A Comparison of Countertenor Singing at Various Professional Levels Using Acoustic, Electroglottographic, and Videofluoroscopic Methods

Tiago Lima Bicalho Cruz; Marek Frič; Pedro Amarante Andrade

doi:10.1016/j.jvoice.2024.03.033

A Comparison of Countertenor Singing at Various Professional Levels Using Acoustic, Electroglottographic, and Videofluoroscopic Methods

J Voice. 2024 Apr 20:S0892-1997(24)00111-5. doi: 10.1016/j.jvoice.2024.03.033. Online ahead of print.

Authors

Tiago Lima Bicalho Cruz¹, Marek Frič², Pedro Amarante Andrade³

Affiliations

¹ Center for Research on Musical Gesture & Expression School of Music of the Federal University of Minas Gerais, Belo Horizonte, Minas Gerais, Brazil.
² Musical Acoustics Research Centre, Academy of Performing Arts in Prague, Prague 1, Czechia.
³ Curtin School of Allied Health, Curtin University, Perth, Western Australia, Australia. Electronic address: Pedro.andrade@curtin.edu.au.

PMID: 38644071
DOI: 10.1016/j.jvoice.2024.03.033

Abstract

Introduction: The vocal characteristics of countertenors (CTTs) are poorly understood due to a lack of studies in this field. This study aims to explore differences among CTTs at various professional levels, examining both disparities and congruences in singing styles to better understand the CTT voice.

Materials and methods: Four CTTs (one student, one amateur, and two professionals) sang "La giustizia ha già sull'arco" from Handel's Giulio Cesare, with concurrent videofluoroscopic, electroglottography (EGG), and acoustic data collection. Auditory-perceptual analysis was employed to rate professional level. Acoustic analysis included L_H1-L_H2, formant cluster prominence, and vibrato analysis. EGG data was analyzed using FonaDyn software, while anatomical modifications were quantified using videofluoroscopic images.

Results: CTTs exhibited EGG contact quotient values surpassing typical levels for inexperienced falsettos. Their vibrato characteristics aligned with expectations for classical singing, whereas the presence of the singer's formant was not observed. Variations in supraglottic adjustments among CTTs underscored the diversity of techniques employed by CTT singers.

Conclusions: CTTs exhibited vocal techniques that highlighted the influence of individual preferences, professional experience, and stylistic choices in shaping their singing characteristics. The data revealed discernible differences between professional and amateur CTTs, providing insights into the impact of varying levels of experience on vocal expression.

Keywords: Acoustic analysis; Countertenor; Singing formant; Singing voice; Vibrato; Western operatic.