Formant and Voice Source Characteristics of Vowels in Chinese National Singing and Bel Canto. A Pilot Study

Wen Liu; Yue Wang; Changwei Liang

doi:10.1016/j.jvoice.2023.10.016

Formant and Voice Source Characteristics of Vowels in Chinese National Singing and Bel Canto. A Pilot Study

J Voice. 2023 Nov 6:S0892-1997(23)00323-5. doi: 10.1016/j.jvoice.2023.10.016. Online ahead of print.

Authors

Wen Liu¹, Yue Wang², Changwei Liang³

Affiliations

¹ Center for Language Sciences, School of Literature, Shandong University, Jinan, China. Electronic address: liuwen3214@163.com.
² School of Literature, Shandong University, Jinan, China.
³ Laboratory of Language Sciences, Peking University, Beijing, China.

PMID: 37940420
DOI: 10.1016/j.jvoice.2023.10.016

Abstract

Background: There have been numerous reports on the acoustic characteristics of singers' vowel articulation and phonation, and these studies cover many phonetic dimensions, such as fundamental frequency (F0), intensity, formant frequency, and voice quality.

Method: Taking the three representative vowels (/a/, /i/, /u/) in Chinese National Singing and Bel Canto as the research object, the present study investigates the differences and associations in vowel articulation and phonation between Chinese National Singing and Bel Canto using acoustic measures, for example, F0, formant frequency, long-term average spectrum (LTAS).

Results: The relationship between F0 and formant indicates that F1 is proportional to F0, in which the female has a significant variation in vowel /a/. Compared with the male, the formant structure of the female singing voice differs significantly from that of the speech voice. Regarding the relationship between intensity and formant, LTAS shows that the Chinese National Singing tenor and Bel Canto baritone have the singer's formant cluster when singing vowels, while the two sopranos do not.

Conclusions: The systematic changes of formant frequencies with voice source are observed. (i) F1 of the female vowel /a/ has undergone a significant tuning change in the register transition, reflecting the characteristics of singing genres. (ii) Female singers utilize the intrinsic pitch of vowels when adopting the register transition strategy. This finding can be assumed to facilitate understanding the theory of intrinsic vowel pitch and revise Sundberg's hypothesis that F1 rises with F0. A non-linear relationship exists between F1 and F0, which adds to the non-linear interaction of the formant and vocal source. (iii) The singer's formant is affected by voice classification, gender, and singing genres.

Keywords: Bel Canto; Chinese national singing; Formant; Voice source; Vowels.