• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.9 no.1
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• pp.43-46
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• 1998

Background and Objectives : Singers, the vocal equivalents of Olympic athletes, may present with vocal dysfunction in the singing voice before adverse effects are noted in the speech mode. For the classically trained singers, any imbalance in the respiratory, laryngeal or resonatory subsystems may manifest first in technical compensations. Therefore it is necessary that baseline values be available in order to differentiate technique related dysfunction from abnormalities within the phonatory system. Materials and Methods : Vocal efficiency measures were collected from 55 classically trained singers and 20 untrained adults. All singers was divided into 3 groups : (1) Singers who have normal larynx with out voice symptoms. (2) Singers who have vocal nodule without voice symptoms. (3) Singers who have vocal nodule with voice complaints. Results and Conclusion : Results were compared with each other. Differences in each group wert found, suggesting the need for separate normative data to be used for the evaluation of the classically trained singers.

• Phonetics and Speech Sciences
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• v.9 no.4
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• pp.99-106
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• 2017

Clinical data about vocal nodules have seldom been reported, even though vocal nodules are commonly diagnosed in outpatient speech and voice clinic. This study aims to investigate clinical characteristics of the patients who are diagnosed with vocal nodules. This study analyzed the data for 10 years from the 319 patients diagnosed with vocal nodules (45 males and 274 females with the mean age of 39.4 ranging from 2 to 83) in terms of gender, age, occupation, voice change initiation pattern, change with time, throat clearing, smoking history, type of voice abuse, acoustic analysis, maximum phonation time, GRBAS, and VHI. Thirteen patients (4.08%) had unilateral vocal nodule and 306 patients (95.9%) had bilateral vocal nodule, the majority of which had a pattern of asymmetry (73.9%). The glottal closure pattern was hourglass in 72.1% of patients, posterior chink in 17.9% of patients, and irregular in 7.9% of patients. The most common occupational category was professional voice users (43.4%). The voice abuse pattern included excessive talking in 96 patients (76.8%), loud voice in 78 (62.4%) patients, and excessive singing in 17 patients (21.6%). The patients showed worse scores in G, B, and S than in R and A for the GRBAS evaluation. The most recommended treatment for vocal nodules was voice therapy. The current clinical data will be helpful for treatment planning for the patients of vocal nodule.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.2 no.1
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• pp.15-19
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• 1986

Our report refers to occidental vocal techniques from Greece until today. It is remarkable that even with poor anatomy knowledge, there were advices on styles given from very early periods, for both church and secular singing. During the 18th century, the names of "vox pectoris", "vox guturris" and "vox capitis" appear, nominations that somehow remain nowadays with great confusion about source of sound production and results of resonance. Vocal occidental styles developed different kinds of requirements from the singers, that had to adapt their vocal Possibilities to them. The same happened with "pop" song. Nowadays, all kinds of singers must have a conscious knowledge of its voice management to prevent vocal disturbances. We consider that the technique is the same, even when the singer has to sing Wagner, Debussy, Sconberg, Piazzola or Gershwin. The big changes occured at resonance levels, and because these different use of the vocal resonators the effects are quite different. In summary, the big differences on classical the effects are quite different. In summary, the big differences on classical and pop song are done on the different use of the resonators and its effects on the vocal tract. "Pop" singers, men and women, should be taught to use both registers, "modal" and "falsetto" to be able to reach the complete range of their songs without any harm to their larynxes. In our opinion, a good singing technique means that it could be adapted to every stylistic need. The same technique is adapted to the popular singer as well. The main difference lays on the use of resonators, pretty strong in the classic singer, weaken in the popular singer, on the volume and on the total extension of the voice. Breathing control, effortless emission and the use of "passage" at the right point should be taught to all singers, regardless of their style. (omitted)

• Speech Sciences
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• v.9 no.4
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• pp.15-25
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• 2002

It's not easy to produce very high tones during singing for not only untrained ordinary people but also even trained singers. To get high singing tones from the low tones, some trained singers used to use a distinguished singing technique, Passaggio (vocal register transition). The purpose of this study is to compare several voice parameters variation between when to sing with using the passaggio technique and to sing without using it. We selected 18 male singers (tenor 8, baritone 10), who had more than 7 years of experience and were well trained in passaggio technique. Simultaneous measurements of fundamental frequency (F0), mean flow rate (MFR), intensity (I), and subglottal pressure (Psub) were performed using the phonatory function analyzer (Nagashima). For the tenor, target tones /a/ were presented: 1) easy phonation: $B_{2}$, 2) high tone without passaggio: F$#_{3}$ 3) high tone with passaggio: F$#_{3}$. For the baritone, target tones /a/ were presented: 1) easy phonation: G$#_{3}$, 2) high tone without passaggio: D$#_{3}$, 3) high tone with passaggio: D$#_{3}$. F0 of the target tones between non-passaggio group and passaggio group was almost the same in both tenor and baritone groups. Intensity of the non-passaggio and passaggio vocalization was much louder than that of easy phonation and pasaggio was louder than non-passaggio vocalization (especially statistically significant in baritone singers). MFR of the passaggio vocalization was greater than non-passaggio vocalization in both tenor and baritone group, but statistically significant only in baritone. Psub of the passaggio vocalization was greater than that of the non-passaggio vocalization in both tenor and baritone group, but statistically not significant in tenor.

• The Journal of the Acoustical Society of Korea
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• v.19 no.5
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• pp.60-64
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• 2000

This paper studies the relation between the Fundamental Frequency (F0) and the formants of simple vowels in the Korean language sung by sopranos. It is hewn that, in soprano singing, the F0 of a vowel affects its formants. For this reason the formants of simple vowels sung by sopranos must be considered in all over the soprano singing range. We recorded the five simple vowel sounds /a/, /e/, /i/, /o/, and /u/ sung by five professional sopranos from A3 (220.0Hz) to A5 (880.0Hz) in the major scale and compared the formants of the sung vowels with those of spoken vowels. We observed that F1 and F2 of sung vowels were stable in low F0 (lower than B4) but in high F0 (higher than B4), F1 and F2 lost their stabilities. In the case of /a/, /o/, and /u/, the slope of the F1-F2 graph was about 2.6, and those of the F0-F2 and F0-Fl graphs were 2.2-2.5 and 0.7-1.0, respectively. And as the F0 increases, the F1 and F2 of sung vowels /a/, /e/, /i/, /o/, and /u/ were almost the same. At A5, the Fl and F2 of five sung vowels had the same values. This results suggest that the relation between the F0 and the formants be used to synthesize soprano's singing vowels.

• 재활복지
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• v.22 no.3
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• pp.189-208
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• 2018

This case study investigated the changes in speech intelligibility of patients with head and neck cancers who participated in a therapeutic singing-based intervention. Three patients received a total of twelve 30-minute individual sessions. The intervention consisted of three steps: movements for relaxing breathing muscles, vocalization for increasing the range of articulatory movements, and therapeutic singing. In order to examine the changes in speech intelligibility, the voice quality parameters, diadochokinesis (DDK) and the quadrangle vowel space area (VSA) were measured at pre- and posttest. The recording of what each patient read a written paragraph, which were transcribed by blinded assessors, were also analyzed. The results demonstrated that all of the patients showed positive changes in the voice quality, the rate of repetitive syllable production measured by DDK, and the articulatory working space measured by VSA. Along with these measured changes, increases in positive mood and rehabilitation motivation reported by the patients support that the therapeutic singing-based intervention could induce meaningful changes in terms of speech intelligibility from patients with head and neck cancers. Given that this study was conducted with a small sample size, suggestions for further investigation on the effects of the intervention were also presented.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.6
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• pp.2491-2496
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• 2012

From the year 2000, an ironic phenomenon struck the Korean pop field with a number of male vocalists singing with similar voice tone colors and with almost the same vocal techniques. People called it "So-mo-ri", and this technique caught on with the public during that period of time. In the early 80s, plenty of vocalists tried to imitate Cho Yong-phil's singing method after his hit song 'Lady outside the window'. However, producing and releasing albums with the same singing method had never been done in history. In this study, I would like to analyse and conclude what the "So-mo-ri" technique was and how this technique began. I would further like to research the vocalization methods that were used.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.11 no.1
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• pp.51-60
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• 2000

Background and Objectives : Quality of life(QOL) is a construct representing physical, mental and social well-being. QOL has been used as a device for measuring the severity of health-related condition and treatment outcomes. As the social welfare system develops, the attention to QOL increases as well. The aims of this study was to examine whether the patients with voice disorder perceived significantly more the effects of voice disorder on QOL than nonpatient group did and if any, identify the sociodemographic risk factors influencing QOL of patients. Materials and Methods : This study asked 113 adults with voice disorders who were enrolled in Voice Clinic in the Department of Otolaryngology, Kangbuk Samsung Hospital between lune 1998 and January 1999 and 111 nonpatients to complete a questionnaire designed to elicit information about the effete of voice disorders on quality of lift. The questionnaire included items concerning sociodemographic areas, voice symptoms, job, effects of voice disorders on QOL domains(work, social, psychological, physical, and communication areas), potential risk factors to exposures, familial and medical history of voice disorders. Results : The sociodemographic characteristics of the patient group are as follows : (1) 75.2% of total patient group were female and the rest were male. (2) Age of total patient group ranged from 20 to 65 years. Hoarseness was the most commonly reported complaints, followed by complaints of high note difficulties during singing and voice fatigue. The patient group perceived effects of voice disorders on the areas of work, social, psychological, physical and communication more adversely than the comparison group did (p＜0.05). QOL impairments were evaluated as a function of age, gender, education, and income, controlling other independent effects. The results were that (1) age was significantly associated with work problems and (2) gender and income were significantly associated with psychological problems. Conclusions : The findings indicated that the patients with voice disorders would perceive markedly adverse effect on all QOL domains, that is, work, social, psychological, physical, communicational areas. Therefore, the results of study suggest that lurker investigations about the nature of voice disorders, the prevention, treatment, and coping strategies are needed in the future.

• Journal of Broadcast Engineering
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• v.24 no.6
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• pp.1024-1034
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• 2019

Preference for music is determined by a variety of factors, and identifying characteristics that reflect specific factors is important for music recommendations. In this paper, we propose a method to extract the singing voice related music features reflecting various musical characteristics by using a model learned for singer identification. The model can be trained using a music source containing a background accompaniment, but it may provide degraded singer identification performance. In order to mitigate this problem, this study performs a preliminary work to separate the background accompaniment, and creates a data set composed of separated vocals by using the proven model structure that appeared in SiSEC, Signal Separation and Evaluation Campaign. Finally, we use the separated vocals to discover the singing voice related music features that reflect the singer's voice. We compare the effects of source separation against existing methods that use music source without source separation.

• Speech Sciences
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• v.8 no.4
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• pp.131-138
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• 2001

Sound pressure level, subglottic air pressure, vital capacity, adduction/abduction rate, and phonatory efficiency were measured in 19 opera singers, 17 Korean traditional 'Pansori' singers, and 20 non-singers; subjects' mean age was 25.9(SD=7.2) and the singers had been singing professionally for 5-10 years. One-way ANOVA and Scheff$\w'{e}$ post-hoc analysis were used to analyze aerodynamic data and to identify significant differences among groups. Sound pressure level, peak subglottic air pressure, and phonatory efficiency were found to be significantly different among three groups of the subjects. Differences in aerodynamic properties were discussed for their significance in diagnosis and treatment of voice disorders in professional singers.