Transcript MUSICAL ACOUSTICS ACOUSTICS OF SPEECH AND SINGING Science of Sound, Chapters 15, 17 P. Denes & E.

MUSICAL ACOUSTICS
ACOUSTICS
OF SPEECH
AND SINGING
Science of Sound, Chapters 15, 17
P. Denes & E. Pinson, The Speech Chain (1963, 1993)
J. Sundberg, The Science of the Singing Voice (1987)
D. Miller, Resonance in Singing (2008)
THE VOCAL ORGANS
THE LARYNX
(a) BACK
VIEW
(b) SIDE
VIEW
VOCAL FOLDS
CONTROL OF THE GLOTTAL OPENING BY THE ARYTENOIDS
SCHEMATIC OF THE BREATHING APPARATUS
(a) EXPANSION OF THE
CHEST CAVITY BY THE
EXTERNAL INTERCOSTALS
ALONG WITH A
FLATTENINGOF THE
DIAPHRAM REDUCES THE
PRESSURE AND CAUSES
THE LUNGS TO EXPAND
AND FILL WITH AIR
(b) CONTRACTION OF THE
CHEST CAVITY BY THE
INTERNAL INTERCOSTALS,
ALONG WITH RAISING THE
DIAPHRAM, CAUSES THE
LUNGS TO CONTRACT
LUNG CAPACITY IN THE NORMAL YOUNG ADULT AND ITS
SUBDIVISION INTO FUNCTIONING VOLUMES. THE
VOLUME OF THE MALE LUNG IS INDICATED AT THE LEFT,
THE FEMALE AT THE RIGHT
GLOTTAL WAVE FORM
SPECTRUM
CLOSED PIPE MODEL OFTHE VOCAL TRACT
SIMPLE
MODELS OF
THE VOCAL
TRACT
THE EFFECT
OF
FORMANTS
ON SOUND
FORMANTS AND PITCH
•
IN BOTH SPEECH AND SINGING, THERE IS A DIVISION OF LABOR
BETWEEN THE VOCAL FOLDS AND VOCAL TRACT. THE VOCAL
FOLDS CONTROL THE PITCH, WHILE THE VOCAL TRACT
DETERMINES THE VOWEL SOUNDS THROUGH FORMANT
(RESONANCE) FREQUENCIES AND ALSO ARTICULATES THE
CONSONANTS
TYPICAL FORMATS OF MALE AND FEMALE SPEAKERS REPRESENTED
ON A MUSICAL STAFF.
FIRST AND SECOND FORMANTS OF VOWELS
CONSONANTS
CONSONANTS INVOLVE VERY RAPID, SOMETIMES
SUBTLE , CHANGES IN SOUND.
CONSONANTS ARE MORE DIFFICULT TO ANALYZE AND
TO DESCRIBE ACOUSTICALLY
CONSONANTS MAY BE DESCRIBED ACCORDING TO
THEIR PLACE OF ARTICULATION AND THEIR MANNER
OF ARTICULATION.
THE SIGNIFICANT PLACES OF ARTICULATION IN
ENGLISH ARE THE LIPS (LABIAL), THE COMBINATION
OF LOWER LIP AND UPPER TEETH (LABIO-DENTAL),
THE TEETH (DENTAL), THE UPPER GUMS (AVEOLAR),
THE HARD PALATE ( PALATAL), THE SOFT PALATE
(VELAR), AND THE GLOTTIS (GLOTTAL)
CONSONANTS
CONSONANTS MAY BE CLASSIFIED ACCORDING TO THE MANNER
OF ARTICULATION AS PLOSIVE, FRICATIVE, NASAL, LIQUID, AND
SEMIVOWEL.
PLOSIVE CONSONANTS (p, b, t, etc.) ARE PRODUCED BY
BLOCKING THE FLOW OF AIR (USUALLY IN THE MOUTH) AND
RELEASING THE PRESSURE RATHER SUDDENLY
FRICATIVES (f, s, sh, etc.) ARE MADE BY CONSTRICTING THE FLOW
TO PRODUCE TURBULENCE
NASALS (m, n, ng) ARE MADE BY LOWER THE SOFT PALATE TO
CONNECT THE NASAL CAVITY TO THE PHARYNX AND BLOCKING
THE MOUTH CAVITY SOMEWHERE
SEMIVOWELS (w, y) ARE PRODUCED BY KEEPING THE
VOCAL TRACT BRIEFLY IN A VOWEL POSITION AND
THEN CHANGING IT RAIDLY TO THE VOWEL SOUND
CONSONANTS
SEMIVOWELS (w, y) ARE PRODUCED BY KEEPING THE
VOCAL TRACT BRIEFLY IN A VOWEL POSITION AND
THEN CHANGING IT RApIDLY TO THE VOWEL SOUND
THAT FOLLOWS
IN SOUNDING THE LIQUIDS (r, l) THE TIP OF THE
TONGUE IS RAISED AND THE ORAL CAVITY IS
SOMEWHAT RESTRICTED
CONSONANTS ARE FURTHER CLASSIFIED AS
UNVOICED (p, t, k) OR VOICED (b, d, g).
FORMANT
FREQUENCIES
VOWEL “æ” AS SPOKEN AND SUNG
FORMANT FREQUENCIES OF BASIC SUNG VOWELS
SINGER’S
FORMANT
SPECTRUM OF /ά/ WITH HIGH AND LOW LARYNX
REGISTERS
FORMANT
TUNING BY
SOPRANOS
F1 AND F2 ARE THE
LOWEST FORMANTS
OF VOWELS /i/, /ά/,
and /u/
SOLID LINES ARE THE
FIRST 7 HARMONICS
OF THE SUNG NOTE
SUBGLOTTAL
PRESSURE IN
SINGING
GLOTTAL
WAVEFORMS:
Rates of closure
RELATIVE STRENGTHS
OF HARMONICS IN
FEMALE AND MALE
VOICES
IN MODAL AND
FALSETTO (MALE)
POPULAR SINGING
LESS VOWEL MODIFICATION (“STRAIGHT TEXT”)
NATURALNESS AT THE EXPENSE OF BEAUTY
SONG IS FREELY CHANGED TO SHOW OFF SINGER’S
VOICE
BELTING – EXTENDING CHEST REGISTER ABOVE
NORMAL RANGE
COUNTRY SINGERS
SPECTRA OF SPOKEN & SUNG VOWELS ARE SIMILAR
“SINGER’S FORMANT” USUALLY MISSING
HARMONIC SINGING
VOCAL TRACT IS SHAPED TO GIVE STRONG EMPHASIS TO
CERTAIN HARMONICS
HARMONIC CHANT
NORMAL SINGING
CHOIR SINGING
CHOIR VS. SOLO SINGING
MALE SINGERS HAVE LESS PROMINENT SINGER’S
FORMANT IN CHOIR MODE
“SELF” TO “OTHERS” RATIO (S0R)
CHOIR SINGERS PREFER SOR OF ABOUT 6dB (AVE)
MEASURED SORs ARE 4 dB (SINGLE ROW) TO 3 dB
(DOUBLE ROW)
IN OPERA CHORUS, SOR IS 10 –15 dB (Ternström, 2005)
UNISONS
/u/ IS MORE DIFFICULT TO MATCH TO A REFERENCE
TONE THAN /ά/, PROBABLY BECAUSE OF LACK OF
HARMONICS
PITCH ACCURACY
STANDARD DEVIATION IN A BASS SECTION FOUND TO
BE 16 CENTS
AVERAGE SPECTRUM ENVELOPES OF BASS IN SOLO
AND CHOIR MODES (Rossing, et al., 1985)