Making music with voice. Distinguished lecture, CIRMMT Jan 2009, Copyright Johan Sundberg

Transcription

1 Making music with voice

2 MENU: A: The instrument B: Getting heard C: Expressivity

3 The instrument

4 Summary RADIATED SPECTRUM Level Frequency Velum VOCAL TRACT Frequency curve Formants Level Level Frequency VOICE SOURCE Spectrum Vocal folds Trachea Lungs Frequency Transglottal airflow Waveform Time

5 Voice Source WAVEFORM Vocal folds part meet Transglottal airflow [l/s] SPECTRUM Time Fundamental Octave 1 Fifth Octave 2 Ters Fifth Septime Octave 3 Sound level ([10 db/division] Frequency [partial number]

6 Demo Variable sine wave traveling through a tube

7 RESONANCE Amplitude Frequency curve Output Frequency Input Amplitude Frequency

8 Thus, spectrum peaks at formant frequencies

9 Demo Pulsating airflow through tube Result: vowel-like sound

10 Formant frequencies determined by vocal tract shape

11 Vocal tract shape of vowel /i/ Upper lip Tongue Velum Lower lip Epiglottis Glottis

12 Vocal tract shape of vowels

13 Demo: Pulsating airflow through pinched tube produces vowels

14 Formant frequencies of vowels heed head had who d all hut her hard boy

15 Demo: Cruisade in the F 1 & F 2 archipelago Result: all vowels available by varying F 1 & F 2

16 Articulatory tools: Jaw opening Lip opening Tongue body shape Tongue tip Larynx position

17 Vocal tract length is also important Short vocal tracts have higher resonance frequencies than longer vocal tracts Listen to voice timbre difference produced by different vocal tract lengths!

18 Tuning formants First formant: Mostly jaw opening Determine vowel Second formant : Mostly tongue shape Third formant : Cavity behind lower incisors Higher formants : Vocal tract length, Larynx position

19 CONCLUSIONS Formants controlled by vocal tract shape (articulation) first two resonances determine vowel quality higher formants relevant to personal voice quality

20 MENU: A: The instrument B: Getting heard C: Expressivity

21 Getting heard The high-pitch case

22 Question: Where is the fundamental and where is the first formant? Bass Tenor Baritone Alto Soprano 3000 Second formant frequency [Hz] heed head had her hut hard all boy who d 0 Distinguished 0 lecture, 200 CIRMMT 400 Jan First formant frequency [Hz]

23 Is fundamental allowed to pass the first formant? Listen!

24 Jaw opening is particularly efficient tool for raising first formant Female singers tend to widen the jaw opening at high pitches! Vowel [i] Vowel [u]

25 Larynx height strategy in professional soprano Larynx height [mm] Resting position Fundamental frequency [Hz]

26 Jaw opening strategy in professional soprano Spoken S u n g Jaw opening [mm] Fundamental frequency [Hz]

27 In [a:] the jaw opening is widened when pitch freuqency approaches first formant, but in [e:] some semitones higher

28 Experiment MRI analysis of professional soprano singing different vowels on a triad pattern covering her range

29 Measuring jaw opening

30 Measuring tongue dorsum height

31 Fundamental = Normal F1 Pitch Jaw opening Tongue dorsum Tongue dorsum first Jaw opening later

32 So why not reduce tongue bulging also in /a/? APEX, please

33 This formant strategy expands the dynamic range Singers 0.3 m [db] ffff pppp Untrained Pitch frequency [Hz]

34 Considerable sound level gain: Loud tones at low cost, Vocal economy!

35 Which singers can profit from this strategy?

36 Classification Bass Formant frequencies for vowels Second formant [khz] First formant [khz]

37 Classification Baritone Formant frequencies for vowels Second formant [khz] First formant [khz]

38 Classification Tenor Formant frequencies for vowels Second formant [khz] First formant [khz]

39 Classification Alto Formant frequencies for vowels Second formant [khz] First formant [khz]

40 Classification Soprano Formant frequencies for vowels Second formant [khz] First formant [khz]

41 Classification Alto Soprano Tenor Baritone Bass Formant frequencies for vowels Second formant [khz] First formant [khz]

42 Singers singing in pitch ranges above normal value of first formant need to learn a pitch-dependent vowel articulation!!!!!!!

43 Don t allow pitch frequency to pass the first formant! Trick: reduce articulatory constriction widen jaw opening Result: loud sound at minimum effort/vocal economy

44 Getting heard The male case

45 Singer s formant cluster Also called singer s spectrum peak The fine art of clustering resonances; Performed by male classically trained tenors baritones basses

46 Check spectrum

47 Singer s formant cluster Long-term-average spectrum of orchestra ± singer Mean sound level [db] Orchestra Singer + orchestra SINGER S FORMANT Sound example 1. Noise corresponding to orchestral sound 2. Singer - Singers formant cluster + Singers formant cluster 3. Examples 1. & 2. together Frequency [khz]

48 Production of singer s formant cluster Good voice source Wide pharynx/low larynx Clustering of formants 3, 4, 5

49 Formants generate spectrum peaks Their levels determined by their frequencies (Resonances are like good friends, proximity strengthens)

50 Creating singer s formant cluster produced Formant levels depend on formant frequencies by clustering formants Formant 5 lowered from 4500 to 2700 Hz Level [db]

51 Center frequency of singer s formant cluster is perceptually relevant

52 Lowering third formant by 300 Hz Manipulated Original

53 Who possesses a singer s formant cluster?

54 LTAS

55 LTAS Is this a singer s formant?

56 Any peak at high frequency is not a singer s formant cluster

57 Female singers don t have a singer s formant cluster Bass Baritone Tenor Alto Soprano

58 Vocal loudness and spectrum tilt Nordenberg & Sundberg, J. Acoust. Soc. Am. 120, (2006) Leq =15 db 21 db

59 Effect of vocal loudness on spectrum slope, Check spectrum, when loudness is increased! High overtones gain more than low, so singer s formant cluster becomes more dominant, if vocal loudness is increased! A bad strategy for achieving singer s spectrum peak!

60 Summary Singer s formant cluster occurs near 3000 Hz in tenor, baritone, and bass voices center frequency varies with voice classification generated by clustering formants 3, 4, & 5 can be achieved by a wide pharynx/lowered larynx helps male solo singer s voice to cut through loud accompaniment Another case of vocal economy

61 MENU: A: The instrument B: Getting heard C: Expressivity

62 Expressivity What is the code? Where did we learn it?

63 The Analysis-by-Synthesis strategy Music file DIRECTOR MUSICES (Performance grammar) Synthesis New/Modified Performance rules Synthesised performance Translators: Sundberg & Friberg Musician Lars Frydén

64 DIRECTOR MUSICES interface Quantity Performance rules

65 Three performance principles: 1. Marking the structure 2. Sharpening contrasts 3. Emphasising important notes

66 Principle 1: Mark the structure!

67 Phrase marking: Phrase Arch Phrase 1 Phrase 2 Phrase 3 Phrase 4 Concert version Neutral version Tone number

68 Tempo change is an expressor Similar expressor used in speech

69 Final lengthening in speech Stressed syllable, initial position [ s a s: a s a s ] Stressed syllable, final position [ s a s a s a s: ]

70 Origin of this expressor?

71 Velocity of hand movement Change of hand position along straight line Relative velocity [%] Start Position Target 2009, (according Copyright Johan to Sundberg Juslin, Friberg and Bresin, forthcoming)

72 Velocity of hand movement translated to tempo Relative tempo Note position in Phrase 2009, (according Copyright Johan to Sundberg Juslin, Friberg and Bresin, forthcoming)

73 Hand movement pattern translated to tone duration Relative tone duration Note position in phrase 2009, (according Copyright Johan to Sundberg Juslin, Friberg and Bresin, forthcoming)

74 Phrase level Phrase marking Relative ton duration

75 Modelling Hagegård s phrase marking with hand movement pattern Relative tone duraiton Phrase marking Relative tone duraiton Hand movement

76 Final ritardando, another expressor MV Final ritardando

77 Final ritardando & stopping running Normalised velocity Normalised tempo 1 0,8 0,6 0,4 0,2 Mean ritardando Runners mean velocity MW Stopping running MW Final ritardando 0 0 0,5 1 Normalised time

78 Do we understand tempo change expressors because they allude to experience of movement?

79 Principle 2: Sharpen contrasts!

80 The case of pitch

81 Director musices example Felix Mendelssohn Bartholdy: Scherzo from Ein Sommernachtstraum, op 61 Deviation from equallly tempered tuning [cent] K=0 K=5 K=10 K=-5

82 Other examples J Björling N. Gedda

83 Sharpening contrasts in speech Swedish example: Long and short vowels : (ha:t = hatred; hatt: = hat) [i:] Short Long [a:] Vowel duration contrast enhanced by formant frequency differences

84 Sharpening contrasts in speech Anpassad intonation Fundamental frequency [Hz] Infant Approval directed to Adult Time

85 Principle 3: Emphasise important events

86 Tone onset and vowel onset Lag of vowel onset relative to the accompaniment chord [ms]

87 Thus, sung tone start at the vowel onset

88 Expressor in singing: Timing of tone onset/tone duration

89 Tone durations in Hagegård s material

90 Expressor in singing: Emphasis by delayed arrival

91 Expressor in speech: Syllable duration

92 Syllable duration in actor s speech Stressed syllable

93 Expressor in speech: Emphasis by delayed arrival

94 Expressor in singing: Amplitude of fundamental How does it sound?

95 Physiological factors affecting voice timbre Voice source (Transglottal airflow) Formants Subglottal pressure (Loudness) Vocal fold length & tension (Pitch) Glottal adduction (Phonation type)

96 Amplitude of voice source fundamental Weak Breathy Fundamental strong Adduction Phonation type: Flowy Neutral Firm Pressed weak

97 Long-Term-Average Spectra of expressive and neural versions of examples Red: Expressive, Gray: Neutral Agitated Peaceful a b e f Frequency [10 db / division] c d g h Frequency [100 Hz / division]

98 Expressor in speech: Amplitude of fundamental

99 Expressor in speech: Amplitude of fundamental Courtesy of Klaus Scherer, Geneva

100 Summarising Instrument: Pulsating transglottal airflow, controlled by subglottal pressure, glottal adduction and vocal fold length and tension formant, controlled by articulation Getting heard: Use formants to reach audibility when accompaniment is loud Expression: Principle 1. Mark the structure Principle 2. Enhance contrasts Principle 3. Emphasise important events