Presenter Joe Wolfe
Presentation Title Resonance strategies in singing: sopranos and tenors
Additional Authors Nathalie Henrich, Elodie Joliveau, John Smith
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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 N/A
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1 Martin Rothenberg – Maybe 20 or so years ago, we were working on that problem, in the Syracuse research lab, with some of the people here in the room. We tried to stimulate the vocal tract using an impulse, which is a broadband source, and we had an assortment of firearms. I think we had some success with air pistols, but we didn’t have the sophisticated processing algorithms we have now. Added to your methods for determining the resonance would be inverse filtering […..listen to the audio link for the rest of the discussion] Audio link.
2 Jim Doing – I have a question about "what note is this." Are these all the different notes, the dots? …. I think it’s a real problem, I know, trying to find really qualified singers to do these studies on, especially tenors since so few tenors can sing to the top. …[listen to audio link for remaining discussion] Audio link.
3 Sten Ternström – I think your concern over calling the resonances R 1, 2, 3 instead of F 1, 2, 3 is perhaps overly cautious. In my mind, a formant is what you call a resonance, and what you call a formant is something that I’d rather not invoke at all. I think what you are saying is when we look at spectrum section there are peaks and valleys and we tend to call those peaks the formants, but in fact they are only the shadow, or the footprint of the formants that are really the resonances in the vocal tract [….listen to the audio link for remaining discussion.] Audio link.
4 Johan Sundberg – Your results are in very good agreement with what we were doing with much more coarse methods previously. Even the rise of the 3rd and 4th formant I think was even in agreement. What I think is important is that the first formant is always slightly higher than the fundamental. When you looked at the tenors, did you find that they adhered to this principle of keeping the first formant higher than the formant in all vowels, or were there exceptions? Audio link.
4 Audio link.