Some Results of the Analysis of Singing Voice

Abstract

Oscillographic records of some masculine voices were made by means of high quality electroacoustic devices. Vowels u(oo), o, a (ah), e, i (ee) of various pitch from 94 cps to 490 cps were recorded. The records lasting 0.1 sec were made at the moment of the stationary, prolonged sounding of the vowel. The harmonic analysis of different periods of the voice of an artistic singer showed a sharply defined increase of harmonic components in two narrow bands of the spectrum: about 400–600 cps and about 2200–2800 cps. Doubtless in well-trained, good voices there are characteristic “singing formants,” practically the same for all vowels. For the vowels “u” (oo) and “i” (ee), the lower formant sometimes gets as low as 250–300 cps. The higher formant is characteristic for a “metallic” timbre of voice. In the voice of an inexperienced singer (baritone) with a strong but sharp timbre of voice and noticeable fall of loudness higher than mi♭ (325 cps), these sharply defined singing formants are not observed; the whole region of harmonies higher than 1500 cps shows a general increase. It is suggested that the singer arranges formant regions characteristic of a vowel and necessary for good articulation only in the beginning of a vowel (in the period of attach) after which he quickly rearranges the vocal apparatus to the singing position, which is almost the same for all the vowels. The quick and distinct rearrangement to the singing position is a necessary quality of a trained voice. The above-mentioned results agree with our former investigations of 1927 and with the investigations of Bartholomew who found a high singing formant in the region about 2800–3200 cps.