The influence of epilaryngeal area on glottal flow and the acoustic signal has been described [Titze, J. Acoust. Soc. Am. 123, 2733-2749 (2008)], but it is not known how (or whether) changes in epilaryngeal area influence perceived voice quality. This study examined these relationships in a kinematic vocal tract model. Epilaryngeal constrictions and expansions were simulated at the levels of the aryepiglottic folds and the ventricular folds in the context of four glottal configurations representing normal vibration to severe vocal fold paralysis, for the three corner vowels /a/, /i/, and /u/. Minimum and maximum glottal flow, maximum flow declination rate, spectral slope, cepstral peak prominence, and the harmonics-to-noise ratio were measured, and listeners completed a perceptual sort-and-rate task for all samples. Epilaryngeal constriction and expansion caused salient differences in voice quality. The location of constriction was also perceivable. Vowels simulated with aryepiglottic constriction demonstrated lower maximum airflow and less noise than the other epilaryngeal shapes, and listeners consistently perceived them as distinct from other stimuli. Acoustic differences decreased with increasing severity of simulated paralysis. Results of epilaryngeal constriction and expansion were similar for /a/ and /i/, and produced slightly different patterns for /u/.

A psychoacoustic model of the voice source spectrum is proposed. The model is characterized by four spectral slope parameters: the difference in amplitude between the first two harmonics (H1-H2), the second and fourth harmonics (H2-H4), the fourth harmonic and the harmonic nearest 2 kHz in frequency (H4-2 kHz), and the harmonic nearest 2 kHz and that nearest 5 kHz (2 kHz-5 kHz). As a step toward model validation, experiments were conducted to establish the acoustic and perceptual independence of these parameters. In experiment 1, the model was fit to a large number of voice sources. Results showed that parameters are predictable from one another, but that these relationships are due to overall spectral roll-off. Two additional experiments addressed the perceptual independence of the source parameters. Listener sensitivity to H1-H2, H2-H4, and H4-2 kHz did not change as a function of the slope of an adjacent component, suggesting that sensitivity to these components is robust. Listener sensitivity to changes in spectral slope from 2 kHz to 5 kHz depended on complex interactions between spectral slope, spectral noise levels, and H4-2 kHz. It is concluded that the four parameters represent non-redundant acoustic and perceptual aspects of voice quality.

At present, two important questions about voice remain unanswered: When voice quality changes, what physiological alteration caused this change, and if a change to the voice production system occurs, what change in perceived quality can be expected? We argue that these questions can only be answered by an integrated model of voice linking production and perception, and we describe steps towards the development of such a model. Preliminary evidence in support of this approach is also presented. We conclude that development of such a model should be a priority for scientists interested in voice, to explain what physical condition(s) might underlie a given voice quality, or what voice quality might result from a specific physical configuration.

No agreed-upon method currently exists for objective measurement of perceived voice quality. This paper describes validation of a psychoacoustic model designed to fill this gap. This model includes parameters to characterize the harmonic and inharmonic voice sources, vocal tract transfer function, fundamental frequency, and amplitude of the voice, which together serve to completely quantify the integral sound of a target voice sample. In experiment 1, 200 voices with and without diagnosed vocal pathology were fit with the model using analysis-by-synthesis. The resulting synthetic voice samples were not distinguishable from the original voice tokens, suggesting that the model has all the parameters it needs to fully quantify voice quality. In experiment 2 parameters that model the harmonic voice source were removed one by one, and the voice tokens were re-synthesized with the reduced model. In every case the lower-dimensional models provided worse perceptual matches to the quality of the natural tokens than did the original set, indicating that the psychoacoustic model cannot be reduced in dimensionality without loss of fit to the data. Results confirm that this model can be validly applied to quantify voice quality in clinical and research applications.