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The topic of phonation onset gestures is of great interest to singers, acousticians, and voice physiologists alike. The vocal pedagogue and voice researcher Manuel Garcia, in the mid-19th century, first coined the term "coup de la glotte". Given that Garcia defined the process as "a precise articulation of the glottis that leads to a precise and clean tone attack", the term can certainly be linked to the concept of "vocal onset" as we understand it today. However, Garcia did not, by any means, have the technical measures at his disposal to investigate this phenomenon. In order to better understand modern ways of investigating vocal onset—and the limitations that still exist—it seems worthwhile to approach the subject from a historical perspective. High-speed video laryngoscopy (HSV) can be regarded as the gold standard among today's examination methods. Nonetheless, it still does not allow the three-dimensionality of vocal fold vibrations to be examined as it relates to vocal onset. Clearly, measuring methods in voice physiology have developed fundamentally since Garcia's time. This offers grounds for hope that the still unanswered questions around the phenomenon of vocal onset will be resolved in the near future. One promising approach could be to develop ultra-fast three-dimensional MRI further. [ABSTRACT FROM AUTHOR]

Within the realm of voice classification, singers could be sub-categorized by the weight of their repertoire, the so-called "singer's Fach." However, the opposite pole terms "lyric" and "dramatic" singing are not yet well defined by their acoustic and articulatory characteristics. Nine professional singers of different singers' Fach were asked to sing a diatonic scale on the vowel /a/, first in what the singers considered as lyric and second in what they considered as dramatic. Image recording was performed using real time magnetic resonance imaging (MRI) with 25 frames/s, and the audio signal was recorded via an optical microphone system. Analysis was performed with regard to sound pressure level (SPL), vibrato amplitude, and frequency and resonance frequencies as well as articulatory settings of the vocal tract. The analysis revealed three primary differences between dramatic and lyric singing: Dramatic singing was associated with greater SPL and greater vibrato amplitude and frequency as well as lower resonance frequencies. The higher SPL is an indication of voice source changes, and the lower resonance frequencies are probably caused by the lower larynx position. However, all these strategies showed a considerable individual variability. The singers' Fach might contribute to perceptual differences even for the same singer with regard to the respective repertoire. [ABSTRACT FROM AUTHOR]

Purpose: Recently, efforts have been made to investigate the vocal tract using magnetic resonance imaging (MRI). Due to technical limitations, teeth were omitted in many previous studies on vocal tract acoustics. However, the knowledge of how teeth influence vocal tract acoustics might be important in order to estimate the necessity of implementing teeth in vocal tract models. The aim of this study was therefore to estimate the effect of teeth on vocal tract acoustics. Method: The acoustic properties of 18 solid (3-dimensional printed) vocal tract models without teeth were compared to the same 18 models including teeth in terms of resonance frequencies (f[subscript Rn]). The f[subscript Rn] were obtained from the transfer functions of these models excited by white noise at the glottis level. The models were derived from MRI data of 2 trained singers performing 3 different vowel conditions (/i/, /a/, and /u/) in speech and low-pitched and high-pitched singing. Results: Depending on the oral configuration, models exhibiting side cavities or side branches were characterized by major changes in the transfer function when teeth were implemented via the introduction of pole-zero pairs. Conclusions: To avoid errors in modeling, teeth should be included in 3-dimensional vocal tract models for acoustic evaluation.

The messa di voce (MdV), which consists of a continuous crescendo and subsequent decrescendo on one pitch is one of the more difficult exercises of the technical repertoire of Western classical singing. With rising lung pressure, regulatory adjustments both on the level of the glottis and the vocal tract are required to keep the pitch stable. The dynamic changes of vocal tract dimensions with the bidirectional variation of sound pressure level (SPL) during MdV were analyzed by two-dimensional real-time magnetic resonance imaging (25 frames/s) and synchronous audio recordings in 12 professional singer subjects. Close associations in the respective articulatory kinetics were found between SPL and lip opening, jaw opening, pharynx width, uvula elevation, and vertical larynx position. However, changes in vocal tract dimensions during plateaus of SPL suggest that perceived loudness could have been varied beyond the dimension of SPL. Further multimodal investigation, including the analysis of sound spectra, is needed for a better understanding of the role of vocal tract resonances in the control of vocal loudness in human phonation. [ABSTRACT FROM AUTHOR]