Persona: Filipa M.B., Lã
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Filipa M.B., Lã
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Publicación Glottal airflow and glottal area waveform characteristics of flow phonation in untrained vocally healthy adults(Elsevier, 2022-01) Patel, Rita R.; Sundberg, Johan; Gill, Brian P.; Filipa M.B., Lã; Filipa M.B., LãObjective To examine flow phonation characteristics with regard to vocal fold vibration and voice source properties in vocally healthy adults using multimodality voice measurements across various phonation types (breathy, neutral, flow, and pressed) and loudness conditions (typical, loud, and soft). Participants and Methods Vocal fold vibration, airflow, acoustic, and subglottal pressure was analyzed in 13 untrained voices (six female and seven male). Participants repeated the syllable / pæ:/ using breathy, neutral, flow, and pressed phonation during typical, loud, and soft loudness conditions. Glottal area (GA) waveforms were extracted from high-speed videoendoscopy; glottal flow was derived from inverse filtering the airflow or the audio signal; and subglottal pressure was measured as the intraoral pressure during /p/ occlusion. Results Changes in phonation type and loudness conditions resulted in systematic variations across the relative peak closing velocity derived from the GA waveform for both males and females. Amplitude quotient derived from the flow glottogram varied across phonation types for males. Conclusion Multimodality evaluation using the GA waveform and the inverse filtered waveforms revealed a complex pattern that varied as a function of phonation types and loudness conditions across males and females. Emerging findings from this study suggests that future large-scale studies should focus on spatial and temporal features of closing speed and closing duration for differentiating flow phonation from other phonation types in untrained adults with and without voice disorders.Publicación Voice source variation between vowels in male opera singers(Elsevier, 2016-09-01) Sundberg, Johan; Filipa M.B., Lã; Gill, Brian P.; Filipa M.B., LãObjectives: The theory of non-linear source-filter interaction predicts that the glottal voice source should be affected by the frequency relationship between formants and partials. An attempt to experimentally verify this theory is presented. Study design: Glottal voice source and electrolaryngograph (ELG) signal differences between vowels were analyzed in vowel sequences, sung at four pitches with the same degree of vocal loudness by professional opera singers. Also, the relationships between such differences and the frequency distance between the first formant (F1) and its closest partial were examined. Methods: A digital Laryngograph microprocessor was used to simultaneously record audio and ELG signals. The former was inverse-filtered and voice source parameters and formant frequencies were extracted. The amplitude quotient of the derivative of the ELG signal (AQdELG) and the contact quotient were also compared. Results: A one-way repeated measures ANOVA revealed significant differences between vowels, for contact quotient at four pitches and for MFDR at three pitches. For other voice source parameters, differences were found at one or two pitches only. No consistent correlation was found between MFDR and the distance between F1 and its closest partial. Conclusions: The glottal voice source tends to vary between vowels, presumably because of non-linear source-filter interaction, but the variation does not seem to be dependent upon the frequency distance between F1 and its closest partialPublicación Physiology and its impact on the performance of singing(Oxford University Press, 2019) Filipa M.B., Lã; Gill, Brian P.; Filipa M.B., LãPublicación Formant Tuning Strategies in Professional Male Opera Singers(Elsevier, 2013-05) Sundberg, Johan; Filipa M.B., Lã; Gill, Brian P.; Filipa M.B., LãThe term “formant tuning” is generally used for the case that one of the lowest formant frequencies coincides with the frequency of a source spectrum partial. Some authors claim that such coincidence is favorable and belongs to the goals of classical opera voice training, whereas other authors have found evidence for advising against it. This investigation analyzes the relationships between formant frequencies and partials in professional singers, who sang scales on the vowels /a/, /u/, /i/, and /ae/ in a pitch range including the passaggio, that is, the fundamental frequency range of approximately 300–400 Hz, applying either of the two singing strategies that are typically used (1) in classical and (2) in nonclassical singing, respectively. Formant frequencies of each note in the scales were measured by inverse-filtering the acoustic signal. In the classical style, the first formant tended to be lower than in the nonclassical style. Neither the first nor the second formant tended to change systematically between scale tones, such that on some scale tones either or both formants was just below, just above, or right on a spectrum partial. In many cases, singers produced similar spectrum characteristics of the top tones of the scales with different first and second formant frequencies. Regardless of whether the first formant was slightly lower, slightly higher, or right on a partial, the properties of the voice source did not seem to be affected.Publicación Professional male singers’ formant strategies for the vowel /a/(Taylor & Francis, 2011-11-15) Sundberg, Johan; Filipa M.B., Lã; Gill, Brian P.; Filipa M.B., LãCertain spectrum characteristics have been identified as important for register equalization around the male passaggio, an effect ascribed to formant tuning although descriptions of formant tuning diverge. Eight professional singers sang scales including their passaggio range on different vowels, applying two formant tuning strategies as found in (Citation) classical and (Citation) non-classical singing. Formant frequencies were measured using inverse filtering. Results revealed differences between the two strategies. For the classical formant tuning, systematic changes of formant frequencies with pitch were observed. For the highest note sung on /a/, was below the second partial and in the vicinity of the third. Similar spectrum characteristics were achieved by different and values between singers.