TRAN QUANG HAI sings overtones in front of a cow in NORWAY

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TRAN QUANG HAI sings overtones in front of a cow in NORWAY

Tran Quang Hai made an experiment of singing overtones in front of a cow at the Norsk Folke Museum, Bygdoy, Norway to see the cow’s reactions .
Filmed at the Norsk Folke Museum, August 15, 2009 by tran quang hai himself
Date de publication : 01/09/2009

Chant diphonique grave et aigu par une chanteuse mongole

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Chant diphonique grave et aigu par une chanteuse mongole

C’est extraordinaire d’entendre une chanteuse mongole qui chante le chant de gorge xöömij avec le changement de registre grave et aigu .
C’est tout à fait rare ! A découvrir .
Date de publication : 22/03/2008

Performers and Voice Fatigue Abitbol

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Performers and Voice Fatigue Abitbol

Published on Oct 29, 2015

– Jean Abitbol, M.D.
A didactic physiological presentation on the vocal mechanism as it relates to medical problems of chronic vocal fatigue, especially as it affects performers. Diagrams, x-ray photography, laryngoscopic and stroboscopic images of males and females speaking and singing, and histological slide presentations augment the presentation.
Color and Sound (1986), approximately 25 minutes

Workshop intensivo di overtone singing con Tran Quang Hai [9, 10 e 11 Settembre 2016], PONTEDERA , ITALY

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cropped-cropped-tran-quang-hai-messina-italie-2013.jpg

tran quang hai

<english version below>

Workshop intensivo di overtone singing
con Tran Quang Hai [9, 10 e 11 Settembre 2016]
lezioni per principianti e lezioni per avanzati
Il canto armonico, detto anche canto difonico, diplofonico e triplofonico, ed in inglese overtone singing, è una tecnica nella quale il cantante sfrutta le risonanze che si creano nel tratto vocale (tra le corde vocali e la bocca) per far risaltare gli armonici presenti nella voce. In questo modo una singola voce può produrre simultaneamente due o più suoni distinti.
Khoomei o il canto di gola è il nome usato in Tuva e in Mongolia per descrivere diversi stili di canto e tecniche in cui un solo cantante produce contemporaneamente due (o più) toni distinti; il più basso è il tono fondamentale della voce e suona come un ronzio costante simile al timbro della cornamusa scozzese, il secondo corrisponde ad una delle parziali armoniche ed è come un fischio che risuona a tonalità molto elevate.
Durante il workshop, Tran Quang Hai insegnerà le 2 tecniche di base del canto armonico:
Tecnica di una cavità orale con il registro basso degli armonici;
Tecnica di due cavità della bocca con una maggiore serie di sfumature.
Esercizi di improvvisazione e creazione collettiva
Esercizi pe ridurre il suono fondamentale
Impare ad ascoltare il propio tono al fine di creare piccole melodie
Tran Quang Hai
Raffinato interprete delle tradizioni musicali dell’Estremo Oriente, maestro di artisti come Demetrio Stratos, Tran Quang Hai è considerato il più grande specialista del mondo di canto difonico (overtones), tecnica vocale di origine sciamanica che permette l’emissione simultanea di due note, diffusa in Mongolia, in Siberia e in Sudafrica.
Tran Quang Hai proviene da una famiglia di cinque generazioni di musicisti.
tranquanghai.info
_____________________________________________________________________________________________
Informazioni e orari
venerdì 9 Settembre dalle 19 alle 22 introduzione, gruppo misto
sabato 10 Settembre dalle 15 alle 17:30 principianti; dalle 18 alle 20:30 avanzati
domenica 11 Settembre dalle 12:30 alle 15:00 principianti; dalle 15:30 alle 18:00 avanzati
ore 19:30 concerto armonico con i partecipanti al seminario, voci e strumenti.
per informazioni e prenotazioni scrivere a spazionu@gmail.com
_____________________________________________________________________
//ENGLISH VERSION//
Lecture with Tran Quan Hai [9-11 september]
Intensive Tran Quang Hai’ overtone singing workshop
Khoomei or throat singing is the name used in Tuva and Mongolia to describe a large family of singing styles and techniques in which a single vocalist simultaneously produces two (or more) distinct tones. The lower one is the usual fundamental tone of the voice and sounds as a sustained drone or a Scottish bagpipe sound. The second corresponds to one of the harmonic partials and is like a resonating whistle in a high, or very high register. During the workshop, Tran Quang Hai will teach the 2 basic techniques of overtone singing:
Technique of one mouth cavity with lower series of overtones;
Technique of two mouth cavities with higher series of overtones.
Exercices for improvisation and collective creation.
Exercices for the control of each overtone
Improvement of overtones by learning how to reduce the fundamental sound
Learning of how to listen to own overtones in order to create small melodies
TRAN QUANG HAI
Tran Quang Hai ,a talented and renowned musician who comes from a family of five generations of musicians. had been working as an ethnomusicologist for the National Center for Scientific Research in France since 1968, attached to the Department of Ethnomusicology of the Musee de l’Homme. He is retired since May 2009.
His field is Vietnamese music, Overtone singing in Siberia. He is member of many international societies : Society for Ethnomusicology, ICTM (executive board member since 2005), Asian Music Society, French Society for Ethnomusicology (founding member), International Jew’s Harp Society (founding member), etc…
He has published 23 records on Vietnamese music (from 1971 to 1997), 4 DVD on overtone singing (2004, 2005, 2006), 2 DVD on traditional music of Vietnam (2000, 2009), 1 DVD on his life by the Belgian TV Production (2005), articles in New Grove Dictionary Music and Musicians (1st – 1980 and 2nd (2001) editions), New Grove Dictionary of Musical Instruments (1984) and some few hundreds of articles in different countries .
Recipient of the Medal of Cristal of the National Center for Scientific Research (France) in 1995 , of the Medal of the Knight of the Legion of Honour (France) in 2002, and of the Medal of Honour of Work, Grand Gold category (France) in 2009.
More details of his activities can be found on his website: http://tranquanghai.com/
Info:
spazionu@gmail.com
00393491371631; 00393290908119

http://www.overtone.cc/profile/TRANQUANGHAI

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Overtone Music Network

a common space & database for harmonic overtones

Tran Quang Hai’s Connections

  • Johannes Lind
  • Nicolas Lespinasse
  • Moisés Pérez Miguélez
  • Nicolas MOREAU
  • Javier Nahum
  • Aleksey Khoroshev
  • Albi Wethli
  • grover
  • Rasmus Sejersen
  • SEDAA
  • uRYa
  • Arjopa
  • Frank Perry
  • giulia
  • Raffaele Schiavo

Tran Quang Hai’s Groups

Vocal Folds, University of Washington, USA

TRAN QUANG HAI’s NEW BLOG on OVERTONE SINGING

Visit my new blog : https://haidiphonie.wordpress.com
There are more than 600 articles, video clips concerning overtone singing from Tuva, Mongolia, Inner Mongolia, Altai, and Western performers .

TRAN QUANG HAI SINGS A MONGOLIAN TUNE WITH OVERTONES, BERLIN

Published on Apr 22, 2013
TRAN QUANG HAI SINGS A MONGOLIAN TUNE WITH OVERTONES, BERLIN, at Grosser Stern, Berlin (Germany), April 12th 2013

TRẦN QUANG HẢI hát một bài dân ca Mông cổ với kỹ thuật hát đồng song thanh, tại Grosser Stern, Berlin (Đức), ngày 12 tháng 4, 2013

[English Lyrics] Mongolian Song – Ode to Auspiciousness [Chinese CCTV Lunar New Year Gala 2011]

[English Lyrics] Mongolian Song – Ode to Auspiciousness [Chinese CCTV Lunar New Year Gala 2011] 

Uploaded on Feb 6, 2011
Amazing! This song is sung by Anda Union (安达组合), the best Mongolian throat singing band in China. The music is written by Se Enkhbayar (色 恩克巴雅尔), one of the most well-known ethnic Mongolian Chinese musicians. The singers used two traditional Mongolian singing techniques in this song.

Mongolian Long Song Singing (or 长调) (see: 00:2300:37, 02:0502:22)
Mongolian Throat Singing (or Khoomii, 呼麦) (see: 00:4000:55, 01:0201:10, 02:2302:37)

English lyrics translated from Mongolian:
Auspicious and wish-fulfilled life blessed by skylights,
Splendid and gorgeous yurt roofs,
Doors and windows made by purple sandalwoods.
These are our homes.

Our sacrifice offered to the grand sky and earth.
Our worship paid to the sacred mountains and rivers.
Playing prolonged horse-fiddle tunes,
We sing melodious Mongolian Long Songs.

Let us sing and dance,
To extol our happy life.
Let us sing and dance,
To bless our eternal motherland.

Ethnic Mongolian Chinese:
http://sites.google.com/site/chn56eth…

 

TRAN QUANG HAI sings Tuvin tunes with overtones, BERLIN (GERMANY) , April 12th 2013

Published on Apr 22, 2013
TRAN QUANG HAI sings Tuvin tunes with overtones, BERLIN (GERMANY)
Filmed by Jens Muegge , April 12th 2013

TRAN QUANG HAI : The World of Overtones

Profile Information

About me:
Read my biography on my website: tranquanghai.info
As a band we are:
International Council for Traditional Music (Australia)
Society for Ethnomusicology (USA)
Asian Music Society (USA)
Societe Francaise d’Ethnomusicologie (France) (founding member)
International Jew’s Harp Society (UK) (founding member)
Instruments:
Vietnam: 16 stringed zither dàn tranh, monochord dàn bâu, 2 stringed fiddle dàn co, spoons muông , coin clappers sinh tiên, Jew’s harp dàn môi
China : 2 stringed fiddle nan hu
India : Tampura, Vina
Iran : drum tombak
Indonesia: Javanese gamelan
Europe: violin, guitar, banjo, mandolin, Jew’s harp
Influences:
Mongolian maestro SUNDUI, Tran Van Khê for Vietnamese Music
Homepage:
http://tranquanghai.info

Comment Wall (72 comments)

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Join Overtone Music Network

At 11:56am on October 29, 2011, Rollin Rachele said…
Hi There,
I hope you’re well. Just thought you’d like to visit my new overtone singing website. You can find it at www.overtonesinging.com.
Best wishes,
Rollin

At 5:14pm on September 1, 2010, Jens Mügge said…
Dear Hai,

I added this photo here to Overtone Music Network.

All the best,
Jens

At 6:47pm on June 24, 2010, Nicolas Lespinasse said…

At 10:40pm on June 12, 2010, giulia said…
Hi Tran Quang Hai! Great lesson! Nice to meet you in Toscana! Giulia from Spazio NU

At 11:25pm on February 4, 2010, Jens Mügge said…


Dear Hai,

a Happy Tiger Year for you too!
All the best,

Jens

At 11:44am on November 12, 2009, Sarah Hopkins said…
Greetings Tran Quang Hai… from Sunny Brisbane !
I hope this finds you in good health & spirits ? It’s been many years since we met in Singapore where we were both running Overtone Singing Workshops at the World Choral Symposium ….
I’ve finally joined the OMN & would love to be connected with you . My apologies for taking SO LONG to join !! (You invited me to join when it first began …I’m a bit of a novice with computers !!) Thank you for all the good work you do in spreading & sharing overtone singing world wide.
Sonic Blessings, Sarah Hopkins

At 8:51pm on May 22, 2009, Anthar Kharana said…
Thanx for your message Tran Quang!

will be in touch as soon as I’ve got them😉
lots of love!! and sonic hugs!

At 9:55pm on April 30, 2009, Purevsuren Usukhjargal said…
Hallo Tran Quang Hai,

I`m glad to have meet you one Koncert (music gruppe ) in France.
you websait is very good.

Greeting from Ingolstadt
Usukhu

At 11:11pm on April 24, 2009, Jens Mügge said…
Thanks a lot Hai for sharing some of your photos from our common meeting in Berlin and thanks that I could saw how kind you are. Really it was wonderful to meet you and I wish to meet you soon as possible. By the way maybe you have noticed the national flags in the top of each page? It would be great if you can contribute from time to time a translation contribution to the Google Vietnamese or French version of this network. Only if you like … all the best, yours Jens

At 7:16pm on April 20, 2009, Arjopa said…
Yeah, Dear Hai!!
And here are two photos I really like best!!
Thanx a lot!!

Arjopa


Gerrit Bloothooft, Eldrid Bringmann, Marieke van Cappellen, Jolanda B. van Luipen, and Koen P. Thomassen : A phonetic study of overtone singing

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Abstract

We describe the phenomenon of overtone singing in terms of the classical theory of speech production. The overtone sound stems from the second formant or a combination of both the second and third formants, as the result of careful, rounded articulation from //, via schwa // to /y/ and /i/. Strong nasalisation provides, at least for the lower overtones, an acoustic separation between the second and first formants, and can also reduce the amplitude of the first formant. The bandwidth of the overtone peak is remarkably small and suggests a firm and relatively long closure of the glottis during overtone phonation. Perception experiments showed that listeners categorize the overtone sounds differently from normally sung vowels.

A phonetic study of overtone singing

 

Gerrit Bloothooft, Eldrid Bringmann, Marieke van Cappellen, Jolanda B. van Luipen, and Koen P. Thomassen

 

 

Research Institute for Language and Speech, University of Utrecht
Trans 10, 3512 JK Utrecht, The Netherlands

 


1. Introduction

Overtone singing is a special type of voice production resulting in a very pronounced, high and separate tone which can be heard over a more or less constant base sound. The technique is rarely used in Western music but in Asia (especially Mongolia and Tibet) it is more common and overtone singing can be heard during secular and religious festivities. The high tone follows a characteristic musical scale [for instance, for pitch C3 (130.8 Hz) (- and + indicate a deviation from the exact tone): C3, C4, G4, C5, E5-, G5, A5+, C6, D6, E6-, F6+, G6, G#6+, A6+, B6-, C7,… ], from which it can be concluded that one really hears an overtone of the fundamental.

The literature contains only a few reports on overtone singing [1,5,7,8], which indicate both the importance of formants and register type. In this paper we present both an acoustic analysis of overtone singing and a study to evaluate the perception of the overtone sounds, in relation to normally sung vowels.


2. Material

We have recorded series of sung overtones from a singer with many years of experience in overtone singing, both as a performer and as a teacher. In this paper we describe the results for an Fo value of 138 Hz (C#3). In addition, 12 Dutch vowels /a/, /a/, //, /o/, /e/, //, //, /i/, /oe/, //, /u/, and /y/, sung in a normal way at the same Fo, were recorded.


3. Acoustic analysis

The recordings were digitized at a rate of 10 kHz and stored in a computer. From the middle, stable, part of each recording 300 ms was segmented. Average power spectra were obtained from FFT analyses (1024 points, shift 6.4 ms) over this segment. Formant frequencies were computed on the basis of appropriate LPC or ARMA analysis.


3.1. FFT-Spectra

Figure 1 shows the average FFT spectra of all overtone recordings. Despite the averaging procedure, the width of each individual harmonic is limited, indica-ting the stability of Fo over the interval (standard deviation of Fo was less than 0.1 semitone in all cases). It can be seen from the shifting peak in the spectra that overtone singing seems interpretable as a special use of a formant. Obviously, the singer tries to match a formant with the intended overtone frequency and succeeds very well.

Frequency (kHz)

FIG. 1. Average FFT spectra for overtone sounds, sung at Fo = 138 Hz (C#3). The overtone sounds are numbered according to the main partial involved.

3.2. Formant frequency analysis

In Fig. 2 we present formant frequency results for both the overtone sounds and the sung vowels in the F1 – F2 plane. The figure shows two modes in the production: firstly, the overtone sounds 4-6 around /u/, and secondly, the track from // to /i/.

In the first mode, it can be seen from the FFT-spectra that there is energy absorbtion around 400 Hz, indicating a strong nasalisation. The characteristic overtone sound resides in the second formant, as others [1,8] had already suggested. The bandwidth of the second formant is very narrow and, especially for the lower overtones, seldom exceeds 40 Hz. This indicates little acoustic damping in production: firm glottal closure and small losses in the vocal tract. All these characteristics indicate a low, rounded, nasalised, back vowel /u/ or // (low F1 and F2, a nasal pole/zero pair, and suppressed F3 [3]).

The second mode in the production of an overtone sound, applies for overtone frequencies higher than 800 Hz. The main peak of the spectrum still rises in tune with the intended overtone frequency and is interpreted as a combination of F2 and F3. It may be of interest that the singer explains this series of overtones with the articulatory variation during the word ‘worry’. It is known, already from the Peterson and Barney data, that in a retroflex /r/ the F3 frequency can be remarkably low and can approach the F2 frequency. This has also been mentioned by Stevens (1989), especially in combination with liprounding, while Sundberg (1987) mentioned the effect as the acoustic result of a larger cavity directly behind the front teeth.

For the higher overtone sounds, the articulation comes near /y/ and /i/, where continued lip rounding makes it possible to bring F2 and F3 together [4], although for the highest overtones a subtle lip spread may be needed to reduce the front cavity to a minimum.

 

FIG. 2. F1 – F2 plane for stimuli sung at Fo = 138 Hz, with positions of the vowels (IPA symbols) and overtone sounds (represented by the number of the corresponding partial).


3.3. The glottal factor

The very narrow bandwidth of the “overtone formant” suggests a good and long glottal closure. We believe that the singer used modal register, with a relatively long glottal closure, originating from a firm glottal adduction. This hypothesis does not exclude that performers may use the vocal fry register as well [7]. In all cases, the long glottal closure requires a strong adduction of the vocal folds, which could easily result in general muscular hypertension in the pharyngeal region. This may relate to the prominent role of the buccal cavity, suggested by Hai (1991).


3.4. Intensity analysis

Up to an overtone frequency of 1.5 kHz, the overtone harmonic has a stable relative intensity of -10 dB relative to overall SPL, and dominates the spectrum. For higher frequencies, the relative level of the overtone harmonic sharply drops with a slope of about -18 dB/octave.


4. The perception of overtone singing

4.1. Material, listening experiment, and analysis

As stimuli we used the combined set of 14 overtone sounds and 12 Dutch vowels. From these stimuli we used the same segment (300 ms) as had been used for the acoustical analyses, but we shaped the first and final 25 ms sinusoidally to avoid the perception of clicks. In a computer-controlled experiment, these stimuli were judged by fifteen listeners on ten 7-point bipolar semantic scales. Further details of semantic scales will be presented in a forthcoming paper. The judgements were analyzed by means of multidimensional preference analysis MDPREF [2]. In the technique of MDPREF a stimulus space is constructed in which distance corresponds to perceptual (dis)similarity.


4.2. The perceptual stimulus space

The plane of the first two dimensions of the stimulus space is shown in Fig. 3. 41 % of the total variation in the judgements was explained in this plane, while higher dimensions each explained less than 6.3 %.

 

FIG. 3. The perceptual stimulus space. The overtone sounds are given by the number of their corresponding partial, the vowels by their IPA symbol.

The overtone sounds and normally sung vowels are perceptually separated clusters. The vowels are situated roughly in a triangle, with the cardinal vowels /i/, /u/, and /a/ at the angles. The overtone sounds are roughly ordered according to their harmonic number, although the stimuli numbered from 4 to 10 can be described as a cluster. This probably relates to the constant relative energy of the overtone harmonic for this set. The direction of the overtone sounds is, from the lower to the higher numbers, about the same as from /u/ to /i/, as may be expected from the relation between harmonic numbers and F2 frequency values.


4.3. A physical description of the perceptual stimulus space

We attempted to match the perceptual stimulus space with multidimensional physical descriptions of the stimuli [formant frequency space (see Fig. 2), 1/3-octave bandfilter energy space both by means of the Plomp metric and the Klatt metric [2,6]]. These attempts were not successful (low correlations between coordinate values along dimensions) because of the division into two clusters of the stimulus space, for which these metrics do not present an explanation. Some additional perceptual sensitivity to the very small bandwidth of the “overtone formant”, which clearly physically separates overtone sounds and normally sung vowels, seems necessary to explain the results.


5. REFERENCES

[1] Barnett, B.M. (1977), “Aspects of vocal multiphonics”, Interface 6, 117-149.
[2] Bloothooft, G. and Plomp, R. (1988), “The timbre of sung vowels”, JASA 84, 847-860.
[3] Fant, G. (1960), ” Acoustic theory of speech production” The Hague: Mouton.
[4] Fujimora, O., and Lindquist, J. (1970), “Sweep-tone measurements of vocal tract characteristics”, JASA 49, 541-558.
[5] Hai, T.Q. (1991), “New experiments about the Overtone Singing Style”, Proc. Conference ‘New ways of the voice’, Becançon, 61.
[6] Klatt, D.H. (1982), “Prediction of perceived phonetic distance from critical-band spectra: a first step”, Proc. ICASSP, Paris, 1278-1281.
[7] Large, J. and Murry, T. (1981), “Observations on the nature of Tibetan chant”, J. of Exp. Research in Singing 5, 22-28.
[8] Smith, H., Stevens, K.N., and Tomlinson, R.S. (1967), “On an unusual mode of chanting by certain tibetan lamas”, JASA 41, 1262-1264.
[9] Stevens, K.N. (1989), “On the quantal nature of speech”, J. of Phonetics 17, 3-45.
[10] Sundberg, J. (1987), “The science of the singing voice“, Dekalb: Northern Illinois University

 http://www.let.uu.nl/~Gerrit.Bloothooft/personal/Publications/ICPhS1991overtones.htm

Werner A. Deutsch & Franz Födermayr: Visualization of Multi – Part Music

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 Frequency analysis of musical sounds came up to practical applications with the development of the Sound Spectrograph (Koenig, Dunn and Lacey, 1946). From the beginning much care has been taken to choice the frequency resolution and the time window properly in order to highlite important acoustical features as well as perceptual ones. It has been demonstrated by several studies (i.e. Potter, Kopp and Green, 1947) that the aural presentation of speech (and music) and its simultaneous graphic representation produces significantly deeper insight into the generation of acoustical signals and the ongoing perception as listening alone can provide.

Visualization of Multi – Part Music
(Acoustics and Perception)

Werner A. Deutsch (Austrian Academy of Sciences, Acoustics Research Laboratory) and
Franz Födermayr (Institute of Musicology, University of Vienna)

Introduction

Frequency analysis of musical sounds came up to practical applications with the development of the Sound Spectrograph (Koenig, Dunn and Lacey, 1946). From the beginning much care has been taken to choice the frequency resolution and the time window properly in order to highlite important acoustical features as well as perceptual ones. It has been demonstrated by several studies (i.e. Potter, Kopp and Green, 1947) that the aural presentation of speech (and music) and its simultaneous graphic representation produces significantly deeper insight into the generation of acoustical signals and the ongoing perception as listening alone can provide.

Graf (1963) recognized the enormous potential of spectrographic analysis for applications in ethnomusicology. His theoretical concept assumes the acoustical signal to be the primary stimulus which is processed by the human psychophysiological system very much in the same way, even in different ethnic populations. What makes the various differences in interpretation, reception and perception under very similar acoustical stimulus representations prominent, is due to the influence of the so called social-cultural context in which music plays an important role.

Production Models

The pertinent acoustic analysis of musical signals with acoustic laboratory methods (which today can be performed by using a specially equipped laptop computer.) produces basically a complete set of acoustical parameters which can be displayed as graphical images of the spectral content, i.e. the physics of the musical signal in real time or of those performances which have been recorded in advance. The analysis data can be used as input to comprehensive production models of voice( see: Fant, G. (1970) Acoustic theory of speech production. Mouton, The Hague; 2nd edition), musical instruments and musical ensembles. Sound source characteristics, tuning, musical scales, timbre, agogics, free field and room acoustics etc. can be observed on the analysis parameters extracted directly from the musical signal. Musical scales, vibrato, pulsato, beats are measured and detected on the basis of the fundamental frequency analysis data and their related spectral components, timbre is very much determined by the spectral envelope of the signals, duration and rhythms are mainly derived from the energy contour etc.

Perception Models

Whereas production models of the singing voice and musical instruments describe the acoustics of musical sound sources only, perception models deal with the signal processing of the listeners auditory periphery, its associated central pathways and cortical functions. It has to be admitted that psychoacoustics first started from an acoustical engineering approach in order to collect all technical basic data of the human auditory system, as selectivity measured in terms of absolute thresholds, difference limens in frequency, sound pressure level, signal duration and many other psychophysical functions. Most of the early psychoacoustical research was launched by telephone technical laboratories ( Fletcher, H. 1929, 1953), by the need to avoid noise and distortions on the telephone lines or for compensation of the hearing loss of listeners. Engineers, physiologists and neurologists have described the mechanics of the outer and middle ear, the hydromechanics of the inner ear ( Bekesy, G.v. 1960), the hair cell system and the resulting neural response up to the brainstem ganglions as well as acoustical evoked responses on the cortex. For technical and methodological limitations this early research has been done in most cases applying musically less relevant sinusoids, which could be controlled in experimental procedures with sufficient accuracy. This has been critisized frequently by musicologists for dealing rather with musicological non relevant aspects of sound and arbitrary functions of the auditory system instead of referring to the cognitive concepts of music.

Nevertheless, as the work in psychoacoustics progressed, the basic data obtained from the human auditory system contributed to a comprehensive theory of hearing, which today is capable to include highly relevant aspects of auditory localization, speech and music perception. Today psychoacoustical models explain complex perceptual functions, as musical pitch of complex tones, melody contours, consonance-dissonance, simultaneous masking, forward and backward masking, figure-background discrimination as well as Gestalt of musical rhythms etc.

Visualization of polyphony

FFTs and Spectrograms

Applying the psychoacoustic knowledge to spectrographic analysis of polyphony, the visualization of musical signals represents both, the graphical output of psychoacoustic perception models and the physics of sound. The spectral analysis of any arbitrary acoustical signal at a given instant is obtained by its Fourier Transform which produces a pair of real-valued functions of frequency, called the amplitude (or magnitude) spectrum and the phase spectrum. The amplitude spectrum stays moreover as a first approximation for the (neuro-) physiological representation of the signal in the human auditory system, the phase spectrum can be neglected for spectrographical purposes:

As the time variant signal goes on, many closely time windowed overlapping Fourier Transforms have to be computed at short successive intervals (< 30 ms) in order to produce a pseudo-3dimensional continuous graphic display of the sound, the spectrogram. In general narrow band frequency components with slow variations in frequency are detectable as horizontal frequency lines, whereas very fast changes or signal envelopes of a transient nature appear as vertical broad band bars in the spectrogram. Many musical instrument sounds (plucked strings, striked bars etc.) have a very short broad band attack and a narrow band slowly decreasing decay. Thus the onset of a note is easily identified, not so the end of the decay especially in reverberant environments).

Beats: From left to right: simple tone 220 Hz, simple tone 227 Hz, two tone complex 220 Hz + 227 Hz with beating, two tone complex 220 Hz + 240 Hz (light roughness), two tone complex 220 + 260 Hz (roughness), two tone complex (musical fifth).

Interference, Beats and Roughness

Usually directly incident or reflected waves from many sources, sounding simultaneously (musical instruments, singing voices etc.), are superposed at the listeners ear position, producing interference when components of equal frequency appear. Constructive interference takes place when the crests of two waves coincide, resulting the amplitude will be twice that of either wave. Destructive interference occurs when the crests of one wave fall on the troughs of the second and cancellation will be obtained. In case of interference of components slightly different in frequency beats can be perceived. The beat frequency is given by difference between the frequencies sounding together; beats can be detected on the spectrogram as periodic rise and fall in amplitude on a single (horizontal) frequency line. Whenever the frequency difference exceeds a certain value of 20 Hz no beating can be heard anymore and the perception of roughness is raised which has its maximum between 40 and 70 Hz. Increasing the frequency difference further on (see: critical bandwidth) produces two tone perception.

Masking

One of the most difficult phases in the investigation of spectrograms is the decision wether or not a spectral component of a signal which physically exists can be perceived by the auditory system and to what extent. The phenomenon that spectral components of a complex tone are not audible, despite their considerable amplitude measured, is described by the human auditory masking function. Masking is (1) the process by which the threshold of audibility for one sound is raised by the presence of another (masking) sound and (2) the amount by which the threshold of audibility of a sound is raised by the presence of another (masking) sound. The unit customarily used is the decibel (ANSI S3.20-1973). Masking may be seen as a general loss of information or as an undesired decrease of sensitivity of the auditory system but in contrary it is one of the most important auditory functions in order to perform the frequency analysis of the ear. Masking helps to process the sound into perceptual relevant components either belonging to the same or different sounds; it determines which components are resolved by the ear as audible harmonics with spectral pitch as well as it fuses higher harmonics according to the auditory critical bandwidth.

Critical Bands

The critical band in hearing can roughly be described as that frequency band of sound, in between that two spectral components influence one another. This influence can be expressed in terms of masking, loudness summation, roughness, consonance, dissonance etc. The bandwidth of the critical bands remains constant with 100 Hz up to a frequency of 500 Hz and increases up to 17\% of the midfrequency value beyond 500 Hz. Consequently the distribution of the spectral components of any acoustical signal along the basilar membrane of the inner ear is best approximated by the Bark\footnote{according to the acoustician Barkhausen (1926). scale which corresponds to the frequency spacing of the critical bands. A formal expression for the computation of the Bark scale has been given by Zwicker and Terhardt (1980). The unit of frequency (f) is assumed to be in kHz, arctan in radiants:

  •  z_c /Bark = 13 arctan (0.76 f/kHz) + 3.5 arctan (f /7.5 kHz)2

As a result of the Bark transformation a much better frequency resolution in the linear low frequency range up to 500 Hz is obtained. The resolution is progressively reduced at higher frequencies. Spectrograms using the Bark scale represent the psychoacoustical frequency spacing of the inner ear and can be interpreted in terms of perceptual relevant spectral frequency distribution.

Relevance-Spectrography

The transformation of the frequency axis into Bark scale and the extraction of irrelevant spectral components from the signal creates a so-called Relevance-Spectrogram which contains those frequency components only which evoke neurophysiological activity (SPL-Ecxess). It represents the signal associated to the neural excitation pattern in the auditory nerve, containing the relevant information parameters for the processing at higher neural levels. Thus the musical interpretation of spectrograms is highly facilitated as irrelevant signal parts can not show up. Moreover by applying an categorized intensity detection procedure (a concept of overmasking) the most prominent spectral peaks of the signal are extracted and figure-background discrimination can be obtained ( Deutsch \& Noll, 1993). This enables the listener to follow the leading voice without interference of the background signal in many cases.

Pitch

The perception of pitch of complex tones has been a topic discussed extensively in psychoacoustics since the well known controversy beween Hermann von Helholtz and Georg Simon Ohm on one side and August Seebeck on the other. The problem, which is still an important question in hearing theories, started from Seebecks observation that the pitch of a complex tone with a missing fundamental still remains at the pitch level of the fundamental frequency. Ohms acoustic law followed Fouriers theorem and stated in contrary, pitches of frequencies which existe objectively (as components of a complex tone) can be heard only. Ohms acoustical law strongly supported Helmholtzs hearing theory according to which the partials of a complex tone are distributed along the basilar membrane (place theory) and resonance is responsible {Note: Helmholtzs experimental setup consisted mainly in resonators, he invented). His acoustical sources have been tuning folks. Seebeck used an acoustic siren, blowing air against the holes of a turning disk. By proper spacing of the holes a complex tone is produced without its fundamental frequency. for the mechanical stimulation of the hair cells. He explained Seebecks missing fundamental phenomenon by arguing nonlinearities in the inner ear would evoke the low frequency pitch, creating an objective product of nonlinearity (difference tone or combination tone between the higher harmonics) at the place of the fundamental frequency.

Modern pitch theory is based on the results of Georg von Bekesys and J. F. Schoutens work. Both have stimulated the research on pitch perception for about 50 years. Bekesys travelling wave theory is strongly supported by physiological experiments (Bekesy, 1960) and Schoutens (1940) observations on the residue pitch made evident, that the ear works in both domains simultaneously: in the frequency domain by means of hydromechanics with a far then perfect result of a Fourier Transform and in the time domain where any onset or even a slight change in the regular vibration of the basilar membrane is detected.

Fianlly pitch has been defined as that attribute of an auditory sensation in terms of which sounds may be ordered on a scale extending from low to high. The unit of pitch was assigned the mel (ANSI S3.20-1973). Thus pitch depends primarily upon the frequency of the sound stimulus, but it also depends upon the sound pressure and the waveform on the stimulus. The pitch of a sound may be described by the frequency or frequency level of that pure tone having a specified sound pressure level that is judged by subjects to have the same pitch.

The discussion on pitch perception came to an premature end when Terhardt (1974) published a model of pitch perception which includes both, the virtual pitch and the spectral pitch. He applied the concept of Gestalt perception, which in musicology frequently is understood to describe sequential melody contours only, on simultaneous sounding partials of a single complex tone. This enables the listener to still perceive the complex tone as a whole even when prominent components are missing (e.g. the fundamental frequency) or when their amplitude is as low that they can not contribute to pitch perception. Thus two general modes of pitch perception have to be encountered: the holistic mode integrating the partials of any complex tone to a good Gestalt, evoking virtual pitches and the analytic mode, focussing more on the spectral components of the sound and isolating individual partials of the complex tone as it is described by the concept of spectral pitch.

The following conclusions for the today work in pitch perception and music transcription have to be drawn:

  • the pitch of a complex tone very likely may be ambiguous,
  • pitch matches have therefore to be done with sinusoids only,
  • spectral pitch and virtual pitch may exist in between the same individuum, responding to the same sound, dependent upon subjective experiences,
  • musical theories of melody and counterpart introduce interpretative framework which not necessarily must correspond with perception.

Example 1: Highland Bagpipe

In the case of drone polyphony at least two psychoacoustical phenomena are generally relevant: masking and interference; the special characteristic of the drone sound is given by its relative stationarity in pitch and timbre throughout the total duration of the musical piece or a part of it, enabling melody tones to interfer with related spectral components of the drone. The following example is taken from a pibroch played on a Piob Mhor (highland bagpipe, Vienna Phonogramm Archive, Tape 17979, J. Brune, 1973). The key of the pipe chanter is usually spoken as A. The two tenor drones are tuned to the octave below the A of the chanter and the bass drone sounds an octave lower still ( Mac Neill, S. & Richardson, 1987). In our example the frequency value of /A/ is 116 Hz. The drone pipes produce a harmonic amplitude spectrum up to 7 kHz. Some partials show slow beats appearantly according to the slight mistuning of both tenor pipes. The ornamental sections of the sound probe are of equal overall duration (820 ms), whereas the sustained melody tones vary in duration from 1920 to 2830 ms. Interference is given mainly between the 4th, 5th, 6th and 8th harmonic of the drone and 1st harmonic of the sustained melody tones (/a3/, /c4 sharp/, /e4/, /a5/) depending upon their amplitude relation.

Spectrogram: Piob Mhor (highland bagpipe, Vienna Phonogramm Archive, Tape B17979, J. Brune, 1973). Spectrogram unprocessed.
Piob Mhor: according to the irrelevance-threshold signal processed, all spectral components below the masked threshold have been extracted. Approximately 67% of the weaker FFT-amplitudes have been set to zero.

Piob Mhor: difference signal, 67\% of the weaker amplitudes represent the signal below the masked threshold (irrelevance threshold). After being extracted from the original signal these components can be made audible again. The superposition of this spectrogram and the 2nd exactly produces the first spectrogram as well as the difference signal + irrelevance corrected signal = original..
Generally the sustained longer chanter (melody) pipe tones interfere (11s to 16s) with higher harmonics of drone tones, alternating with notes having no interference with the drone (see 8s to 11s) and short melody tones constituing the melismes (at 2s to 8s, 14s). The occurence of beats at each 2nd harmonic of the drone spectrum indicates beating between the two tenor drone pipes with a frequency difference of 0.85 Hz. The beating between the 2nd and the 4th harmonic of the drone with a rate of approximately 1.7 Hz is not of most perceptual importance. This beating does not effect the overall drone sound dominantely. Perceptually more relevant is the beating between the partials of the drone and sustained melody tones seen at 2.6s to 6s, 11s to 13s etc.

The interference of spectral components of both, the drone and the melody tones can be observed already on the spectrogram (fig. 1). Its perceptual relevance as indicated above can be seen in the relevance-spectrogram (fig. 2) from which the masked components of the signal have been removed. What happens to the signal when the masked threshold has been computed is demonstrated in the difference signal (fig. 3). From the lower harmonics of the drone sound, a2 and a3 are not affected by masking, as well as the 6th harmonic (e5). This results in a continous prominence of the fundamental and the fifth of the drone, the first corresponding to the basic tone of the melody, the second corresponding to the dominant tone of the melody. This fact has been mentioned already by Collinson (1970:167); Brune (1981:48) and MacNeill & Richardson (1987:32) but they all explained it by focussing on a strong 3rd harmonic of the bass drone. In contrary the example currently under investigation shows a very week 3rd harmonic of the bass drone and a strong, almost unmasked 3rd harmonic of the tenor pipes.

Several harmonics of the chanter pipes are stroger than the drone and consequently mask their neighbouring partials of the drone. The first partial of a4 of the chanter masks e4 and c-sharp5 of the drone sound and the first partial of e5 of the chanter masks c-sharp and g of the drone sound; whereas the sustained melody tones c-sharp5 and f-sharp5 themselves are partially masked by the harmonics of the drone sound. Taken together, the results of these observations provide psychoacoustical evidence (1) for the characteristic hierarchical structure given by the fifth a-e of the melody, which is strongly supported by the masking phenomenon. (2) The continuous sounding drone enlarges the overall frequency range downward, anchoring the melody into the tonal space.

Example 2: Bulgarian Multi-Part Song

The next example (fig.4 to 6) shows the role of roughness and frequency fluctuations (tremolo) as characteristics of a diaphonic type of Bulgarian multi-part singing (Messner, 1980:passim; Brandl, 1992; Födermayr & Deutsch, 1992:381-384). Masking has no effect in the region of the fundamental frequencies, even at the strongest partials (2 and 4) weak masking can be observed only. It does not influence the constituting elements of the sounds. Thus the partials of the individual voices interact with their full objective existent amplitudes. Throughout the whole piece a characteristic interval between two voices is produced, fairly constant with a width of three quarters of a whole tone. The resulting frequency differences between the fundamental frequencies are in the range of 30 Hz, evoking the sensation of roughness. Even when strong tremolo appears in Tressene figures, the average frequency difference remains close to 150 cents. Generally start and target points of exclamations fall on frequency values of the characteristic interval. The rate of the tremolo ranges between approximately 4 and 8 fluctuations /s which is known close to the ears maximum of sensitivity to frequency modulation.

Long term spectrogram of Bulgarian multi-part song: Balkanton BHA 2067, II 6. The duration of the piece is 39s. The spectrogram shows the segmentation of the song in  3 x 3 parts of equal duration.

Segment No. 3 (8s – 13s) of Bulgarian multi-part song: Balkanton BHA 2067, II 6. The spectrogram shows the characterstic interval of 150 Cents, several exclamations and two tremolo of 8 and 4 Hz fluctuation rate

Example 3: Epic Chant, Gujarat

The sound of the drone instrument ( Tharisar, Födermayr, 1968) is characterized by a single pitched (233 Hz) harmonic spectrum with decreasing amplitudes. The recitation as well as the sung parts follow the fundamental frequency of the drone sound with distinct variations. Short quasi-stationary tones of the recitation have an ambitus up to several whole tones using the fundamental frequency of the drone as midfrequency value, those of the sung parts are asymmetric and clother to the drone frequency with intervals downwards to a semi tone and upwards to a third. The drone implements a tonal function as finalis of the song. Roughness is produced during the sung parts only due to the interference of the drone and sustained voiced tones.

Long term spectrogram: Epic Chant of the Kunkana, Gujarat (PhA B 12125). The first 3s of the sound example show the drone isolated, followed by drone and recitation (3s – 15.5s) and sung part segments (15.5s – 30s). This example demonstrates the special kind of voicing during the parlando up to the first half duration of the sound segment displayed (up to 15s) and the song section with melodic lines closely related to the drone tones. The drone is given by a friction idiophone (Tharisar).

Epic Chant of the Kunkana, sung part segment, duration 3.5 s. The asymetry of the sung part in relation to the drone frequency can easily be detected from the first and 2nd harmonic.

Example 4: Lullaby in Yodel-technic, Bangombe Pygmies

The interdependence of pitch and timbre has been pointed out already in the section on pitch perception. The Yodel-technique of the Bangombe Pygmies elicitates both different modes of pitch perception: virtual pitch and spectral pitch. Two female voices exhibit the following variations:

  • tone to tone change of voice register: chest – falsetto
  • no isoparametric tone sequences with register change
  • unisono with different register: upper voice chest, lower voice falsetto
  • tone to tone vowel quality change (first and second vowel formant effect), upper voice: vowel /a/ chest, lower voice vowel /i/ falsetto, vowels /a/, /ae/ chest voice

The interaction between pitch, vowel quality and register change causes selective amplification of partials in the area of the vowel formant peak frequency, in the range of the first or 2ndnd partial of the female voices (633 Hz). The harmonics are sufficiently spaced apart to be resolved by the ear, producing virtual as well as spectral pitches. Whenever the fundamental frequency is significantly weaker as the 2ndnd harmonic, spectral pitch can be perceived by the analytic type of listeners. At will the perception can be focussed on the fundamental again and a holistic type of listening occurs.

Lullaby of Bangombe pygmy women (PhA B10840 G. Kubik, 1965): the peak amplitude contour of the solo part shows the A-B-A pattern of fundamental /e5-flat/ – 2nd harmonic /b4-flat/ – fundamental /e5-flat/ and so on. Falsetto tones are marked in diamonds. The inherent pattern of the upper voice is indicated, starting at 114 s.

The perceptual pitch ambiguity can best be described on the basis of the spectrogram: the peak amplitude of the beginning solo part shows the A-B-A pattern of fundamental /e-flat/ – 2ndnd harmonic /b-flat/ – fundamental /e-flat/ etc. According to the virtual pitch perception /e5-flat/ /b4-flat/ /e5-flat/ has to be perceived whereas subjects following the sepctral pitch hear /e5-flat/ /b5-flat/ /e5-flat/. The spectrogramm clearly shows the fundamental frequency contour. The phenomenon described has been addressed by a number of investigators and in detail by Albrecht (1972). By further analysing the spectrogram a melo-rhythmic pattern in the upper voice (120s to 134s) can be identified; it is aready seen as inherent pattern in the beginning of the solo part starting from the third phrase. The perception of the inherent pattern can be explained by the similarity of timbre of neighbouring tones, the falsetto /f/ and /e-flat/ of phase 3 and the chest voice /c/ /b-flat/ as well as /b-flat/ /g/ of phrase 4. Approximately at location 115s (marked with an asterix) /b4-flat/ is perceived instead of /b5-flat/ which exists objectively. This octave error helps to obtain the continuity of the melody in order to support the good Gestalt. Finally even in parts both voices are in unisono the distinction between the individual voices can easily maintained due to the predominant difference ebtween the chest and falsetto register.

In conclusion and for further studies on that line the spectrogram has been proved as an indespensible basis for the evaluation of complex tonal patterns as represented by the example described.

Lullaby of Bangombe pygmy women: duet. The arrows pointing downward indicate spectral components associated witjh the upper voice. Arrows pointing upward indicate those belonging to lower voice.


continuation of previous spectrogram.

Example 5: Overtone Singing: Tran Quang Hai

Overtone singing of the nature given by mongolian and turk people (as well as by Tran Quang Hai’s reproductive performances) is characterized by (1) a sustained fundamental frequency contour and (2) a melody which is composed from harmonic overtones of that fundamental frequency. The overtone phenomenon has been recognized to be an acoustical factor of the special setting of resonances of the human vocal tract. It has been sufficiently explained by the acoustic theory of voice production (Fant, 1960). Moreover this example shows the coincidence of a production model and the corresponding perception model.

Tran Quang Hai: overtone singing, spectrogram.

The acoustic model of the speech production assumes the glottal spectrum as the primary source for voiced sounds and the vocal tract acting as a filter attached on it: the glottal spectrum consists of a series of harmonics produced by glottal air pulses described in a model according to the myoelastic theory of {Berg (1957)} which has been accepted widely. The slope of the {\em source spectrum} depends on the shape of the individual closing and opening of the vocal folds during one fundamental period; a glottal waveform with more sudden closures produces stronger high frequency harmonics and a sharper timbre or voice quality. The fundamental frequency of the voice is determined by the repetition rate of the glottal pulses which is controlled (1) by the laryngeal musculature affecting the tension and the mass distribution of the vocal chords and (2) by changes of subglottal pressure. Decreased subglottal pressure, reduced mass of the vocal chords and increased tension raise the fundamental frequency.

The tube of the human vocal tract with a length of approximately 17,5 cm is attached on top of the laryngeal section. Its cross section can be changed to wider and narrower constrictions by the walls of the pharynx, the tongue, the jaw opening and the lips. The formant frequencies of vowels are related to the length of the tube and its shape. They represent the resonance frequencies of the vocal tract in non nasalized sounds. When the nasal tract is coupled on, by lowering the soft palate, the amplitude of the vowel formants decreases and a more complex resonace/antiresonace behavior of the vocal tract can be observed. The special setting of overtone singing suppresses the formant frequencies of the normal voice and emphasizes a very small frequency range, as narrow that one partial is amplified only. The result is shown in the spectrograms (fig. 12,13); the fundamental frequency is continuously sounding on one sustained low pitch and the melody is controlled by proper changing of the main resonace frequency. Thus overtone melodies can be played by picking out individual harmonics from the complex tone of the glottal pulse.

Tran Quang Hai: overtone singing. The output of the model of voice production (Linear Prediction Coding, 24 coefficients) extracts the first overtone of the fundamental frequency and the harmonics with the peak amplitude. The overtone melody is produced by setting the vocal tract main resonances accordingly.

The point to be emphasized is that in this case a coincidence of a (voice) production model and the associated perception model can be stablished. Nevertheless it has to be examined from case to case which aspects of the production model can be considered as significant for the perception.

Conclusion

Although these examples are of demonstrative nature only they are consistent with the general concept of introducing acoustics, physiology and psychoacoustics into the process of musical analysis. We have excluded for reasons not outranging the size of this contribution only the very challenging approach of {\em Analysis by Synthesis} as it has been applied in speech research since the beginning of vocoder techniques. Resynthesis of musical sounds can be extremly forceful when appropriate sound analysis data are available. As long as the physical parameters of musical sounds have not been evaluated upon their psychoacoustical effects, the perceptual relevance of individual components of complex sounds can be determined by trial and error only. The introduction of perceptual concepts in the analysis of music yields to results typically much better than would be obtained from acoustics alone.

Aknowledgments

Our special thanks to Prof. Dr. Kreysig for reading the english version of this paper and improving its style.

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