A VoceVista Study: Formant Boosting and Vowel Modification, Adapting Resonance Techniques of Professionals to the Voice Studio Kathryn Hansen Department of Music, Carthage College, 2001 Alford Park Drive, Kenosha, WI 53140 Results and Discussion: AGNES BALTSA PAS6, The Conference on the Physiology and Acoustics of Singing At right is the spectral evidence of my attempt (Spectogram (A)) to re-create Agnes Baltsa’s Abstract: approach (Spectogram (B)) to the F#5 pitch on the French word “garde.” The spectral images can never be an exact match as the two vocalists have biologically different instruments and one This investigation analyzes VoceVista (VV) spectral evidence for formant boosting and vowel modification in Las Vegas, October 17 - 20, 2012 set of data is performed live into the VoceVista system while the other is a recording. However, recordings of mezzo-sopranos singing the final measures (“si je t’aime prends garde à toi”) of the “Habanera” from by means of formant tracking and vowel modification, I was able to get a spectral image (as well Carmen by Georges Bizet. With these findings, I further explore matching these resonance strategies to feel the Data: as a sound) that is much closer to that of Agnes Baltsa than my original approach. differences in sensation and sound. With these differences recognized, I can discover which best suits my instrument Below is the spectral evidence of each of six professional, traditionally trained vocalists, performing the final phrase of Georges Bizet’s at this time. “Habenera” from his Opera, Carmen (“si je t’aime, prends garde à toi”) lined up above (Spectogram (A)) is spectral evidence of my original ANGELA GHEORGHIU
approach to the same passage. I have placed the cursor at the point in time in which each of the vocalists are holding the /a/ vowel of the At right is the spectral evidence of my attempt (Spectogram (A)) to re-create Angela Gheorghiu’s The VV spectral evidence has inspired a further study of the variations in recordings and their possible causes. I’m approach (Spectogram (B)) to the F#5 pitch on the French word “garde.” Aurally I could hear that currently comparing spectra from live performance recorded directly into VV, and prerecorded performance recorded French word, “garde,” on the F#5 pitch (the cursor is on the fundamental of the pitch). Even at a glance, without further in-depth analysis, one she has a much brighter resonance than Agnes Baltsa. Spectrally and aurally I could tell that Angela into VV from compact discs, youtube and mp3 files. can see that there are differences in each of the vocalists’ approaches to the formation of this sound based on the differences in how each of Gheorghiu uses a wider /a/ than Agnes Baltsa. Agnes Baltsa modifies to a hybrid /a/ and /o/ vowel with her second formant (F2). I used this knowledge in my re-creation of Angela Gheorghiu’s their corresponding spectral images look. Thus all of the professional vocalists below have different resonance strategies that result in approach. Successfully I was able to get a spectral image (as well as a sound) that is much closer to different sounds even though they are all singing the same word on the same pitch in the same aria. This kind of information is beneficial to that of Angela Gheorghiu than my original approach. However, it is too similar to the spectral image that I got for my re-creation of Agnes Baltsa’s approach. Procedure: voice students like myself who are visual learners because it provides a visual tool by which one can match sound rather than the traditional A VoceVista Study: Formant Boosting and Vowel Modification, way of studying voice which is done purely by means of aural and kinesthetic tools. Adapting Resonance Techniques of Professionals to the Voice Studio GRACE BUMBRY Kathryn Hansen, October 1, 2012 At right is the spectral evidence of my attempt (Spectogram (A)) to re-create Grace Bumbry’s 200 approach (Spectogram (B)) to the F#5 pitch on the French word “garde.” This was the most 0 difficult approach to imitate as Grace Bumbry and I have very different vocal colors and physical Procedure: setups. However, aurally I was able to hear the spaces that she creates in both her first and second 165 1. Familiarization of the software visualization software VoceVista (VV) formants (F1 and F2). It took me several tries to finally get the spectral image to visually conclude 0 A. Study Resonance in Singing by Donald Gray Miller, Inside View Press, 2008 that I matched what I heard aurally in Grace Bumbry’s approach. With the help of the VoceVista AGNES BALTSA 2. Familiarization of the vocal anatomy and physiology program, formant tracking, and vowel modification, I was able to get a spectral image (as well as a 100 sound) that is much closer to that of Grace Bumbry than my original approach and my former re- A. Study vocal anatomy program Vocal Parts by Blue Tree Publishing Inc., 2000 Mezzo-soprano 0 creations of Agnes Baltsa and Angela Gheorghiu’s approaches. 3. Procure recordings of professional, traditionally trained singers, performing the final phrase of Georges Bizet’s Born November 19, 1944 in Lefkas, Greece 850 650 “Habenera” from his Opera, Carmen (“si je t’aime, prends garde à toi”). Studied at the Greek National Conservatoire in A JULIA MIGENES A. Gather from web, professional compact discs, and mp3 files. 500 t Athens, Greece and furthered her studies in M u 400 At right is the spectral evidence of my attempt (Spectogram (A)) to re-create Julia Migenes’s 4. Analyze recordings using VV software 300 approach (Spectogram (B)) to the F#5 pitch on the French word “garde.” When listening to Julia A. Map spectral evidence using n Munich, Germany under a Maria Callas S c h o l 200 Migenes I could tell aurally that she utilizes a much darker resonance than the previously studied 1. Resonance charts a Scholarship 100 vocalsits. Spectrally I could see that she modifies with F2 only slightly towards /o/. For this re- 2. Picture, video, and audio logs creation I used much more visual formant tracking with the spectral images than I did aural Supremely active in her career during the 1980’s tracking. I focused more on boosting the same harmonics in the same pattern at the approximate 5. Record myself attempting to match the recorded data (professional techniques) (Hz) levels of Julia Migenes’s spectral image. I did this by modifying my F2 until the image began A. Boost the same formant and use the same vowel (vowel modification) to match. However, the match wasn’t quite close enough. Therefore I tried again keeping the last, 6. Analyze and compare my spectral evidence to the professional spectral evidence most successful modification of F2 and continuously modifying my F1 until I got the result at A. Map spectral evidence using ANGELA GHEORGHIU right. 1. Resonance Charts ROSALIND ELIAS 2. Picture, video, and audio logs Full Lyric Soprano At right is the spectral evidence of my attempt (Spectogram (A)) to re-create Rosalind Elias’s 7. Analyze margins of error in the recordings Born September 7, 1965 in Adjud, Romania approach (Spectogram (B)) to the F#5 pitch on the French word “garde.” This re-creation was A. Record myself and colleagues directly into VV Studied at the Bucharest Music Academy under the most exciting for me because it is finally when I began to discover what works best in re- B. Record myself and colleagues through different recording devices/mediums M Mia Barbu and made her international debut in 1 creating all of these different approaches. The spectral images at right are the closest to one 1. Devices: cellular phones, laptop computers, USB microphones, and another both visually and aurally out of all of the spectral image comparisons in this study. For 9 1990 as Mimi (La Bohème) at the Cluj Opera this re-creation I used the perfect combination of aural and visual formant tracking to get a quick professional recording equipment and close to precise result. I could hear how Rosalind Elias uses both her F1 and F2 in her 2. Mediums: Youtube, Compact Discs, mp3 files. Musical sounds produced by the human voice have Supremely active in her career during the 1990’s approach. I used this aural knowledge and paired it with the same visual approach of formant C. Feed recordings from different devices/mediums back into VV four characteristics: a and early 2000’s tracking that I did to re-create Julia Migenes’s approach. This resulted in the spectral evidence D. Analyze spectral differences between the different recording types at right. 1. Map spectral information MARIA EWING a. Resonance Charts 1. Amplitude: volume, or the amount of sound GRACE BUMBRY b. Picture, video, and audio logs At right is the spectral evidence of my attempt (Spectogram (A)) to re-create Maria Ewing’s 8. Data collection and analysis of target song and phrase: Mezzo-soprano approach (Spectogram (B)) to the F#5 pitch on the French word “garde.” After having great 2. Frequency: the number of oscillations per second A. Source of piece, larger work, composer, date, location, etc Born January 4, 1937 in St. Louis, Missouri success with the re-creaton of Rosalind Elias’s approach, I decided to use the same aural and visual pairing to get the spectral image at right. This strategy successfully produced another B. Performer name and general vocal characteristics, brief bio Studied at Northwestern University under Lotte spectral image (as well as a sound) that is as close to precise as I have been able to achieve thus C. Circumstances of recording, place, time, etc. 3. Spectral Envelope: the fundamental frequency plus its L Lehman and transferred with her instructor to the far. whole number multiples each of its own amplitude, D. Analysis of target phrase M Music Academy of the West in Santa Barbara, C 1. Lyrics (French Language/Diction) and a. phoneme chart (vowel/consonant) a California 2. Phrase 4. Duration: length of time the sound resounds Supremely active in her career during the 1960’s a. performance key a and early 1970’s Acknowledgements: b. pitch range and tessitura of phrase This research was made possible by the support of the Music Department, Quality of 3. Other factors Life Grants, and Information Services. A special thanks goes to faculty advisor, Amy a. Nationality of singer’s origin (native speaker) Haines. b. Factors of performance practice JULIA MIGENES c. Other Mezzo-soprano 9. VoceVista signals/acoustic data Born March 13, 1949 in New York City, New York References: A. Equipment used Studied at the New York School for Performing A r "Agnes Baltsa (Mezzo-soprano) - Short Biography." Agnes Baltsa (Mezzo- B. Time, place, location t Arts and was chosen by Leonard Bernstein to be a s soprano) - Short Biography. N.p., n.d. Web. 14 Oct. 2012.