meanwhile, current in vivo measurement methods utilize a thin probe to deform the vocal fold tissue located at the back of the throat and hence need technical skills for the surveyor to successfully obtain its loading-deformation relationship.

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Palko, Joel, Steven Abramowitch, and Thomas W. Gilbert. "An Experimental Methodology for the Determination of the Viscoelastic Properties of the Vocal Fold at Human Phonation Frequencies." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-192803.

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The vocal folds are subjected to some of the largest magnitudes and frequencies of deformation of any tissue in the human body during normal voice production. Vocal fold scarring creates a functional deficit in this highly specific tissue that compromises the integrity of an individual’s voice. Scarring is the leading cause of dysphonia which often leads to a decreased quality of life, especially to those whose voice is an integral part of their profession.

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Liu, Shanshan, Nan Yan, Manwa L. Ng, Lan Wang, and Zhijian Wang. "Multidimensional acoustic analysis for evaluation of voice quality of unilateral vocal fold paralysis." In 2014 4th IEEE International Conference on Information Science and Technology (ICIST). IEEE, 2014. http://dx.doi.org/10.1109/icist.2014.6920575.

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JELASSI, Sofiene, and Habib YOUSSEF. "Connectivity Aware Instrumental Approach for Measuring Vocal Transmission Quality over a Wireless Ad hoc Network." In 5th International ICST Conference on Heterogeneous Networking for Quality, Reliability, Security and Robustness. ICST, 2008. http://dx.doi.org/10.4108/icst.qshine2008.4090.

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Uchimura, Yoshinori, Hideki Banno, Fumitada Itakura, and Hideki Kawahara. "Study on manipulation method of voice quality based on the vocal tract area function." In Interspeech 2008. ISCA: ISCA, 2008. http://dx.doi.org/10.21437/interspeech.2008-334.

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Reports on the topic "Vocal quality"

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Mann, Eric, and Jeffrey Paffrath. Vocal Cord Function and Voice Quality Evaluation of Active Duty U.S. Army Drill Instructors. Fort Belvoir, VA: Defense Technical Information Center, October 1994. http://dx.doi.org/10.21236/ada303155.

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