National Center for Voice and Speech

National Center for Voice and Speech The National Center for Voice and Speech is dedicated to showcasing the science of sound production.

Available now.
06/16/2026

Available now.

Vocology: The Science and Practice of Voice Habilitation is the first major textbook written in the field of Vocology. It addresses the fundamental postulates and exercises underlying voice habilitation, the art and science of taking a voice beyond normal conversational skills. It introduces voice m...

"Although, in general, much energy can be wasted by pitching one muscle against another to produce no net movement or no...
06/15/2026

"Although, in general, much energy can be wasted by pitching one muscle against another to produce no net movement or no increased postural stability, there are at least two situations for which stiffened body tissue is desirable.

First, it is known that acoustic vibrations in the cheeks, pharynx, and lips dissipate energy and alter the formant (resonance) frequencies of the vocal tract. These vibrations, which often provide key sensory information to the singer for proper “placement” of the tone, are in effect also an energy leak in the resonating system. In part, this leak may be “plugged” by stiffening the vocal tract wall, by making one’s resonator more like a brass tube or a stiff sounding board. Widening the throat (pharynx), tensing the cheeks, protruding the lips in an open-mouth configuration, and raising the velum to a very high position may all cause the stretching of soft mucosal and muscular tissue that may create a more efficient resonator.

A more obvious need for tension occurs in the vocal fold tissues themselves. The fundamental frequency of vibration, which determines the pitch, is governed by the effective stiffness of the vocal folds. This stiffness comes largely from the longitudinal (front-to-back) tension in the vocal folds, as in a stringed instrument. Thus, as pitch is increased, the overall tension in vocal fold tissue must increase."

from "Tension in the Face and Neck" by Dr. Ingo Titze. First published in the NATS Bulletin, a predecessor to the Journal of Singing, Jan/Feb 1985

Sounds tense.
06/12/2026

Sounds tense.

ICVPB Registration is now open! Use code EARLYBIRD to get $25 off.
06/11/2026

ICVPB Registration is now open! Use code EARLYBIRD to get $25 off.

Join us for ICVPB 2026 in Salt Lake City, Utah. This conference brings together top voice scientists to discuss voice physiology and biomechanics.

"You answer the phone and hear a single word—“Hello”—and instantly an impression forms. Without thinking, you know wheth...
06/10/2026

"You answer the phone and hear a single word—“Hello”—and instantly an impression forms. Without thinking, you know whether the voice is familiar or belongs to a stranger. You also make guesses about the speaker’s gender, age, or current mood. For most listeners, this recognition happens rapidly and automatically.

Voice carries information beyond the literal meaning of words. Embedded in the acoustic signal are cues that listeners have learned to decode with remarkable speed. We extract not only what is being said but who is saying it.

What goes up but never down?

Age.

Age presents a particularly interesting riddle. It is something we all share—a continuous process unfolding across the entire lifespan. We are surrounded by aging speech, including our own, our family’s, our friends’, and the speech of the media we watch and listen to. Every voice we hear is in the process of aging. Given this constant exposure, we might expect people to be expert judges of vocal age, finely attuned to the acoustic markers that distinguish a voice in its twenties from one in its sixties.

Early research tested this expectation by playing recordings of many different speakers, ranging in age from children to older adults, to groups of listeners, who were then asked to estimate each speaker’s age. Overall, listeners were quite adept: their estimates lined up strongly with actual age (r = 0.85). But the errors followed a consistent pattern. Listeners systematically guessed that younger speakers were older than they actually were and that older speakers were younger than they actually were (Hunter et al., 2016).

This pattern of overestimation and underestimation converged at around age 50. Guesses were most accurate for speakers between ages 35 and 55, with about 6 years of error. However, errors for the oldest speakers (ages 85–90) exceeded 11 years (Hunter et al., 2016). This pattern appeared across multiple independent studies, suggesting that it reflects something fundamental about how we perceive vocal age.

The systematic nature of these errors hinted at something interesting: perhaps listeners were not tracking age continuously but were sorting voices into broad age categories. But these studies, by averaging across many different speakers, could not reveal how individual voices age.

Does a single person’s voice show gradual, detectable changes year by year? Or does something more complex happen? And what information are listeners using to judge age?

Answering these questions required a different approach, one that followed the same voice across decades."

from the intro to "How we hear age in the Human Voice" by Mark L. Berardi, Sarah Hargus Ferguson, Eric J. Hunter, and Benjamin V. Tucker. First published in Acoustics Today, Spring 2026

Available now.
06/09/2026

Available now.

A cross-disciplinary exploration of the physics and physiology of voice production, mechanism, and applied uses and concerns of the voice. Throughout the emphasis is on physical law rather than empirical observation. Key topics include the relation between the physical processes of voice production....

"There is much emphasis in pedagogical circles on eliminating tension in the head and neck region. Generally speaking, t...
06/08/2026

"There is much emphasis in pedagogical circles on eliminating tension in the head and neck region. Generally speaking, tension carries a negative connotation because it suggests the presence of both psychological and physiological inhibitions. But even if psychological tension could be totally separated from muscular tension, it is appropriate to question whether many (or any) of the noticeable muscle contractions in the upper body are needed for efficient voice production. It is to this latter question that I want to address a few remarks.

Some teachers advocate total relaxation for singing, i.e., little or no muscular activity in the head and neck region. Obviously, thoracic and abdominal activity is allowed for breathing, and some skeletal muscle activity is allowed for overall postural stability, but tongue, jaw, neck, shoulder, and laryngeal muscles should all be palpably loose and inactive. The breath and the resonators do essentially all of the work, with the vocal folds “flapping in the wind.”

This condition can be simulated in a cadaver if an artificial air supply is used to replace the lungs. The system does function this way. In fact, corpses are known to utter sounds when some previously trapped air in the lungs escapes through the laryngeal airway, and excised larynges are made to vibrate on a laboratory bench."

from "Tension in the Face and Neck" by Dr. Ingo Titze, first published in the NATS Bulletin, a predecessor to the Journal of Voice, Jan/Feb. 1985

Sounds like a lot of hot air.
06/05/2026

Sounds like a lot of hot air.

Registration for ICVPB 2026 is now open. Use code EARLYBIRD to get $25 off your conference pass.
06/04/2026

Registration for ICVPB 2026 is now open. Use code EARLYBIRD to get $25 off your conference pass.

Join us for ICVPB 2026 in Salt Lake City, Utah. This conference brings together top voice scientists to discuss voice physiology and biomechanics.

"The glottal flow is often simplified as one-dimensional (1D) in phonation models to reduce computational cost. Although...
06/03/2026

"The glottal flow is often simplified as one-dimensional (1D) in phonation models to reduce computational cost. Although previous studies showed that a 1D flow model can predict voice production by a three-dimensional (3D) flow combined with a simplified two-mass vocal fold model, its validity in voice production involving more realistic 3D vibrations remains unclear. The goal of this study is to investigate the accuracy of the 1D flow model in predicting vocal fold vibration and voice production in a vocal fold model exhibiting a more realistic 3D vibration pattern, by comparing its prediction to that from a mechanical experiment and a 3D Navier-Stokes compressible flow model. The results showed that the 1D flow model predicted overall vibratory pattern similar to that observed in experiment and simulations based on the 3D flow model. However, the 1D flow model predicted slightly larger displacements and greater glottal flow fluctuations than the 3D flow model. The 3D flow model revealed strong variations in surface pressure along the anterior-posterior direction, particularly during the closing phase, which was not captured by the 1D flow model. Despite these differences, the 1D flow model adequately reproduced major aerodynamic and vibratory features under typical normal phonatory conditions, supporting its use in phonation models for efficient voice simulations."

The abstract from "Evaluating the accuracy of one-dimensional glottal flow model in predicting voice production: comparison to experiments and three-dimensional flow simulations" by Tsukasa Yoshinaga and Zhaoyan Zhang. First published in Phys Fluids, November 2005

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