Nonlinear source‐tract interaction in singing.

Abstract

Most approaches to teaching singing are based on concept that there preferred vowel configurations for a given pitch. Speaking vowels are modified not only to create a variety of timbres, but also to support the sound source in self‐sustained oscillation. Linear filter theory, traditionally applied to cans or strengthening by vocal tract coupling, or can it account for source bifurcations in vocal fold oscillation related to vowel selection. Singing are contrasted by selection of two fundamentally different mouth configurations, the megaphone shape and the inverted megaphone shape. With the megaphone shape (used by musical theatre and jazz), the second harmonic of the sound source is reinforced at all high pitches by keeping the first formant frequency high. With the inverted megaphone shape (used by classical singers of opera and art song), the second and third harmonics are reinforced by the second formant. A “lift” of the second harmonic over the first formant becomes a critical skill in acquiring a smooth timbre over a wide pitch range. [Work supported by NIH.]