Browsing by Author "Ibrahim, Soraia"
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- Acoustic analysis of Fado’s speaking and singing voicePublication . Ibrahim, Soraia; Mendes, Ana Paula; Vaz, Inês
- Audio-Perceptual Features of the Singing Voice Classified by 4 Judges’ Groups: Development of an Appreciation ScalePublication . Mendes, Ana; Vaz, Inês; Ibrahim, SoraiaAudio-perceptual voice analysis is common in clinical practice. Eventhough acoustic analysis provides objective and useful data, audioperception is irreplaceable. The main purpose of this observational research was to develop a singing voice rating scale (Escala de Aprecia¸c˜ao da Voz Cantada – EAVOZC) and second to identify the Fado’s singing voice audio-perceptual profile. EAVOZC has a continuous visual analogue scale with a 50mm line to grade the accentuation level on 13 audio-perceptual voice parameters: 1) pitch, 2) loudness, 3) resonance, 4) phonatory and respiratory coordination, 5) precise articulation, 6) voice quality (roughness, breathiness, strain and asthenia), 7) vibrato, 8) voice projection, 9) voice emotional expression, 10) timbre, 11) brilliance, 12) tuning and 13) global voice appreciation. This paper reports the audio-perceptual classifications of singing voice using the EAVOZC. 40 judges participated in this study: 10 singing teachers (ST), 10 speech-language pathologists (SLP), 10 Fado singers (FS) and 10 naive listeners (NL). Age ranged from [19–73] yrs. Judges listened to 20 voice samples of the Fado Chorus “Nem ´as paredes confesso”. These samples were produced by 10 males, 10 females; 10 amateur, 10 professional singers divided in two age groups [18–55] and [55–70]. Judges filled in the EAVOZC. One-way ANOVA and t-test were used with a a at .05. Results revealed ST and SLP significantly judged singing voice samples in a similar manner in terms of the audio-parameters above listed. The same happened in the groups FS and NL except for timbre and brilliance. Therefore, from now on the results were presented based on 2 groups instead of 4. EAVOZC parameters showed thatmale and female voices’ were distinct in roughness, pitch, tuning and global voice appreciation. Professional Fado singers had higher scores in tuning, emotional expression, precise articulation and had less tension when compared to amateurs. Timbre was classified as dark on male voices and light on female voices. Brilliance was absent in males and present in female voices.
- Auditory-perceptual profile of FADO´s singing voicePublication . Ibrahim, Soraia; Mendes, Ana Paula; Vaz, Inês
- EAVOCZ: appreciation rating ccale for the singing voicePublication . Ibrahim, Soraia; Mendes, Ana Paula; Vaz, Inês
- Fado’s Voice: Acoustic FeaturesPublication . Mendes, Ana; Ibrahim, Soraia; Vaz, InêsFado is a popular Portuguese singing style acoustically characterized by reduced fundamental frequency, jitter as well as shimmer and perceptually by a low pitch, hoarse and strained voice. This study aims to scientifically contribute to the acoustic understanding of Fado singer’s voice profile. 104 Fado singers participated on this study: 47 males, 57 females; 90 amateur and 14 professional, with ages from [18–67]. Fado singers produced spoken tasks consisting on sustained [a,i,u,s,z] plus reading aloud and sung tasks consisting on sustained [a,i,u] of the song “Nem ´as paredes confesso”. Acoustic voice parameters were compared between males vs. females, professionals vs. amateurs and young vs. older voices a two independent t-test with an a at .05. Spoken voice samples of Fado singers presented: 1)higher values for F0, jitter, shimmer and NHRcomparing to nonsingers; 2) lower F0 for maleprofessionals with age range [55–70] vs. amateurs ,formale amateurs with age range [18–55] vs. [55–70] yrold, and for female professionals vs. amateurs (exceptfor [a]); 3) older females had higher F0 than youngersingers, except for [a]; 4) professional male singershad higher jitter and shimmer than amateurs; and 5)professional female singers had lower jitter andhigher shimmer than amateurs. Sung voice results revealed that males’ and females’ Fado voice were acoustically distinct in fundamental frequency and perturbation measures. Along with vibrato, these measures were similar for different age groups as for amateurs and professionals. Vibrato was present in most singers: vibrato rate ranged 5.49–6.82 Hz and extent 0.28–0.59 ST for males; and 5.23–5.99 Hz and 0.29–0.54 ST for females. Lastly, singers’ formant was rarely present. An important step was accomplished with this pioneer study in obtaining the Fado’s singer voice profile. This knowledge can be generalized and applied on pedagogic, clinic and scientific level.