A Comparison of Countertenor Singing at Various Professional Levels Using Acoustic, Electroglottographic, and Videofluoroscopic Methods

Abstract

IntroductionThe vocal characteristics of countertenors (CTTs) are poorly understood due to a lack of studies in this field. This study aims to explore differences among CTTs at various professional levels, examining both disparities and congruences in singing styles to better understand the countertenor voice. Materials and MethodsFour CTTs (1 student, 1 amateur and 2 professionals) sang "La giustizia ha già sull'arco" from Handel's Giulio Cesare, with concurrent videofluoroscopic, EGG, and acoustic data collection. Auditory-perceptual analysis was employed to rate professional level. Acoustic analysis included LH1-LH2, formant cluster prominence, and vibrato analysis. EGG data was analysed using FonaDyn software, while anatomical modifications were quantified using videofluoroscopic images. ResultsCTTs exhibited CQ values surpassing typical levels for inexperienced falsettos. Their vibrato characteristics aligned with expectations for classical singing, whereas the presence of the singer's formant was not observed. Variations in supraglottic adjustments among CTTs underscored the diversity of techniques employed by CTT singers. ConclusionsCTTs exhibited vocal techniques that highlighted the influence of individual preferences, professional experience, and stylistic choices in shaping their singing characteristics. The data revealed discernible differences between professional and amateur CTTs, providing insights into the impact of varying levels of experience on vocal expression.