https://wiki.ubc.ca/api.php?action=feedcontributions&feedformat=atom&user=JustinTam 2026-08-17T14:46:35Z User contributions MediaWiki 1.43.9 https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=445309 2017-04-03T22:03:00Z

<p>JustinTam: </p> <hr /> <div><br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Often times, listeners will hear a single 'drone' frequency, while also hearing a 'melody' above it due to movement in the overtones of the fundamental frequency. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are referred to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain usually perceives the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. The formants of a tone are emphasised differently depending on the shape of the vocal tract, which in fact is that which allows the human ear to perceive differences in vowels, consonants, tonal inflections, and so on. In essence, the manipulation of the vocal tract is a natural human ability which allows us to hear variations in speech and tone.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> [[File:Mongolian-singing-jpg.jpg|thumb|Mongolian throat singer: throat singing is a variation of overtone singing where additional muscle pressure is applied in the throat to create a unique timbre]]<br /> <br /> The human brain typically perceives the fundamental frequency and does not naturally distinguish it from its overtones during speech and conventional singing, however changes in the emphasis of different overtones do create a perceivable change in tone and articulation. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> [[File:Vocal-resonation.jpeg|thumb|Diagram of the different components of the vocal tract used to create different timbre]]<br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. While the sounds produced by conventional singers are typically perceived as single notes, overtone singers have the ability to emphasise certain overtones of their notes while damping others&lt;ref&gt;Franz, Julia. &quot;See How Tuvan Throat Singers Can Sing Multiple Notes at Once.&quot; Public Radio International. Public Radio International, 28 Mar. 2017. Web. &lt;/ref&gt;. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. Just as human speech makes use of changes in the vocal tract to create different vowel and consonant sounds as well as tonal inflections, overtone singing also uses shape changes in the vocal tract in order to highlight the different partials of a tone in order to create its effect. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> [[File:Frequency Spectrum of Overtone Singing.jpg|thumb|Diagram showing how the partials can be stronger than the fundamental itself in overtone singing]]<br /> <br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; Helmholtz resonance is the resonance of air in a cavity, creating musical pitches within.<br /> <br /> The overtone singer must be highly trained in the manipulation of the vocal tract, as slight adjustments can cause significant changes to the produced sound. In order to produce the unique effect, overtone singers must be aware of a large variety of factors in order to optimise both the tone and amplitude of their sound. For instance, minimising the size of the mouth may be beneficial for the conservation of energy while singing. However, increasing the size of the mouth will also increase the radiation efficiency of the sound. The shape of the tongue also affects the articulation of the sound of the formants&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt;. Such factors indicate that the overtone singer must be extremely adept in order to recreate the ancient sound.<br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=445305 2017-04-03T21:46:39Z

<p>JustinTam: </p> <hr /> <div><br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Often times, listeners will hear a single 'drone' frequency, while also hearing a 'melody' above it due to movement in the overtones of the fundamental frequency. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain usually perceives the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. The formants of a tone are emphasised differently depending on the shape of the vocal tract, which in fact is that which allows the human ear to perceive differences in vowels, consonants, tonal inflections, and so on. In essence, the manipulation of the vocal tract is a natural human ability which allows us to hear variations in speech and tone.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> [[File:Mongolian-singing-jpg.jpg|thumb|Mongolian throat singer: throat singing is a variation of overtone singing where additional muscle pressure is applied in the throat to create a unique timbre]]<br /> <br /> The human brain typically perceives the fundamental frequency and does not naturally distinguish it from its overtones during speech and conventional singing, however changes in the emphasis of different overtones do create a perceivable change in tone and articulation. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> [[File:Vocal-resonation.jpeg|thumb|Diagram of the different components of the vocal tract used to create different timbre]]<br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. While the sounds produced by conventional singers are typically perceived as single notes, overtone singers have the ability to emphasise certain overtones of their notes while damping others&lt;ref&gt;Franz, Julia. &quot;See How Tuvan Throat Singers Can Sing Multiple Notes at Once.&quot; Public Radio International. Public Radio International, 28 Mar. 2017. Web. &lt;/ref&gt;. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. Just as human speech makes use of changes in the vocal tract to create different vowel and consonant sounds as well as tonal inflections, overtone singing also uses shape changes in the vocal tract in order to highlight the different partials of a tone in order to create its effect. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> [[File:Frequency Spectrum of Overtone Singing.jpg|thumb|Diagram showing how the partials can be stronger than the fundamental itself in overtone singing]]<br /> <br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; Helmholtz resonance is the resonance of air in a cavity, creating musical pitches within.<br /> <br /> The overtone singer must be highly trained in the manipulation of the vocal tract, as slight adjustments can cause significant changes to the produced sound. In order to produce the unique effect, overtone singers must be aware of a large variety of factors in order to optimise both the tone and amplitude of their sound. For instance, minimising the size of the mouth may be beneficial for the conservation of energy while singing. However, increasing the size of the mouth will also increase the radiation efficiency of the sound. The shape of the tongue also affects the articulation of the sound of the formants&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt;. Such factors indicate that the overtone singer must be extremely adept in order to recreate the ancient sound.<br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=445297 2017-04-03T21:21:55Z

<p>JustinTam: </p> <hr /> <div><br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Often times, listeners will hear a single 'drone' frequency, while also hearing a 'melody' above it due to movement in the overtones of the fundamental frequency. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain usually perceives the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. The formants of a tone are emphasised differently depending on the shape of the vocal tract, which in fact is that which allows the human ear to perceive differences in vowels, consonants, tonal inflections, and so on. In essence, the manipulation of the vocal tract is a natural human ability which allows us to hear variations in speech and tone.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> [[File:Mongolian-singing-jpg.jpg|thumb|Mongolian throat singer: throat singing is a variation of overtone singing where additional muscle pressure is applied in the throat to create a unique timbre]]<br /> <br /> While the human brain typically perceives the fundamental frequency and does not naturally distinguish it from its overtones during speech and conventional singing, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> [[File:Vocal-resonation.jpeg|thumb|Diagram of the different components of the vocal tract used to create different timbre]]<br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. While the sounds produced by conventional singers are typically perceived as single notes, overtone singers have the ability to emphasise certain overtones of their notes while damping others&lt;ref&gt;Franz, Julia. &quot;See How Tuvan Throat Singers Can Sing Multiple Notes at Once.&quot; Public Radio International. Public Radio International, 28 Mar. 2017. Web. &lt;/ref&gt;. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. Just as human speech makes use of changes in the vocal tract to create different vowel and consonant sounds as well as tonal inflections, overtone singing also uses shape changes in the vocal tract in order to highlight the different partials of a tone in order to create its effect. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> [[File:Frequency Spectrum of Overtone Singing.jpg|thumb|Diagram showing how the partials can be stronger than the fundamental itself in overtone singing]]<br /> <br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; The overtone singer must be highly trained in the manipulation of the vocal tract, as slight adjustments can cause significant changes to the produced sound. In order to produce the unique effect, overtone singers must be aware of a large variety of factors in order to optimise both the tone and amplitude of their sound. For instance, minimising the size of the mouth may be beneficial for the conservation of energy while singing. However, increasing the size of the mouth will also increase the radiation efficiency of the sound. The shape of the tongue also affects the articulation of the sound of the formants&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt;. Such factors indicate that the overtone singer must be extremely adept in order to recreate the ancient sound.<br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=445038 2017-04-03T01:11:04Z

<p>JustinTam: </p> <hr /> <div><br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Often times, listeners will hear a single 'drone' frequency, while also hearing a 'melody' above it due to movement in the overtones of the fundamental frequency. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain usually perceives the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. The formants of a tone are emphasised differently depending on the shape of the vocal tract, which in fact is that which allows the human ear to perceive differences in vowels, consonants, tonal inflections, and so on. In essence, the manipulation of the vocal tract is a natural human ability which allows us to hear variations in speech and tone.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> [[File:Mongolian-singing-jpg.jpg|thumb|Mongolian throat singer: throat singing is a variation of overtone singing where additional muscle pressure is applied in the throat to create a unique timbre]]<br /> <br /> While the human brain typically perceives the fundamental frequency and does not naturally distinguish it from its overtones during speech and conventional singing, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> [[File:Vocal-resonation.jpeg|thumb|Diagram of the different components of the vocal tract used to create different timbre]]<br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. Just as human speech makes use of changes in the vocal tract to create different vowel and consonant sounds as well as tonal inflections, overtone singing also uses shape changes in the vocal tract in order to highlight the different partials of a tone in order to create its effect. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> [[File:Frequency Spectrum of Overtone Singing.jpg|thumb|Diagram showing how the partials can be stronger than the fundamental itself in overtone singing]]<br /> <br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; The overtone singer must be highly trained in the manipulation of the vocal tract, as slight adjustments can cause significant changes to the produced sound. In order to produce the unique effect, overtone singers must be aware of a large variety of factors in order to optimise both the tone and amplitude of their sound. For instance, minimising the size of the mouth may be beneficial for the conservation of energy while singing. However, increasing the size of the mouth will also increase the radiation efficiency of the sound. The shape of the tongue also affects the articulation of the sound of the formants&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt;. Such factors indicate that the overtone singer must be extremely adept in order to recreate the ancient sound.<br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=445037 2017-04-03T01:10:14Z

<p>JustinTam: </p> <hr /> <div><br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Often times, listeners will hear a single 'drone' frequency, while also hearing a 'melody' above it due to movement in the overtones of the fundamental frequency. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain usually perceives the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. The formants of a tone are emphasised differently depending on the shape of the vocal tract, which in fact is that which allows the human ear to perceive differences in vowels, consonants, tonal inflections, and so on. In essence, the manipulation of the vocal tract is a natural human ability which allows us to hear variations in speech and tone.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> [[File:Mongolian-singing-jpg.jpg|thumb|Mongolian throat singer: throat singing is a variation of overtone singing where additional muscle pressure is applied in the throat to create a unique timbre]]<br /> <br /> While the human brain typically perceives the fundamental frequency and does not naturally distinguish it from its overtones during speech and conventional singing, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> [[File:Vocal-resonation.jpeg|thumb|Diagram of the different components of the vocal tract used to create different timbre]]<br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. Just as human speech makes use of changes in the vocal tract to create different vowel and consonant sounds as well as tonal inflections, overtone singing also uses shape changes in the vocal tract in order to highlight the different partials of a tone in order to create its effect. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> [[File:Frequency Spectrum of Overtone Singing.jpg|thumb|Diagram showing how the partials can be stronger than the fundamental itself in overtone singing]]<br /> <br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; The overtone singer must be highly trained in the manipulation of the vocal tract, as slight adjustments can cause significant changes to the produced sound. In order to produce the unique effect, overtone singers must be aware of a large variety of factors in order to optimise both the tone and amplitude of their sound. For instance, minimising the size of the mouth may be beneficial for the conservation of energy while singing. However, increasing the size of the mouth will also increase the radiation efficiency of the sound. The shape of the tongue also affects the articulation of the sound of the formants&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt;. Therefore, an overtone singer must be very adept at using his or her vocal tract.<br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=445036 2017-04-03T00:58:43Z

<p>JustinTam: </p> <hr /> <div><br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Often times, listeners will hear a single 'drone' frequency, while also hearing a 'melody' above it due to movement in the overtones of the fundamental frequency. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain usually perceives the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. The formants of a tone are emphasized differently depending on the shape of the vocal tract, which in fact is that which allows the human ear to perceive differences in vowels, consonants, tonal inflections, and so on. In essence, the manipulation of the vocal tract is a natural human ability which allows us to hear variations in speech and tone.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> [[File:Mongolian-singing-jpg.jpg|thumb|Mongolian throat singer: throat singing is a variation of overtone singing where additional muscle pressure is applied in the throat to create a unique timbre]]<br /> <br /> While the human brain typically perceives the fundamental frequency and does not naturally distinguish it from its overtones during speech and conventional singing, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> [[File:Vocal-resonation.jpeg|thumb|Diagram of the different components of the vocal tract used to create different timbre]]<br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. Just as human speech makes use of changes in the vocal tract to create different vowel and consonant sounds as well as tonal inflections, overtone singing also uses shape changes in the vocal tract in order to highlight the different partials of a tone in order to create its effect. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> [[File:Frequency Spectrum of Overtone Singing.jpg|thumb|Diagram showing how the partials can be stronger than the fundamental itself in overtone singing]]<br /> <br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; <br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=File:Vocal-resonation.jpeg&diff=445035 2017-04-03T00:58:10Z

<p>JustinTam: User created page with UploadWizard</p> <hr /> <div>=={{int:filedesc}}==<br /> {{Information<br /> |description={{en|1=Diagram of the different components of the vocal tract used to create different timbre}}<br /> |date=2017-04-02 17:57:29<br /> |source=[[File:Mongolian-singing-jpg.jpg|thumb|Mongolian throat singer: throat singing is a variation of overtone singing where additional muscle pressure is applied in the throat to create a unique timbre]]<br /> |author=Molly's Music<br /> |permission=<br /> |other_versions=<br /> }}<br /> <br /> =={{int:license-header}}==<br /> {{subst:uwl}}<br /> <br /> <br /> [[Category:Uploaded with UploadWizard]]</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=445034 2017-04-03T00:56:05Z

<p>JustinTam: </p> <hr /> <div><br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Often times, listeners will hear a single 'drone' frequency, while also hearing a 'melody' above it due to movement in the overtones of the fundamental frequency. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain usually perceives the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. The formants of a tone are emphasized differently depending on the shape of the vocal tract, which in fact is that which allows the human ear to perceive differences in vowels, consonants, tonal inflections, and so on. In essence, the manipulation of the vocal tract is a natural human ability which allows us to hear variations in speech and tone.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> [[File:Mongolian-singing-jpg.jpg|thumb|Mongolian throat singer: throat singing is a variation of overtone singing where additional muscle pressure is applied in the throat to create a unique timbre]]<br /> <br /> While the human brain typically perceives the fundamental frequency and does not naturally distinguish it from its overtones during speech and conventional singing, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. Just as human speech makes use of changes in the vocal tract to create different vowel and consonant sounds as well as tonal inflections, overtone singing also uses shape changes in the vocal tract in order to highlight the different partials of a tone in order to create its effect. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> [[File:Frequency Spectrum of Overtone Singing.jpg|thumb|Diagram showing how the partials can be stronger than the fundamental itself in overtone singing]]<br /> <br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; <br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=File:Mongolian-singing-jpg.jpg&diff=445033 2017-04-03T00:55:02Z

<p>JustinTam: User created page with UploadWizard</p> <hr /> <div>=={{int:filedesc}}==<br /> {{Information<br /> |description={{en|1=Mongolian throat singer: throat singing is a variation of overtone singing where additional muscle pressure is applied in the throat to create a unique timbre}}<br /> |date=2017-04-02 17:53:55<br /> |source=http://images.boomsbeat.com/data/images/full/191427/mongolian-singing-jpg.jpg<br /> |author=Youtube<br /> |permission=<br /> |other_versions=<br /> }}<br /> <br /> =={{int:license-header}}==<br /> {{subst:uwl}}<br /> <br /> <br /> [[Category:Uploaded with UploadWizard]]</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=445031 2017-04-03T00:49:20Z

<p>JustinTam: </p> <hr /> <div><br /> <br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Often times, listeners will hear a single 'drone' frequency, while also hearing a 'melody' above it due to movement in the overtones of the fundamental frequency. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain usually perceives the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. The formants of a tone are emphasized differently depending on the shape of the vocal tract, which in fact is that which allows the human ear to perceive differences in vowels, consonants, tonal inflections, and so on. In essence, the manipulation of the vocal tract is a natural human ability which allows us to hear variations in speech and tone.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain typically perceives the fundamental frequency and does not naturally distinguish it from its overtones during speech and conventional singing, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. Just as human speech makes use of changes in the vocal tract to create different vowel and consonant sounds as well as tonal inflections, overtone singing also uses shape changes in the vocal tract in order to highlight the different partials of a tone in order to create its effect. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> [[File:Frequency Spectrum of Overtone Singing.jpg|thumb|Diagram showing how the partials can be stronger than the fundamental itself in overtone singing]]<br /> <br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; <br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=445030 2017-04-03T00:47:58Z

<p>JustinTam: </p> <hr /> <div><br /> <br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain usually perceives the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. The formants of a tone are emphasized differently depending on the shape of the vocal tract, which in fact is that which allows the human ear to perceive differences in vowels, consonants, tonal inflections, and so on. In essence, the manipulation of the vocal tract is a natural human ability which allows us to hear variations in speech and tone.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain typically perceives the fundamental frequency and does not naturally distinguish it from its overtones during speech and conventional singing, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. Just as human speech makes use of changes in the vocal tract to create different vowel and consonant sounds as well as tonal inflections, overtone singing also uses shape changes in the vocal tract in order to highlight the different partials of a tone in order to create its effect. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> [[File:Frequency Spectrum of Overtone Singing.jpg|thumb|Diagram showing how the partials can be stronger than the fundamental itself in overtone singing]]<br /> <br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; <br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=445029 2017-04-03T00:46:30Z

<p>JustinTam: </p> <hr /> <div><br /> <br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain usually perceives the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. The formants of a tone are emphasized differently depending on the shape of the vocal tract, which in fact is that which allows the human ear to perceive differences in vowels, consonants, tonal inflections, and so on. In essence, the manipulation of the vocal tract is a natural human ability which allows us to hear variations in speech and tone.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. Just as human speech makes use of changes in the vocal tract to create different vowel and consonant sounds as well as tonal inflections, overtone singing also uses shape changes in the vocal tract in order to highlight the different partials of a tone in order to create its effect. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> [[File:Frequency Spectrum of Overtone Singing.jpg|thumb|Diagram showing how the partials can be stronger than the fundamental itself in overtone singing]]<br /> <br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; <br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=445028 2017-04-03T00:36:34Z

<p>JustinTam: </p> <hr /> <div><br /> <br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power].&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> [[File:Frequency Spectrum of Overtone Singing.jpg|thumb|Diagram showing how the partials can be stronger than the fundamental itself in overtone singing]]<br /> <br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; <br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=445027 2017-04-03T00:36:10Z

<p>JustinTam: </p> <hr /> <div><br /> <br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power].&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> [[File:Frequency Spectrum of Overtone Singing.jpg|thumb|Diagram showing how the partials can be stronger than the fundamental itself in overtone singing]]<br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; <br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=File:Frequency_Spectrum_of_Overtone_Singing.jpg&diff=445026 2017-04-03T00:35:11Z

<p>JustinTam: User created page with UploadWizard</p> <hr /> <div>=={{int:filedesc}}==<br /> {{Information<br /> |description={{en|1=Diagram showing how the partials can be stronger than the fundamental itself in overtone singing}}<br /> |date=2017-04-02 17:33:31<br /> |source=http://www.sciencedirect.com.ezproxy.library.ubc.ca/science?_ob=MiamiCaptionURL&amp;_method=retrieve&amp;_eid=1-s2.0-S0003682X04001082&amp;_image=1-s2.0-S0003682X04001082-gr1.jpg&amp;_cid=271440&amp;_explode=defaultEXP_LIST&amp;_idxType=defaultREF_WORK_INDEX_TYPE&amp;_alpha=defaultALPHA&amp;_ba=&amp;_rdoc=1&amp;_fmt=FULL&amp;_issn=0003682X&amp;_pii=S0003682X04001082&amp;md5=b566317f9f94a7218a5426d42d55cb08<br /> |author=Malte Kob<br /> |permission=<br /> |other_versions=<br /> }}<br /> <br /> =={{int:license-header}}==<br /> {{subst:uwl}}<br /> <br /> <br /> [[Category:Uploaded with UploadWizard]]</div>

JustinTam https://wiki.ubc.ca/index.php?title=Thread:User_talk:ElliotSpilsbury/Peer_Review&diff=443513 2017-03-27T18:12:16Z

<p>JustinTam: </p> <hr /> <div>The article is very well written and mostly complying with the writing standard for encyclopedia entries. Your wiki entry is very well structured and has clear sections defining exactly that which you wish to write about. Your writing is clear, concise, and objective. For the most part, it seems like the wiki entry has little errors thus far. Your usage of images is appropriate and reinforces the text. <br /> <br /> I would suggest that you work on giving more definitions on terms such as &quot;buzzer&quot; or when a vibration &quot;lives&quot;. Furthermore, as someone who has no knowledge in this field of instruments, some clarification that mbiras and kalimbas are synonymous would be helpful. Sometimes, it seems like you start drifting towards writing the wiki entry like an essay, such as when you write &quot;The purpose of this article is to explain the ways in which internal resonance boxes and external resonators affect the instrument's sound&quot;, or using terms such as &quot;In any case&quot; which seems out of place as this is not an essay. Other times, there are some sentences that seem a bit unnecessary, such as &quot;See figure 1 for an example of a mbira with gourd mounting as a resonant box. &quot;, as the image is sufficient. Also, please refrain from using terms such as 'lives' or 'destroys' as they seem more descriptive than scientific, and doesn't really illustrate the effect from a physics standpoint of view (but of course this is minor nitpicking). You frequently make use of parentheses, and at times it creates a colloquial tone to your writing. I would limit the use of parentheses, as they usually create a break in the flow of writing anyways. <br /> <br /> Lastly, there are just some grammatical errors, such as missing punctuation (&quot;frequencies more prominent This is usually..&quot;), and some awkward sentence structures. A quick revision should suffice in correcting these.</div>

JustinTam https://wiki.ubc.ca/index.php?title=Thread:User_talk:ElliotSpilsbury/Peer_Review&diff=443511 2017-03-27T18:06:33Z

<p>JustinTam: </p> <hr /> <div>The article is very well written and mostly complying with the writing standard for encyclopedia entries. Your wiki entry is very well structured and has clear sections defining exactly that which you wish to write about. Your writing is clear, concise, and objective. For the most part, it seems like the wiki entry has little errors thus far. <br /> <br /> I would suggest that you work on giving more definitions on terms such as &quot;buzzer&quot; or when a vibration &quot;lives&quot;. Furthermore, as someone who has no knowledge in this field of instruments, some clarification that mbiras and kalimbas are synonymous would be helpful. Sometimes, it seems like you start drifting towards writing the wiki entry like an essay, such as when you write &quot;The purpose of this article is to explain the ways in which internal resonance boxes and external resonators affect the instrument's sound.&quot;, which seems out of place as this is not an essay. Other times, there are some sentences that seem a bit unnecessary, such as &quot;See figure 1 for an example of a mbira with gourd mounting as a resonant box. &quot;, as the image is sufficient. Also, please refrain from using terms such as 'lives' or 'destroys' as they seem more descriptive than scientific, and doesn't really illustrate the effect from a physics standpoint of view (but of course this is minor nitpicking).</div>

JustinTam https://wiki.ubc.ca/index.php?title=User_talk:ElliotSpilsbury&diff=443451 2017-03-27T06:08:40Z

<p>JustinTam: Talk page autocreated when first thread was posted</p> <hr /> <div></div>

JustinTam https://wiki.ubc.ca/index.php?title=Thread:User_talk:ElliotSpilsbury/Peer_Review&diff=443450 2017-03-27T06:08:40Z

<p>JustinTam: New thread: Peer Review</p> <hr /> <div>The article is very well written and mostly complying with the writing standard for encyclopedia entries. Your wiki entry is very well structured and has clear sections defining exactly that which you wish to write about. Your writing is clear, concise, and objective. For the most part, it seems like the wiki entry has little errors thus far. I would suggest that you work on giving more definitions on terms such as &quot;buzzer&quot;. Furthermore, as someone who has no knowledge in this field of instruments, some clarification that mbiras and kalimbas are synonymous would be helpful.</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=442067 2017-03-17T18:12:45Z

<p>JustinTam: </p> <hr /> <div>[[Category:PHYS341-2017|Physics_Behind_Overtone_Singing]] <br /> <br /> <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power].&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; <br /> <br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=442064 2017-03-17T18:10:50Z

<p>JustinTam: </p> <hr /> <div>[[Category:PHYS341-2017|Physics_Behind_Overtone_Singing]] <br /> <br /> &lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power].&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; <br /> <br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Course:PHYS341/Archive/2016wTerm2/MyProjectName&diff=442060 2017-03-17T18:06:38Z

<p>JustinTam: </p> <hr /> <div>[[Category:PHYS341-2017/Music with Huge Reverb Times]]<br /> &lt;br /&gt;<br /> [[Category:PHYS341-2017/How embouchure effects your sound: Brass]]<br /> &lt;br/&gt;&lt;br&gt;<br /> [[category:phys341-2017|WellTempermentAndItsEffectOnMusicalColour]]<br /> &lt;br/&gt;&lt;br&gt;<br /> [[Category:PHYS341-2017|Physics_Behind_Overtone_Singing]] <br /> &lt;br /&gt;&lt;br&gt;<br /> [[Category:PHYS341-2017/How the Quality of Brass Affects the Tone of Brass Instruments]]<br /> &lt;br /&gt;</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=441890 2017-03-17T03:54:05Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power].&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> Overtone singers are able to manipulate the sound of their voice so that the desirable partials in their sound are emitted at comparable, and sometimes much greater loudness than the fundamental frequency. Furthermore, they are able to emit the other undesired partials quietly, so that the fundamental frequency and the overtone are highlighted. <br /> <br /> Despite the perception of two frequencies appearing at once during overtone singing, research has shown that in fact two partials that are of close proximity both resonate at high levels on top of the fundamental frequency. Studies have suggested that the distinct clarity and strength of the sung overtones are a result of [https://en.wikipedia.org/wiki/Helmholtz_resonance Helmholtz resonance] within the vocal tract, as biologically the vocal tract is not well equipped to produce such high intensity formants due to damping mechanisms, and thus another cause must be the result.&lt;ref&gt;Kob, Malte. &quot;Analysis and Modelling of Overtone Singing in the Sygyt Style.&quot; Applied Acoustics 65.12 (2004): 1249-259. Web. &lt;/ref&gt; <br /> <br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=441888 2017-03-17T02:48:39Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power].&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> Overtone singing is a result of <br /> <br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=441632 2017-03-15T22:50:14Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power].&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change. A large number of components in the vocal tract is used to do overtone singing, with manipulations in the larynx and vocal folds, jaw movement to manipulate the volume of the mouth, changing lip shape, as well as the position and thickness of the tongue.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=441631 2017-03-15T22:46:31Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power].&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic], therefore causing the overtone to resonate more strongly and create a perceivable change.&lt;ref&gt;Pegg, C. Overtone Singing. &quot;http://www.oxfordmusiconline.com/subscriber/article/grove/music/49849&quot; &lt;/ref&gt;. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=441627 2017-03-15T22:40:21Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power].&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. In many cultures, such as Tuvan culture, overtone singers will create a drone, or a long and constant fundamental lower pitch, while the higher overtones move in a melody above it.&lt;ref&gt;Hinds, Stuart. &quot;How to Teach Overtone Singing to Your Choir.&quot; The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech. Singers will change the shape of their vocal tract in order to align the frequency of a [https://en.wikipedia.org/wiki/Formant formant] with that of a [https://en.wikipedia.org/wiki/Harmonic harmonic].<br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=441620 2017-03-15T22:29:15Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power].&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> ===How overtone singing is achieved===<br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. <br /> <br /> Adept overtone singers achieve the desired effect through altering the shape of the vocal tract, in the same way that most people do so to create syllables in their speech.&lt;ref&gt;Hinds, Stuart. “How to Teach Overtone Singing to Your Choir.” The Choral Journal, vol. 51, no. 3, 2010, pp. 34–43., www.jstor.org/stable/23560424.&lt;/ref&gt;. <br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=441612 2017-03-15T21:42:51Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power].&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc.&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.43 (2014) &lt;/ref&gt;. <br /> <br /> <br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. <br /> <br /> ===How overtone singing is achieved===<br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=441610 2017-03-15T21:41:16Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power].&lt;ref&gt;Hiebert E. ''The Helmholtz Legacy in Physiological Acoustics''. Vol. 39, pp.7 (2014) &lt;/ref&gt;. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, lip shape, etc. <br /> <br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. <br /> <br /> ===How overtone singing is achieved===<br /> <br /> <br /> ===Scientific phenomenon in overtone singing===<br /> <br /> <br /> ==References==<br /> {{reflist}}</div>

JustinTam https://wiki.ubc.ca/index.php?title=Category:PHYS341-2017/Physics_Behind_Overtone_Singing&diff=441598 2017-03-15T21:23:21Z

<p>JustinTam: Created page with &quot;&lt;big&gt;&lt;big&gt;&lt;big&gt;&#039;&#039;&#039;The Physics Behind Overtone Singing&#039;&#039;&#039;&lt;/big&gt;&lt;/big&gt;&lt;/big&gt; [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by sing...&quot;</p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, tongue movement, etc. <br /> <br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. <br /> <br /> ===How overtone singing is achieved===<br /> <br /> <br /> ===Scientific phenomenon in overtone singing===</div>

JustinTam https://wiki.ubc.ca/index.php?title=User:JustinTam&diff=441532 2017-03-15T06:19:09Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, tongue movement, etc. <br /> <br /> Overtone singing gives the perception through vocal technique of one of the overtones of a sung fundamental frequency being distinctively heard as well by the human ear. Vocalists who use this technique are also able to give the perception of the movement of the higher frequency to other overtone frequencies, while simultaneously maintaining the fundamental frequency. <br /> <br /> ===How overtone singing is achieved===<br /> <br /> <br /> ===Scientific phenomenon in overtone singing===</div>

JustinTam https://wiki.ubc.ca/index.php?title=User:JustinTam&diff=441522 2017-03-15T01:56:56Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones]. While the brain tends to perceive the fundamental frequency alone, sound waves according to the overtone frequencies are also emitted at varying levels of [https://en.wikipedia.org/wiki/Sound_power power]. <br /> <br /> While the human brain perceives the fundamental frequency and does not naturally distinguish it from its overtones, changes in the emphasis of different overtones create a perceivable change in tone. In music, this tonal quality is often referred to as the [https://en.wikipedia.org/wiki/Timbre timbre], and allows human brains to distinguish between the sounds of different instruments, voices, and other mediums. <br /> <br /> For vocalists, different syllables and timbres are created through the movement and adjustment of the vocal system, including the vocal folds, jaw movement, tongue movement, etc.<br /> <br /> ===How overtone singing is achieved===<br /> <br /> <br /> ===Scientific phenomenon in overtone singing===</div>

JustinTam https://wiki.ubc.ca/index.php?title=User:JustinTam&diff=441521 2017-03-15T01:24:37Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. The lowest frequency is referred to in music as the [https://en.wikipedia.org/wiki/Fundamental_frequency fundamental frequency] while the following frequencies are reffered to as the [https://en.wikipedia.org/wiki/Overtone overtones].<br /> <br /> ===How overtone singing is achieved===<br /> <br /> <br /> ===Scientific phenomenon in overtone singing===</div>

JustinTam https://wiki.ubc.ca/index.php?title=User:JustinTam&diff=441520 2017-03-15T01:15:50Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> Musical sounds are often generated from a source, such as a string or block, that emits a series of frequencies when vibrating. <br /> <br /> ===How overtone singing is achieved===<br /> <br /> <br /> ===Scientific phenomenon in overtone singing===</div>

JustinTam https://wiki.ubc.ca/index.php?title=User:JustinTam&diff=441447 2017-03-14T00:25:18Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.<br /> <br /> <br /> ===Overtones===<br /> <br /> <br /> ===How overtone singing is achieved===<br /> <br /> <br /> ===Scientific phenomenon in overtone singing===</div>

JustinTam https://wiki.ubc.ca/index.php?title=User:JustinTam&diff=441446 2017-03-14T00:23:07Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously. The technique has been used across many cultures and continents, from Asia to Europe to Africa. Despite being an ancient technique, overtone singing makes use of physics that were only understood much later.</div>

JustinTam https://wiki.ubc.ca/index.php?title=User:JustinTam&diff=441445 2017-03-14T00:00:26Z

<p>JustinTam: </p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;<br /> <br /> [https://en.wikipedia.org/wiki/Overtone_singing Overtone Singing] is a vocal technique used by singers which creates the perception of singing more than one pitch simultaneously.</div>

JustinTam https://wiki.ubc.ca/index.php?title=User:JustinTam&diff=441444 2017-03-13T23:57:47Z

<p>JustinTam: Created page with &quot;&lt;big&gt;&lt;big&gt;&lt;big&gt;&#039;&#039;&#039;The Physics Behind Overtone Singing&#039;&#039;&#039;&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;&quot;</p> <hr /> <div>&lt;big&gt;&lt;big&gt;&lt;big&gt;'''The Physics Behind Overtone Singing'''&lt;/big&gt;&lt;/big&gt;&lt;/big&gt;</div>

JustinTam https://wiki.ubc.ca/index.php?title=Course:PHYS341/Archive/2016wTerm2/MyProjectName&diff=441443 2017-03-13T23:52:52Z

<p>JustinTam: </p> <hr /> <div>[[Category:PHYS341-2017/Music with Huge Reverb Times]]<br /> &lt;br /&gt;<br /> [[Category:PHYS341-2017/Orchestra Member's Effect on Sound Absorption and Reflection in a Concert Hall Setting]]<br /> &lt;br&gt;<br /> [[Category:PHYS341-2017/How embouchure effects your sound: Brass]]<br /> &lt;br/&gt;&lt;br&gt;<br /> [[category:phys341-2017|WellTempermentAndItsEffectOnMusicalColour]]<br /> &lt;br/&gt;&lt;br&gt;<br /> [[Category:PHYS341-2017/Physics Behind Overtone Singing]]<br /> &lt;br /&gt;</div>

JustinTam https://wiki.ubc.ca/index.php?title=Course_Phys341/MyProjectName&diff=439408 2017-02-15T19:45:32Z

<p>JustinTam: Created page with &quot;JTProjectName &quot;JT PROJECT NAME&quot; This example project includes all the necessary elements of the PHYS341 wiki project: &lt;br&gt;&quot;</p> <hr /> <div>[[Category:PHYS341-2017|JTProjectName]]<br /> <br /> &quot;JT PROJECT NAME&quot;<br /> <br /> This example project includes all the necessary elements of the PHYS341 wiki project: &lt;br&gt;</div>

JustinTam https://wiki.ubc.ca/index.php?title=Course:PHYS341/Archive/2016wTerm2/Wiki_project_ideas&diff=437926 2017-02-01T19:32:22Z

<p>JustinTam: </p> <hr /> <div>'''Topic must be about the Physics of MUSIC, not just the physics of sound.'''&lt;br&gt;&lt;br&gt;<br /> Chris Waltham &quot;How does the choice of wood affect the sound of a Persian santur?&quot;&lt;br&gt;<br /> M. Pourian, https://manusantur.wordpress.com/ and Journal of Acoustic Woods, '''37''' (2016) p.239. &lt;br&gt;<br /> <br /> -------------------------------------------------------------------------------------------------------------------------<br /> Jonathan Kwok &quot;Orchestra members' effect on sound absorption and reflection in concert hall setting&quot; &lt;br&gt;<br /> http://asa.scitation.org.ezproxy.library.ubc.ca/doi/pdf/10.1121/1.4971763 &lt;br&gt;<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Shea Oracheski &quot;How would one create a pitch bending effect in a harmonium&quot;<br /> <br /> https://ccrma.stanford.edu/courses/318/mini-courses/Winter2013/Cottingham-2.pdf<br /> https://www.youtube.com/watch?v=C0t1f-N3e2U<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Alfred Ko &quot;How do a violin's f-holes contribute to its sound?&quot;&lt;br&gt;<br /> http://web.b.ebscohost.com/ehost/detail/detail?vid=1&amp;sid=d8fc2370-2bfa-4beb-9245-bf55caf2d61c%40sessionmgr102&amp;hid=128&amp;bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=4299280&amp;db=a9h<br /> <br /> Beament, James, and Dennis Unwin. &quot;The Hole Story.&quot; Strad 112.1332 (2001): 408. Academic Search Complete. Web. 30 Jan. 2017.<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Andrea Wong &quot;How does the soundpost contribute to a string instrument's sound?&quot;<br /> https://www.researchgate.net/profile/George_Bissinger/publication/241390846_The_Influence_of_the_Soundpost_on_the_Mechanical_Motions_of_the_Violin/links/5792486608aec89db781bf34.pdf<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Tina Cheung &quot;The affect of singing frequency on the resistance of glass?&quot;<br /> <br /> https://www.scientificamerican.com/article/fact-or-fiction-opera-singer-can-shatter-glass/<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Diana Gil &quot;How does the construction of a semi-hollow guitar affect the acoustics of the instrument?&quot;<br /> <br /> Acoustics of Guitars - Thomas D. Rossing - http://asa.scitation.org/doi/abs/10.1121/1.412720 <br /> <br /> Fundamentals of Guitar Tone - Erik V. Jansson - DOI: http://dx.doi.org/10.1121/1.2019626 <br /> <br /> Solidbody or Hollowbody ... Which is right for me?- Russell Hall - http://www.gibson.com/news-lifestyle/features/en-us/solidbody-or-hollowbody-guitar-0829-2012.aspx <br /> <br /> Investigating the Effect of Body Geometry on the Acoustics of Electric Guitars - Mark Rau and Gary Scavone - http://asa.scitation.org/doi/10.1121/1.4950571 <br /> <br /> Engineering the Guitar: Theory and Practice - Richard Mark French<br /> http://link.springer.com.ezproxy.library.ubc.ca/book/10.1007/978-0-387-74369-1 <br /> -------------------------------------------------------------------------------------------------------------------------<br /> Shaula Wong &quot;Relative Humidity and its Affect on Live Music&quot; &lt;br&gt;<br /> https://ccrma.stanford.edu/~jos/HarrisJASA66.pdf &lt;br&gt;<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Matt Papadopoulos &quot;Effects of reverberation inside the Dan Harpole Cistern at Fort Worden State Park, WA&quot; &lt;br&gt;<br /> http://www.newmusicbox.org/articles/cistern-chapel/ &lt;br&gt;<br /> https://www.youtube.com/watch?v=oZ8MhEn-jm4 &lt;br&gt;<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Cody Wisniewski &quot;The limitations of the structural design in the Sydney Opera House in Sydney, NSW, Australia effects on the quality of performance's acoustics and evaluation of proposed renovations&quot;<br /> <br /> Investigations of stage acoustics at the Sydney Opera House Concert Hall - DOI: http://dx.doi.org.ezproxy.library.ubc.ca/10.1121/1.3654688 - Timothy E. Gulsrud (Oct 2011)<br /> http://www.telegraph.co.uk/news/2016/08/11/sydney-opera-house-announces-major-renovations-to-fix-its-hideou/ - Proposed Changes (Aug 2016)<br /> <br /> ------------------------------------------------------------------------------------------------------------------------<br /> Pei-tong Lin &quot;The effect of the vocal tract on the tune of woodwind instruments&quot;<br /> &lt;br&gt; http://asa.scitation.org/doi/abs/10.1121/1.392556 &lt;br&gt;<br /> -------------------------------------------------------------------------------------------------------------------------<br /> <br /> Garrett Hartnell &quot;Musical rhythms: The science of being slightly off&quot; &lt;br&gt;<br /> https://www.researchgate.net/profile/Holger_Hennig3/publication/257020003_Musical_rhythms_The_science_of_being_slightly_off/links/56b3a0f408ae1f8aa45350dc/Musical-rhythms-The-science-of-being-slightly-off.pdf (July 2012)<br /> <br /> -------------------------------------------------------------------------------------------------------------------------<br /> <br /> Justin Tam &quot;The physics behind overtone singing&quot;<br /> <br /> http://www.jstor.org/stable/30030319?pq-origsite=summon&amp;seq=1#page_scan_tab_contents<br /> <br /> -------------------------------------------------------------------------------------------------------------------------</div>

JustinTam https://wiki.ubc.ca/index.php?title=Course:PHYS341/Archive/2016wTerm2/Wiki_project_ideas&diff=437925 2017-02-01T19:32:04Z

<p>JustinTam: </p> <hr /> <div>'''Topic must be about the Physics of MUSIC, not just the physics of sound.'''&lt;br&gt;&lt;br&gt;<br /> Chris Waltham &quot;How does the choice of wood affect the sound of a Persian santur?&quot;&lt;br&gt;<br /> M. Pourian, https://manusantur.wordpress.com/ and Journal of Acoustic Woods, '''37''' (2016) p.239. &lt;br&gt;<br /> <br /> -------------------------------------------------------------------------------------------------------------------------<br /> Jonathan Kwok &quot;Orchestra members' effect on sound absorption and reflection in concert hall setting&quot; &lt;br&gt;<br /> http://asa.scitation.org.ezproxy.library.ubc.ca/doi/pdf/10.1121/1.4971763 &lt;br&gt;<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Shea Oracheski &quot;How would one create a pitch bending effect in a harmonium&quot;<br /> <br /> https://ccrma.stanford.edu/courses/318/mini-courses/Winter2013/Cottingham-2.pdf<br /> https://www.youtube.com/watch?v=C0t1f-N3e2U<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Alfred Ko &quot;How do a violin's f-holes contribute to its sound?&quot;&lt;br&gt;<br /> http://web.b.ebscohost.com/ehost/detail/detail?vid=1&amp;sid=d8fc2370-2bfa-4beb-9245-bf55caf2d61c%40sessionmgr102&amp;hid=128&amp;bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=4299280&amp;db=a9h<br /> <br /> Beament, James, and Dennis Unwin. &quot;The Hole Story.&quot; Strad 112.1332 (2001): 408. Academic Search Complete. Web. 30 Jan. 2017.<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Andrea Wong &quot;How does the soundpost contribute to a string instrument's sound?&quot;<br /> https://www.researchgate.net/profile/George_Bissinger/publication/241390846_The_Influence_of_the_Soundpost_on_the_Mechanical_Motions_of_the_Violin/links/5792486608aec89db781bf34.pdf<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Tina Cheung &quot;The affect of singing frequency on the resistance of glass?&quot;<br /> <br /> https://www.scientificamerican.com/article/fact-or-fiction-opera-singer-can-shatter-glass/<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Diana Gil &quot;How does the construction of a semi-hollow guitar affect the acoustics of the instrument?&quot;<br /> <br /> Acoustics of Guitars - Thomas D. Rossing - http://asa.scitation.org/doi/abs/10.1121/1.412720 <br /> <br /> Fundamentals of Guitar Tone - Erik V. Jansson - DOI: http://dx.doi.org/10.1121/1.2019626 <br /> <br /> Solidbody or Hollowbody ... Which is right for me?- Russell Hall - http://www.gibson.com/news-lifestyle/features/en-us/solidbody-or-hollowbody-guitar-0829-2012.aspx <br /> <br /> Investigating the Effect of Body Geometry on the Acoustics of Electric Guitars - Mark Rau and Gary Scavone - http://asa.scitation.org/doi/10.1121/1.4950571 <br /> <br /> Engineering the Guitar: Theory and Practice - Richard Mark French<br /> http://link.springer.com.ezproxy.library.ubc.ca/book/10.1007/978-0-387-74369-1 <br /> -------------------------------------------------------------------------------------------------------------------------<br /> Shaula Wong &quot;Relative Humidity and its Affect on Live Music&quot; &lt;br&gt;<br /> https://ccrma.stanford.edu/~jos/HarrisJASA66.pdf &lt;br&gt;<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Matt Papadopoulos &quot;Effects of reverberation inside the Dan Harpole Cistern at Fort Worden State Park, WA&quot; &lt;br&gt;<br /> http://www.newmusicbox.org/articles/cistern-chapel/ &lt;br&gt;<br /> https://www.youtube.com/watch?v=oZ8MhEn-jm4 &lt;br&gt;<br /> -------------------------------------------------------------------------------------------------------------------------<br /> Cody Wisniewski &quot;The limitations of the structural design in the Sydney Opera House in Sydney, NSW, Australia effects on the quality of performance's acoustics and evaluation of proposed renovations&quot;<br /> <br /> Investigations of stage acoustics at the Sydney Opera House Concert Hall - DOI: http://dx.doi.org.ezproxy.library.ubc.ca/10.1121/1.3654688 - Timothy E. Gulsrud (Oct 2011)<br /> http://www.telegraph.co.uk/news/2016/08/11/sydney-opera-house-announces-major-renovations-to-fix-its-hideou/ - Proposed Changes (Aug 2016)<br /> <br /> ------------------------------------------------------------------------------------------------------------------------<br /> Pei-tong Lin &quot;The effect of the vocal tract on the tune of woodwind instruments&quot;<br /> &lt;br&gt; http://asa.scitation.org/doi/abs/10.1121/1.392556 &lt;br&gt;<br /> -------------------------------------------------------------------------------------------------------------------------<br /> <br /> Garrett Hartnell &quot;Musical rhythms: The science of being slightly off&quot; &lt;br&gt;<br /> https://www.researchgate.net/profile/Holger_Hennig3/publication/257020003_Musical_rhythms_The_science_of_being_slightly_off/links/56b3a0f408ae1f8aa45350dc/Musical-rhythms-The-science-of-being-slightly-off.pdf (July 2012)<br /> <br /> -------------------------------------------------------------------------------------------------------------------------<br /> <br /> Justin Tam &quot;The physics behind overtone singing&quot;<br /> http://www.jstor.org/stable/30030319?pq-origsite=summon&amp;seq=1#page_scan_tab_contents<br /> <br /> -------------------------------------------------------------------------------------------------------------------------</div>

JustinTam