Many believe that the majority of people are unable to carry a tune. Yet, this widespread idea underestimates the singing abilities of the layman. Most occasional singers can sing in tune and in time, provided that they perform at a slow tempo. Here we characterize proficient singing in the general population and identify its neuronal underpinnings by reviewing behavioral and neuroimaging studi...

Frequency and intensity ranges in voice production by trained and untrained singers were superimposed onto the average normal human hearing range. The vocal output for all subjects was shown both in Voice Range Profiles and Spectral Level Profiles. Trained singers took greater advantage of the dynamic range of the auditory system with harmonic energy (45% of the hearing range compared to 38% fo...

Using inverse filtering, voice source characteristics related to vocal £old adductory force, and the first formant frequency, are analyzed in six professional male singers and six male nonsingers repeatedly phonating the syllable /pae:/ in loud and soft phonation at different fundamental frequencies throughout the subjects' ranges. For each voice sample, inverse filtered air flow was recorded a...

The understanding of the singing voice of children and adolescents is still in its infancy, and there is a lack of a general developmental model of the young voice, in particular with relation to young singers. Available research has largely also been on “classically” trained voices, and contemporary commercial music (CCM) including pop/rock and musical theatre has largely been ignored. This st...

Most of the existing studies on musical practice are concerned with instrumentalists only. Since singers are seldom considered in research, the present study is based on an online-sample of amateur vocal students (N = 120; 92 female, 28 male). The study investigated the correlations between personality traits, flow-experience and several aspects of practice characteristics. Personality was repr...

We explored the possibility of a unique cross-modal signature in maternal speech and singing that enables adults and infants to link unfamiliar speaking or singing voices with subsequently viewed silent videos of the talkers or singers. In Experiment 1, adults listened to 30-s excerpts of speech followed by successively presented 7-s silent video clips, one from the previously heard speaker (di...

Six male music theatre singers were recorded in three different voice qualities: legit and two types of belt ("chesty" and "twangy"), on two vowels ([e] and [ɔ]), at four increasing pitches in the upper limit of each singer's belt range (∼250-440 Hz). The audio signal, the electroglottographic (EGG) signal, and the vocal tract impedance were all measured simultaneously. Voice samples were analy...

UNLABELLED Recent findings have shown that people with higher musical aptitude were also better in oral language imitation tasks. However, whether singing capacity and instrument playing contribute differently to the imitation of speech has been ignored so far. Research has just recently started to understand that instrumentalists develop quite distinct skills when compared to vocalists. In the...

The velopharyngeal opening (VPO) is analyzed in 17 professional operatic singers, 3 high sopranos, 3 sopranos, 2 mezzo-sopranos, 3 tenors, 2 baritones, 2 bass-baritones, and 2 basses singing the vowels [a, i, u] at middle degree of vocal loudness at different pitches throughout their pitch range. Three methods were used for detection of a VPO. One was nasofiberscopy, which revealed VPO of vario...

This paper describes Unisoner, an interface for assisting the creation of derivative choruses in which voices of different singers singing the same song are overlapped on one common accompaniment. In the past, it was time consuming to create such choruses because creators have to manually cut and paste fragments of singing voices from different singers, and then adjust the timing and volume of ...