Monday, November 27, 2017

Formant and resonance in western and Kunqu opera singing, litterature

The formants align because of the pitch, the volume and the vowel sound, and the shape we make while singing one. There are multitudes of possibilities with vowel sound shapes and very small differences can make the sound “maximally efficient” or not quite “good enough”. The jaw, the tongue, the mouth/lips, the back of the mouth (velo-pharyngeal port), the height of the back of the tongue, the height of the larynx and the amount of open/closed quotient as well as the depth of the vocal folds during vibration all play a part in the overall sound we hear when someone sings. The “at rest” position of the length of the folds, the size of the larynx, the size (both diameter and length of the vocal tract) of the throat and mouth cavities, and the bones of the head and face all play a part as well. And “resonance” as a destination isn’t needed in anything but classical repertoire and some kinds of music that might be done acoustically.

CONCLUSIONS: Formant tuning may be applied by a singer of the OM (old man) role, and both CF (color face) and OM role singers may use a rather pressed type of phonation, CF singers more than OM singers in the lower part of the pitch range. Most singers increased glottal adduction with rising F0.
测量了10个昆曲演员的long-term-average-spectrum,5个行当。没有发现singing formant, 发现花脸在3kHz位置有speaker formant. LTAS跟普通说话人的差别很大,跟美声的差别也很大。

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