Maëva Garnier

Vocal tract adjustments in the high soprano range.

Twelve sopranos with different levels of expertise (4 nonexperts, 4 advanced, 4 professionals) sustained pitches from A4 ( approximately 440 Hz) to their highest pitch (ranging from C6 to D7, i.e., from approximately 1000 to 2300 Hz). The frequencies of their first two vocal tract resonances (R1 and R2) were measured by broadband excitation at the mouth and compared with the voice harmonics (f(0), 2f(0), etc). Lip articulation was measured from simultaneous video recordings. Adjustment of R1 near to f(0) (R1:f(0) tuning) was observed below C6 to D6 ( approximately 1000-1200 Hz) for both expert and non-expert singers. Experts began this tuning at lower pitches. Some singers combine R2:2f(0) adjustment with R1:f(0) tuning. Some singers increased mouth area with increasing pitch over the whole R1:f(0) tuning range. Other singers showed this strategy on the higher part of the R1:f(0) range only, and used another, as yet unidentified, articulatory strategy on the lower part. To achieve very high pitches, some singers extended the range of R1:f(0) tuning as far as E6 to F#6 ( approximately 1300-1500 Hz) while others adjusted R2 near f(0) over the highest pitch range.

The listening talker: A review of human and algorithmic context-induced modifications of speech

Speech output technology is finding widespread application, including in scenarios where intelligibility might be compromised - at least for some listeners - by adverse conditions. Unlike most current algorithms, talkers continually adapt their speech patterns as a response to the immediate context of spoken communication, where the type of interlocutor and the environment are the dominant situational factors influencing speech production. Observations of talker behaviour can motivate the design of more robust speech output algorithms. Starting with a listener-oriented categorisation of possible goals for speech modification, this review article summarises the extensive set of behavioural findings related to human speech modification, identifies which factors appear to be beneficial, and goes on to examine previous computational attempts to improve intelligibility in noise. The review concludes by tabulating 46 speech modifications, many of which have yet to be perceptually or algorithmically evaluated. Consequently, the review provides a roadmap for future work in improving the robustness of speech output.

Vocal tract resonances in speech, singing, and playing musical instruments.

In both the voice and musical wind instruments, a valve (vocal folds, lips, or reed) lies between an upstream and downstream duct: trachea and vocal tract for the voice; vocal tract and bore for the instrument. Examining the structural similarities and functional differences gives insight into their operation and the duct‐valve interactions. In speech and singing, vocal tract resonances usually determine the spectral envelope and usually have a smaller influence on the operating frequency. The resonances are important not only for the phonemic information they produce, but also because of their contribution to voice timbre, loudness, and efficiency. The role of the tract resonances is usually different in brass and some woodwind instruments, where they modify and to some extent compete or collaborate with resonances of the instrument to control the vibration of a reed or the players lips, and/or the spectrum of air flow into the instrument. We give a brief overview of oscillator mechanisms and vocal tract acoustics. We discuss recent and current research on how the acoustical resonances of the vocal tract are involved in singing and the playing of musical wind instruments. Finally, we compare techniques used in determining tract resonances and suggest some future developments.

Neural correlates of phonetic convergence and speech imitation

Speakers unconsciously tend to mimic their interlocutors speech during communicative interaction. This study aims at examining the neural correlates of phonetic convergence and deliberate imitation, in order to explore whether imitation of phonetic features, deliberate, or unconscious, might reflect a sensory-motor recalibration process. Sixteen participants listened to vowels with pitch varying around the average pitch of their own voice, and then produced the identified vowels, while their speech was recorded and their brain activity was imaged using fMRI. Three degrees and types of imitation were compared (unconscious, deliberate, and inhibited) using a go-nogo paradigm, which enabled the comparison of brain activations during the whole imitation process, its active perception step, and its production. Speakers followed the pitch of voices they were exposed to, even unconsciously, without being instructed to do so. After being informed about this phenomenon, 14 participants were able to inhibit it, at least partially. The results of whole brain and ROI analyses support the fact that both deliberate and unconscious imitations are based on similar neural mechanisms and networks, involving regions of the dorsal stream, during both perception and production steps of the imitation process. While no significant difference in brain activation was found between unconscious and deliberate imitations, the degree of imitation, however, appears to be determined by processes occurring during the perception step. Four regions of the dorsal stream: bilateral auditory cortex, bilateral supramarginal gyrus (SMG), and left Wernickes area, indeed showed an activity that correlated significantly with the degree of imitation during the perception step.

Converging toward a common speech code: imitative and perceptuo-motor recalibration processes in speech production

Auditory and somatosensory systems play a key role in speech motor control. In the act of speaking, segmental speech movements are programmed to reach phonemic sensory goals, which in turn are used to estimate actual sensory feedback in order to further control production. The adults tendency to automatically imitate a number of acoustic-phonetic characteristics in another speakers speech however suggests that speech production not only relies on the intended phonemic sensory goals and actual sensory feedback but also on the processing of external speech inputs. These online adaptive changes in speech production, or phonetic convergence effects, are thought to facilitate conversational exchange by contributing to setting a common perceptuo-motor ground between the speaker and the listener. In line with previous studies on phonetic convergence, we here demonstrate, in a non-interactive situation of communication, online unintentional and voluntary imitative changes in relevant acoustic features of acoustic vowel targets (fundamental and first formant frequencies) during speech production and imitation. In addition, perceptuo-motor recalibration processes, or after-effects, occurred not only after vowel production and imitation but also after auditory categorization of the acoustic vowel targets. Altogether, these findings demonstrate adaptive plasticity of phonemic sensory-motor goals and suggest that, apart from sensory-motor knowledge, speech production continuously draws on perceptual learning from the external speech environment.

Glottal behavior in the high soprano range and the transition to the whistle register

The high soprano range was investigated by acoustic and electroglottographic measurements of 12 sopranos and high-speed endoscopy of one of these. A single laryngeal transition was observed on glissandi above the primo passaggio. It supports the existence of two distinct laryngeal mechanisms in the high soprano range: M2 and M3, underlying head and whistle registers. The laryngeal transition occurred gradually over several tones within the interval D#5-D6. It occurred over a wider range and was completed at a higher pitch for trained than untrained sopranos. The upper limit of the laryngeal transition during glissandi was accompanied by pitch jumps or instabilities, but, for most singers, it did not coincide with the upper limit of R1:f(0) tuning (i.e., tuning the first resonance to the fundamental frequency). However, pitch jumps could also be associated with changes in resonance tuning. Four singers demonstrated an overlap range over which they could sing with a full head or fluty resonant quality. Glottal behaviors underlying these two qualities were similar to the M2 and M3 mechanisms respectively. Pitch jumps and discontinuous glottal and spectral changes characteristic of a M2-M3 laryngeal transition were observed on decrescendi produced within this overlap range.

Vocal Change Patterns During a Teaching Day: Inter- and Intra-Subject Variability

OBJECTIVES To describe the mean voice changes of 22 female teachers during a typical workday, examine the inter- and intra-subject variability, and establish a typology of different voice patterns during the workday. METHODS For each participant, fundamental frequency (F0), harmonics-to-noise ratio (HNR), jitter, and shimmer were measured on sustained vowels at the beginning and at the end of the workday, at three different times during the school year. RESULTS The group mean pattern showed significant increases in F0 and HNR during the workday and significant decreases in jitter and shimmer. However, considerable inter- and intra-subject variability was observed. Based on the variation in the acoustic parameters during the workday, three different voice patterns were identified. The first is characterized by a greater F0 increase during the day, interpreted as a common, appropriate adaptation to vocal load. The second is characterized by a greater increase in HNR during the day and greater decreases in jitter and shimmer, interpreted as hyperfunctional voice production. The third is characterized by greater decreases in F0 and HNR and greater increases in jitter and shimmer, suggesting acute inflammation or muscle fatigue following the workday. CONCLUSIONS The observed variety of vocal patterns during the workday emphasizes the need to study this phenomenon individually and target different types of behaviors to develop tailored prevention and treatment methods.

Hyper-articulation in Lombard speech: An active communicative strategy to enhance visible speech cues?

This study investigates the hypothesis that speakers make active use of the visual modality in production to improve their speech intelligibility in noisy conditions. Six native speakers of Canadian French produced speech in quiet conditions and in 85 dB of babble noise, in three situations: interacting face-to-face with the experimenter (AV), using the auditory modality only (AO), or reading aloud (NI, no interaction). The audio signal was recorded with the three-dimensional movements of their lips and tongue, using electromagnetic articulography. All the speakers reacted similarly to the presence vs absence of communicative interaction, showing significant speech modifications with noise exposure in both interactive and non-interactive conditions, not only for parameters directly related to voice intensity or for lip movements (very visible) but also for tongue movements (less visible); greater adaptation was observed in interactive conditions, though. However, speakers reacted differently to the availability or unavailability of visual information: only four speakers enhanced their visible articulatory movements more in the AV condition. These results support the idea that the Lombard effect is at least partly a listener-oriented adaptation. However, to clarify their speech in noisy conditions, only some speakers appear to make active use of the visual modality.