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Production and perception of
singing voices (II)
Chairperson:
Johan Sundberg - Royal Institute of Technology, Sweden
Malte Kob - Aachen University, Germany
[16:20-18:00] Room: Room C-1
Mo5.C1.1 TRANSCULTURAL STUDY ON FREQUENCY AND FLUCTU
STRUCTURE OF SINGING VOICES
Masako Morimoto1, Emi Nishina2
Yagi3, Norie Kawai3, Satoshi Nakamura4, Manabu Honda4,5, Tadao Maekawa6, T
1
Oohashi3,7
Jumonji University, Japan, 2National Institute of Multimedia Ed
Japan, 3Foundation for Advancement of International Science, Japan, 4PRESTO
Science and Technology Agency, Japan, 5National Institute for Physiological Sc
Japan, 6NTT Cyber Solutions Laboratories, Japan, 7ATR Human Information Sc
Laboratories, Japan
We have studied diversity in expression strategy acros
music cultures by examining the signal analysis of human singing voices. We us
maximum entropy spectral array method (MESAM), which enables us to observ
fluctuation in a micro-temporal domain of several milliseconds. In this study, w
reporting on the frequency and fluctuation structure of human singing voices of
music cultures analyzed by Fast Fourier Transform (FFT) and MESAM. We ana
western bel canto singing, Bulgarian singing and Georgian singing of Eastern E
Mongolian Khoomei and Japanese Nagauta. Spectral analyses by FFT revealed
upper limit of the power spectrum of the bel canto voice was confined below 20
whereas those of other singing voices exceeded 50kHz. Fluctuation analyses usi
MESAM revealed that, within a single musical note, the bel canto voice showed
periodical fluctuation corresponding to vibrato, whereas all other singing voices
non-periodical, complex fluctuation. There is a remarkable contrast between the
and fluctuation structure of human singing voices in West-European and Non-W
European music cultures. This suggests that the existence of a difference in expr
strategy by culture.
Mo5.C1.2 ANALYSIS AND SYNTHESIS OF THE MELODY OF THE RY
CLASSICAL LYRIC "OMORO SOSHI"
Tomio Takara, Shinobu Chine
Ooishi
Faculty of Engineering, University of the Ryukyus, Japan
In the
most part of Japan lies Okinawa, formerly the independent nation of the Ryukyu
culture and language, relics from ancient Japan, can still be found there today, g
important place in the study of Japan's former culture. In this study, we try to an
melody of the Ryukyu classical poem "Omoro Soshi" using an analysis by synth
method to clarify its characteristics. For this purpose we make a special purpose
synthesizer and decide the poem's performance rules from the system's paramete
system involves a text decoder, a score composer, a voice controller and a speec
synthesizer. The text decoder translates from Japanese text to phonemes. The sc
composer synthesizes a melody and set the lyrics to the poem. The vocal contro
the pitch patterns to fit the "Omoro Soshi" poem. The speech synthesizer synthe
singing voice using the cepstrum parameters. Five poems have been handed dow
"Omoro Soshi" poem books. Using basic patterns extracted from these poems, t
are composed. We uncovered several probabilistic patterns and succeeded in rec
them using a simple Markov Model. This became the base for the "Omoro Sosh
synthesizer system. To evaluate this system, we performed 2 experiments. One w
evaluate the score composing ability. The other was to evaluate pitch patterns of
synthesized song voices. To evaluate score composing, we measured the correla
between the composed score and the original. We achieved a score of about 70%
simple Markov Model. To evaluate the performance of the voice controller, we
the synthesized pitch patterns to the original one. There was no significant diffe
between them. This shows that this system is valid for composing simple pattern
"Omoro Soshi".
Mo5.C1.3 TRANSITIONAL CHARACTERISTICS OF FUNDAMENTAL
FREQUENCY IN SINGING
Hiroki Mori1, Wakana Odagiri1, Hideki Kasu
1
Kiyoshi Honda2
Faculty of Engineering, Utsunomiya University, Japan, 2A
Information Science Laboratories, Japan
The F0 characteristics during the n
transition period are investigated. Analyses of the singing voice of a professiona
strongly suggest that apparent asymmetries exist in the mechanisms used for con
rising and falling. Specifically, the F0 contour in rising transitions can be modele
step response from a critically-damped second-order linear system, whereas that
transitions can be modeled as the step response from an underdamped second-or
system with fixed transition time.
Mo5.C1.4 CONTROL METHODS OF ACOUSTIC PARAMETERS FOR S
VOICE SYNTHESIS
Takeshi Saitou, Masashi Unoki, Masato Akagi
S
Information Science, Japan Advanced Institute of Science and Technology, Japa
construct natural singing-voice synthesis system, it is important to fix acoustic p
control methods; for example fundamental frequency (F0), duration, and spectru
on comparative analysis between read speech (spoken voices) and singing-voice
paper, we propose a system to transform read speech into singing-voice using ST
based on the fixed methods. In order to achieve the system, the followings must
required; (1) F0 control based on melody component, (2) duration control of pho
based on rhythm, and (3) spectrum control corresponding to F0 change. For F0 c
paper performs comparative analysis of F0 contours between singing-voice and
speech, extracts unique F0 fluctuations; Overshoot, Vibrato, and Preparation, in
voice, and demonstrates how much these F0 fluctuations influence on singing-v
perception through psychoacoustics experiments. Overshoot is a deflection exce
target note after note changes, Preparation is a deflection of the opposite directio
changes observed just before note changes, and Vibrato is a periodic frequency
Then, this paper proposes an F0 control model that can control F0 fluctuations;
Vibrato, Preparation, and Fine-fluctuation, adding into the Melody components.
duration control, this paper measures phoneme durations in read speech and sing
and proposes duration control rules for each type of phonemes. Spectrum contro
spectrum stretching methods in the frequency axis to modify formant frequencie
function of the F0 ratio of the read speech and singing-voice. This paper carries
transformations from read speech to singing-voice using the above mentioned m
evaluates their quality through psychoacoustics experiments. The results show t
system can produce natural synthesized singing-voice, and the synthesized singi
quality is almost the same as that of sung voice.
Mo5.C1.5 VOCAL DIRECTIVITY MEASUREMENTS OF EIGHT OPER
1
SINGERS
Densil Cabrera1, Pamela Davis2
School of Architecture, De
Science and Planning, The University of Sydney, Australia, 2Australian Centre f
Research in Music Performance, The University of Sydney, Australia
The v
of eight professional opera singers (six female, two male) was measured in an an
room and a recital hall. Horizontal directivity was measured with an array of fre
microphones in the anechoic room, and a similar array of shotgun microphones
recital hall. Subjects sang a given song in four performance styles. A head and t
simulator, radiating sound from its mouth, was used for impulse response measu
all situations. Results show individual singers to have distinctive long term aver
directivity, even across conditions. Singers are somewhat more directional than
and torso simulator, consistent with previous findings.
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