Professional Documents
Culture Documents
22 2 2011
,1 2
1,21,222
= Abstract =
Hong-Shik Choi, MD1,2, Hyun Jun Hong, MD1,2, Yong Hyuk Yum, BA2 and Do Hyun Nam, BA2
1
Institute of Logopedics & Phoniatrics, 2Department of Otorhinolaryngology, Gangnam Severance Hospital,
Yonsei University College of Medicine, Seoul, Korea
Western classical singing voices are different from those of pop song singers singing voices as well as traditional Korean sing-
ing such as Pansori. We anlalysed the singing voices from three different categories with using free application programs avail-
able at the usual smart phones : sound level meter and Spectral View Analyzer and fiberoptic rhinolaryngoscopic evaluation.
The intensity of voice produced by a classical western singer was 11 dB louder than that produced by a pop song singer. Source
sound, glottic sound, as well as harmonic sound and singing resonant sound (Singers formant) are much more prominent. When
evaluated under video-rhinolaryngoscopy during singing, the resonance cavity especially oropharyngeal cavity and hypopharyn-
geal cavity are widely opened during singing of the western classical singer than those of the traditional Korean singers singing.
Difference of singing methods including producing the glottal sound, respiration and resonance are discussed. Possible explana-
tion of development of Singers Formant is discussed.
KEY WORDSSinging voiceWestern classical singingSingers formantResonance.
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, (Fig. 3, 4).
(Singers formant) . ,
, 23
, 23 (Table 1).
Fig. 3. A :
. B :
.
.
A B
.
Fig. 4. (A)
()
. A B
(B) .
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Table 1. , ,
(source) : :
(
)
( , .
) .
, (
)
Amp.
(dB)
Large OQ
A
fr. (Hz)
Small OQ
Fig. 5. EGG
B . A OQ (open quotient,
)
Open quotient (OQ) and frequency (fr) spectrum. The smaller the OQ, the less the decay in intensity of . B OQ , CQ
harmonics as a function of frequency. The glottal sound with smaller OQ is more efficient, i.e., greater in- (closed quotient, )
tensity for the same flow rate.
.
. ,
1) (harmonics) (glottic sound)
. EGG
, , EGG
OQ(open quotient, )
, EGG (peak) shift to left SQ(speed
quotient, ) .
, (harmonics)
,
(Fig. 5). (layered
A B
structure) , open phase
Fig. 6. .
(Bernoulli effect)
, 2) , ,
(subglottal pressure) (Fig. 6A),
. , (chest voice), (mid-voice), (head voice),
(expiratory mus- (falsetto) ,
cles) (abdominal muscles)
. (viscoelasticity) (Fig. 6B).
(vocal cord resonance) 3) (singers formant)
, damping ,
. , 2,500~3,000 Hz
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2,500
2,000 Vocal fold
1,500
R1 R2
1,000
500
0
0 0.4 0.8 1.2 1.6 2.0 2.4 2.8 3.2 3.5 4.0 4.4 4.8 5.2 5.6 6.0 6.4 6.8 7.2 7.6
A Time (seconds)
3,500
3,000
A1 A2
Frequency (Hz)
2,500
2,000 L/6
1,500
L
1,000
500
Fig. 8. .
0 1(R1)
0 0.4 0.8 1.2 1.6 2.0 2.4 2.8 3.2 3.5 4.0 4.4 4.8 5.2 5.6 6.0 6.4 6.8 7.2 7.6 (R2) . R2 (L)
B Time (seconds) 17-17.5 cm
, 1(R1) L 1/6 , R1 , A1 R2
(i) (e) (a) (o) (u) (i) (e) (a) (o) (u) (i) (e) (o) (o) (u) , A2 1/3
.
3,500
3,000 .
2,500
Frequency (Hz)
2,000
1,500
1,000 .
500 1(R1)
0
0 0.4 0.8 1.2 1.6 2.0 2.4 2.8 3.2 3.5 4.0 4.4 4.8 5.2 5.6 6.0 6.4 6.8 7.2 (2.5-)3.0 cm , F1
C Time (seconds)
(2.5-)3.0 cm 4 (10-)12 cm
Fig. 7. (Singers formant). , ,
2,500-3,300 Hz
34,000 cm/12 cm=2,800 Hz
. .
, 2,500~3,500 Hz
(formant) (Fig. 7). F3 F4
(singers formant) ,
. (Fig. 8, 9, 10).
1(R1) 4)
(R2) , ,
2,500~3,000 Hz ,
(Fig. 8), . (Elastic recoil
. force) .
,
: .
R1 ,
2011 .
R2
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L-
A F1 : 645 (59) F2 : 893 (68) F3 : 2432 (60) F4 : 2650 (57) F5 : 3454 (51)
H-
Fig. 9.
(A)
(B). A 3 (formant)
(R1 )
F3 F4
.
B F1 : 731 (61) F2 : 1227 (63) F3 : 2852 (45) F4 : 3498 (42) (
) .
, , .
2006;17:115-26.
3) .
Speech
Singers Formant .
Mouth
2004;15:98-111.
Singing
4) . Vocal Register Tran-
sition (Passaggio) EGG .
2004;15:21-6.
5) .
, ,
. 2002;13:117-23.
6) .
end of epiglottal tube . 2001;12:
121-5.
glottis
7) Leino T, Laukkanen AM, Radolf V. Formation of the actors/spea-
Fig. 10. (Open throat) . (Singing, ) kers formant: a study applying spectrum analysis and computer
(Speech, ) modeling. J Voice 2011;25(2):150-58.
. 1 8) Oliveira Barrichelo VM, Heuer RJ, Dean CM, Sataloff RT. Compari-
. son of singers formant, speakers ring, and LTA spectrum among cla-
ssical singers and untrained normal speakers. J Voice 2001;15(3):
344-50.
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