In 2004, Smith and his colleagues Joe Wolfe and Elodie Joliveau at the University of New South Wales published a study in the Journal of the Acoustical Society of America that revealed the physiological cause of the soprano problem for the first time. They sent an acoustic signal through the vocal tracts of nine sopranos and used a microphone to measure how the signal changed when the sopranos sang vowel sounds at various pitches. They found that when a soprano sings at high pitches, she adjusts her vocal tract to make her voice resonate. In effect, she “tunes” the resonance frequency of her vocal tract to match the frequency of the pitch at which she is singing. This vocal-tract tuning, which gives a soprano’s voice enough power to fill an opera house, is what makes certain words at high pitches difficult for the audience to understand. (It is joked by singers that Wagner’s character of Siegfried in Der Ring des Nibelungen ought to have been called Sahgfried, as his name is sometimes pronounced that way by sopranos looking to get the most volume out of their voices.) Jane Eaglen, a critically acclaimed soprano who has performed Wagner’s works in opera houses worldwide, explains that sopranos must try to find a balance between power and clarity. “It’s really about how you modify the vowels at the top of the voice so that the words are still understandable but so that you are also making the best sound that you can make,” she says.
Physicists investigate the grand artistic vision of one of the most influential artists of the last two centuries.
Just another example of the immortal lesson of the essay I, Pencil By Leonard E. Read, that the world is filled with particular skills and no one man can master them all. We depend immeasurably on the division of labor and trade in order to enjoy the immense wealth we do today.