SIGNIFICANCE OF HARMONIC CHANGES

AND NOISE COMPONENTS IN HOARSENESS

NAOAKI YANAGIHARA

The Institute of Laryngology and Voice Disorders, Los Angeles, California

Acoustic Analysis and synthesis of hoarseness by sound speetrography suggests that

the acoustic properties of hoarseness are mainly determined by the interactions of the
following three factors: 1 ) noise components in the main formant of each vowel,
2) high frequency noise components above 3000 Hz, and 3 ) the loss of high frequency
harmonic components. These three findings are more pronounced in the vowels /a/,
/e/, a n d / i / t h a n i n / u / a n d /~/. With the progression of the severity of hoarseness,
these three abnormal patterns become more prominent and exaggerated. On the basis
of these findings, a classification of four types of hoarseness was presented using
sonagram tracings.

Hoarseness, the cardinal symptom of laryngeal diseases, is often a sign of

extralaryngeal involvement as well. Considerable emphasis has been placed
on this symptom (Jackson and Jackson, 1937; Frank, 1940; von Leden, 1958;
Palmer, 1959) and several approaches, including acoustic, cinematographic,
aerodynamic, and electrophysiologic have been utilized to explore the mech-
anism and pathologic physiology of hoarse voice production. However, the
evaluation of hoarseness-the estimation of the degree and quality of hoarse-
ness-has been made chiefly on the basis of the clinician's subjective percep-
tion. This practice has led to the creation of confusing terms to describe similar
changes of vocal quality. Among the terms are included: harsh, husky, breathy,
rough, rasping, and strident. Their exact definition, however, has been a matter
of debate and discussion. Little is known about the acoustical properties of
these variations of pathologic voices and the related dysfunction of the larynx.
In this report the changes of harmonic components (changes in overtone
structure) and the additional noise components in hoarse voices are discussed
on the basis of two experimental studies-sound spectrographic analysis and
synthesis of hoarseness.

ANALYSIS OF HOARSENESS

Method
The hoarse voice samples were recorded on magnetic tape using a dynamic
microphone (FP-1, Sony). The voice was recorded at a distance of 20 cm from
the microphone.

531
 Five vowels/u, o, a, e, i/were selected. The subject was instructed to pho-
hate the five vowels: (1) gliding from /u/ to /i/ and (~) sustaining each
vowel for several seconds. These utterances were carried out in the most com-
fortable manner with no restriction imposed on pitch or loudness.
The recordings of the entire series of vowels produced by 167 patients with
hoarseness were subjected to perceptual evaluation of the degree of hoarse-
ness. The judges were three otolaryngologists with ample clinical experience.
They rated each subject as having a slight, moderate, or severe degree of
hoarseness.
From the total number of 167 cases, 10 with each degree of hoarseness-
slight, moderate, and severe-were selected with the following two precautions:
(1) In each case, all three judges agreed on the degree of hoarseness, (2) Sex
and age distribution were as similar as possible among the three groups. The
selected cases included 16 male and 14 female subjects ranging in age from
18 to 60 years. Sonagrams of the entire series of vowels were made under
constant conditions using a narrow band filter (45 Hz). Sections were taken
at the approximate midpoint of the vowels/u/,/a/, and/e/. The fundamental
frequency of voice was measured at these points. The average value of the
fundamental frequencies of these three vowels was taken to be the fundamental
frequency of comfortable phonation.

Results
Figure 1 illustrates the sonagrams of the sustained v o w e l s / u / , / a / , and lel
phonated by a normal female subject at a fundamental frequency of 250 Hz.
Compared with these normal patterns, the sonagrams of the v o w e l s / u / , / a / ,
a n d / e l phonated by a very hoarse female patient at fundamental frequency
of 210 Hz (Figure 2) indicate three distinctive features: (1) There is strong

1 I Fxcvm~ 1. Sonagrams and sections of a

normal female voice. The pitch of the voice
is approximately 250 Hz (C~).

noise energy above 5000 Hz in the vowels /a/ and /e/, (2) The harmonic
structures between 1000 Hz and 3000 Hz i n / a / (2nd and 3rd formants) and
between 2000 Hz and 3000 Hz in /e/ (2nd and 3rd formants) are almost
completely replaced by noise components, and (3) In the pattern of the
vowel/u/, there is scarcely any structural change in the harmonic components
and no remarkable noise component.
Throughout the observation of these 30 cases, the noise components represent
pertinent findings of hoarseness. The range and energy of the noise eom-

532 1ournal of Speech and Hearing Research 10 531-541 1967

 FIGtriaE 2. Sonagrams and sections of
hoarse voice of a female patient with hyper-
plastic laryngitis. The pitch of voice is around
210 Hz (a). The additional noise com-
ponents, and change of harmonic components
are clearly shown. Note that these factors
differ from vowel to vowel.
LOSEC

portents vary with the perceptual degree of hoarseness, and they are more
evident in the v o w e l s / a / , /e/, a n d / i / than in the v o w e l s / u l a n d / ~ / .
In slight hoarseness the noise components are limited to the main formant
ranges in these five vowels, especially to the second and third formants, and
there is no remarkable noise component in the high frequency range. Figure
3 illustrates these findings by a representative sonagram. With the progression

Fxctrm~ 3. Sonagram and sections of

slight hoarseness in a female patient. Noise
components are limited within main for-
mants of vowels. The pitch of voice is ap-
proximately 210 Hz (a). Clinical diagnosis
is acute laryngitis, and acoustic diagnosis is
hoarseness Type I.

of hoarseness, the energy of the noise components in the formant ranges

(mainly 2nd and 3rd Iormants) are intensified and predominate over the har-
monic components. Simultaneously, noise components in the high frequency
range increase in energy and expand in range. Finally, the harmonic structure
in the formant ranges (mainly 2nd and 3rd formants) are completely replaced
by the noise components. These findings are clearly demonstrated in the
sonagram of severe hoarseness (Figure 4).

Kc o FictrPm4. Sonagram and sections of severe

. hoarseness in a female patient. Expanded

I
~ and intensified noise components, and loss
of high frequency harmonic structure are
i characteristic features. The pitch of voice is
approximately 210 I-Iz (a). Clinical diagnosis
~'c is eordal cancer, and acoustic diagnosis is
hoarseness Type IV.
I~ SEC

The following classification of hoarseness is suggested:

Type I: The regular harmonic components are mixed with the noise com-
ponent chiefly in the formant region of the vowels.
Type II: The noise components in the second formants o f / e / a n d / i / p r e -
dominate over the harmonic components, and slight additional noise corn-

Y ~ r A c n ~ : Signi~cance of Harmonic Changes 533

ponents appear in the high frequency region above 3000 Hz in the vowels
/e/ and/i/.
T y p e III: The second formants o f / e / a n d / i / a r e totally replaced b y noise
components, and the additional noise components above 3000 Hz further
intensify their energy and expand their range.
T y p e IV: The second formants of l a / , ~el, and Ill are replaced b y noise
components, and even the first formants of all vowels often lose their periodic
components which are supplemented b y noise components. In addition, more
intensified high frequency additional noise components are seen.
Table 1 summarizes the perceptual degree of hoarseness, the sound spectro-
graphic type, and the age, sex, fundamental frequency, and clinical diagnosis
of each subiect. The correlation coefficient b e t w e e n the spectrographic type
and judge-perceived degree of hoarseness was found to be 0.65 at the 0.01
significance level.

TABLE 1. Acoustic classification of hoarseness on the basis of four spectrographic types,

related to perceived hoarseness, age, sex, fundamental frequency and clinical diagnosis of
30 patients. (M -- Male, F -- Female, FF -- Fundamental Frequency, * = FF not de-
termined. )

Spectrographic Perceptual F. F.
No. Type Degree Age Sex in Hz ClinicalDiagnosis
1 Slight 18 F 214 Acute Laryngitis
2 Slight 55 M 143 Chronic Laryngitis
3 Type I Slight 34 F 214 Acute Laryngitis
4 Slight 23 F 286 Acute Laryngitis
5 Slight 54 M 150 Papilloma of Larynx
6 Slight 46 M 143 Vocal Nodules
7 Slight 37 F 286 Paralysis of Vocal Cord
8 Slight 60 M 164 Vocal Cord Cancer
9 Slight 49 F 178 Chronic Laryngitis
I0 Slight 29 M 143 Vocal Nodules
11 Moderate 31 F 178 Chronic Laryngitis
12 Type II Moderate 36 M 143 Chronic Laryngitis
13 Moderate 49 M 128 Chronic Laryngitis
14 Moderate 37 F 286 Paralysis of Vocal Cord
15 Moderate 39 M 150 Paralysis of Vocalis Muscle
16 Moderate 63 F 200 Vocal Cord Cancer
17 Moderate 39 M 107 Hyperplastic Laryngitis
18 Moderate 31 F 214 Hyperplastic Laryngitis
19 Moderate 64 M 143 Vocal Cord Cancer
20 Moderate 36 M 118 Paralysis of Vocal Cord
21 Type III Severe 34 F 286 Vocal Nodules
22 Severe 51 M 143 Hyperplastic Laryngitis
23 Severe 37 F 214 Paralysis of Vocal Cord
24 Severe 40 F 178 Vocal Cord Polyp
25 Severe 48 F 214 Vocal Cord Cancer
26 Severe 40 M 143 Paralysis of Vocal Cord
27 Type IV Severe 62 M * Vocal Cord Cancer
28 Severe 59 M * Atrophic Laryngitis
29 Severe 55 M 107 Paralysis of Vocal Cord
30 Severe 45 F 143 Hyperplastic Laryngitis

534 Journal of Speech and Hearing Research 10 531-541 1967

 These results suggest: (1) the noise components and changes of harmonic
structures are significant factors related to the perceptual degree of hoarseness,
and (2) there is a positive correlation between the perceptual degree of hoarse-
ness and the hoarseness type defined by the sound spectrogram. The schematic
presentation of the sound spectrographic classification of hoarseness is shown
in Figure 5.

FIGURE 5. Schematic presentation of sona-

grams of four degrees of hoarseness. Step by
step increment of noise components and loss
K~ ~, Type 11[-'-~ :. ,'::,~*-"~-?~-r:;...,,:~),x~ ~....~,.~.~,~: of high frequency harmonic components are
....... ~ , ~ . ~ , ' shown. These findings are more evident in
vowels /ct/, /e/, and /i/ than /u/ and /~/.
9 . ,~.~.., ~ , 7 ~ ~z'~"

" u o a ,

Qualitative analysis of the sound spectrograms of hoarseness revealed that

the v o w e l s / u / , / a / , a n d / e / o r / i / p r o v i d e d most of the essential information
regarding the classification of hoarseness. For this reason, more detailed
analysis was made on the sections of vowels /u/, /a/, and /e/ in order to
know the extent of variation in the range of noise components among each
type of hoarseness.
Table 2 gives the ranges of noise components derived from the measurements
of the sections of these three representative vowels. The lower and upper
frequencies of each range were determined from the section pattern of each
vowel. Then the average frequencies at the lower and upper limit of each
range were computed. These ranges show considerable intersubject and sex-
linked variabilities. These variabilities in frequency are estimated at less than
- 200 Hz in the first three formant ranges and less than • 400 Hz in the high
frequency noise ranges.

SYNTHESIS OF HOARSENESS

Method
The significance of additional noise components and changes in the harmonic
structure revealed by the sound spectrographic analysis was supplemented by
a synthetic study. An outline of the method is illustrated in Figure 6. The
synthesized hoarseness was prepared from a normal male voice and band-pass
filtered noise, recorded at constant intensity level. As shown by Figure 6, a
tape recorder (A) was used for the reproduction of the normal vowels /u/,
/a/, a n d / e / , and a similar tape recorder (B) for the reproduction of the full
band noise. Filtered noise and nonfiltered or low pass filtered vowels were
recorded on each channel of the endless loop tape and reproduced by a two-

YA_~rAGmABX:Signqicance of Harmonic Changes 535

 T,~J3L~ 2. Common ranges of noise components and their relation to the first three
formants.

Type I
F, F~ Fa High ErequencyNoise
u 200 ( ~ 700Hz
a 300 c .... ~ 1700
e 200<--->700 1600 ( ) 2600
Type H
F~ F~ F~ High Frequency No~e
u 200 ( ) 800Hz
n 300 c > 1500 2800<-->3700
e 200<-->600 1800 ( > 2800 3100<-->4100 5700<--->6300
Type III
F, F~ F:, High Frequency Noise
u 200 ( ) 900Hz
a 400 ( ~ 1600 2400<---~3500 4400<--~4800 5500 ( )
e 200<---~900 2000 ( ) 3000 3500(---)4300 5200 ( )

Type IV
F, F._, F., High Frequency Noise
u 200 ( ) 1200Hz
(~ 400 ( ) 1600 2000(---)3600 3900(---)4600 5600 ( )
200~--~900 1400 ( "~ 3000 3200(---)4400 5100 ( )

A R / A N t t m X l t o ~ s v N t ~ t s l s OF H o * n s t ~ ( $ S

FxGorm 6. Schematic diagram showing the

method of synthesis of hoarseness.

rutt r~Act N - r~
I~'R0~ICIIOI~ ~ FUlL10t~ PI01S[ ~
~ t m t t smrMtsltt0 ra~t

TABLE 3. Agreement among judges measured b y reliability coefficient.

ludge 2 3 4 5 6
No. 1 0.81 0.82 0.84 0.79 0.86
2 0.81 0.63 0.45 0.73
3 0.73 0.94 0.84
4 0.93 0.79
5 0.53
Average interjudge agreement = 0.77

channel tape recorder. The output of each channel of this tape recorder was
fed to another tape recorder (C) through the mixer. Before mixing, the in-
tensity level of band-filtered noise was attenuated to a predetermined value

536 1ournal of Speech and Hearing Research 10 531-541 1967

 TABLE 4. The significance of noise components in the formant ranges is shown by synthesis
of hoarseness. Relative intensity of each constituent of synthetized tone: Vowel /(1/ 0 dB;
600-1700 Hz band noise: --10 dB; 2400-3400 Hz band noise: --25 dB. Vowel /e/ 0 dB;
300-600 Hz band noise: --25 dB; 1700-2400 Hz band noise: --25 dB. Vowel /u/ 0 dB;
212-1200 Hz band noise: --15 dB.

No. Structure of Test Tone Rating

1 Vowel e 0.2
2 Vowel e -}-300-600 Hz B.N. 1.1
3 Vowel e -}-300-600 Hz B.N. ,},1700-2400 B.N. 2.2
4 Vowel a 0.3
5 Vowel a ,},},600-1700 Hz B.N. 1.8
6 Vowel a .}.600-1700 Hz B.N. -}-2400-3400 Hz B.N. 3.8
7 Vowel u 0
8 Vowel u ,},212-1200 Hz B.N. 2.0

t h a t c a u s e d listeners to p e r c e i v e hoarseness in t h e m i x e d tone. T h u s the relative

intensity levels of e a c h v o w e l a n d t h e c o r r e s p o n d i n g b a n d noise w e r e k e p t
c o n s t a n t at the final stage of the synthesis; t h e y are s h o w n in T a b l e s 4, 5, a n d 6.

TABLE 5. Significance of the energy loss of high-frequency harmonic components. Low-

pass filtering of each vowel is abbreviated as L.P. and intensity of L.P. vowel is kept at 0
dB. The relative intensity of band-pass noise is constant throughout the experiment.

No. Structure of Test Tone Rating

1 Vowel e -}-300-600 Hz B.N..}.1700-2400 Hz B.N. 2.2
2 2400 Hz L.P. e -}-300-600 Hz B.N..}.1700-2400 Hz B.N. 2.8
3 2400 Hz L.P. e -}-300-600 Hz B.N. ,},1700-3400 Hz B.N. 2.5
4 1700 Hz L.P. e -}-300-600 Hz B.N. ,},1700-2400 Hz B.N. 3.2
5 1700 Hz L.P. e -}-}-300-600 Hz B.N. ,},1700-3400 Hz B.N. 3.5
6 Vowel a ,},600-1700 Hz B.N. 1.8
7 1200 Hz L.P. a .}.600-1700 Hz B.N. 4.1
8 1200 Hz L.P. a ,},600-1700 Hz B.N. -}-2400-3400 Hz B.N. 4.5
9 Vowel u .}.212-1200 Hz B.N. 2.0
10 1200 Hz L.P. u ,},212-1200 Hz B.N. 3.0

T h e q u a l i t y a n d d e g r e e of hoarseness of synthetic s o u n d s - v o w e l - - b a n d noise

m i x t u r e s - w e r e j u d g e d b y several listeners in a s o u n d p r o o f room. F o r this
p u r p o s e , the t a p e w a s cut into short segments, f o u r see in d u r a t i o n of sound,

TABLE 6. Significance of expansion of high frequency additional noise. Relative intensity

of low pass filtered noise is --10 dB, and --25 dB in case o f / e / and /a/ respectively. The
band noise of 3400-4800 Hz in case o f / u / i s --25 dB.

No. Structure of Test Tone Rating

1700 Hz L.P. e -}-300-600 ,},1700-3400 Hz B.N. + 6800 Hz L.P.N. 4.4
1700 Hz L.P. e -}-300-600 .}.1700-3400 Hz B.N. +4800 Hz L.P.N. 4.4
1200 Hz L.P, a .}.600-1700 -}-3400-4800 Hz B.N. 4.5
1200 Hz L.P. a ,},600-1700 Hz B.N. -}-3400 Hz L.P.N. 4.8
1200 Hz L.P. a .}.600-1700 Hz B.N. -}-4800 Hz L.P.N. 4.3
1200 Hz L.P. u ,},212-1200 Hz B.N. -}-3400-4800 B.N. 4.7

YANAGIHABA:Significance of Harmonic, Changes 537

and spliced in random order with four see intervals. Six otolaryngologists
served as listeners. They were instructed to listen to a series of test tones and
attempt to give one of the following six ratings to each test tone whenever it
was judged to be a hoarse voice. If the test tone appeared to be an artificial
hoarse voice, instruction was given to place a check mark beside the tone.
The ratings were: (0) normal voice, (1) very slightly hoarse, (2) slightly
hoarse, (3) moderately hoarse, (4) very hoarse, and (5) extremely hoarse.
The degree of hoarseness of each test tone was expressed by averaging the
ratings given by the six listeners.

Results
Interjudge agreement on the hoarseness rating was tested by calculating the
reliability coeffcient (McNemar, 1962, pp. 145-148). The coefficient was ob-
tained by correlating each judge's rating for each tone with the rating by the
five other judges. These correlations are given in Table 3. The average eoeff-
cient of 0.77 demonstrated that the interjudge agreement was close enough to
permit the use of averaged rating scores as indicators of the listener's responses.
Sound spectrograms of all the test tones were made to see the result of the
synthesis and to correlate the acoustic structure of each test tone with the
corresponding judgment of the listeners.
Tables 4, 5, and 6 show the results of this experiment. Any test tones which
were checked by any one of the listeners as "artificial" were excluded from
these tables.
The significance of the noise components in the formant ranges is shown in
'Fable 4. When the band-filtered noise intrudes on the formant range, the sound
is perceived as a very slight or slight hoarseness. In the case of v o w e l s / a / a n d
/e/, mixing of the band-filtered noise into the second formant region results
in an increase of the degree of hoarseness.
In Table 5, the effect of elimination of high frequency harmonics of vowels
on the perceptual hoarseness is shown. Even ff the relative intensity of the
noise components and the harmonic components remain unchanged, the loss
of high frequency harmonics results in an increase of the degree of perceived
hoarseness. When the elimination includes the second formants of these vowels,
an advance in the degree of perceived hoarseness results.
In the case of severe hoarseness, an expansion of the additional noise com-
ponent is an outstanding feature. In order to reproduce this feature, band-pass
noise and low-pass noise were superimposed on the low-pass vowel-band
filtered noise mixtures. Table 6 shows the effect of this procedure. All test
tones of this group are perceived as either very hoarse or extremely hoarse.
Figures 7 and 8 illustrate the sonagrams and sections of synthesized hoarse-
ness of the vowel /e/. Their schematic drawing is given in Figure 9, which
shows step-by-step increase of the perceptual degree of hoarseness and the
corresponding acoustical structure changes.

538 1ournal of Speech and Hearing Research 10 531-541 1967

 FIcu'aE 7. Sonagrams of composed hoarse-
ness of vowel /e/-mfld hoarseness.

VOWEL "e" "e . . . . e"

BAND 300~600 Hz 300- 600 Hz
NOISE 1700~2400 Hz
MEANOF
RATING 0.2 I.I 2.2

Fxctrv,E 8. Sonagrams of composed hoarse-

ness of vowel/e/-moderate to severe hoarse-
ness.

VOWEL 2400 HZ Low Poss"e" 1700 HzLowPoss"e" 1700 Hz Low Pos~'e"

BAND 300 ~ 600 Hz 500~ 600 Hz 300 ~ 600 Hz
NOISE 1700-5400 Hz 1700~$400Hz 1700-3400Hz
MEANOF 4800 Hz Low Poss
RATING 2,5 3.5 4,4

We VOWEL"e" MEAN OF RATING MEANOF RATING

6
5 I.I 2.2
4

2 F9 .............
I
o
FICVaE 9. Schematic drawing of the
sonagrams of synthesized hoarseness. Step by
kr MEAN OF RATING MEAN OF RATING MEAN OF RATING step rise of the degree of perceptual hoarse-
," 2 5 o, 2 8
4.4
or ness and corresponding acoustical structure
changes of vowel sound are shown.
t .................. - _ ~ " " :-:'~"
o ,t,,,===,===~ ................. ~

SCHEMATIC PRESENTATIONOF SOUNDSPECTROGRAPH

OF SYNTHESIZED HOARSENESS AND ITS MEAN OF RATING

DISCUSSION
The major acoustic factors relating to hoarseness consist of (1) noise com-
ponents, and (2) loss of harmonic components. As to the noise components,
the intensity and range differ from vowel to vowel and also vary with the
degree of hoarseness. Generally, the noise element is much more evident in the
vowels / a / , /e/, a n d / i / than in the vowels [u/ a n d / ~ / . The present study
reveals that the noise components appear in the formant ranges, especially in
the second and third formant ranges at the initial stage of hoarseness. With
the progression of hoarseness, the noise components predominate the harmonic

YANAGIHARA: Significance of Harmonic Changes 539

structures in the second and third formant ranges. Parallel with these findings,
noise components become manifest in the frequency range above 3000 Hz.
Noise components above 3000 Hz intensify their energy and widen their
range.
Classification of degrees of hoarseness is found to be clinically useful in the
following two respects: (1) The degree of hoarseness can be numerically ex-
pressed; and (2) the objective acoustic degree of hoarseness based on this
method closely agrees with subjective, perceived degree of hoarseness.
Previous studies (Moore, 1957; Isshiki and von Leden, 1964; and Flanagan,
1958) suggest the importance of noise components and the loss of high fre-
quency harmonic components in hoarseness. Noise components may originate
from the turbulent air flow due to incomplete closure of the glottis during
vibratory cycle, or irregular vibratory attitudes of the glottis. Loss of high
frequency harmonic components may be attributable to the incomplete or
shorter dosing phase during vibratory cycles. For the objective evaluation of
hoarseness associated with different laryngeal pathologies, more detailed study
of the sound spectrogram of hoarseness is required. The time-frequency reso-
lution of the sound spectrogram depends on the width of filter band. The
sound spectrogram traced through a narrow band filter gives better frequency
resolution. However, the details in variation in noise and harmonic component
as a function of time cannot be demonstrated. Studies of cycle to cycle spec-
trum change in hoarseness with the use of wide band filter settings will pro-
vide additional information on noise components and harmonic changes.
However, it should be emphasized that the quality of hoarse voice is not en-
tirely dependent upon the noise components and changes in harmonic structure
mentioned above. There is another aspect of hoarseness, the aperiodicity of the
fundamental frequency. On the basis of accurate measurements of high speed
motion pictures of the pathologic larynx, yon Leden, Moore, and Timcke (1960)
concluded that the most common observation in the pathologic condition is a
strong tendency for frequent and rapid changes in the regularity of the vibra-
tory pattern. Dunker and Schlosshauer (1961) reached the same conclusion
after high speed film analysis. Investigations on rapid changes or cycle to cycle
variations of periodic components, including perturbation of pitch, are needed
in order to reach a more satisfactory understanding of this problem.

This research was supported by Public Health Service Research Grant No. NB 04430-04
from the National Institute of NeurologicDiseases and Blindness.

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540 1ournal of Speech and Hearing Research 10 531-541 1967

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Received for publication September 1966

YANXGmUCaA: Signi~cance of Harmonic Changes 541

 Significance of Harmonic Changes and Noise
Components in Hoarseness

Naoaki Yanagihara
J Speech Hear Res 1967;10;531-541

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