The relationship between bright timbre, acoustic features, and larynx position: A comparison of different singing voices

Abstract

This study demonstrates that the bright voice heard especially in the high notes of tenors can be produced in different professional singing techniques (such as covered voice, Chinese singing voices, Western early music singing voice etc.) with different larynx position and corresponding differences in acoustic features. The data supporting these claims come from video demonstration and spectral analysis of the various professional singing voices. My results are different from that of Shipp and Izdebski [J. Acoust. Soc. Am. 58, 1104 (1975)], who claim that professional singers usually maintain a lowered larynx position throughout their vocal range and that nonsingers generally positioned their larynx upward with an increase in frequency and tend to maintain a level at or above the larynx rest position throughout their range. My results also differ from those of Sundberg [STL-QPSR 1/1972; Sci. Am. No. 3 (1977)] who said that the larynx lowering typical of male professional singers explains the extra singing formant (between F3 and F4). Sundberg also claims that the extra singing formant explains brilliant timbre and the difference between the untrained singing voice and the speech as compared to the professional singing voice.