Presenter Donald G. Miller
Presentation Title The Role of the Laryngeal Collar in Vocal Tract Acoustics
Additional Authors Wim G.J. Ritzerfeld, Harm K. Schutte
Link to multimedia presentation Click here. [this will open in a new browser window, close that to return to this page.]
Link to abstract provided before conference Click here. [this will open in a new browser window, close that to return to this page.]
Link to speaker notes, if provided Click here. [this will open in a new browser window, close that to return to this page.] [in .pdf form, get the free adobe acrobat pdf viwer here]
Question/Answer session The below has the question in text form, with a link to the audio form. The answer is typically in audio form only. The audio should open in a new window, close that to return to this page.

1 Perry Smith – Age-old question again, in your example you used straight-tone, and in Pavarotti’s example, he used a vibrato. Does this change, (it didn’t seem to change), but does it have an effect on the closure? Audio link.
1 Audio link.
2 Linda Carroll – Let me follow up on that – it looks like with Pavarotti then, that he’s tuning his vibrato to some of the harmonic characteristics, and if we’re going to follow that through, then does it give credence to the fact that we as voice trainers are constantly looking at, listening to and addressing the vibrato characteristics in singers? Audio link.
2 Audio link.
3 Ingo Titze – I can’t quite see in looking at the data, I’d have to look real careful, but I think you can tell whether he is to the left, the middle or the right by looking at the phase between the amplitude and the frequency change in the vibrato. If he’s on the left of the formant then he should have a perfect phase relationship between intensity changing and frequency changing. If he’s in the middle, he should get a double hump. When the vibrato swings to the right you should get an increase and when it swings back to the left, an increase, so you’ll get a double peak in intensity and if it’s to the right you should get an anti-phase. So I think your analysis could really tease that out. Audio link.

Audio link.

4 Scott McCoy – When we’re looking at spectrograms like this in our lab, we will often see places where there’s evidence of the formant being either above or below the harmonic through the vibrato, again, with the amplitude shift on either the high side or the low side. With the linear display in the spectrogram here, where we have a much greater resolution of frequency at those higher harmonics vs the fundamental frequency. […listen to audio link for remainder…] Audio link.
4 Audio link.
5 Garyth Nair – Since we know that vibrato rate can shift very subtly in the voice, have you done a rate study to see if there’s any shift of rate so that that phase happens more efficiently. Audio link.
5 Audio link.