<I>F</I><SUB>0</SUB> Dynamics in Singing: Evidence from the Data of a Baritone Singer

Hiroki MORI; Wakana ODAGIRI; Hideki KASUYA

F₀ Dynamics in Singing: Evidence from the Data of a Baritone Singer

Hiroki MORI, Wakana ODAGIRI, Hideki KASUYA

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Transitional fundamental frequency (F₀) characteristics comprise a crucial part of F₀ dynamics in singing. This paper examines the F₀ characteristics during the note transition period. An analysis of the singing voice of a professional baritone strongly suggests that asymmetries exist in the mechanisms used for controlling rising and falling. Specifically, the F₀ contour in rising transitions can be modeled as a step response from a critically-damped second-order linear system with fixed average/maximum speed of change, whereas that in falling transitions can be modeled as a step response from an underdamped second-order linear system with fixed transition time. The validity of the model is examined through auditory experiments using synthesized singing voice.

Publication: IEICE TRANSACTIONS on Information Vol.E87-D No.5 pp.1086-1092

Publication Date: 2004/05/01

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Type of Manuscript: Special Section PAPER (Special Section on Speech Dynamics by Ear, Eye, Mouth and Machine)

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Hiroki MORI, Wakana ODAGIRI, Hideki KASUYA, "F0 Dynamics in Singing: Evidence from the Data of a Baritone Singer" in IEICE TRANSACTIONS on Information, vol. E87-D, no. 5, pp. 1086-1092, May 2004, doi: .
Abstract: Transitional fundamental frequency (F₀) characteristics comprise a crucial part of F₀ dynamics in singing. This paper examines the F₀ characteristics during the note transition period. An analysis of the singing voice of a professional baritone strongly suggests that asymmetries exist in the mechanisms used for controlling rising and falling. Specifically, the F₀ contour in rising transitions can be modeled as a step response from a critically-damped second-order linear system with fixed average/maximum speed of change, whereas that in falling transitions can be modeled as a step response from an underdamped second-order linear system with fixed transition time. The validity of the model is examined through auditory experiments using synthesized singing voice.
URL: https://globals.ieice.org/en_transactions/information/10.1587/e87-d_5_1086/_p

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@ARTICLE{e87-d_5_1086,
author={Hiroki MORI, Wakana ODAGIRI, Hideki KASUYA, },
journal={IEICE TRANSACTIONS on Information},
title={F0 Dynamics in Singing: Evidence from the Data of a Baritone Singer},
year={2004},
volume={E87-D},
number={5},
pages={1086-1092},
abstract={Transitional fundamental frequency (F₀) characteristics comprise a crucial part of F₀ dynamics in singing. This paper examines the F₀ characteristics during the note transition period. An analysis of the singing voice of a professional baritone strongly suggests that asymmetries exist in the mechanisms used for controlling rising and falling. Specifically, the F₀ contour in rising transitions can be modeled as a step response from a critically-damped second-order linear system with fixed average/maximum speed of change, whereas that in falling transitions can be modeled as a step response from an underdamped second-order linear system with fixed transition time. The validity of the model is examined through auditory experiments using synthesized singing voice.},
keywords={},
doi={},
ISSN={},
month={May},}

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TY - JOUR
TI - F0 Dynamics in Singing: Evidence from the Data of a Baritone Singer
T2 - IEICE TRANSACTIONS on Information
SP - 1086
EP - 1092
AU - Hiroki MORI
AU - Wakana ODAGIRI
AU - Hideki KASUYA
PY - 2004
DO -
JO - IEICE TRANSACTIONS on Information
SN -
VL - E87-D
IS - 5
JA - IEICE TRANSACTIONS on Information
Y1 - May 2004
AB - Transitional fundamental frequency (F₀) characteristics comprise a crucial part of F₀ dynamics in singing. This paper examines the F₀ characteristics during the note transition period. An analysis of the singing voice of a professional baritone strongly suggests that asymmetries exist in the mechanisms used for controlling rising and falling. Specifically, the F₀ contour in rising transitions can be modeled as a step response from a critically-damped second-order linear system with fixed average/maximum speed of change, whereas that in falling transitions can be modeled as a step response from an underdamped second-order linear system with fixed transition time. The validity of the model is examined through auditory experiments using synthesized singing voice.
ER -