The Effect of Message-Type and Prosody on the Scaling of Vocal Quality of Normal Speakers

1978 ◽  
Vol 30 (3) ◽  
pp. 231-238
Author(s):  
Aubrey Epstein ◽  
Moya Andrews
Keyword(s):  
Message Type ◽  
Vocal Quality

Recurrent Laryngeal Nerve Section for Spastic Dysphonia

1976 ◽  
Vol 85 (4) ◽  
pp. 451-459 ◽  
Author(s):  
Herbert H. Dedo
Keyword(s):  
Vocal Cord ◽  
Speech Therapy ◽  
Clinical Observation ◽  
Recurrent Nerve ◽  
Nerve Section ◽  
Nerve Paralysis ◽  
The Past ◽  
Vocal Quality ◽  
Recurrent Nerve Paralysis

Spastic dysphonia is a severe vocal disability in which a person speaks with excessively adducted vocal cords. The resulting weak phonation sounds tight, as if he were being strangled, and has also been described as laryngeal stutter. It is often accompanied by face and neck grimaces. In the past it has been regarded as psychoneurotic in origin and treated with speech therapy and psychotherapy with disappointing results. Because of laboratory and clinical observation that recurrent nerve paralysis retracts the involved vocal cord from the midline, it was proposed that deliberate section of the recurrent nerve would improve the vocal quality of patients with spastic dysphonia. In 34 patients the recurrent nerve was sectioned after Xylocaine® temporary paralysis showed significant improvement in vocal quality. Several patients have been advised against this operation because of the type of voice they developed with one vocal cord temporarily paralyzed. With nerve section plus postoperative speech therapy, approximately half of the patients have returned close to a “normal” but soft phonatory voice. The rest had varying degrees of improvement, but all, so far, have been pleased with the improvement in ease and quality of phonation and reduction or elimination of face and neck grimaces. Two men have a breathy component in their phonatory voices, and one woman has variable pitch.

Manual Therapy with Neural Mobilization: Immediate Effect on the Vocal Quality of Women with Dysphonia

2021 ◽  
Author(s):  
Vinícius Marinho de Brito ◽  
Hugo Pasin Neto ◽  
Ana Cristina Côrtes Gama
Keyword(s):  
Manual Therapy ◽  
Vocal Quality

The Dysphonia Severity Index

2000 ◽  
Vol 43 (3) ◽  
pp. 796-809 ◽  
Author(s):  
Floris L. Wuyts ◽  
Marc S. De Bodt ◽  
Geert Molenberghs ◽  
Marc Remacle ◽  
Louis Heylen ◽  
...  
Keyword(s):  
Multivariate Analysis ◽  
Voice Quality ◽  
Severity Index ◽  
Voice Handicap Index ◽  
Objective Measures ◽  
Maximum Phonation Time ◽  
Vocal Quality ◽  
The Voice ◽  
Weighted Combination

The vocal quality of a patient is modeled by means of a Dysphonia Severity Index (DSI), which is designed to establish an objective and quantitative correlate of the perceived vocal quality. The DSI is based on the weighted combination of the following selected set of voice measurements: highest frequency (F 0 -High in Hz), lowest intensity (I-Low in dB), maximum phonation time (MPT in s), and jitter (%). The DSI is derived from a multivariate analysis of 387 subjects with the goal of describing, purely based on objective measures, the perceived voice quality. It is constructed as DSI=0.13 x MPT + 0.0053 x F 0 -High – 0.26 x I-Low – 1.18 x Jitter (%) + 12.4. The DSI for perceptually normal voices equals +5 and for severely dysphonic voices –5. The more negative the patient's index, the worse is his or her vocal quality. As such, the DSI is especially useful to evaluate therapeutic evolution of dysphonic patients. Additionally, there is a high correlation between the DSI and the Voice Handicap Index score.

Vocal Quality of Life Improves with Treatment of Laryngopharyngeal Reflux

2004 ◽  
Vol 131 (2) ◽  
pp. P213-P213
Author(s):  
Mary Es A Beaver ◽  
Scott M Kaszuba ◽  
Michael G Stewart ◽  
C Richard Stasney
Keyword(s):  
Quality Of Life ◽  
Laryngopharyngeal Reflux ◽  
Vocal Quality

Reflections on the analysis of artificial vocality: representations, tools and prospective

2004 ◽  
Vol 9 (1) ◽  
pp. 91-98
Author(s):  
BRUNO BOSSIS
Keyword(s):  
Electroacoustic Music ◽  
Musical Composition ◽  
Modes Of Representation ◽  
Talking Heads ◽  
Sound Event ◽  
Starting Point ◽  
Technological Tools ◽  
Vocal Quality ◽  
Analytical Approaches

Initially a result of talking heads, followed by the arrival of telephony and the gramophone, the use of artificial vocality within musical composition is becoming more and more common as different laboratories acquire devices enabling the manipulation of sound. Following Pierre Schaeffer's first experiments in Paris, many composers became interested in the expressive resources of the mechanical voice, the results of which are now present in a large corpus of electroacoustic works. By its very nature, artificial vocality establishes a new link between the vocal quality of a sound event (its vocality) and technology (its artificiality) within this type of music.How then, can the musicologist study artificial vocality and the works in which it is used? Which tools should be used? What makes the analysis of artificial vocality so specific? Is it possible to create new tools for the analysis of artificial vocality within electroacoustic music?In the search for answers to these questions, many difficulties present themselves. The first concerns the modes of representation and the methods used to analyse artificial vocality. On top of this, real reflection is needed concerning the disparity of technological tools used in analysis and the need for the application of a certain methodology in order to classify them. The starting point will be the establishment of a typology. Finally, the idea of being able to compare different representations of the same work using sophisticated tools will open the way to the discovery of new analytical approaches. Seeking freedom from the relative blindness caused by the over-specialisation and rigidity of technological tools is now an urgent necessity, particularly when considering artificial vocality.

Acoustic analysis of tracheo-oesophageal versus oesophageal speech

1994 ◽  
Vol 108 (4) ◽  
pp. 325-328 ◽  
Author(s):  
F. Debruyne ◽  
P. Delaere ◽  
J. Wouters ◽  
P. Uwents
Keyword(s):  
Frequency Spectrum ◽  
Fundamental Frequency ◽  
Acoustic Analysis ◽  
Respiratory Drive ◽  
Spectral Slope ◽  
Acoustic Parameters ◽  
Vocal Quality ◽  
Vibratory Pattern ◽  
The Voice

AbstractIn order to evaluate the vocal quality of tracheo-oesophageal and oesophageal speech, several objective acoustic parameters were measured in the acoustic waveform (fundamental frequency, waveform perturbation) and in the frequency spectrum (harmonic prominence, spectral slope). Twelve patients using tracheo-oesophageal speech (with the Provox® valve) and 12 patients using oesophageal speech for at least two months, participated.The main results were that tracheo-oesophageal voices more often showed a detectable fundamental frequency, and that this fundamental frequency was fairly stable; there was also a tendency to more clearly defined harmonics in tracheo-oesophageal speech. This suggests a more regular vibratory pattern in the pharyngo-oesophageal segment, due to the more efficient respiratory drive in tracheo-oesophageal speech. So, a better quality of the voice can be expected, in addition to the longer phonation time and higher maximal intensity.

EMG Biofeedback as a Function of Voice-Quality Change

1987 ◽  
Vol 64 (3) ◽  
pp. 719-724 ◽  
Author(s):  
Herbert F. Schliesser
Keyword(s):  
Voice Quality ◽  
Emg Biofeedback ◽  
Electrode Placement ◽  
Clinical Use ◽  
Surface Electrode ◽  
Quality Change ◽  
Audio Recordings ◽  
Normal Voice ◽  
Vocal Quality

Changes in electromyography (EMG) accompanying changes in voice quality are reported. Audio recordings were obtained from four normal speakers during production of sustained vowels, counting and reading. These were uttered first in a normal voice and then in a voluntarily produced harsh voice. Perceptual ratings of voice quality of these utterances were made and compared to averaged EMG values obtained during the productions. The surface electrode placement remained unchanged over each of the cricothyroid areas for both normal and harsh voice. For one of the speakers, changes in EMG paralleled changes in vocal quality. For the other three, changes in EMG were variable, and sometimes minimal, in comparison to changes in voice. The results are discussed in relation to the clinical use of EMG for voice disorders.

Sign in / Sign up

Export Citation Format

Share Document