Course talk:PHYS341/2018/project/opera

Unfortunately, there is not much in-depth content in order to write a lot about the article. And coincidentally as the wiki writer for mouth cavity, there is not much information that differentiates between regular mechanisms of the mouth (and neck) and opera singing. Each subsection has little explanation of how each of them were significant to the topic, might as well just lower the amount of subsections and add more depth into each of them. The minimum amount of word is not met.

We appreciate the feedback! We are definitely going to get more specific, we were just crunched for time as we had deadlines for other courses as well. In a sense, we are writing on opera singing but perhaps focusing less on the production and more on the perception aspect and how we are able to comprehend and understand the singing. We'll be adding examples to demonstrate this phenomenon as well!

As we conducted our research on mouth cavity acoustics, we found that most of the vowel information is contained in the first three formants--possibly the reason for spectrograms of vowel charts only displaying three. The fourth and fifth formants are moreso used for determining who (rather, the sort of voice) is producing the sound. Also, although the formants technically change with the production of vowels, the important factor is the ratio between the formants. If I remember correctly, the first formant will change based on the pitch. You elaborate later in the article but I think such should be clearer earlier. Also, I hope to see some pictures and fewer placeholders, but I assume that is in the works.

Also, I think the singer's formant is a fascinating topic that is likely to fall into your topic of opera singing.