–The research described in this Acoustics Lay Language Paper may not have yet been peer reviewed–
Singing isn’t just for the stage – everyone enjoys finding their voices in songs, regardless of whether they are performing in an auditorium or merely humming in the shower. Singing well is more than just hitting the right notes, it’s also about using your voice as an instrument effectively. One technique that professional opera singers master is to change how they pronounce their vowels based on the pitch they are singing. But why do singers change their vowels? Is it only to sound more beautiful, or is it necessary to hit these higher notes?
We explore this question by studying what non-professional singers do – if it is necessary to change the vowels to reach higher notes, then non-professional singers will also do the same at higher notes. The participants were asked to sing various English vowels across their pitch range, much like a vocal warm-up exercise. These vowels included [i] (like “beat”), [ɛ] (like “bet”), [æ] (like “bat”), [ɑ] (like “bot”), and [u] (like “boot”). Since vowels are made by different tongue gestures, we used ultrasound imaging to capture images of the participants’ tongue positions as they sang. This allowed us to see how the tongue moved across different pitches and vowels.
We found that participants who managed to sing more pitches did indeed adjust their tongue shapes when reaching high notes. Even when isolating the participants who said they have never sung in choir or acapella group contexts, the trend still stands. Those who are able to sing at higher pitches try to adjust their vowels at higher pitches. In contrast, participants who cannot sing a wide pitch range generally do not change their vowels based on pitch.
We then compared this to pilot data from an operatic soprano, who showed gradual adjustments in tongue positions across her whole pitch range, effectively neutralising the differences between vowels at her highest pitches. In other words, all the vowels at her highest pitches sounded very similar to each other.
Overall, these findings suggest that maybe changing our mouth shape and tongue position is necessary when singing high pitches. The way singers modify their vowels could be an essential part of achieving a well-balanced, efficient voice, especially for hitting high notes. By better understanding how vowels and pitch interact with each other, this research opens the door to further studies on how singers use their vocal instruments and what are the keys to effective voice production. Together, this research offers insights into not only our appreciation for the art of singing, but also into the complex mechanisms of human vocal production.
Video 1: Example of sung vowels at relatively lower pitches.
Video 2: Example of sung vowels at relatively higher pitches.
Software DJ Creates Automated Pop Song Mashups #Acoustics23
Automated software mixes drums, vocals to create unique musical combinations.
SYDNEY, Dec. 7, 2023 – Song mashups are a staple of many DJs, who mix the vocals and instrumentals from two or more tracks into a seamless blend, creating a new and exciting final product. While the result is fun to listen to, the creation process can often be challenging, requiring knowledge and expertise to select the right tracks and mash them together perfectly.
Xinyang Wu from the Hong Kong University of Science and Technology took a different approach, designing a computer algorithm to intelligently create mashups using the drum tracks from one song and the vocals and instrumentals from another. He will present his work Dec. 7 at 4:20 p.m. Australian Eastern Daylight Time, as part of Acoustics 2023, running Dec. 4-8 at the International Convention Centre Sydney.
The algorithm works to isolate and blend individual components from multiple songs to produce a unique composite with a pleasing sound. Credit: Xinyang Wu
While some algorithms and automated software can attempt to create song mashups, their results are often clunky and unrefined. These methods layer the complete, unaltered tracks on top of each other, aligning them based on detected key moments in the music, rather than skillfully combining the vocals and instrumentals of different songs.
“Imagine trying to make a gourmet meal with only a microwave – that’s sort of what automated mashup software is up against compared to a pro chef, or in this case, a professional music composer,” said Wu. “These pros can get their hands on the original ingredients of a song – the separate vocals, drums, and instruments, known as stems – which lets them mix and match with precision.”
His algorithm takes a different approach, mimicking the process used by professionals. The software works to isolate the stems from each song and identify the most dynamic moments. It adjusts the tempo of the instrumental tracks and adds the drum beat mashup at exactly the right moment for maximum effect.
The result is a unique blend of pleasing lyrics and exciting instrumentals with wide-ranging appeal.
“From what I’ve observed, there’s a clear trend in what listeners prefer in mashups,” said Wu. “Hip-hop drumbeats are the crowd favorite – people seem to really enjoy the groove and rhythm that these beats bring to a mashup.”
Now that the software has been tested on drum tracks, he plans to tackle bass mashups next. For Wu, the dream is to expand the algorithm to incorporate the full instrumental suite and put user-friendly mashup technology directly into the hands of listeners.
“Our ultimate goal is creating an app where users can pick any two songs and choose how to mash them up – whether it’s switching out the drums, bass, instrumentals, or everything together with the other song’s vocals,” said Wu.
The Acoustical Society of America is joining the Australian Acoustical Society to co-host Acoustics 2023 Sydney. This collaborative event will incorporate the Western Pacific Acoustics Conference and the Pacific Rim Underwater Acoustics Conference.
ASA PRESS ROOM
In the coming weeks, ASA’s Press Room will be updated with newsworthy stories and the press conference schedule at https://acoustics.org/asa-press-room/.
LAY LANGUAGE PAPERS
ASA will also share dozens of lay language papers about topics covered at the conference. Lay language papers are summaries (300-500 words) of presentations written by scientists for a general audience. They will be accompanied by photos, audio, and video. Learn more at https://acoustics.org/lay-language-papers/.
PRESS REGISTRATION
ASA will grant free registration to credentialed and professional freelance journalists. If you are a reporter and would like to attend the meeting or virtual press conferences, contact AIP Media Services at media@aip.org. For urgent requests, AIP staff can also help with setting up interviews and obtaining images, sound clips, or background information.
ABOUT THE ACOUSTICAL SOCIETY OF AMERICA
The Acoustical Society of America (ASA) is the premier international scientific society in acoustics devoted to the science and technology of sound. Its 7,000 members worldwide represent a broad spectrum of the study of acoustics. ASA publications include The Journal of the Acoustical Society of America (the world’s leading journal on acoustics), JASA Express Letters, Proceedings of Meetings on Acoustics, Acoustics Today magazine, books, and standards on acoustics. The society also holds two major scientific meetings each year. See https://acousticalsociety.org/.
ABOUT THE AUSTRALIAN ACOUSTICAL SOCIETY
The Australian Acoustical Society (AAS) is the peak technical society for individuals working in acoustics in Australia. The AAS aims to promote and advance the science and practice of acoustics in all its branches to the wider community and provide support to acousticians. Its diverse membership is made up from academia, consultancies, industry, equipment manufacturers and retailers, and all levels of Government. The Society supports research and provides regular forums for those who practice or study acoustics across a wide range of fields The principal activities of the Society are technical meetings held by each State Division, annual conferences which are held by the State Divisions and the ASNZ in rotation, and publication of the journal Acoustics Australia. https://www.acoustics.org.au/
Singing in the Rain: Why the Bundengan Sounds Better Wet #Acoustics23
Traditional Indonesian instrument made with bamboo and used by duck herders performs best in the rain.
SYDNEY, Dec. 6, 2023 – A bundengan wears many hats – and is one too. This portable shelter woven from bamboo has protected Indonesian duck herders from the sun and rain for centuries. Able to comfortably balance on the wearer’s head, a bundengan is equipped with a visor that curves around the side to meet at a long back. A more surprising, but no less practical, feature is the collection of strings and bamboo bars added in to produce music. Duck herders fill the hours spent tending to ducks sitting underneath their outfitted shelter, playing their shield as an instrument.
Over the years, bundengan musicians learned that their bamboo music-maker sounds better when played in the rain. Gea Oswah Fatah Parikesit and their team at Universitas Gadjah Mada investigated the physics behind this phenomenon and are presenting their work on the water-dependent acoustic properties of the bundengan Dec. 6 at 10:40 a.m. Australian Eastern Daylight Time, as part of Acoustics 2023, running Dec. 4-8 at the International Convention Centre Sydney.
The bundengan is constructed by weaving bamboo splits, which are covered by overlapping bamboo culm sheaths with ropes to secure everything in place.
“Our team discovered that the key to the sound quality is in the bamboo culm sheaths,” said Parikesit. “To understand the physics of the sheaths, we first had to understand its biological context. When the sheaths were still attached at the bamboo stem, they gradually change shape: First, they are curled because they need to protect the younger parts of the stem, but afterward, they have a more planar shape because they no longer need to protect the older part of the stem.”
When wet, the culm sheaths seek to return to their curled form, but tied down in their planar formation, they instead press into each other. The resulting tension allows the sheaths to vibrate together.
Parikesit will continue investigating the physics of the bamboo culm to develop new musical instruments that, like the bundengan, perform best when wet.
“As an Indonesian, I have extra motivation because the bundengan is a piece of our cultural heritage,” said Parikesit. “I am trying my best to support the conservation and documentation of the bundengan and other Indonesian endangered instruments.”
Image of a bundengan, a portable shelter woven from bamboo, which is worn by Indonesian duck herders who often outfit it to double as a musical instrument. Credit: Gea Oswah Fatah Parikesit
———————– MORE MEETING INFORMATION ———————–
The Acoustical Society of America is joining the Australian Acoustical Society to co-host Acoustics 2023 Sydney. This collaborative event will incorporate the Western Pacific Acoustics Conference and the Pacific Rim Underwater Acoustics Conference.
ASA PRESS ROOM In the coming weeks, ASA’s Press Room will be updated with newsworthy stories and the press conference schedule at https://acoustics.org/asa-press-room/.
LAY LANGUAGE PAPERS ASA will also share dozens of lay language papers about topics covered at the conference. Lay language papers are summaries (300-500 words) of presentations written by scientists for a general audience. They will be accompanied by photos, audio, and video. Learn more at https://acoustics.org/lay-language-papers/.
PRESS REGISTRATION ASA will grant free registration to credentialed and professional freelance journalists. If you are a reporter and would like to attend the meeting or virtual press conferences, contact AIP Media Services at media@aip.org. For urgent requests, AIP staff can also help with setting up interviews and obtaining images, sound clips, or background information.
ABOUT THE ACOUSTICAL SOCIETY OF AMERICA The Acoustical Society of America (ASA) is the premier international scientific society in acoustics devoted to the science and technology of sound. Its 7,000 members worldwide represent a broad spectrum of the study of acoustics. ASA publications include The Journal of the Acoustical Society of America (the world’s leading journal on acoustics), JASA Express Letters, Proceedings of Meetings on Acoustics, Acoustics Today magazine, books, and standards on acoustics. The society also holds two major scientific meetings each year. See https://acousticalsociety.org/.
ABOUT THE AUSTRALIAN ACOUSTICAL SOCIETY The Australian Acoustical Society (AAS) is the peak technical society for individuals working in acoustics in Australia. The AAS aims to promote and advance the science and practice of acoustics in all its branches to the wider community and provide support to acousticians. Its diverse membership is made up from academia, consultancies, industry, equipment manufacturers and retailers, and all levels of Government. The Society supports research and provides regular forums for those who practice or study acoustics across a wide range of fields The principal activities of the Society are technical meetings held by each State Division, annual conferences which are held by the State Divisions and the ASNZ in rotation, and publication of the journal Acoustics Australia. https://www.acoustics.org.au/
Picking Up Good Vibrations: The Surprising Physics of the Didjeridu #Acoustics23
Playing Australia’s most iconic instrument requires producing vibrations inside the vocal tract.
SYDNEY, Dec. 6, 2023 – Australia’s most iconic sound is almost certainly the didjeridu. The long wooden tube-shaped instrument is famous for its unique droning music and has played a significant role in Australian Aboriginal culture for thousands of years. Despite the instrument’s simple design, the playing technique can be highly complex.
Joe Wolfe and John Smith from the University of New South Wales conducted acoustic experiments to study the didjeridu’s unusual and complicated performance techniques. Smith will be presenting their work on Dec. 6 at 8:20 a.m. Australian Eastern Daylight Time, as part of Acoustics 2023 Sydney, running Dec. 4-8 at the International Convention Centre Sydney.
Producing complex sounds with the didjeridu requires creating and manipulating resonances inside the vocal tract. Credit: Kate Callas
“We were interested in the effect of the player’s vocal tract on various wind instruments,” said Smith. “The didjeridu seemed like an obvious start because the effect is so striking.”
Much more than with almost any other instrument, a didjeridu player uses his vocal tract and vocal folds to produce striking changes in timbre.
“Resonances in the mouth tend to remove bands of frequencies in the didjeridu sound and we notice the remaining bands,” said Smith. “It’s a bit like a sculptor removing marble to leave the things that we notice.”
To study didjeridu performance, the team developed new experimental techniques. One involved injecting a broadband acoustic signal into a player’s mouth to measure the acoustic impedance spectrum of a didjeridu player’s vocal tract. The impedance spectrum is an indicator of which frequencies will resonate and which will be suppressed.
This information let Smith and his colleagues identify traits that make the best didjeridus, explore advanced techniques musicians use to create more complicated sounds, and expand their studies to other wind instruments.
In another study, the team were able to identify and understand the acoustic properties of didjeridus most preferred by expert players; these can be very different from the properties of other wind instruments.
“We looked at advanced performance techniques, not only in the didjeridu, but also in other wind instruments, such as clarinet and saxophone,” said Smith. “We continue to research subtle features of expressive playing of wind instruments.”
The Acoustical Society of America is joining the Australian Acoustical Society to co-host Acoustics 2023 Sydney. This collaborative event will incorporate the Western Pacific Acoustics Conference and the Pacific Rim Underwater Acoustics Conference.
ASA PRESS ROOM In the coming weeks, ASA’s Press Room will be updated with newsworthy stories and the press conference schedule at https://acoustics.org/asa-press-room/.
LAY LANGUAGE PAPERS ASA will also share dozens of lay language papers about topics covered at the conference. Lay language papers are summaries (300-500 words) of presentations written by scientists for a general audience. They will be accompanied by photos, audio, and video. Learn more at https://acoustics.org/lay-language-papers/.
PRESS REGISTRATION ASA will grant free registration to credentialed and professional freelance journalists. If you are a reporter and would like to attend the meeting or virtual press conferences, contact AIP Media Services at media@aip.org. For urgent requests, AIP staff can also help with setting up interviews and obtaining images, sound clips, or background information.
ABOUT THE ACOUSTICAL SOCIETY OF AMERICA The Acoustical Society of America (ASA) is the premier international scientific society in acoustics devoted to the science and technology of sound. Its 7,000 members worldwide represent a broad spectrum of the study of acoustics. ASA publications include The Journal of the Acoustical Society of America (the world’s leading journal on acoustics), JASA Express Letters, Proceedings of Meetings on Acoustics, Acoustics Today magazine, books, and standards on acoustics. The society also holds two major scientific meetings each year. See https://acousticalsociety.org/.
ABOUT THE AUSTRALIAN ACOUSTICAL SOCIETY The Australian Acoustical Society (AAS) is the peak technical society for individuals working in acoustics in Australia. The AAS aims to promote and advance the science and practice of acoustics in all its branches to the wider community and provide support to acousticians. Its diverse membership is made up from academia, consultancies, industry, equipment manufacturers and retailers, and all levels of Government. The Society supports research and provides regular forums for those who practice or study acoustics across a wide range of fields The principal activities of the Society are technical meetings held by each State Division, annual conferences which are held by the State Divisions and the ASNZ in rotation, and publication of the journal Acoustics Australia. https://www.acoustics.org.au/
Central Washington University, Department of Physics, Ellensburg, WA, 98926, United States
Seth Lowery
Ph.D. candidate, University of Texas
Dept. of Mechanical Engineering
Austin, TX
Popular version of 4pMU3 – An experiment to measure changes in violin instrument response due to playing-in
Presented at the 185th ASA Meeting
Read the abstract at https://doi.org/10.1121/10.0023547
Please keep in mind that the research described in this Lay Language Paper may not have yet been peer reviewed.
How is a violin like a pair of hiking boots? Many violinists would respond “They both improve with use.” Just as boots need to be “broken in” by being worn several times to make them more supple, many musicians believe that a new violin, cello, or guitar, needs to be “played in” for a period of time, typically months, in order to fully develop its acoustic properties. There is even a commercial product, the Tone-Rite, that is marketed as a way to accelerate the playing-in process, with the claim of dramatically increasing “resonance, balance, and range,” and some builders of stringed instruments, known as luthiers, provide a service of pre-playing-in their instruments, using their own methods of mechanical stimulus, prior to selling them. But do we know if violins actually improve with use?
We tested the hypothesis that putting vibrational energy into a violin will, over time, change how the violin body responds to the vibration of the strings, which is measured as the frequency response. We used three violins in our experiment: one was left alone, serving as a control, while the two test violins were “played” by applying mechanical vibrations directly to the bridge. One of the mechanical sources was the Tone Rite, the other was a shaker driven with a signal created from a Vivaldi violin concerto as shown in the video below. The total time of vibration exceeded 1600 hours, equivalent to ten months of being played six hours per day.
Approximately once per week, we measured the frequency response of all three violins using two standard methods: bridge admittance, which characterizes the vibration of the violin body, and acoustic radiativity, which is based on the sound radiated by the violin. The measurement set up is illustrated in Figure 1.
Figure 1: Measuring the frequency response of a violin in an anechoic chamber.
Having a control violin allowed us to account for factors not associated with playing-in, such as fluctuating environmental conditions or simple aging, that might affect the frequency response. If mechanical vibrations had the hypothesized effect of physically altering the violin body, such as creating microcracks in the wood, glue, or varnish, and if the result were an increase in “resonance, balance, and range”, then we would expect a noticeable and cumulative change in the frequency response of the test violins compared to the control violin.
We did not observe any changes in the frequency responses of the violins that correlate with the amount of vibration. In Figure 2a, we plot a normalized difference in the bridge admittance between the two test violins and the control violin; Figure 2b shows a similar plot for the acoustic radiativity.
In both plots, we see no evidence that the difference between the test violins and the control violin increases with more vibration; instead we see random fluctuations that can be attributed to the slightly different experimental conditions of each measurement. This applies to both the Tone-Rite, which vibrates primarily with the 60 Hz frequency of the electric power it is plugged into, and the shaker, which provided the same frequencies that a violinist practicing her instrument would create.
Our conclusion is that long term vibrational stimulus of a violin, whether achieved mechanically or by actual playing, does not produce a physical change in the violin body that could affect its tonal characteristics.
Department of Music Acoustics, University of Music and Performing Arts Vienna, Vienna, Vienna, 1030, Austria
Alex Hofmann
Department of Music Acoustics
University of Music and Performing Arts Vienna
Vienna, Vienna, 1030
Austria
Popular version of 5aMU6 – Two-dimensional playability maps for single-reed woodwind instruments
Presented at the 185 ASA Meeting
Read the abstract at https://doi.org/10.1121/10.0023675
Please keep in mind that the research described in this Lay Language Paper may not have yet been peer reviewed.
Musicians show incredible flexibility when generating sounds with their instruments. Nevertheless, some control parameters need to stay within certain limits for this to occur. Take for example a clarinet player. Using too much or too little blowing pressure would result in no sound being produced by the instrument. The required pressure value (depending on the note being played and other instrument properties) has to stay within certain limits. A way to study these limits is to generate ‘playability diagrams’. Such diagrams have been commonly used to analyze bowed-string instruments, but may be also informative for wind instruments, as suggested by Woodhouse at the 2023 Stockholm Music Acoustics Conference. Following this direction, such diagrams in the form of playability maps can highlight the playable regions of a musical instrument, subject to variation of certain control parameters, and eventually support performers in choosing their equipment.
One way to fill in these diagrams is via physical modeling simulations. Such simulations allow predicting the generated sound while slowly varying some of the control parameters. Figure 1 shows such an example, where a playability region is obtained while varying the blowing pressure and the stiffness of the clarinet reed. (In fact, the parameter varied on the y-axis is the effective stiffness per unit area of the reed, corresponding to the reed stiffness after it has been mounted on the mouthpiece and the musician’s lip is in contact with it). Black regions indicate ‘playable’ parameter combinations, whereas white regions indicate parameter combinations, where no sound is produced.
Figure 1: Pressure-stiffness playability map. The black regions correspond to parameter combinations that generate sound.
One possible observation is that, when players wish to play with a larger blowing pressure (resulting in louder sounds) they should use stiffer reeds. As indicated by the plot, for a reed of stiffness per area equal to 0.6 Pa/m (soft reed) it is not possible to generate a note with a blowing pressure above 2750 Pa. However, when using a harder reed (say with a stiffness of 1 Pa/m) one can play with larger blowing pressures, but it is impossible to play with a pressure lower than 3200 Pa in this case. Varying other types of control parameters could highlight similar effects regarding various instrument properties. For instance, playability maps subject to different mouthpiece geometries could be obtained, which would be valuable information for musicians and instrument makers alike.
Figure 1: Measuring the frequency response of a violin in an anechoic chamber.
Figure 1: Pressure-stiffness playability map. The black regions correspond to parameter combinations that generate sound.