Discussant response to ‘Mirroring the voice from Garcia to the present day: Some insights into singing voice registers’

2006 ◽  
Vol 31 (1) ◽  
pp. 15-16 ◽  
Author(s):  
Adrian Fourcin
Keyword(s):  
Singing Voice ◽  
The Voice

scholarly journals Establishing Normative Data on Singing Voice Parameters of Children and Adolescents with Average Singing Activity Using the Voice Range Profile

2021 ◽  
pp. 1-12
Author(s):  
Tobias Dienerowitz ◽  
Thomas Peschel ◽  
Mandy Vogel ◽  
Tanja Poulain ◽  
Christoph Engel ◽  
...  
Keyword(s):  
Socioeconomic Status ◽  
Normative Data ◽  
Clinical Diagnostics ◽  
Singing Voice ◽  
Minimum Frequency ◽  
Range Profile ◽  
Percentile Curves ◽  
The Mean ◽  
Voice Range ◽  
The Voice

<b><i>Purpose:</i></b> The purpose of this study was to establish and characterize age- and gender-specific normative data of the singing voice using the voice range profile for clinical diagnostics. Furthermore, associations between the singing voice and the socioeconomic status were examined. <b><i>Methods:</i></b> Singing voice profiles of 1,578 mostly untrained children aged between 7.0 and 16.11 years were analyzed. Participants had to reproduce sung tones at defined pitches, resulting in maximum and minimum fundamental frequency and sound pressure level (SPL). In addition, maximum phonation time (MPT) was measured. Percentile curves of frequency, SPL and MPT were estimated. To examine the associations of socioeconomic status, multivariate analyses adjusted for age and sex were performed. <b><i>Results:</i></b> In boys, the mean of the highest frequency was 750.9 Hz and lowered to 397.1 Hz with increasing age. Similarly, the minimum frequency was 194.4 Hz and lowered to 91.9 Hz. In girls, the mean maximum frequency decreased from 754.9 to 725.3 Hz. The mean minimum frequency lowered from 202.4 to 175.0 Hz. For both sexes, the mean frequency range ∆f showed a constant range of roughly 24 semitones. The MPT increased with age, for boys and girls. There was neither an effect of age nor sex on SPL<sub>min</sub> or SPL<sub>max</sub>, ranging between 52.6 and 54.1 dBA and between 86.5 and 82.8 dBA, respectively. Socioeconomic status was not associated with the above-mentioned variables. <b><i>Conclusion:</i></b> To our knowledge, this study is the first to present large normative data on the singing voice in childhood and adolescence based on a high number of measurements. In addition, we provide percentile curves for practical application in clinic and vocal pedagogy which may be applied to distinguish between normal and pathological singing voice.

Liveness and Mediatization

2021 ◽  
pp. 98-126
Author(s):  
Tereza Havelková
Keyword(s):  
The Body ◽  
Singing Voice ◽  
Live Performance ◽  
Media Technology ◽  
Sound Theory ◽  
The Voice ◽  
Louis Andriessen ◽  
Film Sound

Chapter 3 approaches liveness as an effect of immediacy. It analyzes how hypermedial opera constructs an opposition between live performance and that which is “mediatized,” that is, generated or reproduced by media technology. Relying, among others, on film sound theory, the chapter shows how the effect of liveness becomes a function of a particular relationship between sound and its source, and especially voice and body. Where some scholars have played up the discrepancy between the voice heard and the body seen in opera, this chapter is attentive to how an apparent unity of voice and body is maintained within the context of hypermediacy. With the help of Louis Andriessen and Peter Greenaway’s opera Writing to Vermeer, the chapter suggests that an alignment of liveness with femininity and body-voice unity subverts some of the critical claims that have been made with respect to both live performance and the embodied singing voice.

Allegory and Excess

2021 ◽  
pp. 38-68
Author(s):  
Tereza Havelková
Keyword(s):  
Meaning Making ◽  
Singing Voice ◽  
Text And Image ◽  
The Voice

Chapter 1 deals with the excess that opera always seems to produce in performance, which has mostly been associated with the physical, material aspects of the singing voice. Drawing on performative theory, this chapter approaches this excess as the result of a dialogic situation of meaning-making, where the audio-viewers strive to make sense of what they see and hear on stage or screen. The concept of allegory is evoked to approach the processes of meaning-making in hypermedial opera, drawing attention to how opera incites reading while at the same time withholds a coherent, univocal meaning. Allegory also helps recognize that the reading of opera involves not only text and image but also music and the voice. By contrast, the perception that the singing voice escapes signification is understood here as an effect of immediacy. Louis Andriessen’s and Peter Greenaway’s Rosa serves as the main case study.

Structure and Function of the Singing Voice

2015 ◽  
pp. 2-30
Author(s):  
Gillyanne Kayes
Keyword(s):  
Developmental Stages ◽  
Vocal Tract ◽  
Singing Voice ◽  
Hormonal Change ◽  
Research Knowledge ◽  
Vocal Function ◽  
And Function ◽  
The Impact ◽  
The Voice ◽  
Structural Aspects

Key structural aspects of the vocal mechanism and the physiology of vocal function are presented and discussed in relation to the singing voice. Details of anatomical structure and physiological function are given for the regions of the vocal tract and respiratory system under the broad headings of respiration, phonation (the larynx), and resonation. Use of voice in singing is examined in terms of breath use, control of pitch, and loudness, and shaping of resonance for change of timbre. Key developmental stages during the lifecycle are given, including infancy, childhood, voice mutation in adolescence, and the impact of hormonal change on the voice. Differences between the genders in adulthood are discussed in the light of current research knowledge of voice.

The Pantomimic Voice

2021 ◽  
Vol 9 (2) ◽  
pp. 320-340
Author(s):  
Amy A. Koenig
Keyword(s):  
The Body ◽  
Singing Voice ◽  
Vocal Mimicry ◽  
Lyric Tradition ◽  
The Relationship ◽  
The Voice ◽  
Voice Relationship

Abstract Ovid’s Metamorphoses, as scholars have demonstrated, can be read in dialogue with Roman pantomime dance, and the tale of Echo and Narcissus is one of its most ‘pantomimic’ episodes. While others have focused on the figure of Narcissus in this vein, I turn instead to Echo, whose vocal mimicry can be seen as a mirror of the pantomime’s art, and whose juxtaposition with Narcissus seems emblematic of the body-voice relationship in pantomime. Echo’s desire for Narcissus engages with an existing lyric tradition of depicting the relationship between singing voice and dancing body in erotic terms. In such situations, the desire is fulfilled if the performers are both singing and dancing, uniting body and voice in performance. The thwarted union of Echo and Narcissus, however, embodies instead the dynamics of pantomime: the subordination or absence of the voice in favor of the body, and the connection created between dancer and audience.

scholarly journals DEFINITION OF A TIMBRE OF A SINGING VOICE: FACH VOICE CLASSIFICATION

2020 ◽  
pp. 112-122
Author(s):  
Sofia Fedotova ◽  
Keyword(s):  
Personal Interest ◽  
Singing Voice ◽  
Italian School ◽  
Definition Of ◽  
The Individual ◽  
Voice Classification ◽  
Physical Capacities ◽  
Russian Opera ◽  
The Voice

Timbre of a singing voice is a multifaceted and difficult concept considered by researchers in aspects of acoustics, physiology, specifics of opera singing and expressiveness of an opera image. Vocal methodical literature contains certain criteria for definition of type of voice. However, due to the variety of voices, timbres and physical capacities of singers, the individual approach to each voice is necessary. In addition, the voice definition problem can be complicated by defects of sound formation, which only can avoid few beginner vocalists. The main classification of voices was formed gradually, it developed by the XVII century, in process of development of opera art by vocal researchers a new subtypes in each type of a voice were allocated. In the article are shown some of the existing approaches to classification of the types of singing voices which choice was determined by a personal interest and availability of sources to the author. The separate section of the article is devoted to the classification of opera voices by the Fach system used in Europe, which is somewhat similar to classifications of masters of the Italian school and the Soviet researchers, but it is more differentiated, connects subtypes of a voice not only with characteristics of timbre, but also diverse skills of actors and texture of singers, and also contains examples of the opera parties not extended on the Russian opera scene – which represented the interest to the author.

scholarly journals Exploring Channel Properties to Improve Singing Voice Detection with Convolutional Neural Networks

2021 ◽  
Vol 11 (24) ◽  
pp. 11838
Author(s):  
Wenming Gui ◽  
Yukun Li ◽  
Xian Zang ◽  
Jinglan Zhang
Keyword(s):  
Neural Networks ◽  
Feature Learning ◽  
Singing Voice ◽  
Feature Maps ◽  
Multi Scale ◽  
Voice Detection ◽  
Public Datasets ◽  
The Voice ◽  
Channel Properties ◽  
Accuracy Performance

Singing voice detection is still a challenging task because the voice can be obscured by instruments having the same frequency band, and even the same timbre, produced by mimicking the mechanism of human singing. Because of the poor adaptability and complexity of feature engineering, there is a recent trend towards feature learning in which deep neural networks play the roles of feature extraction and classification. In this paper, we present two methods to explore the channel properties in the convolution neural network to improve the performance of singing voice detection by feature learning. First, channel attention learning is presented to measure the importance of a feature, in which two attention mechanisms are exploited, i.e., the scaled dot-product and squeeze-and-excitation. This method focuses on learning the importance of the feature map so that the neurons can place more attention on the more important feature maps. Second, the multi-scale representations are fed to the input channels, aiming at adding more information in terms of scale. Generally, different songs need different scales of a spectrogram to be represented, and multi-scale representations ensure the network can choose the best one for the task. In the experimental stage, we proved the effectiveness of the two methods based on three public datasets, with the accuracy performance increasing by up to 2.13 percent compared to its already high initial level.

Broadcasting the Diva of Dubbing

2021 ◽  
pp. 43-58
Author(s):  
Jennifer Fleeger
Keyword(s):  
Pacific Northwest ◽  
Educational Television ◽  
Growing Up ◽  
Singing Voice ◽  
Local Television ◽  
Award Winning ◽  
The Pacific ◽  
Fred Rogers ◽  
Maternal Voice ◽  
The Voice

For children growing up in the Pacific Northwest in the 1970s and 1980s, Hollywood playback artist Marni Nixon was known not as the singing voice of Deborah Kerr or Audrey Hepburn, but as “Marni,” the cheerful mother of an incorrigible yellow puppet named Norbert, whose problems she solved on local television with a story and a song. The award-winning Boomerang (1975–1981) reveals how the goals of educational television were linked to expectations of the maternal voice embodied in a figure familiar to parents from the Hollywood musical. The placement of Marni Nixon in a lineage of televisual children’s ventriloquists such as Shari Lewis and Fred Rogers further destabilizes the voice that would only appear to be finally united with a body. This chapter analyzes Boomerang’s structure and style alongside parenting manuals from the period to argue that the fissures in viewers’ perception of Marni Nixon reflect a shift in the cultural understanding of how mothers should interact with their children, a change surprisingly dependent on discourses of ventriloquism.

Voicing the Cinema

2020 ◽  
Keyword(s):  
Conceptual Framework ◽  
Film Theory ◽  
Film Music ◽  
Sound Design ◽  
Singing Voice ◽  
The Past ◽  
Narrow Concept ◽  
The Relationship ◽  
The Voice

The introduction sets up the scope and framework of the volume as a whole. Over the past three decades, the study of the film soundtrack has developed into a rich scholarly discipline, characterized by diverse approaches and methodologies. As an object of theoretical focus, the voice has helped correct the long-standing ocularcentrism of film theory discourse. Yet, the voice as a narrow concept is itself problematic in that it limits our understanding of how it functions among the various components of the soundtrack. Understood as part of an integrated soundtrack—that is, a soundtrack where the various components have a sense of being planned or composed and where sound design and music are blended into a kind of conceptual unity—the voice assumes a somewhat different role and allows for a more complex and interpretively richer conceptual framework. This volume aims to reconsider and broaden our notion of what the voice as a concept can do for studies of film music and sound. The introduction explores theoretical concerns relating to film dialogue, vococentrism, the spectacle of the singing voice, film music’s commentative function as voice, as well as the voice of various cinematic authorship and production. It concludes with a brief summary of each chapter in the volume. Considering these many different conceptions of “voice” can provide new perspectives on how we consider the relationship between voice and cinema, broadly defined.

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