Donald G Miller

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There is a commonly perceived difference in the sound produced in the approximate range D4-D5 by female singers in the western opera and concert tradition, on the one hand, and certain other styles, including rock, pop, folk, and some Broadway musicals, on the other. The term "belting" is sometimes used to refer to at least one approach to such(More)
Singing not only requires good voluntary control over phonation and a musical ear, it also demands certain capacities of the voice source. These capacities include a desirable range of sound intensity and frequency, which can be measured and represented in a phonetogram. The influence of specific factors on voice capacities may be ascertained by the(More)
The paper offers a new concept of studying abrupt chest-falsetto register transitions (jumps) based on the theory of nonlinear dynamics. The jumps were studied in an excised human larynx and in three living subjects (one female and two male). Data from the excised larynx revealed that a small and gradual change in tension of the vocal folds can cause an(More)
The highest "register" of the female singing voice, often called the "flageolet register" (also called "flute register," "bell register," etc., as well as the misleading term "whistle register"), is broadly recognized by voice pedagogues, but not generally defined in terms that are adequate for objective description. This article presents a description of(More)
The relation between the spatial configuration of the vocal tract as determined by magnetic resonance imaging (MRI) and the acoustical signal produced was investigated. A male subject carried out a set of phonatory tasks, comprising the utterance of the sustained vowels /i/ and /a/, each in a single articulation, and the vowel /epsilon/ with his larynx(More)
A markedly smaller time constant distinguishes a chest-falsetto leap from the more usual execution of a sung interval by muscular adjustments in the length and tension of the vocal folds. The features of such a chest-falsetto leap are examined in detail with respect to F0, peak-to-peak amplitude of the vocal-fold contact area signal (EGG), and the closed(More)
Electroglottograph and microphone signals are examined of scale passages crossing the boundary between chest and middle registers in the female singing voice. From a protocol executed by professional classical singers, the examples are selected to illustrate differing approaches to the chest-middle transition, as well as to illuminate varying theories on(More)
This study observes in detail an F0/2 (sounding an octave below an original tone) subharmonic vibratory pattern produced in a normal larynx. Simultaneous electroglottographic and photoglottographic measurements reveal two different open phases within a subharmonic cycle- the first shorter with a simple shape, the second longer with a shape containing a(More)
With careers that depend to a large extent on the amplitude and sonorous beauty of their voices, opera singers must pay special attention to high notes, where the wide spacing of the harmonics of the voice source intensifies the critical importance of the tuning of the resonances of the vocal tract. This study uses spectrum analysis to examine a large(More)
Sustained high notes, diminishing gradually from the loudest to the softest phonation within a maneuver called messa di voce, are examined in two contrasting professional tenor voices. Signals of the sound pressure level, electroglottograph, and mean esophageal pressure are recorded, and similar maneuvers by the same subjects are examined stroboscopically.(More)