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Published on: November 25, 2017
Acoustics and perception of overtone singing
G Bloothooft1, E Bringmann, M van Cappellen
1Research Institute for Language and Speech, University of Utrecht, The Netherlands.
The Journal of the Acoustical Society of America
|October 1, 1992
Summary
Overtone singing produces distinct high tones through specific vocal tract articulations and glottal adjustments. Acoustic analysis reveals these sounds differ perceptually from normal vowels due to unique resonance patterns.
Area of Science:
- Phonetics and Acoustics
- Speech Production
- Auditory Perception
Background:
- Overtone singing is an Asian vocal technique producing distinct, high tones over a drone.
- Classical speech production theories are applied to analyze this phenomenon.
- The acoustic basis of overtone singing requires detailed phonetic explanation.
Purpose of the Study:
- To acoustically analyze overtone singing using classical speech production theory.
- To explain the phonetic mechanisms generating overtone sounds.
- To investigate listener perception of overtone singing.
Main Methods:
- Acoustic analysis of overtone singing.
- Application of speech production models.
- Listener perception experiments and verbal judgment analysis.
Main Results:
- Overtone production involves interactions of closely spaced formants, influenced by nasalization or specific vowel articulations (/c/, /a/, /e/, /y/, /i/).
- High-frequency overtones ( > 800 Hz) result from second and third formant combinations via retroflex, rounded articulations.
- Firm glottal closure and a glottal formant potentially enhance overtone amplitude; listeners perceive overtone sounds distinctly due to narrow resonance bandwidths.
Conclusions:
- Overtone singing is explained by formant interactions and specific articulations within the framework of speech production.
- Glottal function plays a role in enhancing overtone characteristics.
- Perceptual differences in overtone singing are linked to unique acoustic resonance properties.
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