Opera singers are known for using the extreme limits of their vocal ranges, reaching high pitches that are difficult to produce. Many sources have suggested that these high pitches are produced using a “whistle” voice register, similar to ultrasonic vocalizations of animals. However, a recent study led by Christian T. Herbst and Matthias Echternach has refuted this assumption. The study involved nine professional operatic sopranos who performed at their highest pitches while their throats and vocal folds were recorded using ultra-highspeed video. The analysis showed that the vocal folds vibrate and collide 1000 to 1600 times per second, indicating that a different mechanism is used for these high-frequency sounds.
The research team found that the high-frequency sounds produced by operatic sopranos are actually achieved using the same principle as speech and most other forms of singing. The vocal folds in the throat vibrate and collide at a rate that matches the frequency of the sound being produced, contradicting the idea of a “whistle” mechanism. Computer simulations showed that the singers can only reach their highest frequencies by increasing the tension in their vocal folds, supported by high expiratory air pressures. This suggests that the outstanding muscular fine-control of the singers’ vocal instruments allows them to produce these extreme sounds.
Senior author Christian T. Herbst believes that this study debunks a long-standing myth in voice pedagogy, showing that extreme sounds can be produced using a common voice production mechanism. Lead author Matthias Echternach notes the remarkable ability of some female singers to generate the high tensions in their vocal folds required for these high-pitched sounds without facing vocal health issues. The reasons why some singers are able to do this while others are not remain unknown, leaving room for further research and exploration in this area.
The findings of this study have implications for our understanding of how extreme vocal sounds are produced in humans and other mammals. By demonstrating that operatic sopranos use the same mechanism as other singers, the study challenges previous assumptions about the nature of high-frequency vocalizations. The use of ultra-highspeed video recordings allowed the researchers to observe and analyze the vibrational patterns of the vocal folds in real-time, providing valuable insights into the mechanics of voice production at extreme pitches.
Overall, this study sheds new light on the vocal capabilities of opera singers and the mechanisms involved in producing high pitches. By debunking the myth of a “whistle” mechanism, the research team has opened up new avenues for exploring the intricate control and coordination of the vocal instrument. The study’s findings highlight the remarkable abilities of sopranos to navigate the extreme limits of their vocal ranges with finesse and precision, paving the way for future research on the complexities of human voice production.
