Formant Tuning Strategies in Professional Male Opera Singers
Formant Tuning Strategies in Professional Male Opera Singers
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DOI：
10.1016/j.jvoice.2012.12.002
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发表时间：
2013-05-01
期刊：
影响因子：
2.2
通讯作者：
Gill, Brian P.
中科院分区：
文献类型：
--
作者：
Sundberg, Johan;La, Filipa M. B.;Gill, Brian P.
术语“共振峰调谐”通常用于最低共振峰频率之一与源频谱部分的频率一致的情况。有些作者认为这种重合是有利的，属于古典歌剧嗓音训练的目标，而另一些作者则发现了反对这种重合的证据。本研究分析了职业歌手在包括passaggio在内的音高范围内演唱元音/a/，/u/，/i/和/ae/的音阶时，共振峰频率与分音之间的关系，即，基频范围约为300-400 Hz，分别应用通常用于（1）古典和（2）非古典歌唱的两种歌唱策略中的任一种。通过对声学信号进行逆滤波，测量音阶中每个音符的频率。在古典风格中，第一共振峰往往低于非古典风格。第一共振峰和第二共振峰都不倾向于在音阶音调之间系统地变化，使得在某些音阶音调上，一个或两个共振峰都在频谱部分的正下方、正上方或右侧。在许多情况下，歌手产生了相似的频谱特征的音阶的高音不同的第一和第二共振峰频率。无论第一共振峰是稍低，还是稍高，还是偏高，声源的属性似乎都没有受到影响。
The term "formant tuning" is generally used for the case that one of the lowest formant frequencies coincides with the frequency of a source spectrum partial. Some authors claim that such coincidence is favorable and belongs to the goals of classical opera voice training, whereas other authors have found evidence for advising against it. This investigation analyzes the relationships between formant frequencies and partials in professional singers, who sang scales on the vowels /a/, /u/, /i/, and /ae/ in a pitch range including the passaggio, that is, the fundamental frequency range of approximately 300-400 Hz, applying either of the two singing strategies that are typically used (1) in classical and (2) in nonclassical singing, respectively. Formant frequencies of each note in the scales were measured by inverse-filtering the acoustic signal. In the classical style, the first formant tended to be lower than in the nonclassical style. Neither the first nor the second formant tended to change systematically between scale tones, such that on some scale tones either or both formants was just below, just above, or right on a spectrum partial. In many cases, singers produced similar spectrum characteristics of the top tones of the scales with different first and second formant frequencies. Regardless of whether the first formant was slightly lower, slightly higher, or right on a partial, the properties of the voice source did not seem to be affected.