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Objective/hypothesis: To specify a set of acoustic cues for vocal aging and to establish their perceptual relevance., Study Design: Perceptual testing., Methods: To identify the acoustic and perceptual correlates of the aging voice, voice quality [in conjunction with speaking rate and fundamental frequency (F(0))] was systematically manipulated using resynthesis to determine its effect on perceived age. Ten young male voices were resynthesized using two levels of noise (random modulation of F(0) contour) and two levels of tremor (constant modulation of F(0) contour with a low-amplitude wave) under a speaking-rate manipulation (an increase in speaking rate that is common to older male voices). These materials were submitted to 40 naive listeners in an age-estimation task. Two sets of comparison materials were also included for evaluation: unmanipulated samples from a 150 voice database of young, middle-aged, and older voices and disordered voice samples representing natural manifestations of the voice qualities of interest., Results: Speaking rate, highest degree of tremor, and highest degree of noise all shifted, in an additive manner, the mean perceived age of the young male voices by a maximum of 12 years on average; individual voices were observed being shifted by a generation. Fundamental frequency manipulations had no significant effect on perceived age., Conclusions: Voice quality (both tremor and noise) and speaking rate are all perceptually relevant cues of age in male voices., (2010 The Voice Foundation. Published by Mosby, Inc. All rights reserved.)

This study aimed to specify a set of acoustic cues fundamental to vocal aging and to establish their perceptual relevance, using acoustic analysis and perceptual testing. Three experiments were conducted to identify the perceptual correlates of the aging voice. The first experiment analyzed important voice parameters that signal a person's age for 16 older males and 14 younger males. In the second and third experiments, these acoustic patterns were systematically shifted through resynthesis to see if perceived age would be significantly influenced. In the second experiment, the older and younger male voices were resynthesized by manipulating speaking rate and fundamental frequency to shift the perceived age of the groups toward each other. In the third experiment, older and middle-aged male voices were resynthesized in a similar manner. In both perceptual studies, an age estimation task with naive listeners was used. The results of the first experiment showed that, in older speakers, sentence, word, and diphthong durations were all significantly longer and mean fundamental frequency was significantly higher than for the younger group. In the second experiment, only the manipulation of speaking rate resulted in a significant shift in perceived age, and it did so only for the older subjects. In the third experiment, a significant shift in age estimates was observed for the middle-aged, but not the older, voices when speaking rate was manipulated. The results of both perception tests suggest that speaking rate, but possibly not fundamental frequency, is a perceptually relevant cue to age in voice.

Professional voice users comprise 25% to 35% of the U.S. working population. Their voice problems may interfere with job performance and impact costs for both employers and employees. The purpose of this study was to examine treatment outcomes of two specific rehabilitation programs for a group of professional voice users. Eighteen professional voice users participated in this study; half had complaints of throat pain or vocal fatigue (Dysphonia Group), and half were found to have benign vocal fold lesions (Lesion Group). One group received 5 weeks of expiratory muscle strength training followed by six sessions of traditional voice therapy. Treatment order was reversed for the second group. The study was designed as a repeated measures study with independent variables of treatment order, laryngeal diagnosis (lesion vs non-lesion), gender, and time. Dependent variables included maximum expiratory pressure (MEP), Voice Handicap Index (VHI) score, Vocal Rating Scale (VRS) score, Voice Effort Scale score, phonetogram measures, subglottal pressures, and acoustic and perceptual measures. Results showed significant improvements in MEP, VHI scores, and VRS scores, subglottal pressure for loud intensity, phonetogram area, and dynamic range. No significant difference was found between laryngeal diagnosis groups. A significant difference was not observed for treatment order. It was concluded that the combined treatment was responsible for the improvements observed. The results indicate that a combined modality treatment may be successful in the remediation of vocal problems for professional voice users.

This longitudinal study determined the effects of vocal training (VT) on respiratory kinematics and muscle activity during singing tasks. Four voice students, 3 females and 1 male, were recorded during singing tasks once a semester for 3 consecutive semesters. Respiratory kinematic measures included lung volume, rib cage (RCE) and abdominal excursions (ABE). Surface electromyographic measures included burst duration (BD) and peak amplitude (PA) of the pectoralis major, rectus abdominis and external oblique muscles. Descriptive statistics revealed that RCE and ABE increased from the 1st to the 2nd semester, but decreased from the 2nd to the 3rd semester of VT. Overall, mean BD decreased from the 1st to the 2nd semester and increased from the 2nd to the 3rd semester. Mean PA increased from the 1st to the 2nd semester and decreased from the 2nd to the 3rd semester of VT. RCE and muscle force generation of the above muscles increased as the demand level and the length of the phonatory tasks increased. Interpretation of the results suggests that the respiratory system is highly responsive to VT, after only 3 semesters of training., (Copyright 2006 S. Karger AG, Basel.)

From postrecording interviews of professional singers, it was hypothesized that recording environments, i.e., sound-treated environment versus an auditorium, may induce different vocal behaviors. To test this hypothesis, three groups consisting of nonsingers, singers, and actors were recorded in two different recording environments: a sound-treated booth (IAC) and an auditorium (AUD). Three recordings were obtained from each participant: recording one (IAC) and two (AUD1) required the participants to read in a normal voice; recording three (AUD2) required participants to pretend that they were "performing" before a full house. Results indicated that only the singers and the actors exhibited significant spectral and/or frequency/duration differences from one recording environment to another, with the most dramatic differences exhibited by the singers. It was concluded that the environment in which we record experimental samples from professional voice users, especially singers, should be considered as a variable that can affect results.

Although it is generally agreed that the singer's formant (F(S)) is a prerequisite for successful stage performance, the results of this research do not support its presence in the soprano voices of trained female singers. Results are based on a recent investigation testing 10 advanced/professional sopranos in two groups singing sustained vowels at three frequencies: high (932 Hz), mid (622 Hz), and low (261 Hz). Spectrographic analysis shows that the nature of harmonic energy varies in relation to pitch. A resonance band somewhat resembling the tenor F(S) was usually evident in vowels sung at low and mid pitch. However, unlike the F(S) of typically less than 1 kHz bandwidth associated with tenors, sopranos singing similar pitches produced corresponding bandwidths which were significantly broader, usually at least 2-kHz wide. Vowels sung by sopranos at high-pitch levels exhibited strong fundamental frequency production with strong reinforcement of adjacent harmonics extending to 5 kHz and beyond. This type of production in essence nullifies the necessity for a typical F(S). Absence of the F(S) in strong soprano voices might also imply the adaptation of a sufficiently different overall vocal tract configuration, so that techniques geared to developing maximal projection should not be the same as those developed to maximize the F(S) in other voices.

Acoustic and perceptual analyses were completed to determine the effect of vocal training on professional singers when speaking and singing. Twenty professional singers and 20 nonsingers, acting as the control, were recorded while sustaining a vowel, reading a modified Rainbow Passage, and singing "America the Beautiful." Acoustic measures included fundamental frequency, duration, percent jitter, percent shimmer, noise-to-harmonic ratio, and determination of the presence or absence of both vibrato and the singer's formant. Results indicated that, whereas certain acoustic parameters differentiated singers from nonsingers within sex, no consistently significant trends were found across males and females for either speaking or singing. The most consistent differences were the presence or absence of the singer's vibrato and formant in the singers versus the nonsingers, respectively. Perceptual analysis indicated that singers could be correctly identified with greater frequency than by chance alone from their singing, but not their speaking utterances.

This study examined speech breathing patterns during reading by women with bilateral vocal fold nodules judged as mildly dysphonic and by women without vocal nodules. Although it might be predictable that the speech breathing patterns of individuals with laryngeal dysfunction will differ from those without laryngeal dysfunction, there is a lack of empirical data to support such assumptions. The results of the current study indicated that glottal airflow was greater during reading for the women with vocal nodules and that a larger volume of air was expended both per syllable and per breath group during reading. The rate of speech did not significantly differ between the two groups of women. There was no significant difference for the average duration of the breath groups and no significant difference for the number of syllables spoken per breath group. Additionally, both groups of women demonstrated a similar pattern of inspiratory pause location during the reading. The results suggest that speech breathing patterns associated with dysphonia be examined independently to distinguish specifically the nature of the interaction between the laryngeal dysfunction and the speech breathing pattern. Certainly, more information on how the severity of a voice disorder influences speech breathing is necessary.

The purpose of this study was to compare the mean speaking fundamental frequency (SFF), speaking frequency range, and mean speaking intensity for a group of trained male singers and a group of age-matched non-singers in three age ranges: 20 to 35 years old; 40 to 55 years old; and older than 65 years. Each subject was recorded as he read "The Rainbow Passage" and produced the vowel /a/ to the limits of his phonational frequency range. The data indicated that the mean SFF of the nonsingers was significantly lower among the middle-aged speakers than with the young or elderly. In contrast, the tenors exhibited no age-related SFF trends, and the young bass/baritones exhibited lower SFF levels than the middle-aged or elderly. The elderly nonsingers produced frequency ranges that were smaller than any other group. Finally, the young nonsingers used greater speech intensity than did the other groups.

The purpose of this study was to examine the differences in variability of several measures of the speech produced by two groups of women, one aged 20-35 years and one aged 75 years and over. The subjects read the first paragraph of the "Rainbow Passage," sustained vowels at three loudness levels, and repeated a carrier phrase in which a series of 18 syllables were embedded. Data were gathered on intraoral pressure (PIO), vocal intensity, speaking fundamental frequency (SFF), voice onset time (VOT), and phoneme duration. The F-max test and ANOVA statistics revealed that the older women exhibited greater within-subject variability than the younger women for PIO, SFF, VOT, and consonant duration. These factors required more precise temporal, respiratory, phonatory, or articulatory adjustments than did the vocal intensity tasks or vowel duration. The variability differences found in this study may reflect individual patterns of acoustic and physiologic change in the speech produced by older women.