School of Physics, University of New South Wales, Sydney, New South Wales 2052, Australia.
J Acoust Soc Am. 2012 Jan;131(1):951-62. doi: 10.1121/1.3664008.
The high soprano range was investigated by acoustic and electroglottographic measurements of 12 sopranos and high-speed endoscopy of one of these. A single laryngeal transition was observed on glissandi above the primo passaggio. It supports the existence of two distinct laryngeal mechanisms in the high soprano range: M2 and M3, underlying head and whistle registers. The laryngeal transition occurred gradually over several tones within the interval D#5-D6. It occurred over a wider range and was completed at a higher pitch for trained than untrained sopranos. The upper limit of the laryngeal transition during glissandi was accompanied by pitch jumps or instabilities, but, for most singers, it did not coincide with the upper limit of R1:f(0) tuning (i.e., tuning the first resonance to the fundamental frequency). However, pitch jumps could also be associated with changes in resonance tuning. Four singers demonstrated an overlap range over which they could sing with a full head or fluty resonant quality. Glottal behaviors underlying these two qualities were similar to the M2 and M3 mechanisms respectively. Pitch jumps and discontinuous glottal and spectral changes characteristic of a M2-M3 laryngeal transition were observed on decrescendi produced within this overlap range.
对 12 位女高音和其中一位女高音的高速内窥镜检查进行了声学和电声测量，以研究高音女高音范围。在跨越 primo 音域的滑音上观察到单个声门过渡。它支持在高音女高音范围内存在两种不同的声门机制：M2 和 M3，分别是头声和哨声区的基础。声门过渡在 D#5-D6 的音程内逐渐发生。对于受过训练的女高音，过渡范围比未经训练的女高音更广，并且在更高的音高上完成。在滑音期间，声门过渡的上限伴随着音高跳跃或不稳定性，但对于大多数歌手来说，它并不与 R1:f(0)调谐（即，将第一共振调谐到基频）的上限重合。然而，音高跳跃也可能与共振调谐的变化有关。有四位歌手展示了一个重叠范围，在这个范围内，他们可以用全头声或管状共鸣的音色演唱。这两种品质下的声门行为分别与 M2 和 M3 机制相似。在这个重叠范围内产生的渐弱中观察到了与 M2-M3 声门过渡特征相符的音高跳跃以及不连续的声门和光谱变化。
