Phonatory Strategies of Male Vocalists in Singing Diatonic Scales With Various Dynamic Shapings

Abstract

This work aimed to investigate glottal adduction in the case of the singing of diatonic D major ascending scales with different dynamic shapings on vowel [a:] by 10 classically trained male singers. The parameters obtained by inverse filtering-closed quotient (CQ), normalized amplitude quotient (NAQ), and the level difference between the first two partials of the glottal flow waveform spectrum (H1-H2)-all indicated statistically significant systematic changes when singers sang (1) with habitual dynamics without intentional dynamic changes; (2) with sempre crescendo from piano to forte; and (3) with sempre diminuendo from forte to piano. Adduction on average was lower if the tone with the same pitch was sung piano compared with when it was sung forte. The piano tones with the limit of one and the same dynamic task were sung with lower adduction on average compared with one octave higher or lower tones sung forte, although here the agreement between different parameters was poorer and the individual variability was greater. There was only a moderate negative correlation between CQ and NAQ (r = -0.41) but a strong negative correlation between CQ and H1-H2 (r = -0.8). CQ showed a moderate positive correlation with sound level but no significant correlation with pitch. NAQ showed a strong and significant positive correlation with pitch but not with sound level (except when it was calculated only at constant pitch). Some of the most experienced singers used quite high glottal adduction levels, questioning the concept of whether flow phonation is always the favorite classical style.