Spectral Moments of the Long-term Average Spectrum: Sensitive Indices of Voice Change After Therapy?

2005 ◽  
Vol 19 (2) ◽  
pp. 211-222 ◽  
Author(s):  
Kristine Tanner ◽  
Nelson Roy ◽  
Andrea Ash ◽  
Eugene H. Buder
Keyword(s):  
Spectral Moments ◽  
Voice Change ◽  
Average Spectrum

Ear Level Recordings of the Long-Term Average Spectrum of Speech*

1991 ◽  
Vol 12 (1) ◽  
pp. 47-54 ◽  
Author(s):  
Leonard E. Cornelisse ◽  
Jean-Pierre Gagné ◽  
Richard C. Seewald
Keyword(s):  
Average Spectrum

Effects of Three Common Choral Performance Movement Conditions on Acoustic and Perceptual Measures of Choral Sound

2020 ◽  
Vol 68 (3) ◽  
pp. 286-304
Author(s):  
Melissa L. Grady ◽  
Tianna M. Gilliam
Keyword(s):  
Choral Music ◽  
Music Educators ◽  
Spectral Energy ◽  
Future Research ◽  
Average Spectrum ◽  
Pitch Analysis ◽  
Pitch Deviation ◽  
Performance Conditions ◽  
Full Body

The purpose of this investigation was to examine the effects of three commonly observed choral singer performance conditions (no movement, slight swaying, full-body swaying) on acoustic and perceptual measures of choral sound. We audio recorded an established university choir ( N = 29 singers) performing a memorized piece while viewing the same conductor video and participating in one of the three performance conditions. We analyzed data through long-term average spectrum (LTAS), overall pitch deviation, and singer and listener (singer-listeners, expert-listeners) perceptions. LTAS results showed significant differences ( p < .001) in spectral energy between all three conditions. The full-body swaying condition averaged a noticeable difference of 2.50 dB across the spectrum when compared to the other two conditions. Pitch analysis indicated the least overall pitch deviation during the slight swaying condition (−27.67 cents) and the most pitch deviation during the no-movement condition (−58.31 cents). Results indicated singer and singer-listener preferences for the full-body swaying condition and expert-listener preferences for the slight swaying condition. We discuss results in terms of future research and practical application for choral music educators.

Differences in voice quality between men and women: Use of the long-term average spectrum (LTAS)

1996 ◽  
Vol 10 (1) ◽  
pp. 59-66 ◽  
Author(s):  
Elvira Mendoza ◽  
Nieves Valencia ◽  
Juana Muñoz ◽  
Humberto Trujillo
Keyword(s):  
Voice Quality ◽  
Men And Women ◽  
Average Spectrum

Long term average spectrum predicts accent normalization.

2011 ◽  
Vol 129 (4) ◽  
pp. 2659-2659
Author(s):  
Jingyuan Huang ◽  
Lori Holt ◽  
Andrew Lotto
Keyword(s):  
Average Spectrum

Priorities in Voice Training: Carrying Power or Tone Quality

2000 ◽  
Vol 4 (1) ◽  
pp. 75-93 ◽  
Author(s):  
Allan Vurma ◽  
Jaan Ross
Keyword(s):  
Acoustic Analysis ◽  
Voice Quality ◽  
Symphony Orchestra ◽  
Vocal Music ◽  
Voice Training ◽  
Tone Quality ◽  
Average Spectrum ◽  
Singer's Formant ◽  
The Voice

The voices of 42 students studying classical opera singing at the Estonian Academy of Music were investigated to find any objectively definable qualities possibly correlating with the length of training. Each student's singing of a four-bar seven-word initial phrase from a well-known Estonian classical solo was recorded. The recordings were digitalized and subjected to acoustic analysis yielding the long-term average spectrum (LTAS) for each voice studied. It turned out that the longer a singing student had been trained professionally, the higher was the level of the so-called singer's formant in her/his LTAS. Subsequently the voice quality in each recording was evaluated by four experts using a five-point scale, five points marking the best quality and one point the poorest. It turned out that the average ratings did not show any positive correlation with the length of training, rather, a slightly negative trend (notstatistically significant) could be observed. The results seem to support the critical remarksmade bysome Estonian specialists about domestic teaching of vocal music being perhaps inadequate in some respects (Pappel, 1990). The teaching process seems to be focused on the development of those qualities that enable the singer to be audible in large halls and with a symphony orchestra, while the timbral qualities recede into the background.

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