Klasifikasi Jenis Suara Wanita Berdasarkan Register Suara Dalam Teknik Bernyanyi Secara Real Time Menggunakan Algoritma BAM dan Algoritma Viterbi

Dalam teknik bernyanyi, wanita lebih mempunyai register suara yang beragam dibandingkan pria. Banyak sekali register suara manusia, namun register suara yang biasa digunakan saat bernyanyi antara lain yaitu Chest Voice, Head Voice, Falsetto, dan Vocalfry. Maka untuk pengenalan jenis suara wanita berdasarkan register suara manusia dalam teknik bernyanyi diperlukan sebuah sistem sehingga nantinya berguna untuk pengenalan teknik-teknik bernyanyi secara lebih jelas. Untuk mendapatkan hasil yang maksimal, maka diperlukan unjuk kerja dua metode yang akan digunakan dalam penelitian kali ini yaitu algoritma BAM dan algoritma Viterbi. Pengenalan suara dilakukan dengan menginputkan sampel suara hasil rekaman dan juga secara real time. Setelah diinput suara maka sistem akan mendapatkan hasil sesuai dengan metode yang akan digunakan yaitu algoritma BAM dan algoritma Viterbi. Algoritma BAM dapat memproses input yang tidak lengkap, karena adanya hubungan timbal balik antara dari lapisan output ke lapisan input. Dengan algoritma Viterbi maka pengolahan status-status dalam sistem pengenalan suara dapat lebih optimal. Pada algoritma BAM, nilai suara pengujian dan nilai sampel suara pelatihan yang diperoleh akan dicari nilai vektornya menggunakan pencarian nilai bobot yang dilakukan dengan cara mengubah matriks biner ke dalam matriks bipolar. Sedangkan pada algoritma Viterbi, nilai sampel suara pelatihan akan dicari pencarian Viterbi dengan menggunakan transformasi Mellin. Transformasi Mellin digunakan untuk merubah domain waktu ke domain frekuensi. Penelitian ini dilakukan untuk menghasilkan sistem yang dapat mengenali jenis suara wanita berdasarkan register suara manusia dalam teknik bernyanyi, yaitu dengan menunjukkan unjuk kerja dari kedua metode sehingga kita dapat mengetahui metode mana yang lebih optimal. Diharapkan dari penelitian ini akan memberikan hasil seberapa akurasi antara kedua metode tersebut dalam mendeteksi suara yang akan dilatih dengan harapan dapat memberikan sebuah keputusan perekomendasian antara algoritma BAM dengan algoritma Viterbi.

JOSEPH HOROVITZ (b. 1926)Lady Macbeth (1970)

This chapter considers Joseph Horovitz’s Lady Macbeth scena. This short, through-composed dramatic scena is extracted and compiled from different scenes of Shakespeare's play. It presents a vivid, multifaceted portrait of Lady Macbeth, showing her progression from lofty pride and ruthless ambition to guilt-ridden madness. The piece is meticulously crafted and the music’s flexible, chromatic tonality is cohesive and highly accessible. A faint tinge of Scottishness can be detected in the choice of rhythmic gestures. Extremes of range are eschewed: most of the work lies in middle register, avoiding any jarringly exaggerated chest-voice sounds. Accordingly, high notes are used sparingly. The palette of conflicting moods and emotions is conjured with consummate skill and rhythmic vitality. Rapid babblings are interspersed with bursts of outraged scorn and frustrated passion.

“He was unable to set aside the effeminate, and so was forgotten”: Masculinity, Its Fears, and the Uses of Falsetto in the Early Nineteenth Century

The male falsetto enjoyed a brief period of acceptance, even adulation, as it was wielded by tenors such as John Braham and Giovanni Rubini in the first four decades of the nineteenth century. At the same time, the last castrati to tread the stage were winding down their careers, while in Germany and Austria female impersonators such as Karl Blumenfeld, who possessed highly cultivated falsetto voices, were achieving a kind of fame of their own. These three kinds of falsetto—the castrato voice was heard at this time as having the same two registers standard for all voices, falsetto and chest voice—were, to a degree probably startling to modern readers, considered analogous to one another. The decline of the ”legitimate” falsetto as an extension of the tenorial chest voice was concurrent with the phenomena of the disappearing castrati and the wildly over-the-top female impersonators—all of whom were both implicitly and explicitly compared to one another. Both the tenors and the falsettists bore an uncomfortable, even ridiculous, perceptual proximity to the epicene, effeminate, always/already maimed state of the castrato, under the regulation of an anxious version of the male gaze. This proximity played a large role in the rapid disappearance of the tenorial falsetto after 1840.

Establishing Healthy Chest Register in Child Singers

Historically, teaching children to utilize their chest voice in singing has been actively discouraged. These admonitions arise from assumed rather than scientifically based conclusions regarding the anatomical and physiological differences between children and adults. Chest voice singing is both an enjoyable and functional activity for children. The general lack of distinction children have between speaking and singing and their readiness to incorporate new motor patterns—for better or worse—make them ideally suited for age-appropriate training. In this article, the controversy regarding children's use of chest register will be reviewed along with relevant information about anatomy and physiology. Updated information regarding the impact of training on children will be illuminated and a framework for implementing chest voice training will be presented.

Mutational falsetto: intervention outcomes in 45 patients

Objective:The aim of this study was to evaluate the outcomes of therapeutic intervention in patients with mutational falsetto, by applying perceptual and acoustic analysis before and after voice therapy.Materials and methods:Forty-five consecutive patients with mutational falsetto were studied retrospectively. Acoustic analysis (i.e. fundamental frequency, jitter, shimmer, and formants one, two and three) was performed using the Multi-Dimensional Voice Program. Perceptual voice analyses were performed, including graded severity–roughness–breathiness–aesthenicity–strain assessment.Results:Subjects' fundamental frequency, voice formants one, two and three, jitter, and shimmer were greater before than after treatment. There were statistically significant differences between pre- and post-treatment average values for fundamental frequency, jitter and shimmer. There were also statistically significant differences between pre- and post-treatment average values for formants one and two. These results were maintained after six months of follow up, and there was no significant difference between results at three- and six-month follow up. According to perceptual evaluation, each subject's voice had altered from mutational falsetto to chest voice by completion of the intervention. Thus, all of the patients successfully lowered their modal speaking voice to an appropriate level.Conclusion:In the light of objective evaluations, and by applying the study treatment protocol, these results suggest that normal voice can be maintained after intervention, at six months' follow up.

Vocal Self-Identification Singing Style, and Singing Range in Relationship to a Measure of Cultural Mistrust in African-American Adolescent Females

The purpose of this study was to determine the relationship between high or low cultural mistrust and the vocal characteristics of African-American adolescent females (N = 44). The vocal characteristics were vocal self identification, singing style, and singing range. The subjects were assigned to high or low cultural mistrust groups based on scores on the Cultural Mistrust Inventory. A researcher-devised vocal self-identification survey provided information about the subjects' vocal self-concepts and acceptance of vocal models. Subjects sang “America” in a key and style of choice for the singing-style measurement. The performances were analyzed for eight style characteristics: bends, glides, breathiness, hoarseness, raspiness, dips, hard attacks, and emphasis of chest voice. Results indicated statistically significant differences between two groups on each vocal characteristic. The high-mistrust group demonstrated more characteristics associated with the African-American culture than did the low-mistrust group.

Comments on the Myoelastic - Aerodynamic Theory of Phonation

The myoelastic-aerodynamic theory of phonation has been quantified and tested with mathematical models. The models suggest that vocal fold oscillation is produced as a result of asymmetric forcing functions over closing and opening portions of the glottal cycle. For nearly uniform tissue displacements, as in falsetto voice, the asymmetry in the driving forces can result from the inertia of the air moving through the glottis. This inertia can in turn be enhanced or suppressed by supraglottal or subglottal vocal tract coupling. More obvious and pronounced asymmetries in the driving forces are associated with non-uniform vocal fold tissue displacements. These are combinations of normal tissue modes, and can result in vertical and horizontal phase differences along the surfaces, as observed in chest voice. The ranges of oscillation increase among various models as more freedom in the simulated tissue movement is incorporated. Of particular significance in initiating and maintaining oscillation are the vertical motions that facilitate coupling of aerodynamic energy into the tissues and allow tissue deformations under conditions of incompressibility. Vertical displacements also can have a significant effect on vocal tract excitation. Control of fundamental frequency of oscillation (FO) is basically myoelastic, partially as a result of deliberate or reflex adjustments of laryngeal muscles, and partially as a result of nonlinear tissue strain over the vibrational cycle. This places limits on the control of FO by subglottal pressure, and forces such control to be inseparably connected with vibrational amplitude, or less directly, with vocal intensity.