Vocal Registers of the Countertenor Voice: Based on Signals Recorded and Analyzed in Vocevista Raymond Chenez

Home , Alto, Anthony Roth Costanzo, Countertenor, Missa Brevis (Bernstein), Nerone (Boito), Passaggio

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Electronic Theses, Treatises and Dissertations The Graduate School

2011 Vocal Registers of the Countertenor Voice: Based on Signals Recorded and Analyzed in Vocevista Raymond Chenez

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COLLEGE OF MUSIC

VOCAL REGISTERS OF THE COUNTERTENOR VOICE:

BASED ON SIGNALS RECORDED AND ANALYZED IN VOCEVISTA

RAYMOND CHENEZ

A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctorate of Music

Degree Awarded: Spring Semester, 2011

The members of the committee approve the treatise of Raymond Chenez defended on March 20, 2011.

______Wanda Brister Rachwal Professor Directing Treatise

______Seth Beckman University Representative

______Roy Delp Committee Member

______Larry Gerber Committee Member

______David Okerlund Committee Member

The Graduate School has verified and approved the above-named committee members. ii

ACKNOWLEDGEMENTS

I would like to thank all the individuals who made this treatise possible. To the countertenors who participated, Dan Bubeck, Anthony Roth Costanzo, Todd Doering, Brennan Hall, Michael Kapinus, Nathan Medley, Reginald Mobley, Andrew Rader, Steven Rickards, Peter Thoreson, and Jay White. Thank you for your willingness in lending your voices to this project. I would especially like to thank Steven Rickards for his generous hospitality and help in arranging the assistance from many of the above-mentioned singers. To Donald Miller, I extend my thanks for your assistance during this process. Without your research, this treatise would not have been possible. To David Okerlund, thank you for your commitment to this project. I enjoyed all the time spent analyzing VoceVista signals and discussing the voice. I truly appreciate your efforts and assistance. To my voice teachers, Wanda Brister Rachwal and Roy Delp, I would like to thank you for everything you have given me over the past five years. You have gone above and beyond your duties as voice teachers, and have made a lasting impact on my life.

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TABLE OF CONTENTS

List of Figures ...... v Abstract ...... x

INTRODUCTION ...... 1

METHOD ...... 6

UPPER REGISTER ...... 19

MIDDLE REGISTERS ...... 31

CHEST REGISTER ...... 42

CONCLUSIONS ...... 63

GLOSSARY ...... 65

APPENDICES ...... 69

A. HUMAN SUBJECTS COMMITTEE APPROVAL LETTER...... 69

B. INFORMED CONSENT LETTER ...... 71

BIBLIOGRAPHY ...... 73

BIOGRAPHICAL SKETCH ...... 75

LIST OF FIGURES

Figure 1.1 Manuel Garcia II‘s table of registers...... 3

Figure 1.2 Peter Giles‘ system of registration...... 4

Figure 2.1. Author shown wearing EGG module, EGG neck-strap, and headset microphone...... 7

Figure 2.2. Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in VoceVista. View of spectrogram, power spectrum, and waveform envelope shown...... 8

Figure 2.3. Spectrogram extracted from Figure 2.2...... 9

Figure 2.4. Power spectrum extracted from Figure 2.2...... 10

Figure 2.5. Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista. View of spectrogram, electroglottograph waveform (EGG), closed quotient history (EGG CQ), and audio waveform shown...... 12

Figure 2.6. Electroglottograph waveform (EGG) extracted from Figure 2.5...... 13

Figure 2.7. Audio waveform extracted from Figure 2.5...... 14

Figure 2.8. Theoretical drawing of the overtone series emitted by the vocal folds prior to filtering by the vocal tract...... 15

Figure 2.9. Power spectra of A4, sung by a soprano on an [i] vowel (signal A), and vocal fry (signal B)...... 16

Figure 2.10. First and second formant frequency ranges of eight vowels during speech...... 17

Figure 3.1. Octave scale from E4 to E5 on [a] by Andrew Rader. EGG waveforms are shown of # # C 5 (A) and D 5 (B)...... 19

# Figure 3.2. Octave scale from E4 to E5 on [a] by Andrew Rader. Power spectra show C 5 (A) and # D 5 (B), with cursors placed on H1...... 20

# Figure 3.3. Octave scale from E4 to E5 on [a] by Andrew Rader. Power spectra show C 5 (A) and # D 5 (B), with cursors placed on H2...... 21

# Figure 3.4. Octave scale from E4 to E5 on [a] by Andrew Rader. Power spectra show C 5 (A) and E5 (B), with cursors placed on H1...... 22

# Figure 3.5. Octave scale from E4 to E5 on [a] by Andrew Rader. Power spectra show C 5 (A) and E5 (B), with cursors placed on H2...... 22

# Figure 3.6. Octave scale from E4 to E5 on [a] by Dan Bubeck. Power spectra show C 5 (A) and E5 (B), with cursors placed on H1...... 24

# Figure 3.7. Octave scale from E4 to E5 on [a] by Dan Bubeck. Power spectra show C 5 (A) and E5 (B), with cursors placed on H2...... 24

# Figure 3.8. Octave scale from E4 to E5 on [a] by Dan Bubeck. EGG waveforms are shown of C 5 # (A) and D 5 (B)...... 26

th Figure 3.9. Ascending 5 from C5 to G5 on [a] by Anthony Roth Costanzo. EGG waveforms are shown of E5 (A) and G5 (B)...... 28

th Figure 3.10. Ascending 5 from F5 to C6 on [a] by Todd Doering. EGG waveforms are shown of G5 (A) and B5 (B)...... 29

Figure 3.11. EGG waveform indicating an unstable larynx...... 30

Figure 4.1. Octave scale from D4 to D5 on [a] by Andrew Rader. Power spectra show G4 (A) and A4 (B), with cursors placed on H2...... 32

Figure 4.2. Octave scale from D4 to D5 on [a] by Andrew Rader. Power spectra show G4 (A) and A4 (B), with cursors placed on H3...... 32

# Figure 4.3. Octave scale from D4 to D5 on [a] by Brennan Hall. Power spectra show F 4 (A) and G4 (B), with cursors placed on H2...... 34

# Figure 4.4. Octave scale from D4 to D5 on [a] by Brennan Hall. Power spectra show F 4 (A) and G4 (B), with cursors placed on H3...... 34

Figure 4.5. Excerpt from ―Ebben…ne andro lontano,‖ sung by Maria Callas. Power spectra are shown of D5 (A) with cursor placed on H2, and G4 (B) with cursor placed on H3...... 35

Figure 4.6. Excerpts from ―Un bel di,‖ sung by Régine Crespin (A) and Yoko Watanabe (B). Power spectra of Ab4 are shown, with cursors placed on H3 (A) and H2 (B)...... 36

# Figure 4.7. Octave scale from A3 to A4 on [a] by Andrew Rader. Power spectra show F 4 (A) and G4 (B), with cursors placed on H2...... 37

# Figure 4.8. Octave scale from A3 to A4 on [a] by Andrew Rader. Power spectra show F 4 (A) and G4 (B), with cursors placed on H3...... 38

Figure 4.9. Octave scale from D4 to D5 on [a] by Andrew Rader. EGG waveforms are shown of G4 (A) and A4 (B)...... 39

Figure 4.10. Octave scale from D4 to D5 on [a] by Andrew Rader. EGG waveforms are shown of G4 (A) and D4 (B)...... 40

Figure 4.11. Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo. EGG waveforms are shown of G4 (A) and D4 (B)...... 41

Figure 5.1. Octave scale from A3 to A4 on [a] by Steven Rickards. EGG Waveforms are shown of D4 (A) and E4 (B)...... 43

Figure 5.2. Octave scale from A3 to A4 on [a] by Steven Rickards. Power spectra show D4 (A) and E4 (B), with cursors placed on H3...... 44

Figure 5.3. Octave scale from A3 to A4 on [a] by Steven Rickards. Power spectra show D4 (A) and E4 (B), with cursors placed on H4...... 45

Figure 5.4. Octave scale from A3 to A4 on [a] by Brennan Hall. EGG Waveforms are shown of # B4 (A) and C 4 (B)...... 46

Figure 5.5. Octave scale from A3 to A4 on [a] by Brennan Hall. Power spectra show B4 (A) and # C 4 (B), with cursors placed on H3...... 47

Figure 5.6. Octave scale from A3 to A4 on [a] by Brennan Hall. Power spectra show B4 (A) and # C 4 (B), with cursors placed on H4...... 47

Figure 5.7. Octave scale from A3 to A4 on [a] by Andrew Rader. EGG Waveforms are shown of # C 4 (A) and D4 (B)...... 48

# Figure 5.8. Octave scale from A3 to A4 on [a] by Andrew Rader. Power spectra show C 4 (A) and D4 (B), with cursors placed on H3...... 49

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# Figure 5.9. Octave scale from A3 to A4 on [a] by Andrew Rader. Power spectra show C 4 (A) and D4 (B), with cursors placed on H4...... 50

Figure 5.10. Octave scale from A3 to A4 on [a] by Reginald Mobley. EGG Waveforms are # shown of B3 (A) and C 4 (B)...... 51

Figure 5.11. Octave scale from A3 to A4 on [a] by Reginald Mobley. EGG Waveforms are # shown of C 4 (A) and D4 (B)...... 52

Figure 5.12. Octave scale from A3 to A4 on [a] by Reginald Mobley. EGG Waveforms are shown of D4 (A) and E4 (B)...... 52

Figure 5.13. EGG waveform of a C4 sung by Reginald Mobley. Chest voice is shown in signal A, head voice is shown in signal B...... 53

Figure 5.14. EGG waveform of a C4 sung by Reginald Mobley. Transition from chest voice to head voice is shown in signal A, head voice to chest voice is shown in signal B...... 54

Figure 5.15. Octave scale from A3 to A4 on [a] by Reginald Mobley. Power spectra show B3 (A) # and C 4 (B), with cursors placed on H3...... 55

Figure 5.16. Octave scale from A3 to A4 on [a] by Reginald Mobley. Power spectra show B3 (A) # and C 4 (B), with cursors placed on H4...... 55

# Figure 5.17. Octave scale from A3 to A4 on [a] by Reginald Mobley. Power spectra show C 4 (A) and D4 (B), with cursors placed on H3...... 56

# Figure 5.18. Octave scale from A3 to A4 on [a] by Reginald Mobley. Power spectra show C 4 (A) and D4 (B), with cursors placed on H4...... 57

Figure 5.19. Octave scale from A3 to A4 on [a] by Reginald Mobley. Power spectra show D4 (A) and E4 (B), with cursors placed on H3...... 58

Figure 5.20. Octave scale from A3 to A4 on [a] by Reginald Mobley. Power spectra show D4 (A) and E4 (B), with cursors placed on H4...... 58

b b Figure 5.21. Octave scale from A 3 to A 4 on [a] by mezzo-soprano. EGG waveforms are shown b of C4 (A) and D 4 (B)...... 59

b b Figure 5.22. Power spectra of C4 (A) and D 4 (B) from A scale on [a] by mezzo-soprano...... 60

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Figure 5.23. Octave scale from A3 to A4 on [a] by Dan Bubeck. EGG waveforms are shown of B3 (A) and A3 (B)...... 61

Figure 5.24. Octave scale from A3 to A4 on [a] by Dan Bubeck. Power spectra show B3 (A) and # C 4 (B), with cursors placed on H3...... 62

Figure 5.25. Octave scale from A3 to A4 on [a] by Dan Bubeck. Power spectra show B3 (A) and # C 4 (B), with cursors placed on H4...... 62

Figure 6.1. Registration model for the countertenor voice. Overlapping indicates different singers and their adjustments...... 64

ABSTRACT

Today‘s countertenors possess vocal ranges similar to the mezzo-soprano, and are trained to sing with a vibrant, focused tone. Little research has been conducted on the registers of the countertenor voice. Advancement in vocal techniques in the countertenor voice from the late 20th century to the present has been rapid. This treatise attempts to define the registers of the countertenor voice, and is intended as a resource for singers and teachers. The voices of eleven North American countertenors were recorded and analyzed using VoceVista Pro software, which was developed and designed by Donald Miller. Through spectrographic and electroglottographic analysis, the registers of the countertenor voice were identified and outlined.

CHAPTER ONE

INTRODUCTION

Questions often arise with regard to registers, and where they fall in the countertenor voice. The most prominent vocal pedagogy books devote little attention to the countertenor, including Richard Miller‘s The Structure of Singing, William Vennard‘s Singing: The Mechanism and the Technic, and James McKinney‘s The Diagnosis and Correction of Vocal Faults. In most books on pedagogy there is no mention of the voice type, or only a brief paragraph is provided. Although the use of terminology has evolved, the first significant description of registers for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on The Art of Singing. He describes the countertenor voice as follows: Counter-Tenor Voice: The highest voice of the man. This clear and nimble voice, whose range is the same as that of the contralto voice, and is composed of the same cords, extends from

In this voice, the chest register blends very well with the falsetto register, but, although more thin and more effeminate than all the other masculine voices, it blends poorly with the head register, which is exclusively reserved for the woman.1

Garcia‘s table of registration is shown in Figure 1.1. In observing his classifications for female voices, he has placed the ―falsetto‖ register in the middle of the range. It is evident his usage of the term had different implications when he wrote the treatise than it does now. In 1894 he revised his terminology to chest, medium (falsetto for male voice), and head.2 In observing his register system for the countertenor voice, Garcia has placed it as the b highest male voice, capable of ascending past the tenor in the chest voice to B 4 with a possible

1 Manuel Garcia II, A Complete Treatise on the Art of Singing: Part One (New York: Da Capo Press, 1984), 21.

2 Clifton Ware, Basics of Vocal Pedagogy: The Foundations and Process of Singing (McGraw-Hill, 1998), 114. 1 extension to C5. In comparing the tenor to the countertenor, the ranges are identical in the # falsetto register. In the head register the countertenor is given a possible extension to F 5. Garcia evidently believed in a three-register system for the countertenor, with different options for employing chest and falsetto in the same range. In comparing this model with his tenor model, it seems as if these voices were similar in function. The voice of the present-day countertenor functions differently from the way it was described by Garcia. While the countertenor employs the chest register as part of the overall range, he uses it only for the lowest tones. The contemporary countertenor would not extend his chest voice nearly as high as C5.

Figure 1.1 Manuel Garcia II‘s table of registers.3

3 Garcia, 21-22. 3

Figure 1.2 Peter Giles‘ system of registration.4

4 Giles, 176. 4

In 1994, the most recent system of registration in the countertenor voice was devised by Peter Giles. Figure 1.2 compares the countertenor voice with other male and female voice-types. In observing his countertenor model, Giles shows a wide range of register possibilities for the voice. Registration in the singing voice is a widely-debated subject. Among singing teachers, a wide range of terminology and concepts still exist. While pedagogues have devised systems and written numerous documents and books on registration for many voice types, the registers of the countertenor voice have been addressed minimally. Donald Miller, through recent technical advances, has provided a means to analyze the voice. Dr. Miller began his career as an opera singer and voice teacher. He has sung over 25 leading roles, and was a professor of voice at Syracuse University for over two decades. In the late 1970s he turned his focus toward voice science. In 1987 he devoted himself to research on the acoustics and physiology of the singing voice as an associate of the Groningen Voice Research Lab in the Netherlands. Dr. Miller is responsible for the design and development of VoceVista, software first introduced in 1996.5 One of the main benefits of VoceVista has been the ability to identify register transitions, and the elements that are involved in these transitions. The purpose of this treatise is to develop a further understanding of registration in the countertenor voice with the use of VoceVista.

5 Donald Miller, Resonance in Singing: Voice Building through Acoustic Feedback (Princeton, NJ: Inside View Press, 2008), back cover. 5

CHAPTER TWO

METHOD

Eleven North American countertenors were recorded and analyzed using VoceVista-Pro software (version 3.3).6 The age of the participants ranged from 23 to 55 years. Because of this range in age, the experience of the singers varied. At minimum, all of the participants held a bachelor‘s degree in music. All of the participants had professional performing experience. Each singer was asked to sing a standard set of vocalises encompassing nearly the entirety of his vocal range. The lowest recorded pitch was G3. This starting point was chosen to identify the transition coming from the chest voice to the head voice. Because the modal (chest) voice has been researched and studied at length, pitches below G3 were not recorded. The highest recorded pitch was C6, which only one of the eleven countertenors was capable of producing. Due to differences in vocal range, each singer did not perform every vocalise. Each participant was instructed to warm up prior to the recording. During the process they were given the freedom to play their own pitches from a piano before each vocalise they were instructed to sing. No accompaniment was provided while they vocalized. Because the purpose of this study was to analyze the best examples possible, each singer was given the opportunity to record an exercise as many times as necessary to exemplify his best singing. Two signals were obtained in the process: an audio signal and an electroglottograph (EGG) waveform. The equipment used to record these signals included a Dell Inspiron 1470 laptop, Tascam USB audio interface, an EGG module, EGG neck-strap, and a headset microphone. A photograph of this equipment is shown in Figure 2.1.

6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller. 6

Figure 2.1. Author shown wearing EGG module, EGG neck-strap, and headset microphone.

All of the signals were recorded using the laptop computer while running VoceVista-Pro software (v 3.3). The EGG module was used to process the EGG and audio signal. The electrodes used to transmit the EGG signal were positioned on either side of each participant‘s larynx with a Velcro strap. A headset microphone was used in order to maintain a consistent distance between the singer‘s mouth and the microphone. The headset microphone is an omnidirectional electret microphone with a flat response in the frequency range of interest (ca. 70 to 8000 Hz). The EGG module was inserted into the Tascam interface, which connected to the computer‘s USB port, and allowed for volume control over the audio and EGG signals. All of the signals were initially recorded at a low level to prevent overloading, and were later normalized to 85% with Adobe® Audition® to create a consistent standard for analysis. The audio signal obtained through the microphone provided a spectrogram and power spectrum in VoceVista. Figure 2.2 shows an example of a spectrogram, a power spectrum, and a waveform envelope. This figure shows a D major scale, sung on an [a] vowel by countertenor Anthony Roth Costanzo.

Figure 2.2. Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in VoceVista. View of spectrogram, power spectrum, and waveform envelope shown.

The spectrogram is extracted from Figure 2.2 and shown in Figure 2.3. In this example, a D major scale is displayed. Donald Miller describes the spectrogram as reading like music ―from 7 left to right in the time dimension.‖ In this example, a green vertical cursor is placed on A4 of the scale. In the lower right, a time marker of 2507 milliseconds (ms) is displayed. This indicates the exact moment of the sound sample in which the green cursor is placed. Miller describes the vertical dimension of the spectrograph as follows: The vertical dimension shows frequency. In the usual narrow-band display the fundamental frequency, designated F0, is the lowest band. The bands above it represent overtones, which are all integer multiples of the fundamental. For example, if the fundamental is 220 hertz (Hz, or cycles per second), the series of overtones is 440, 660, 880, etc. These are all harmonics, which follow the pattern of the well-known harmonic series. The fundamental is designated H1, H2 is an octave higher, H3 a perfect fifth above that, etc.8

7 Miller, 7-8.

8 Ibid., 7-8.

The term ―fundamental frequency‖ that Dr. Miller refers to is the pitch the human ear actually hears. For purposes of this treatise, the fundamental frequency will be referred to as ―H1‖ (Harmonic 1). F0 can also be used as a label, but will not be used in this document. In Figure 2.3, the fundamental frequency is shown as the lowest horizontal band. Above it are overtones, which are labeled H2, H3, H4, etc. The colors shown in the spectrogram represent levels of intensity (amplitude).9

Figure 2.3. Spectrogram extracted from Figure 2.2.

On the right side of Figure 2.2 is the power spectrum, which is displayed separately in Figure 2.4. Miller describes the power spectrum as follows: ―The power spectrum has just two dimensions, frequency and amplitude, displayed in the horizontal and vertical dimensions,

9 Ibid., 7-8.

9 respectively. It is best understood as a very narrow time-slice through a spectrogram.‖10 The power spectrum (Figure 2.4) represents the exact moment in time in which the cursor is placed in the spectrogram (Figure 2.3). The harmonics from the spectrogram (Figure 2.3) are displayed from left to right in the power spectrum (Figure 2.4). Miller describes this display as showing ―the series of harmonics with a precise gradation of amplitude in decibels. One can thus see which frequency components are dominant at any given moment, and by how many decibels they prevail over other components.‖ 11

Figure 2.4. Power spectrum extracted from Figure 2.2.

10 Ibid., 8-9.

11 Ibid., 8-9. 10

Throughout this document, a long time average spectrum (LTAS) will be used, which Miller describes as follows: In addition to the narrow time-slice, the program can calculate a long time average spectrum (LTAS) for segments up to 10 seconds. By setting the averaging time at 200 ms (milliseconds), the display of sound in real time will average approximately one complete vibrato cycle (based on a vibrato rate of 5 Hz), giving a more realistic impression of the balance of frequency components that the ear is hearing in real time.12

The other signal analyzed in this treatise is the electroglottograph waveform (EGG), which is described by Miller as follows: The EGG is the second of the two non-invasive signals processed by VoceVista. It is a physiological signal, allowing us to follow the vibrations of the vocal folds that produce the primary sound at the glottis. A minute high-frequency current runs between electrodes that are held in place on either side of the larynx. The resistance between electrodes decreases by a small amount when the vocal folds make contact, initiating the closed phase of the glottis. The resistance rises again as the glottis opens. These modulations in resistance give us the EGG signal, useful as a measure of contact between the vocal folds.13

12 Ibid., 8-9.

13 Ibid., 9. 11

Figure 2.5 is a different display of VoceVista, which shows a G major scale, sung on an [a] vowel by countertenor Steven Rickards. This figure shows a spectrogram, electroglottograph waveform (EGG), closed quotient history (labeled EGG CQ), and audio waveform. The electroglottograph waveform (EGG) is extracted from Figure 2.5, and shown in Figure 2.6. This signal can be used to calculate closed quotient (CQ), which is described by Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the passage of air.‖14 Three vertical cursors are displayed in this window. The first vertical cursor is placed at the estimated moment in which the glottis closes, and the middle cursor is placed at the estimated moment in which the glottis opens. The horizontal cursor is adjusted by the user to align these vertical cursors, and is referred to as the criterion level (CL).15 This process of adjustment is aided by the audio waveform, which will be described later. In this example, the horizontal cursor is placed at the estimated moment of glottal opening (CL=26%), and the closed quotient (CQ) is measured at 44%.

14 Ibid., 9.

15 Ibid., 9. 12

Figure 2.6. Electroglottograph waveform (EGG) extracted from Figure 2.5.

Above the EGG signal in Figure 2.5 is the audio waveform, which shows the microphone signal. This is the same signal that provides the spectrogram and power spectrum. The audio waveform is extracted from Figure 2.5, and shown in Figure 2.7. This signal is useful in aligning the EGG signal directly below it, as shown in Figure 2.5. Miller describes this process as follows: Care must be taken to precisely align the EGG and audio signals in the time domain. Each closing of the glottis creates an impulse that acoustically excites the vocal tract. There is a time delay between this closure, which is registered immediately by the EGG, and the moment of arrival at the microphone of the corresponding acoustic impulse. At the relatively low frequencies and intensities of speech, the sound tends to die out between glottal impulses, making these easy to identify in the audio waveform, particularly if the microphone is close to the speaker‘s mouth. In the case of a head-mounted microphone the distance the sound travels is kept constant, and thus the delay as well. Having the audio and EGG waveforms aligned enables one to see the effects of the sound created by glottal closing and opening, as well as by different magnitudes of closed quotient. It also makes clearer the difference between low- intensity speech, where the sound tends to die out in the open phase, and resonant singing, characterized by standing waves that maintain their energy through the open phase and into the next closing.16

16 Ibid., 10-11. 13

Figure 2.7. Audio waveform extracted from Figure 2.5.

The signals described above were used to determine where the register transitions occurred in the countertenor voice, and the characteristics that defined these transitions. These determinations were made by studying adjustments in CQ, and changes in the relative strength of the harmonics displayed in the spectrogram and power spectrum. Changes in the CQ are measured through analysis of the EGG signal. An increase or decrease in the CQ indicates an adjustment being made by the singer at the voice source (the vocal folds), consciously or subconsciously. Changes displayed in the spectrogram reflect the adjustments made in the vocal tract after the harmonics have emerged from the glottis. Within the vocal tract are naturally occurring formants, which are variable resonances of the vocal tract.17 When considering the source spectrum of a sound before it is filtered by the vocal tract, the amplitude of the harmonics theoretically decreases uniformly with increasing frequency.18 In other words, Miller is theorizing that Figure 2.8 represents the overtone series emitted by the vocal folds prior to the filtering performed by the vocal tract.

17 Ibid., 113.

18 Ibid., 24-25. 14

Figure 2.8. Theoretical drawing of the overtone series emitted by the vocal folds prior to filtering by the vocal tract.19

Through adjustments in the vocal tract, the formants can be tuned to the harmonics emerging from the glottis, which create distinctive peaks in the spectrogram.20 Miller explains the importance of the first two formants as follows: When we speak of formant tuning in the singing voice, we are nearly always talking about one or both of the two lowest formants, F1 and F2. There are two evident reasons for this. The first is that these two formants are in the frequency region where the harmonics emerging from the glottal source are strong; resonating a harmonic that is intrinsically strong will have a relatively large effect on the sound pressure level…The second reason is that our vocal tracts are well equipped to make rapid changes, both large and subtle, in the first two formants.21

Through glottal fry, a visual representation of the formant frequencies of a singer can be obtained. Figure 2.9 shows the power spectrum of an A4, sung by a soprano on an [i] vowel. The formant structure is shown in the lower portion, which was produced by a glottal fry. The

19 Ibid., figure 4.3.

20 Ibid., 24-25.

21 Ibid., 24-25. 15 upper portion shows the sung pitch. When aligning the two images, it is evident how the formants amplify the harmonics to which they are tuned.22

Figure 2.9. Power spectra of A4, sung by a soprano on an [i] vowel (signal A), and vocal fry (signal B).23

The first formant (F1) is affiliated with the back cavity, and the second formant (F2) is affiliated with the front.24 Miller lists three general rules regarding the adjustments of these two formants:  Lip rounding lowers all formant frequencies, but especially F2; lip spreading has the opposite effect.  Larynx lowering lowers all formant frequencies, but especially F1; larynx raising has the opposite effect.

22 Ibid., 23.

23 Ibid., figure 4.1.

24 Ibid., 29. 16

 Moving the tongue constriction forward raises F2 and lowers F1; moving it backward has the opposite effect.25

By adjusting the formant frequencies with the articulators, vowels are shaped. Figure 2.10 shows a vowel diagram, which displays the first and second formant frequency ranges of eight vowels during speech. The open and closed dimension of a vowel is dependent on the first formant, while the front and back dimension is dependent on the second formant. The variance for each vowel accounts for different individuals, whose vocal tracts are different sizes. Generally, children have the smallest vocal tracts, and therefore the highest formant frequencies. Adult men typically have the largest vocal tracts, and the lowest formant frequencies.26

Figure 2.10. First and second formant frequency ranges of eight vowels during speech.27

25 Ibid., 31.

26 Ibid., 26-28.

27 Ibid., figure 4.4. 17

For the purpose of this treatise, I have chosen to focus on the [a] vowel. The work of Dr. Miller shows how this vowel can be used successfully to identify register transitions in the voice due to the close proximity of the first two formants (F1 and F2). The [a] vowel has been the primary focus of Dr. Miller‘s research regarding the registers of the voice. As a result, the data collected in this treatise can be compared to his research and cross-referenced with his findings in the female voice. For these reasons, analyzing vocalises on [a] was the most useful means of researching the registers of the countertenor voice.

CHAPTER THREE

UPPER REGISTER

To date, the analysis of the upper register of the countertenor voice has remained largely unexplored. Like female singers, countertenors also make an upper register transition. Through the examination of the power spectrum and the EGG waveform of an E Major scale beginning on

E4 on an [a] vowel, it is possible to identify this transition.

Figure 3.1. Octave scale from E4 to E5 on [a] by Andrew Rader. EGG waveforms are shown of # # C 5 (A) and D 5 (B).

Figure 3.1 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader. # # In signal A, the cursor is placed on C 5, and in signal B the cursor is placed on D 5. In the case of both EGG waveform signals, a manual CQ measurement was taken by placing the orange cursor at the beginning of the closed phase. The CQ was then calculated by dividing the Interval (length of time the vocal folds are presumably in the closed phase) by the Period (length of the glottal cycle) (1.28/1.84=70% and 1.22/1.63=75%). The increase of 5% in the CQ also

19 corresponds with a shift in harmonic dominance from H2 to H1, shown in the power spectrum of Figure 3.2 and 3.3 at the same 6172 and 6528 ms marks.

# Figure 3.2. Octave scale from E4 to E5 on [a] by Andrew Rader. Power spectra show C 5 (A) and # D 5 (B), with cursors placed on H1.

# Figure 3.3. Octave scale from E4 to E5 on [a] by Andrew Rader. Power spectra show C 5 (A) and # D 5 (B), with cursors placed on H2.

The cursor is placed on H1 in Figure 3.2, and on H2 in Figure 3.3. In both figures, the # # # C 5 is shown in signal A, and the D 5 is shown in signal B. In examining the C 5 at the 6172 ms mark, H2 is -9 dB, and H1 is -18 dB. This means that H2 is dominant over H1 by 9 dB. This harmonic dominance changes on the D#5, when H1 becomes dominant over H2 by 4 dB. Because the strength of the harmonics fluctuates with vibrato, a long time average spectrum (LTAS) was also used.

# Figure 3.4. Octave scale from E4 to E5 on [a] by Andrew Rader. Power spectra show C 5 (A) and E5 (B), with cursors placed on H1.

# Figure 3.5. Octave scale from E4 to E5 on [a] by Andrew Rader. Power spectra show C 5 (A) and E5 (B), with cursors placed on H2.

Figures 3.4 and 3.5 show the same E Major scale sung by Andrew Rader displayed using # an LTAS of 300 ms, with measurements taken at C 5 and E5. Using the LTAS, H2 is dominant # over H1 on C 5 by 4 dB, and H1 is dominant over H2 by 13 dB on E5. This creates a variance of # 17 dB between H1 and H2 from C 5 to E5. The change from H1 to H2 dominance shows a change in resonance strategy from F2/H2 to F1/H1, which indicates a register transition. In this particular example, the register transition taking place is comparable to the transition in the female voice, by which the singer tunes F2 to H2 in the middle register, and then tunes F1 to H1 as she moves into the upper register.28 The examples primarily observed in Resonance in Singing reference the soprano voice, in which this transition does not take place 29 until F5, with E5 being a transitional note in which H1 and H2 are relatively equal. The transition was observed at a lower pitch in the countertenor voice. The majority of the participants did not maintain a dominant H2 through the middle register like Andrew Rader. Instead, they maintained a slightly dominant H1. The upper register transition is still visible, however, through the sudden change in amplitude between H1 and H2. An example of this possibility is shown in Figures 3.6 and 3.7, which use an LTAS of 300 ms.

28 Ibid., 70-72.

29 Ibid., 70-71. 23

# Figure 3.6. Octave scale from E4 to E5 on [a] by Dan Bubeck. Power spectra show C 5 (A) and E5 (B), with cursors placed on H1.

# Figure 3.7. Octave scale from E4 to E5 on [a] by Dan Bubeck. Power spectra show C 5 (A) and E5 (B), with cursors placed on H2.

# Figures 3.6 and 3.7 show an E Major scale sung on an [a] vowel by Dan Bubeck. On C 5,

H1 is dominant over H2 by 5 dB. While H1 remains dominant on E5, it is dominant over H2 by a large difference of 17 dB. In this example, there is a change in amplitude of 12 dB between H1 # and H2 when comparing C 5 and E5. This change in amplitude is an indication that the transition to the upper register has taken place. A comparable example to Dan‘s scale is shown in Resonance in Singing, in which a mezzo-soprano also has a slightly dominant H1 in the middle register. Miller states that this is a result of darkening the vowel, which lowers F1 and F2 .30 However, the formant frequencies found in natural speech differ in male and female voices. The formants are typically lower in the male voice and higher in the female voice. This is the result of differences in vocal tract size .31 It is possible that a larger vocal tract in some countertenors may make it difficult to tune F2 to H2, resulting in a darker quality. # # Like Andrew, Dan also had an increase in CQ when transitioning from C 5 to D 5, which is shown in Figure 3.8. This is further evidence that a register transition has taken place. In # # Dan‘s case, the CQ increased from 37% (.69/1.88) on the C 5 to 51% (.80/1.58) on the D 5. This large change can also be observed in the CQ history shown above the spectrograph, where there is a sudden spike. Though the CQ history does not show completely accurate measurements due to a constant CL, it can provide a worthwhile overview of an entire passage.

30 Ibid., 74.

31 Ibid., 26-27. 25

# Figure 3.8. Octave scale from E4 to E5 on [a] by Dan Bubeck. EGG waveforms are shown of C 5 # (A) and D 5 (B).

The increase in CQ at the transition into the upper register is a phenomenon which is not present in the female voice. Donald Miller maintains that in the female voice, this transition is primarily related to adjustments in resonance, rather than an adjustment at the voice source.32 In the countertenor voice, both adjustments appear to be paramount to the negotiation of this register transition. In the case of ten of the eleven participants, there was a noticeable shift toward clear F1 # dominance after ascending past C 5. While the majority of the participants maintained a slightly dominant H1 through the middle voice, there was a significant change in amplitude between H1 # and H2 from C 5 to E5. # One participant, however, decreased the amplitude between H1 and H2 from C 5 to E5, which did not align with the results from the other singers. A similar example is shown in

Resonance in Singing, when a soprano continues to maintain the F2/H2 strategy to A5. Miller

32 Ibid., 73.

26 refers to this as a ―register violation.‖33 As a result, the data from this singer has not been included in the following calculations. # The difference in amplitude between H1 and H2 from C 5 to E5 was measured in each singer through the use of an LTAS of 300ms. These changes in amplitude ranged from 7 to 23 dB. The average was 14.1 dB among the 10 countertenors included in this calculation. While the majority of the participants did not maintain a complete F2/H2 resonance strategy in the middle register, the movement toward a strong F1/H1 strategy indicates a resonance adjustment. The evidence of a change in CQ and a shift to a dominant F1/H1 resonance strategy provides strong evidence of an upper register transition taking place in the countertenor voice # after C 5. In the case of all the participants, the middle register to upper register transition was complete by E5. This area of transition seems to coincide with the mezzo-soprano voice.

The majority of the participants in this study had an upper range that extended to G5 at the top. Observations showed that the CQ remained steady following the transition into the upper register. Figure 3.9 shows an ascending fifth from C5 to G5 sung on an [a] vowel by Anthony Roth Costanzo. In this example, a manual measurement of the EGG waveform was taken on E5 (signal A) and G5 (signal B). The measurement revealed a consistent CQ of 42% (.65/1.53) and 43% (.57/1.32) respectively.

33 Ibid., 72-73. 27

th Figure 3.9. Ascending 5 from C5 to G5 on [a] by Anthony Roth Costanzo. EGG waveforms are shown of E5 (A) and G5 (B).

One participant had a rare range that extended to C6. Figure 3.10 shows an ascending fifth from F5 to C6 sung on an [a] vowel by Todd Doering. In this example, the CQ remains at a consistent level with a measurement of 48% on G5 (signal A) and 51% (.54/1.05) on B5 (signal B). The consistency of the CQ in the upper limits of the countertenor voice represented in Figure # 3.8 and Figure 3.9 provide further justification of a registration event taking place between C 5 and E5, when there is an observable increase in CQ.

th Figure 3.10. Ascending 5 from F5 to C6 on [a] by Todd Doering. EGG waveforms are shown of G5 (A) and B5 (B).

Evidence from this study suggests that most countertenors have a top note of G5. Some rare voices extend to C6 and possibly higher. It was observed that as the participants reached the limits of their range, they began to lose laryngeal stability. An example of this is shown in Figure 3.11, where movement in the EGG waveform signal provides an indication of an unstable larynx as the singer reaches the top of his range.

Figure 3.11. EGG waveform indicating an unstable larynx.

CHAPTER FOUR

MIDDLE REGISTERS

When considering the range of most countertenor repertoire, the majority of singing takes place in the middle registers. Through the examination of the power spectrum and the

EGG waveform of a D major scale beginning on D4 on an [a] vowel, it is possible to identify the middle register transitions in the countertenor voice.

Figures 4.1 and 4.2 show a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader. The cursor is placed on H2 in Figure 4.1, and on H3 in Figure 4.2.

In both figures, G4 is displayed in signal A, and A4 is displayed in signal B. Utilizing an LTAS of 300ms, a harmonic shift is clearly displayed between the two pitches.

Figure 4.1 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to

A4. While this is a small increase, Figure 4.2 shows how H3 dramatically decreases from -24dB to -38dB. Between the two harmonics, there is an overall change of 16 dB when moving between the two pitches. The change in amplitude between H2 and H3 is a clear indication that H3 has moved out of the range of the second formant.

Figure 4.1. Octave scale from D4 to D5 on [a] by Andrew Rader. Power spectra show G4 (A) and A4 (B), with cursors placed on H2.

Figure 4.2. Octave scale from D4 to D5 on [a] by Andrew Rader. Power spectra show G4 (A) and A4 (B), with cursors placed on H3.

In eight of the eleven the participants, the transition from the lower-middle to the upper- middle register took place between G4 and A4. The change in amplitude between H2 and H3 from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms. These changes ranged between 5 dB and 29 dB. The average was 15.9 dB among the 8 countertenors included in this calculation. The dramatic drop in the strength of H3 indicates a necessary resonance adjustment in this area of the voice. In three of the participants, however, the transition was slightly lower, and was observed # between F 4 and G4. An example is shown in Figures 4.3 and 4.4, which show a D major scale beginning on D4 sung on an [a] vowel by countertenor Brennan Hall. The cursor is placed on H2 # in Figure 4.3, and on H3 in Figure 4.4. In both figures, F 4 is displayed in signal A, and G4 is displayed in signal B. Utilizing an LTAS of 300ms, a harmonic shift is clearly displayed between the two pitches. # Figure 4.3 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F 4 to

G4. While this is a small increase, Figure 4.2 shows how H3 decreases from -27dB to -42dB. Between the two harmonics, there is an overall change of 15 dB when moving between the two pitches. The change in amplitude between H2 and H3 is a clear indication that H3 has moved out of the range of the second formant. # In the three singers who negotiated this resonance shift from F 4 to G4, the change in amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms. These changes ranged between 12 dB and 16 dB. The average was 13.7 dB among the 3 countertenors included in this calculation. The dramatic drop in the strength of H3 indicates a resonance adjustment made by these three singers.

# Figure 4.3. Octave scale from D4 to D5 on [a] by Brennan Hall. Power spectra show F 4 (A) and G4 (B), with cursors placed on H2.

# Figure 4.4. Octave scale from D4 to D5 on [a] by Brennan Hall. Power spectra show F 4 (A) and G4 (B), with cursors placed on H3.

These examples present evidence that the countertenor makes a resonance adjustment as he ascends from the lower middle register to the upper middle register. In the female voice a similar register transition takes place. An example is shown in Figure 4.5, extracted from Resonance in Singing. This example is an excerpt from ―Ebben…ne andro lontano‖ sung by

Maria Callas. Signal A shows a D5, with the cursor placed on H2. Signal B shows a G4, with the cursor placed on H3. The example shows a clearly dominant H3 on the G4, and a dominant H2 on D5. Between these two pitches, the transition from the lower-middle to the upper middle register has taken place.

Figure 4.5. Excerpt from ―Ebben…ne andro lontano,‖ sung by Maria Callas. Power spectra are 34 shown of D5 (A) with cursor placed on H2, and G4 (B) with cursor placed on H3.

Another example from Resonance in Singing is shown in Figure 4.6. This example compares two different recordings of ―Un bel di,‖ from Madama Butterfly. Signal A displays an b A 4 sung by Régine Crespin, and signal B shows the same pitch sung by Yoko Watanabe. Régine Crespin‘s sample shows a dominant H3, while Watanabe‘s shows a dominant H2. The

34 Ibid., figure 11.4. 35 two different resonance strategies employed by these singers provide evidence that the transition from the lower-middle to upper-middle register takes place in this part of the female voice.

Figure 4.6. Excerpts from ―Un bel di,‖ sung by Régine Crespin (A) and Yoko Watanabe (B). Power spectra of Ab4 are shown, with cursors placed on H3 (A) and H2 (B). 35

While similar, the harmonic characteristics of this transition are unique in the countertenor voice. Through the examples examined, H3 is not shown to be dominant over H2 prior to the transition to the upper middle. Instead, H3 remains slightly subdominant to H2 until H3 drops significantly in decibel level. This may be a resonance characteristic unique to the countertenor voice due to lower natural formant frequencies in the male vocal tract. One example, however, shows the possibility of H3 to be dominant over H2 in the lower middle register. Figures 4.7 and 4.8 show an A major scale beginning on A3 sung on an [a] vowel by countertenor Andrew Rader. The cursor is placed on H2 in Figure 4.7, and on H3 in # # Figure 4.8. In both figures, F 4 is displayed in signal A, and G 4 is displayed in signal B. # Utilizing an LTAS of 300 ms, a dominant H3 is clearly shown on F 4. H2 becomes dominant on

35 Ibid., figure 11.5. 36

# G 4. In this instance, the singer has maintained a dominant H3 when ascending on an octave scale beginning on A3. This did not correlate with data from any of the other participants.

# Figure 4.7. Octave scale from A3 to A4 on [a] by Andrew Rader. Power spectra show F 4 (A) and G4 (B), with cursors placed on

# Figure 4.8. Octave scale from A3 to A4 on [a] by Andrew Rader. Power spectra show F 4 (A) and G4 (B), with cursors placed on H3

In the majority of the participants, there was also a rise in CQ associated with the shift from the lower middle to the upper middle register. An example is shown in Figure 4.9, which shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader. In signal A, the cursor is placed on G4, and in signal B the cursor is placed on A5. In the case of both EGG waveform signals, a manual CQ measurement was taken by placing the orange cursor at the beginning of the closed phase. The CQ was then calculated by dividing the Interval by the Period (1.59/2.58=62% and 1.56/2.30=68%).

Figure 4.9. Octave scale from D4 to D5 on [a] by Andrew Rader. EGG waveforms are shown of G4 (A) and A4 (B).

A gradual rise in CQ through the upper middle register was a trend found in the majority of participants, and typically began at the moment of resonance change or shortly after. Figure 4.10 shows the same D major scale sung by Andrew Rader. In this example the cursor is placed on G4 in signal A, and on D5 in signal B. In the case of both EGG waveform signals, a manual CQ measurement was taken by placing the orange cursor at the beginning of the closed phase. The CQ was then calculated by dividing the Interval by the Period (1.57/2.60=60% and 1.25/1.74=72%). This measurement shows the gradual rise in CQ, encompassing pitches from

G4 to D5. While this trend was common among the participants, this particular countertenor had displayed an unusually high overall CQ throughout his range. This high level of CQ was not common among the participants.

Figure 4.10. Octave scale from D4 to D5 on [a] by Andrew Rader. EGG waveforms are shown of G4 (A) and D4 (B).

Another example is displayed in Figure 4.11, which shows a D major scale beginning on

D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo. In this example, the same rise in CQ is shown as he ascends through the upper-middle register. In signal A, the cursor is placed on G4, and on D5 in signal B. Over the range of these two pitches, the CQ increased from 36% to 45%. Anthony‘s overall CQ levels are representative of the majority of the countertenors who took part in this study. Generally the levels remained in the 30s in the lower-middle register and increased into the 40s in the upper-middle register. Andrew‘s CQ levels were significantly higher than all of the countertenors in this study.

Figure 4.11. Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo. EGG waveforms are shown of G4 (A) and D4 (B).

CHAPTER FIVE

CHEST REGISTER

Negotiating the transition from the chest voice source to the head voice source is one of the greatest technical challenges a singer faces. Donald Miller refers to this transition as the primary register transition (PRT), which is also known as the primo passaggio.36 He describes this transition in the female voice, and the difficulty in the male voice as follows: The one place on our map of the singing voice where the chasm dividing the natural registers confronts us directly is in the lower portion of the (classical) female singing range. In the unschooled voice the primary register transition (PRT) tends to occur within the same pitch range in both male and female voices, the range where F1 of an open vowel encounters difficulty in reaching as high as the second harmonic. The classical solution for the male voice, as we have seen, is to maintain the ‘chest’ voice source but avoid the register violation by sacrificing F1/H2 resonance and embracing a different resonance strategy for the relatively short upper extension. The full pitch range of the female voice is distributed quite differently around the primary register transition. The greater part of the total range can be accessed with the ‘head’ voice source, making that the default mode, so to speak, and giving the ‗chest‘ mode, as the exception, the task of adaptation. A further reason why women‘s voices generally work both sides of the PRT is that the gap that separates the natural registers is in general less prominent in the female voice than the male.37 Finally, the fact that the transition occurs relatively low in the range means that lower subglottal pressure and loudness make the register transition less obtrusive than a comparable male transition in the same F0 range. In fact most classical women singers keep the transition intentionally low in the range, even lower than the male passaggio point, in spite of the fact that the marginally higher formant frequencies of the female vocal tract are more accommodating to upward adjustment of the PRT.38

The data collected in this study revealed that the participants managed this difficult transition in different ways. Due to these variances, it was most beneficial to study several

36 Ibid., 88.

37 D.G. Miller, J.G. Švec, and H.K. Schutte, ―Measurement of Characteristic Leap Interval Between Chest and Falsetto Registers,‖ Journal of Voice 16 (2002): 8-19.

38 Miller, 88. 42 different countertenors individually, and provide a comprehensive analysis on their individual methods of negotiating this transition.

Figure 5.1 shows an ascending A major scale beginning on A3, sung on an [a] vowel by countertenor Steven Rickards. In signal A, the cursor is placed on D4, and in signal B the cursor is placed on E4. In the case of both EGG waveform signals, a manual CQ measurement was taken by placing the orange cursor at the beginning of the closed phase. The CQ was then calculated by dividing the Interval by the Period (1.50/3.51=43% and 1.04/3.07=34%). The change in CQ by 9% represents the moment in which Steven has transitioned from the chest register to the lower-middle register.

Figure 5.1. Octave scale from A3 to A4 on [a] by Steven Rickards. EGG Waveforms are shown of D4 (A) and E4 (B).

Figures 5.2 and 5.3 show a power spectrum of the same A major scale sung by Steven

Rickards displayed using an LTAS of 300 ms, with measurements taken at D4 and E4. A resonance adjustment can be observed between H3 and H4. Using the LTAS, H3 is dominant over H4 on D4 by 16 dB, and H3 is dominant over H4 by 46 dB on E4. This measurement reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4. This change in

43 amplitude indicates that F2 has moved away from H4 toward H3, creating a resonance change. In this particular singer, the resonance change occurs at the same moment in which the CQ declines.

Figure 5.2. Octave scale from A3 to A4 on [a] by Steven Rickards. Power spectra show D4 (A) and E4 (B), with cursors placed on H3.

Figure 5.3. Octave scale from A3 to A4 on [a] by Steven Rickards. Power spectra show D4 (A) and E4 (B), with cursors placed on H4.

In the next example, we observe a singer who manages this transition in a lower part of his range. Figure 5.4 shows an ascending A major scale beginning on A3 sung on an [a] vowel by countertenor Brennan Hall. In signal A, the cursor is placed on B4, and in signal B the cursor # is placed on C 4. The transition from the chest voice to the lower-middle voice is evident in the change in CQ from 39% to 33%.

Figure 5.4. Octave scale from A3 to A4 on [a] by Brennan Hall. EGG Waveforms are shown of # B4 (A) and C 4 (B).

Figures 5.5 and 5.6 show a power spectrum of the same A major scale sung by Brennan # Hall displayed using an LTAS of 300 ms, with measurements taken at B4 and C 4. A slight resonance adjustment can be observed between H3 and H4. Using the LTAS, H3 is dominant # over H4 on B4 by 5 dB, and H3 is dominant over H4 by 8 dB on C 4. This measurement reveals a change in amplitude of 3 dB between H3 and H4 from D4 to E4. In this instance, the singer has maintained a consistent resonance strategy through the transition. However, it is worth noting the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the lower-middle register.

Figure 5.5. Octave scale from A3 to A4 on [a] by Brennan Hall. Power spectra show B4 (A) and # C 4 (B), with cursors placed on H3.

Figure 5.6. Octave scale from A3 to A4 on [a] by Brennan Hall. Power spectra show B4 (A) and # C 4 (B), with cursors placed on H4.

Another singer provides an example of the transition, which takes place in the range between the transitions of Steven and Brennan. Figure 5.7 shows an ascending A major scale beginning on A3, sung on an [a] vowel by countertenor Andrew Rader. In signal A, the cursor is # placed on C 4, and in signal B the cursor is placed on D4. In the case of both EGG waveform signals, a manual CQ measurement was taken by placing the orange cursor at the beginning of the closed phase. The CQ was then calculated by dividing the Interval by the Period (1.97/3.57=55% and 1.43/3.39=42%). The transition from chest voice to the lower middle voice is shown through a change in CQ of 13%.

Figure 5.7. Octave scale from A3 to A4 on [a] by Andrew Rader. EGG Waveforms are shown of # C 4 (A) and D4 (B).

Figures 5.8 and 5.9 show a power spectrum of the same A major scale sung by Andrew # Rader displayed using an LTAS of 300 ms, with measurements taken at C 4 and D4. A slight resonance adjustment can be observed between H3 and H4. Using the LTAS, H3 is dominant # over H4 on C 4 by 13 dB, and H3 is dominant over H4 by 18 dB on E4. This creates a change in # amplitude of 5 dB between H3 and H4 from C 4 to D4. In this instance, the singer has

48 maintained a consistent resonance strategy through the transition, with a very small decrease in the decibel levels of H2 and H3.

# Figure 5.8. Octave scale from A3 to A4 on [a] by Andrew Rader. Power spectra show C 4 (A) and D4 (B), with cursors placed on

# Figure 5.9. Octave scale from A3 to A4 on [a] by Andrew Rader. Power spectra show C 4 (A) and D4 (B), with cursors placed on

Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest register to the lower-middle register. Figures 5.10, 5.11, and 5.12 show an ascending A major scale beginning on A3, sung on an [a] vowel. These figures display a series of EGG waveform signals, which show a gradual decline in CQ as the singer ascends in pitch through the transition. Figure 5.10 displays the first instance in which the CQ begins its gradual decline. The # cursor is placed on B3 in signal A, and C 4 in signal B. In the case of both EGG waveform signals, a manual CQ measurement was taken by placing the orange cursor at the beginning of the closed phase. The CQ was then calculated by dividing the Interval by the Period (2.10/3.95=53% and 1.74/3.53=49%). Between these two pitches, the CQ has decreased by 4%.

Figure 5.10. Octave scale from A3 to A4 on [a] by Reginald Mobley. EGG Waveforms are # shown of B3 (A) and C 4 (B).

# In Figure 5.11, another decline in CQ is observed from C 4 (signal A) to D4 (signal B). In the case of both EGG waveform signals, a manual CQ measurement was taken by placing the orange cursor at the beginning of the closed phase. The CQ was then calculated by dividing the Interval by the Period (1.74/3.53=49% and 1.50/3.31=45%). Between these two pitches, the CQ has declined by 4%.

The final descent in CQ is shown in Figure 5.12, which displays D4 (signal A) to E4 (signal B). In the case of both EGG waveform signals, a manual CQ measurement was taken by placing the orange cursor at the beginning of the closed phase. The CQ was then calculated by dividing the Interval by the Period (1.50/3.31=45% and 1.25/2.89=43%). Between these two pitches, the CQ declined by a modest 2%.

Figure 5.11. Octave scale from A3 to A4 on [a] by Reginald Mobley. EGG Waveforms are # shown of C 4 (A) and D4 (B).

Figure 5.12. Octave scale from A3 to A4 on [a] by Reginald Mobley. EGG Waveforms are shown of D4 (A) and E4 (B).

This example shows how the singer was able to manage a seamless transition by gradually decreasing his CQ through a series of pitches. The exact moment in which he switches from chest voice to head voice is difficult to identify aurally. It is possible that he has managed this transition by employing a mixed voice or voix mixte. Figures 5.13 and 5.14 show a different vocalise, in which the singer was asked to switch between the chest voice and head voice on C4. In Figure 5.13, the EGG waveform is compared between the two productions. Signal A shows the chest voice, in which the singer produces a CQ of 56%. Signal B shows the head voice, in which the singer produces a CQ of 33%. Through observing the CQ history in the upper left quadrant, a drop-off and rise can be observed as the singer repeatedly switches between chest voice and head voice. In Figure 5.14, the two transitional areas are explored. In signal A, the cursor is placed during the downward slope in the CQ as the singer transitions from the chest voice to the head voice. In signal B, the cursor is placed during the upward slope in the CQ as the singer transitions from the head voice to the chest voice. The CQ is measured at 41% and 42% in these two transitional areas, which is nearly in the center of the two measurements shown in Figure 5.13 at 56% and 33%. This gradual change in CQ allows the singer to transition smoothly between the two productions.

Figure 5.13. EGG waveform of a C4 sung by Reginald Mobley. Chest voice is shown in signal A, head voice is shown in signal B.

Figure 5.14. EGG waveform of a C4 sung by Reginald Mobley. Transition from chest voice to head voice is shown in signal A, head voice to chest voice is shown in signal B.

Figures 5.15-5.20 show a power spectrum of the same A major scale sung by Reginald Mobley, displayed using an LTAS of 300 ms. These figures show the resonance strategy used in his transition from the chest register to the lower middle register from pitches B3 through E4. # Figures 5.15 and 5.16 show a power spectrum of B3 (signal A) and C 4 (signal B). These are the first two pitches in which the singer begins to decrease his CQ as he transitions. A resonance adjustment can be observed between H3 and H4 when comparing these two pitches.

Using the LTAS, H3 is dominant over H4 on B3 by 17 dB, and H3 is equal to H4 at -28 dB on # # C 4. It is evident that the singer has adjusted F2 toward H4 as he moves to the C 4, creating a balance between H3 and H4.

Figure 5.15. Octave scale from A3 to A4 on [a] by Reginald Mobley. Power spectra show B3 (A) # and C 4 (B), with cursors placed on

Figure 5.16. Octave scale from A3 to A4 on [a] by Reginald Mobley. Power spectra show B3 (A) # and C 4 (B), with cursors placed on

# The balance between H3 and H4 is maintained as the singer moves from C 4 (signal A) to # D4 (signal B), shown in Figures 5.17 and 5.18. On C 4, H3 and H4 are equal at -26 dB. On D4, these harmonics remain stable at -24 dB and -28 dB respectively.

# Figure 5.17. Octave scale from A3 to A4 on [a] by Reginald Mobley. Power spectra show C 4 (A) and D4 (B), with cursors placed on H3.

# Figure 5.18. Octave scale from A3 to A4 on [a] by Reginald Mobley. Power spectra show C 4 (A) and D4 (B), with cursors placed on H4.

In Figures 5.19 and 5.20, the singer makes a resonance adjustment between D4 (signal A) and E4 (signal B). On D4, H3 is dominant over H4 by 4 dB. On E4, H3 is dominant over H4 by 22 dB. The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and E4. This indicates that H4 has moved out of the range of the second formant. Though aurally imperceptible, it is possible the singer has made a full transition to head voice when he reaches

E4.

Figure 5.19. Octave scale from A3 to A4 on [a] by Reginald Mobley. Power spectra show D4 (A) and E4 (B), with cursors placed on H3.

Figure 5.20. Octave scale from A3 to A4 on [a] by Reginald Mobley. Power spectra show D4 (A) and E4 (B), with cursors placed on H4.

A comparison with the female voice reveals some similar characteristics with respect to the chest voice to head voice transition observed in the above examples. Figure 5.21 shows an b b example of an A major scale beginning on A 3 sung on [a] by a mezzo-soprano. In signal A, the b cursor is placed on C4, and in signal B, the cursor is placed on D 4. In this example, the CQ changes from 40% to 25% as the female singer makes a transition from the chest voice to the head voice.

b b Figure 5.21. Octave scale from A 3 to A 4 on [a] by mezzo-soprano. EGG waveforms are shown b 39 of C4 (A) and D 4 (B).

The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure b 5.22. In signal A, the cursor is placed on C4, and in signal B, the cursor is placed on D 4. In this example we see a different resonance strategy from the countertenor examples observed above. b On C4, F2 is tuned to H5. On D 4, F2 moves to H4. None of the countertenors demonstrated a dominant H5. This is possibly the result of lower formant frequencies in the male vocal tract.

39 Ibid., figure 11.2. 59

b b 40 Figure 5.22. Power spectra of C4 (A) and D 4 (B) from A scale on [a] by mezzo-soprano.

The last example is from countertenor Dan Bubeck, who begins an A major scale starting on A3 on an [a] vowel. In this example, the singer avoids the chest voice, and begins the vocalise in head voice from the start. In this instance, he creates a convincing sound with this method. In

Figure 5.23, the cursor is placed on B3 in signal A, and A3 in signal B. In the case of both EGG waveform signals, a manual CQ measurement was taken by using the orange cursors. The CQ is

27% on the A3 and 30% on the B3. The lower CQ on A3 is evidence that the singer began this vocalise without implementing chest voice.

40 Ibid., figure 11.3. 60

Figure 5.23. Octave scale from A3 to A4 on [a] by Dan Bubeck. EGG waveforms are shown of B3 (A) and A3 (B).

A resonance adjustment can be observed low in the scale, however. Figures 5.24 and # 5.25 show a power spectrum of B3 (signal A) and C 4 (signal B). On B3, H3 is dominant over H4 # by 5 dB. On C 4, H3 is dominant over H4 by 16 dB. This is an overall change in amplitude of 11 dB. In this instance, the singer has made a resonance adjustment without making an adjustment at the vocal folds.

Figure 5.24. Octave scale from A3 to A4 on [a] by Dan Bubeck. Power spectra show B3 (A) and # C 4 (B), with cursors placed on H3.

Figure 5.25. Octave scale from A3 to A4 on [a] by Dan Bubeck. Power spectra show B3 (A) and # C 4 (B), with cursors placed on H4.

CHAPTER SIX

CONCLUSIONS

An analysis of the data collected revealed a number of registration commonalities among the participants. What follows is a general overview of the registers of the countertenor voice based on signals recorded and analyzed in VoceVista.

Upper Register The transition from the upper-middle register to the upper register was characterized by an increase in closed quotient (CQ), and a resonance change. The power spectrum showed a characteristic shift in the relative amplitudes of H1 and H2, with H1 gaining in dominance. In all # of the participants, this change took place in the range between C 5 and E5. This was the uppermost register transition identified.

In regard to upper range, the majority of the participants had a top note of G5. Two of the participants had a top note of E5. One participant exhibited a rare upper range, which extended to C6.

Middle Registers The transition from the lower-middle to the upper-middle register was characterized by an increase in closed quotient (CQ), and a resonance change. The power spectrum showed a characteristic shift in the relative amplitudes of H2 and H3, with H2 gaining in dominance. In # every participant, this change took place in the range between F 4 and A4. A unique characteristic of the upper-middle register was the continuous rise in CQ that took place with each rising pitch. This pattern continued until the singers transitioned to the upper register.

Chest Register The transition from the chest register to the lower-middle register was the most diverse among the participants. This transition was primarily characterized by a decrease in closed quotient (CQ). The area of transition ranged from B3 to E4. It was observed that an audibly

63 smooth transition seemed to correspond with a gradual and slight adjustment in CQ, rather than a drastic change. Some of the participants adjusted their resonance strategy during this transition. The power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4, with H3 gaining in dominance. Others maintained a consistent resonance strategy through the transition, delaying the resonance adjustment to a higher part of their range. One of the participants did not utilize his chest register in the vocalises used.

Registration Model A registration model for the countertenor voice based on the research is shown in Figure 6.1. This model represents the register adjustments made by the countertenors who participated in this study, which examined 11 countertenors ranging in age from 23 to 55 years of age. In these findings, it can be concluded that the registers are similar between the countertenor and mezzo-soprano voices. These observations should be helpful to the voice teacher in the studio, and to both the teacher and student in their journey to find appropriate literature for the voice.

# Upper C 5 C6

Upper Middle G4 D5 Lower

Middle # A3 G 4

Chest G3 D4 (and lower)

Figure 6.1. Registration model for the countertenor voice. Overlapping indicates different singers and their adjustments.

GLOSSARY

The following terms have been quoted and adapted from Donald Miller‘s Resonance in Singing.41 amplitude. A quantitative measure of the strength of a signal, as in the decibel amount of a sound, or of one of its frequency components. articulators. The movable parts of the vocal tract – tongue, lips, jaw, velum, etc. – which determine the (adjustable) formant frequencies, as well as breath stream dynamics, are collectively called articulators. back vowel. Back vowels are those with relatively low second formants and a tendency to lip rounding, principally the series (from close to open) [u], [U], [o], [ɔ], [a]. closed vowel. Close (closed) vowels are those with low F1s, such as [i], [u], and [y]. bandwidth. A formant or resonance responds to a limited range (band) of frequencies. The wider the bandwidth that it responds to, the more rapidly the sound will damp or decay. As a resonator, the vocal tract has a narrower bandwidth, and thus a higher quality, when the glottis is closed, explaining one of the advantages of a large closed quotient. decibel. Decibel is a unit used for measuring relative sound pressure level (SPL), or physical intensity. Most decibel measurements state the difference in intensity between two sounds (or between frequency components of the same sound, as is the case with the power spectrum). (Relative) decibel measurements are given as negative quantities in a display where the reference amount is the top of the display (zero decibels). Absolute decibel measurements are in relation to a designated minimum amount, typically set at the threshold of perception. Decibel units are logarithmic, like the frequencies of the piano keyboard, where every octave is a doubling. electroglottograph (EGG). The EGG is a non-invasive device for measuring relative contact between the vocal folds. In singing voice investigations it can reveal not only the frequency of the glottal cycle, but usually the closed quotient as well. formant. A formant is a variable resonance of the vocal tract. The first (lowest in frequency) five formants make important contributions to a sung sound. The frequencies of the first two (designated F1 and F2, called the vowel formants) determine the vowel, and are also principal varying factors in formant tuning. frequency. Frequency is the repetition rate of a periodic signal, expressed in hertz (Hz), or cycles per second. The fundamental frequency (F0) determines what is perceived as pitch, the

41 Ibid., 110-124. 65 psychoacoustic counterpart of F0. Frequency is the reciprocal of period, the time duration of one cycle. frequency component. Natural sounds, although heard as single tones, are made up of components of varying amplitudes at various frequencies, which collectively constitute the sound quality. The frequency components of harmonic sounds are whole-number multiples of the fundamental. front vowel. Front vowels are those characterized by a fronted tongue, causing a relatively high second formant. They include the series (from close to open) [i], [I], [e], [ɛ], [æ], as well as the ―mixed vowels‖ (fronted tongue and rounded lips): [y], [Y], [ø], [œ]. glottal cycle. The glottal cycle consisted of single iteration of the repeated opening and closing of the glottis. glottis. The glottis is the opening between the vocal folds. harmonic. A harmonic is one of the frequency components of a periodic sound, which include H1, the fundamental frequency (note that F0 = H1), and whole-number multiples of H1: H2, H3, H4, etc. Harmonic sound is periodic, as distinguished from non-periodic noise. harmonic series. A harmonic series for a given F0 is generated by successively adding F0 to the previous member: F0, 2F0, 3F0, 4F0, etc. The musical interval between members of the series decreases with each higher step: H1-H2: octave H2-H3: perfect fifth H3-H4: perfect fourth H4-H5: major third H5-H6: minor third, etc. hertz (Hz). Cycles per second, a unit of frequency.

International Phonetic Alphabet (IPA). The IPA is a set of symbols for the sounds of speech that transcends the use of the alphabet in any particular language. IPA symbols in this treatise are always given in square brackets, e.g., [i]. long time average spectrum (LTAS). LTAS accumulates spectral measurements over specified duration, displaying them lumped together in a single power spectrum. non-invasive. A procedure is considered non-invasive when it does not hinder normal use of a function. For the singing voice, the EGG is non-invasive, while laryngoscopy with a rigid endoscope, requiring a certain tongue position, is invasive. normalized. A signal is said to be normalized when one of its dimensions – usually amplitude – is automatically adjusted to conform to a desired norm. In VoceVista the audio and the EGG

66 signals are normalized in order to fill the waveform display and thus cannot be relied upon for information concerning absolute amplitude of the signal. open phase. The open phase of the glottal cycle is that portion where the vocal folds have come apart, permitting air to flow through the glottis. open vowel. Vowels with high first formants, such as [a] and [æ], are considered phonetically open. overtone. Overtones are harmonic frequency components of a complex sound (such as voice), all whole-number multiples of the fundamental frequency (F0). Confusion in the numbering can arise because the first overtone is the second harmonic (H2). In overtone singing, F0 is suppressed and individual harmonics are emphasized, usually by means of second formant tuning, so that one hears the higher harmonic as a separate pitch. power spectrum. see spectrum primary register transition (PRT). The PRT is the (movable) point in the F0 range of a voice where the vibration pattern of the glottal voice source shifts from ‗chest‘ to ‗head.‘ register. Register is a term used to designate a perceived segment of the total frequency and intensity range of a voice, which differs in sound or mechanical principle from other segments. Singing voice practitioners recognize registers based on both vibration patterns of the voice source and on shifts in resonance. Classical singing training typically aims to smooth the abrupt transitions between the ―natural registers,‖ the ‗chest‘ and ‗head‘ vibration patterns in their ‗isolated‘ (unblended) state. registration event. A registration event is a move from one register to another. The yodel is an intentionally obvious example, but singers can also disguise registration events for the sake of constructing the ―even scale.‖ resonance strategy. As pitch rises and the distance between harmonics increases, classical singers seek to find formant patterns that make optimal use of the available harmonics at a given fundamental frequency (F0). these patterns, whether conscious or not, are designated resonance strategies in this book, which encourages adopting conscious strategies informed by spectral feedback. source spectrum. The source spectrum is a theoretical construction of the sound that emerges from the glottis, without the ―filtering‖ effect of the vocal tract. It is presumed to have a spectral slope of -6 to -12 dB per octave. spectrum, power spectrum, spectrogram. The (narrow-band) spectrum of a sound displays the relative strength of each of its frequency components. A power spectrum has two dimensions: frequency (in hertz) and amplitude (in decibels). The spectrogram adds a third dimension of time, with intensity then shown in color or shades of gray.

67 standing wave. In the audio signal one speaks of a standing wave when a prominent harmonic frequency component continues its periodic path through the open phase with relatively little loss of energy and is timed well for reinforcement from the next glottal closing. The spectrum of such a sound is usually characterized by a dominant harmonic at the frequency of the standing wave. vibrato. In singing, vibrato is a relatively small, quasi periodic modulation of the fundamental frequency (F0), usually at rates between 4.5 and 7 hertz. vocal fry. Vocal fry is the popping sound of air bubbling slowly through an otherwise closed glottis so that individual ticks, at a rate of about 15 to 50 Hz, can be heard. The non-periodic succession of ticks produces a continuous spectrum, revealing especially the frequencies of the first two formants of the vocal tract. vocal tract. The vocal tract is the complex air space between the glottis at one end and the opening of the lips (and/or nostrils) at the other. All the resonances that shape the glottal airflow (the voice source) and the audible radiated sound are properties of this space and the walls that contain it.

VoceVista. VoceVista is a feedback and analysis system for the singing voice, processing signals of the (non-invasive) microphone and electroglottograph (see www.vocevista.com). voice source. The voice source is the volume velocity waveform (plotting volume displacement of air against time) that passes through the vibrating vocal folds, typically as a series of discrete puffs of air. Voice source is also used to refer to the vibrating vocal folds, which are relatively independent of the vocal tract. voix mixte. Voix mixte is a term that is often used by singers to indicate a register that is not clearly chest or head/falsetto, but something in between. It has a long history, having been in common use by pedagogues in the Parisian school going back to the first half of the 19th century. vowel formants. The lowest two formants/resonances of the vocal tract, F1 and F2, are responsible for ―forming‖ the vowel. At the same time they are the resonances that are employed in formant tuning. vowel modification. Vowel modification is a concept from voice pedagogy predating the notion of formant tuning, but dealing essentially with the same process, that is, adjusting the vowel (formants) to accommodate changes in F0. vowel space. The vowel space is a term we use to refer to a two-dimensional plot of F1 vs. F2, in which the various regions, identified by their F1-F2 combinations, represent the several vowels and their shadings. waveform. A waveform, displayed as amplitude vs. time, is the shape of a single cycle of a repeated signal. Of particular interest here are waveforms of sound pressure (microphone) and vocal fold contact (EGG).

APPENDIX A

HUMAN SUBJECTS COMMITTEE APPROVAL LETTER

Office of the Vice President For Research Human Subjects Committee Tallahassee, Florida 32306-2742 (850) 644-8673 · FAX (850) 644-4392

APPROVAL MEMORANDUM

Date: 5/14/2010

To: Raymond Chenez

Address: Dept.: MUSIC SCHOOL

From: Thomas L. Jacobson, Chair

Re: Use of Human Subjects in Research Vocal Registers in the Countertenor Voice

The application that you submitted to this office in regard to the use of human subjects in the research proposal referenced above has been reviewed by the Human Subjects Committee at its meeting on 05/12/2010. Your project was approved by the Committee.

The Human Subjects Committee has not evaluated your proposal for scientific merit, except to weigh the risk to the human participants and the aspects of the proposal related to potential risk and benefit. This approval does not replace any departmental or other approvals, which may be required.

If you submitted a proposed consent form with your application, the approved stamped consent form is attached to this approval notice. Only the stamped version of the consent form may be used in recruiting research subjects.

If the project has not been completed by 5/11/2011 you must request a renewal of approval for continuation of the project. As a courtesy, a renewal notice will be sent to you prior to your expiration date; however, it is your responsibility as the Principal Investigator to timely request renewal of your approval from the Committee.

You are advised that any change in protocol for this project must be reviewed and approved by

69 the Committee prior to implementation of the proposed change in the protocol. A protocol change/amendment form is required to be submitted for approval by the Committee. In addition, federal regulations require that the Principal Investigator promptly report, in writing any unanticipated problems or adverse events involving risks to research subjects or others.

By copy of this memorandum, the Chair of your department and/or your major professor is reminded that he/she is responsible for being informed concerning research projects involving human subjects in the department, and should review protocols as often as needed to insure that the project is being conducted in compliance with our institution and with DHHS regulations.

This institution has an Assurance on file with the Office for Human Research Protection. The Assurance Number is IRB00000446.

Cc: Wanda Brister-Rachwal, Advisor HSC No. 2010.4412

APPENDIX B

INFORMED CONSENT LETTER

FSU Consent Form Vocal Registers of the Countertenor Voice

You are invited to be in a research study regarding the vocal registers of the countertenor voice. You were selected as a possible participant because of your vocal abilities and credentials. We ask that you read this form and ask any questions you may have before agreeing to be in the study.

This study is being conducted by Raymond Chenez, College of Music, Florida State University.

Background Information:

The purpose of this study is to discover more about the vocal registers of the countertenor voice. Through spectrographic and electroglottographic analysis, the areas of the voice in which registration events occur will be determined. The final treatise will serve as a reference for teachers and countertenors.

Procedures:

If you agree to be in this study, we would ask you to do the following things:

Sing a series of vocalises into a microphone with an electroglottograph fastened around the outside of the neck. The (EGG) will be fastened snugly, but will not restrict the airway. It is a non-invasive signal, in which a minute high-frequency current runs between electrodes that are held in place on either side of the larynx. The vocalises you will be asked to sing are consistent with everyday professional singing activity. Audio recordings and (EGG) readings will be retained. The duration of the recording process will be approximately an hour.

Risks and benefits of being in the Study:

The risks are consistent with those encountered in everyday singing.

The benefit to participation is the contribution to the technical knowledge of the countertenor voice.

Compensation:

You will not receive compensation.

Confidentiality:

The data from this study will be printed in the final treatise. Audio recordings, as well as visual representations of the data collected will appear in the document. With your permission, your name may also appear in connection with the audio recordings and data. Any additional information will be kept private and confidential to the extent permitted by law.

Voluntary Nature of the Study:

Participation in this study is voluntary. Your decision whether or not to participate will not affect your current or future relations with the University. If you decide to participate, you are free to withdraw at any time without affecting those relationships.

Contacts and Questions:

The researcher conducting this study is Raymond Chenez. You may ask any question you have now. If you have a question later, you are encouraged to contact him at (XXX) XXX-XXXX. The faculty advisor for this study is Wanda Brister-Rachwal, (850) 644-5073, [email protected].

If you have any questions or concerns regarding this study and would like to talk to someone other than the researcher(s), you are encouraged to contact the FSU IRB at 2010 Levy Street, Research Building B, Suite 276, Tallahassee, FL 32306-2742, or 850-644-8633, or by email at [email protected].

You will be given a copy of this information to keep for your records.

Statement of Consent:

I have read the above information. I have asked questions and have received answers. I consent to participate in the study.

I agree to the use of my name in association with the research conducted. Yes______No______

______Signature Date

______Signature of Investigator Date

BIBLIOGRAPHY

Ardran, G.M. and David Wulstan. ―The Alto or Countertenor Voice.‖ Music & Letters 48, no. 1 (January 1967): 17-22.

Baldwin, Olive and Thelma Wilson. ―Alfred Deller, John Freeman and Mr. Pate.‖ Music & Letters 50, no. 1 (January 1969): 103-10.

Dearnley, Christopher. English Church Music 1650-1750. London: Oxford University Press, 1970.

Garcia II, Manuel. A Complete Treatise on the Art of Singing: Part One. New York: Da Capo Press, 1984.

Giles, Peter. A Basic Countertenor Method. London: Kahn & Averill, 2005.

———. The History and Technique of the Counter-Tenor. Cambridge: University Press, 1994.

Hodgson, Frederic. ―The Contemporary Alto.‖ Musical Times 106, no. 1466 (April 1965): 293-94.

Hough, John. ―The Historical Significance of the Counter-Tenor.‖ Proceedings of the Musical Association 64th Sess. (November 1937): 1-24.

Miller, Donald. Resonance in Singing: Voice Building through Acoustic Feedback. Princeton, NJ: Inside View Press, 2008.

Miller, Richard. The Structure of Singing: System and Art in Vocal Technique. Belmont, CA: Schirmer, 1996.

Stubbs, G. Edward. The Adult Male Alto or Counter-tenor Voice. New York: The H. W. Gray Co., 1908.

Sundberg, Johan. The Science of the Singing Voice. DeKalb: Northern Illinois University Press, 1987.

Vennard, William. Singing: The Mechanism and the Technic. New York: C. Fisher, 1967.

Ware, Clifton. Basics of Vocal Pedagogy: The Foundations and Process of Singing. McGraw- Hill, 1998.

Welch, G.F., D.C. Sergeant, and F. MacCurtain. ―Some Physical Characteristics of the Male Falsetto Voice.‖ Journal of Voice 2, no. 2 (1988): 151-63.

―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers.‖ Journal of Voice 3, no. 3 (September 1989): 244-56.

Woodfill, Walter L. Musicians in English Society. Princeton: Princeton University Press, 1953.

Wright, F.B. ―The Alto and Countertenor Voices.‖ The Musical Times 100, no. 1401 (November 1959): 593-94.

Zaslaw, Neal. ―The Enigma of the Haute-Contre.‖ The Musical Times 115, no. 1581 (November 1974): 939-41.

BIOGRAPHICAL SKETCH

Education Florida State University, College of Music, Tallahassee 2008-2011 Doctor of Music in Vocal Performance Treatise: ―Vocal Registers in the Countertenor Voice: Based on Signals Recorded and Analyzed in VoceVista‖ Major Professor: Wanda Brister

Florida State University, College of Music, Tallahassee 2006-2008 Master of Arts in Arts Administration Major Professor: Anne Hodges

State University of New York at Fredonia 2002-2006 Bachelor of Music in Vocal Performance Major Professor: Delia Wallis

Academic Honors and Awards 2010 Dissertation Research Grant, Department of Graduate Studies

2008-2011 Graduate Assistantship, Florida State University Tuition waiver and stipend

2008 Pi Kappa Lambda Music Honor Society, Florida State University

2006-2008 Graduate Assistantship, Florida State University Tuition waiver and stipend

Artistic Honors and Awards 2011 MONC Florida District, Encouragement Award

2010 Birmingham (Alabama) Opera Competition (National), 4th place Bethlehem (Pennsylvania) Bach Competition (National), Finalist

2009 Louisville (Kentucky) Bach Society Competition (National), Honorable Mention

2008 Suncoast Opera Guild Competition (St Petersburg, FL) (State), 3rd place Orpheus Vocal Competition (Murfreesboro, TN) (National), 3rd place

2007 Southeast Regional NATS Auditions, Tallahassee, FL, 2nd place

2006 Vincent Morette Music Award, SUNY Fredonia

2005 David Evans Vocal Performance Award, SUNY Fredonia

Performances Opera Roles Britten A Midsummer Night’s Dream Oberon Handel Serse Arsamene Purcell Dioclesian Countertenor Anon. The Play of Herod Shepherd

Opera Scenes Handel Ariodante Ariodante Giulio Cesare Giulio Cesare Monteverdi L’Incoronazione di Poppea Nerone Sondheim A Little Night Music Mrs. Segstrom (Mr.)

Concert Repertoire: Bach Cantata 62 Cantata 133 Cantata 153 Bernstein Chichester Psalms Missa Brevis Handel Cantata 132c Judas Maccabaeus Israelitish Man Messiah Saul David Monteverdi Vespers of 1610

Professional Organizations: Amherst Early Music Festival St. Paul‘s Cathedral, Buffalo, NY Florida State Opera Seraphic Fire, Miami, FL Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist) Opera Sacra, Buffalo, NY Tallahassee Community Chorus St. John‘s Episcopal Church, Tallahassee

Conductors: Directors: Coaches/Master Classes: Voice Teachers: Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister Douglas Fisher Drew Minter David Daniels Michael Dean Gerald Gray Douglas Fisher Roy Delp Patrick Dupré Quigly Timothy Hoekman Delia Wallis Anthony Rooley Graham Johnson Jonathan Scarozza Jan Kobow André Thomas Stephan MacLeod Richard Zielinski Kenneth Merrill