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Objective: The purpose of this study is to analyze the voice used in kapa haka, a contemporary indigenous vocal performance from New Zealand, which includes the well-known haka. This is the first study of its kind and is a preliminary investigation into the vocal and acoustic description of kapa haka. A significant goal of this study is to contribute ideas and potential definitions of vocal qualities to the community of kapa haka trainers that were specific to the genre. This strengths-based project raises up these vocal practices as legitimate and authentic colors within a vocal tradition that has seen generational learning disrupted by colonial interventions and is now flourishing within the community., Methods: Eight kapa haka performers (three females, five males) were involved in the study, they were all experienced performers; furthermore, two had formal classical voice training. They were individually recorded speaking and performing three different genres of kapa haka (mōteatea, waiata, and haka); all recordings were in te reo Māori (the Māori language). In addition, electroglottograph (EGG) signals were collected. An auditory-perceptual evaluation of the kapa haka voice was completed by three singer-researcher-pedagogues familiar with Western and non-western genres of singing. They all have experience appropriately collecting and analyzing data from indigenous communities, and they all understand the sociopolitical context of the vocal genre within the local colonial history. A specific evaluation instrument was created, and the results were validated. The acoustic and time-aligned EGG data was annotated at the phoneme level, and the signal analysis was performed in MATLAB. Averaged EGG pulses from /a/ segments were investigated, along with long-term average spectrums of the performances obtained from both the audio signal and the EGG signals., Results: The perceptual analysis suggests the biggest difference in vocal styles was between the haka and the other two genres (and speech). The acoustic and EGG results support these findings., Conclusions: Common characteristics, perceptually and acoustically, were identified in the kapa haka performance styles across the eight performers., (Copyright © 2023 The Voice Foundation. Published by Elsevier Inc. All rights reserved.)

This paper examines age-related differences in voice quality between 15 young and 15 old speakers, using electroglottographic (EGG) recordings of three elicitation types: sustained vowels, hVd word lists, and readings of the Rainbow Passage. For each elicitation type, fundamental frequency (F0), contact quotient (Qx), and their standard deviations are analysed. Results found, for all three elicitations, that Qx was significantly lower for older speakers. F0 was higher for the older speakers, but this was only significant for the hVd word lists. Sustained vowels were used to examine the effect of target pitch and loudness on F0 and Qx. Both Qx and F0 were raised with increased target loudness. The hVd word lists were used to examine the phonetic effects of different vowels. Lip rounded vowels had higher Qx than non-lip rounded vowels. Readings of the Rainbow Passage encompassed prosodic and phonetic variations in F0 and Qx, in addition to voice quality. F0 and Qx contours of the hVd word lists and the vowel/ei/taken from the Rainbow Passage were analysed using the discrete cosine transform. The hVd frame produced coarticulation effects on the Qx contour, but no such effects were evident for the vowel /ei/. The study concluded that using multiple elicitation types is beneficial in the study of the effect of age on the voice, and that analysing contour tracks for F0 and Qx will allow further examination of how prosodic and phonetic effects interact with age-related changes in voice quality.

This study examines electroglottographic (EGG) recordings for 15 young and 14 old male speakers of New Zealand English. Analysis was performed on the sustained vowels /i:/ and /a:/ at three target levels for both pitch and loudness. Jitter was greater for older speakers, and the contact quotient (Qx) was significantly lower for older speakers. The greater jitter for older speakers indicates a decrease in the stability of the vocal production mechanism of the older speakers. The jitter is an acoustic measure, so to examine the stability at a physiological level, a perturbation measure of the Qx is developed and applied to the EGG recordings. The contact quotient perturbation (CQP) showed a significant increase for older speakers (1.55% and 3.54% for young and old, respectively), and this demonstrated more about the variability than the jitter data alone. When loudness is also considered, the Qx was significantly greater for louder vowels, whereas its perturbation was significantly lower for louder vowels. This relationship combined with the age effect, with the CQP for all three loudness levels being greater for the older speakers. The findings of this study will contribute to the development of vocal fold models that account for aging., (Copyright © 2014 The Voice Foundation. Published by Mosby, Inc. All rights reserved.)

The effect of diminished auditory feedback on monophthong and diphthong production was examined in postlingually deafened Australian-English speaking adults. The participants were 4 female and 3 male speakers with severe to profound hearing loss, who were compared to 11 age- and accent-matched normally hearing speakers. The test materials were 5 repetitions of hVd words containing 18 vowels. Acoustic measures that were studied included F1, F2, discrete cosine transform coefficients (DCTs), and vowel duration information. The durational analyses revealed increased total vowel durations with a maintenance of the tense/lax vowel distinctions in the deafened speakers. The deafened speakers preserved a differentiated vowel space, although there were some gender-specific differences seen. For example, there was a retraction of F2 in the front vowels for the female speakers that did not occur in the males. However, all deafened speakers showed a close correspondence between the monophthong and diphthong formant movements that did occur. Gaussian classification highlighted vowel confusions resulting from changes in the deafened vowel space. The results support the view that postlingually deafened speakers maintain reasonably good speech intelligibility, in part by employing production strategies designed to bolster auditory feedback.