Singer and listener perception of vocal warm-up.

PubMed

Moorcroft, Lynda; Kenny, Dianna T

2013-03-01

This study investigated changes perceived by singers and listeners after the singers had vocally warmed up. The study used a repeated measures within-subject design to assess changes in vibrato quality from pre (nonwarmed-up voice) to post (warmed-up voice) test. Intraclass correlation coefficients were calculated to assess singers' self-ratings pre- and posttest and intra- and interlistener rater reliability. Twelve classically trained female singers recorded and self-rated their performance of an eight bar solo before and after 25 minutes of vocal warm-up exercises. Six experienced listeners assessed the vocal samples for pre- to posttest differences in tone quality and for each singer's warm-up condition. Perceptual judgements were also compared with pre- to posttest changes in vibrato. All singers perceived significant changes in tone quality, psychophysiological factors, proprioceptive feedback and technical command. Significant pre- to posttest differences in tone quality and correct appraisal of the singer's warm-up condition from most of the listeners were only observed for singers who moderated extremely fast or extremely slow vibrato after warming up. The findings reveal the divide between listeners' and singers' perceptions of the warmed-up voice and highlight the importance of enhanced vibrato quality to listener perception of an improvement in vocal quality. Copyright © 2013 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Contribution of Glottic Insufficiency to Perceived Breathiness in Classically Trained Singers.

PubMed

Graham, Ellen; Angadi, Vrushali; Sloggy, Joanna; Stemple, Joseph

2016-09-01

Breathiness in the singing voice is problematic for classical singers. Voice students and singing teachers typically attribute breathiness to breath management issues and breathing technique. The present study sought to determine whether glottic insufficiency may also contribute to breathiness in a singer's voice. Studies have revealed a relationship between insufficient vocal fold closure and inefficiency in the speaking voice. However, the effect of insufficient vocal fold closure on vocal efficiency in singers has yet to be determined. Two groups of voice students identified with and without breathiness issues underwent aerodynamic and acoustic voice assessment as well as laryngeal stroboscopy of the vocal folds to quantify the prevalence of insufficient vocal fold closure, also known as glottic insufficiency. These assessments revealed four groups: 1) those with glottic insufficiency and no perceived voice breathiness; 2) those with glottic sufficiency and perceived voice breathiness; 3) those with glottic insufficiency and perceived breathiness; and 4) those with glottic sufficiency and no perceived breathiness. Results suggest that previously undiscovered glottal insufficiency is common in young singers, particularly women, though the correlation with identified breathiness was not statistically significant. Acoustic and aerodynamic measures including noise-to-harmonics ratio, maximum phonation time, airflow rate, subglottal pressure, and laryngeal airway resistance were most sensitive to glottic insufficiency.

Voxel-based morphometry in opera singers: Increased gray-matter volume in right somatosensory and auditory cortices.

PubMed

Kleber, Boris; Veit, Ralf; Moll, Christina Valérie; Gaser, Christian; Birbaumer, Niels; Lotze, Martin

2016-06-01

In contrast to instrumental musicians, professional singers do not train on a specific instrument but perfect a motor system that has already been extensively trained during speech motor development. Previous functional imaging studies suggest that experience with singing is associated with enhanced somatosensory-based vocal motor control. However, experience-dependent structural plasticity in vocal musicians has rarely been studied. We investigated voxel-based morphometry (VBM) in 27 professional classical singers and compared gray matter volume in regions of the "singing-network" to an age-matched group of 28 healthy volunteers with no special singing experience. We found right hemispheric volume increases in professional singers in ventral primary somatosensory cortex (larynx S1) and adjacent rostral supramarginal gyrus (BA40), as well as in secondary somatosensory (S2) and primary auditory cortices (A1). Moreover, we found that earlier commencement with vocal training correlated with increased gray-matter volume in S1. However, in contrast to studies with instrumental musicians, this correlation only emerged in singers who began their formal training after the age of 14years, when speech motor development has reached its first plateau. Structural data thus confirm and extend previous functional reports suggesting a pivotal role of somatosensation in vocal motor control with increased experience in singing. Results furthermore indicate a sensitive period for developing additional vocal skills after speech motor coordination has matured. Copyright © 2016 Elsevier Inc. All rights reserved.

Effect of Training and Level of External Auditory Feedback on the Singing Voice: Pitch Inaccuracy

PubMed Central

Bottalico, Pasquale; Graetzer, Simone; Hunter, Eric J.

2016-01-01

Background One of the aspects of major relevance to singing is the control of fundamental frequency. Objectives The effects on pitch inaccuracy, defined as the distance in cents in equally tempered tuning between the reference note and the sung note, of the following conditions were evaluated: (1) level of external feedback, (2) tempo (slow or fast), (3) articulation (legato or staccato), (4) tessitura (low, medium or high) and (5) semi-phrase direction (ascending or descending). Methods The subjects were 10 non-professional singers, and 10 classically-trained professional or semi-professional singers (10 males and 10 females). Subjects sang one octave and a fifth arpeggi with three different levels of external auditory feedback, two tempi and two articulations (legato or staccato). Results It was observed that inaccuracy was greatest in the descending semi-phrase arpeggi produced at a fast tempo and with a staccato articulation, especially for non-professional singers. The magnitude of inaccuracy was also relatively large in the high tessitura relative to the low and medium tessitura for such singers. Counter to predictions, when external auditory feedback was strongly attenuated by the hearing protectors, non-professional singers showed greater pitch accuracy than in the other external feedback conditions. This finding indicates the importance of internal auditory feedback in pitch control. Conclusions With an increase in training, the singer’s pitch inaccuracy decreases. PMID:26948385

Listener perception of the effect of abdominal kinematic directives on respiratory behavior in female classical singing.

PubMed

Collyer, Sally; Kenny, Dianna T; Archer, Michaele

2011-01-01

Breath management training in classical singing is becoming increasingly physiologically focused, despite evidence that directives focusing on chest-wall kinematic (ribcage and abdominal) behavior effect minimal change in acoustical measures of singing. A direct and proportionate relationship between breathing behavior and vocal quality is important in singing training because singing teachers rely primarily on changes in sound quality to assess the efficacy of breath management modification. Pedagogical opinion is also strongly divided over whether the strategy of retarding the reduction in abdominal dimension during singing has a negative effect on vocal quality. This study investigated whether changes in abdominal kinematic strategy were perceptible and whether listeners preferred a particular strategy. Fourteen experienced singing teachers and vocal coaches assessed audio samples of five female classical singers whose respiratory kinematic patterns during singing had been recorded habitually and under two simple, dichotomous directives: Gradually drawing the abdomen inward and gradually expanding the abdomen, during each phrase. Listeners rated the singers on standard of singing and of breath management. Ratings analysis took into consideration changes in kinematic behavior under each directive determined from the respiratory recordings. Listener ratings for two singers were unaffected by directive. For three singers, ratings were lower when the directive opposed habitual kinematic behavior. The results did not support the pedagogical assumption of a direct and proportional link between respiratory behavior and standard of singing or that the abdomen-outward strategy was deleterious to vocal quality. The findings demonstrate the importance of considering habitual breathing behavior in both research and pedagogical contexts. Copyright © 2011 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Objective Measurement of Vocal Fatigue in Classically Trained Singers: A Pilot Study of Vocal Dosimetry Data

PubMed Central

Carroll, Thomas; Nix, John; Hunter, Eric; Titze, Ingo; Abaza, Mona

2016-01-01

Objectives To evaluate vocal fatigue by using objective and subjective measurements of dose recorded by the National Center for Voice and Speech (NCVS) Dosimeter™ (Dosimeter). Study Design and Setting Seven subjects completed a two-week study period. The Dosimeter recorded vocal load, soft phonation tasks and subjective soft voice ratings. Three vocal doses (time, distance, and cycle) were measured in classical singers' larynges during an intensive practice period. Results Spikes in vocal load are reflected as harsher subjective ratings on the same day as well as 24–72 hours later. When at least 48 hours of vocal rest occurred before a vocal load, improved subjective evaluations were seen after the load. Conclusions The NCVS Dosimeter appears to be an effective tool for data collection on prolonged use of the voice. Significance This is the first multi-day study comparing objective and subjective data on vocal fatigue in a group of professional singers. PMID:17011424

A Investigation of the Laryngeal System as the Resonance Source of the Singer's Formant.

NASA Astrophysics Data System (ADS)

Detweiler, Rebecca Finley

Since its introduction in 1974, Johan Sundberg's model of the laryngeal system as the resonance source of the singer's formant (Fs) has gained wide acceptance. There have heretofore been no studies directly testing its validity in vivo. The purpose of this study was to undertake a direct test of that hypothesis, utilizing as subjects professional male singers trained in the western Classical tradition. The vocal behaviors of three trained singer-subjects were evaluated during modal and pulse register phonation via magnetic resonance imaging (M.R.I.), strobolaryngoscopy, and acoustical analysis. Dr. Sundberg's hypothesis rests upon two premises: (1) that the laryngeal system is acoustically isolated and therefore capable of independent resonation during artistic singing, and (2) that the laryngeal ventricle contains an air volume adequate to function as the volume element of the proposed two-tube resonating system (Sundberg, 1974). Results of the above analyses revealed that none of the subjects achieved the requisite 6:1 laryngopharynx:laryngeal outlet area ratio to support acoustic isolation and independent resonation of the laryngeal system. Further, subjects demonstrated robust and stable singer's formants in pulse register phonation concomitant to the occlusion of the laryngeal ventricular spaces as documented by M.R.I. Therefore, these data indicated that the subjects' behaviors do not fit the model of the laryngeal system as the resonance source of the singer's formant, and that the model is inadequate to account for the generation of the singer's formant in these three subjects. Further analysis of these data suggested that the singer's formant is resolvable into two component formants, termed Fs1 and Fs2. These formants are apparently analogous to F4 and F5 of speech, but are approximated by the singer to produce the desired high amplitude energy concentration. It was hypothesized that Fs1 arises from excitation of the fourth natural mode of the quarter wave resonance of the vocal tract by the optimized voice source of the trained singer. Application of this model to data obtained in this and previous studies reported in the literature predicted the frequency locus of Fs1 with an accuracy of 92-100%.

The Influence of Fundamental Frequency and Sound Pressure Level Range on Breathing Patterns in Female Classical Singing

ERIC Educational Resources Information Center

Collyer, Sally; Thorpe, C. William; Callaghan, Jean; Davis, Pamela J.

2008-01-01

Purpose: This study investigated the influence of fundamental frequency (F0) and sound pressure level (SPL) range on respiratory behavior in classical singing. Method: Five trained female singers performed an 8-s messa di voce (a crescendo and decrescendo on one F0) across their musical F0 range. Lung volume (LV) change was estimated, and…

No Such Word as "Can't": The Uphill Struggle of the Black Classical Singer.

ERIC Educational Resources Information Center

Verdino-Sullwold, Carla Maria

1991-01-01

Although the difficulties encountered during the first half of the twentieth century by such singers as Paul Robeson, Marian Anderson, and Roland Hayes are history, the recent struggles of black classical singers for recognition illustrate current barriers. Several prominent black opera and concert artists recount their experiences. (SLD)

Velopharyngeal port status during classical singing.

PubMed

Tanner, Kristine; Roy, Nelson; Merrill, Ray M; Power, David

2005-12-01

This investigation was undertaken to examine the status of the velopharyngeal (VP) port during classical singing. Using aeromechanical instrumentation, nasal airflow (mL/s), oral pressure (cm H2O), and VP orifice area estimates (cm2) were studied in 10 classically trained sopranos during singing and speaking. Each participant sang and spoke 3 nonsense words-/hampa/, /himpi/, and /humpu/-at 3 loudness levels (loud vs. comfortable vs. soft) and 3 pitches (high vs. comfortable vs. low), using a within-subject experimental design including all possible combinations. In general, nasal airflow, oral pressure, and VP area estimates were significantly greater for singing as compared to speech, and nasal airflow was observed during non-nasal sounds in all participants. Anticipatory nasal airflow was observed in 9 of 10 participants for singing and speaking and was significantly greater during the first vowel in /hampa/ versus /himpi/ and /humpu/. The effect of vowel height on nasal airflow was also significantly influenced by loudness and pitch. The results from this investigation indicate that at least some trained singers experience regular VP opening during classical singing. Vowel height seems to influence this effect. Future research should consider the effects of voice type, gender, experience level, performance ability, and singing style on VP valving in singers.

[Comparative study of respiratory mechanisms between professional lyrical singers and beginners].

PubMed

Lassalle, A; Grini, M N; Amy de la Bretèque, B; Ouaknine, M; Giovanni, A

2002-01-01

The apprenticeship for classical singing requires years of training due to its complexity. This training is directed at the different levels of the vocal apparatus: the source of energy or air flow (lungs), the vibrator (vocal cords) and the resonators (bucco-pharyngeal cavity). For this study we have concentrated on the first level, that is, respiration. When a greater demand of vocal activity is required respiration becomes more sustained and more complex; this is when difficulties may be observed. Singers overcome these difficulties through different strategies according to their level of vocal training. Our study compared respiratory strategies used by professional singers and singing students (first year conservatoire students) during singing tasks; none of the subjects had any history of vocal pathology. Electromyographic analysis of muscle activity was registered for the rectus abdominals muscle, external oblique muscle and transverse muscle with surface electrodes. Kinetic analysis was used to measure thoracic cage displacement: pressure sensitive belts were placed around the pubis, the epigastric region and thorax. The subjects were asked to perform two vocal tasks: vocalization of a sustained "i" and singing of an extract of a vaccaï. Results were compared between the 7 professional singers and the 6 singing students. They allowed us to confirm the existence of distinct respiratory strategies according to the level of vocal training, as described in literature. Professional singers inhibited the activity of their rectus abdominals muscles during singing and used mostly their external oblique and transverse muscles, thus, sustaining an expanded ribcage and a longer expiratory breath. Singing students, on the other hand, worked intensively all the abdominal muscles leading to a collapse of the ribcage. Management of air was more difficult and breath was shorter. Future studies will consider a larger population sample in order to define quantitative parameters that might allow a significant differentiation of respiratory strategies between professional singers and singing students.

Trends in musical theatre voice: an analysis of audition requirements for singers.

PubMed

Green, Kathryn; Freeman, Warren; Edwards, Matthew; Meyer, David

2014-05-01

The American musical theatre industry is a multibillion dollar business in which the requirements for singers are varied and complex. This study identifies the musical genres and voice requirements that are currently most requested at professional auditions to help voice teachers, pedagogues, and physicians who work with musical theatre singers understand the demands of their clients' business. Frequency count. One thousand two thirty-eight professional musical theatre audition listings were gathered over a 6-month period, and information from each listing was categorized and entered into a spreadsheet for analysis. The results indicate that four main genres of music were requested over a wide variety of styles, with more than half of auditions requesting genre categories that may not be served by traditional or classical voice technique alone. To adequately prepare young musical theatre performers for the current job market and keep the performers healthily making the sounds required by the industry, new singing styles may need to be studied and integrated into voice training that only teaches classical styles. Copyright © 2014 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

The Impact of Vocal Cool-down Exercises: A Subjective Study of Singers' and Listeners' Perceptions.

PubMed

Ragan, Kari

2016-11-01

Using subjective measures, this study investigated singers' and listeners' perceptions of changes in voice condition after vocal cool-down exercises. A single-subject crossover was designed to evaluate whether there were discernible differences in either singer or listener perceptions from pre (no vocal cool downs) to post (with cool downs) test. Subjective questionnaires were completed throughout the study. Twenty classically trained female singers documented self-ratings and perceptual judgments through the Evaluation of the Ability to Sing Easily survey, the Singing Voice Handicap Index, and Self-Perceptual Questionnaires after a 60-minute voice load. Recordings were made and assessed by four expert listeners. The assessed data from the Singing Voice Handicap Index, the Evaluation of the Ability to Sing Easily, and Daily Perceptual Questionnaires show 68%, 67%, and 74% of singers reported improvement, respectively. However, because of significant variability in the underlying scores, the amount of improvement was not deemed to be statistically significant. Expert listeners correctly identified the cool-down week 46% of the time. Singers strongly perceived positive impact from the cool-down exercises on both their speaking and singing voices. Even though the objective data were statistically insignificant, the singers' subjective data clearly indicates a perceived sense of vocal well-being after utilizing the vocal cool-down protocol. The variability in the daily life of a singer (eg, stress, menses, reflux, vocal load, and vocal hygiene) makes it difficult to objectively quantify the impact of vocal cool downs. Copyright © 2016 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Breathing and Singing: Objective Characterization of Breathing Patterns in Classical Singers

PubMed Central

Salomoni, Sauro; van den Hoorn, Wolbert; Hodges, Paul

2016-01-01

Singing involves distinct respiratory kinematics (i.e. movements of rib cage and abdomen) to quiet breathing because of different demands on the respiratory system. Professional classical singers often advocate for the advantages of an active control of the abdomen on singing performance. This is presumed to prevent shortening of the diaphragm, elevate the rib cage, and thus promote efficient generation of subglottal pressure during phonation. However, few studies have investigated these patterns quantitatively and inter-subject variability has hindered the identification of stereotypical patterns of respiratory kinematics. Here, seven professional classical singers and four untrained individuals were assessed during quiet breathing, and when singing both a standard song and a piece of choice. Several parameters were extracted from respiratory kinematics and airflow, and principal component analysis was used to identify typical patterns of respiratory kinematics. No group differences were observed during quiet breathing. During singing, both groups adapted to rhythmical constraints with decreased time of inspiration and increased peak airflow. In contrast to untrained individuals, classical singers used greater percentage of abdominal contribution to lung volume during singing and greater asynchrony between movements of rib cage and abdomen. Classical singers substantially altered the coordination of rib cage and abdomen during singing from that used for quiet breathing. Despite variations between participants, principal component analysis revealed consistent pre-phonatory inward movements of the abdominal wall during singing. This contrasted with untrained individuals, who demonstrated synchronous respiratory movements during all tasks. The inward abdominal movements observed in classical singers elevates intra-abdominal pressure and may increase the length and the pressure-generating capacity of rib cage expiratory muscles for potential improvements in voice quality. PMID:27159498

Breathing and Singing: Objective Characterization of Breathing Patterns in Classical Singers.

PubMed

Salomoni, Sauro; van den Hoorn, Wolbert; Hodges, Paul

2016-01-01

Singing involves distinct respiratory kinematics (i.e. movements of rib cage and abdomen) to quiet breathing because of different demands on the respiratory system. Professional classical singers often advocate for the advantages of an active control of the abdomen on singing performance. This is presumed to prevent shortening of the diaphragm, elevate the rib cage, and thus promote efficient generation of subglottal pressure during phonation. However, few studies have investigated these patterns quantitatively and inter-subject variability has hindered the identification of stereotypical patterns of respiratory kinematics. Here, seven professional classical singers and four untrained individuals were assessed during quiet breathing, and when singing both a standard song and a piece of choice. Several parameters were extracted from respiratory kinematics and airflow, and principal component analysis was used to identify typical patterns of respiratory kinematics. No group differences were observed during quiet breathing. During singing, both groups adapted to rhythmical constraints with decreased time of inspiration and increased peak airflow. In contrast to untrained individuals, classical singers used greater percentage of abdominal contribution to lung volume during singing and greater asynchrony between movements of rib cage and abdomen. Classical singers substantially altered the coordination of rib cage and abdomen during singing from that used for quiet breathing. Despite variations between participants, principal component analysis revealed consistent pre-phonatory inward movements of the abdominal wall during singing. This contrasted with untrained individuals, who demonstrated synchronous respiratory movements during all tasks. The inward abdominal movements observed in classical singers elevates intra-abdominal pressure and may increase the length and the pressure-generating capacity of rib cage expiratory muscles for potential improvements in voice quality.

Singers' Vocal Function Knowledge Levels, Sensorimotor Self-awareness of Vocal Tract, and Impact of Functional Voice Rehabilitation on the Vocal Function Knowledge and Self-awareness of Vocal Tract.

PubMed

Sielska-Badurek, Ewelina; Osuch-Wójcikiewicz, Ewa; Sobol, Maria; Kazanecka, Ewa; Niemczyk, Kazimierz

2017-01-01

This study investigated vocal function knowledge and vocal tract sensorimotor self-awareness and the impact of functional voice rehabilitation on vocal function knowledge and self-awareness. This is a prospective, randomized study. Twenty singers (study group [SG]) completed a questionnaire before and after functional voice rehabilitation. Twenty additional singers, representing the control group, also completed the questionnaire without functional voice rehabilitation at a 3-month interval. The questionnaire consisted of three parts. The first part evaluated the singers' attitude to the anatomical and physiological knowledge of the vocal tract and their self-esteem of the knowledge level. The second part assessed the theoretical knowledge of the singers' vocal tract physiology. The third part of the questionnaire assessed singers' sensorimotor self-awareness of the vocal tract. The results showed that most singers indicated that knowledge of the vocal tract's anatomy and physiology is useful (59% SG, 67% control group). However, 75% of all participants defined their knowledge of the vocal tract's anatomy and physiology as weak or inadequate. In the SG, vocal function knowledge at the first assessment was 45%. After rehabilitation, the level increased to 67.7%. Vocal tract sensorimotor self-awareness initially was 38.9% in SG but rose to 66.7%. Findings of the study suggest that classical singers lack knowledge about the physiology of the vocal mechanism, especially the breathing patterns. In addition, they have low sensorimotor self-awareness of their vocal tract. The results suggest that singers would benefit from receiving services from phoniatrists and speech-language pathologists during their voice training. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

The singer's formant and speaker's ring resonance: a long-term average spectrum analysis.

PubMed

Lee, Sang-Hyuk; Kwon, Hee-Jun; Choi, Hyun-Jin; Lee, Nam-Hun; Lee, Sung-Jin; Jin, Sung-Min

2008-06-01

We previously showed that a trained tenor's voice has the conventional singer's formant at the region of 3 kHz and another energy peak at 8-9 kHz. Singers in other operatic voice ranges are assumed to have the same peak in their singing and speaking voice. However, to date, no specific measurement of this has been made. Tenors, baritones, sopranos and mezzo sopranos were chosen to participate in this study of the singer's formant and the speaker's ring resonance. Untrained males (n=15) and females (n=15) were included in the control group. Each subject was asked to produce successive /a/ vowel sounds in their singing and speaking voice. For singing, the low pitch was produced in the chest register and the high notes in the head register. We collected the data on the long-term average spectra of the speaking and singing voices of the trained singers and the control groups. For the sounds produced from the head register, a significant energy concentration was seen in both 2.2-3.4 kHz and 7.5-8.4 kHz regions (except for the voices of the mezzo sopranos) in the trained singer group when compared to the control groups. Also, the chest register had a significant energy concentration in the 4 trained singer groups at the 2.2-3.1 kHz and 7.8-8.4 kHz. For speaking sound, all trained singers had a significant energy concentration at 2.2-5.3 kHz and sopranos had another energy concentration at 9-10 kHz. The results of this study suggest that opera singers have more energy concentration in the singer's formant/speaker's ring region, in both singing and speaking voices. Furthermore, another region of energy concentration was identified in opera singer's singing sound and in sopranos' speaking sound at 8-9 kHz. The authors believe that these energy concentrations may contribute to the rich voice of trained singers.

Relations of singing talent with voice onset time of trained and untrained female singers.

PubMed

McCrea, Christopher R; Watts, Christopher

2007-08-01

This study examined phonatory-articulatory timing during sung productions by trained and untrained female singers with and without singing talent. 31 untrained female singers were divided into two groups (talented or untalented) based on the perceptual judgments of singing talent by two experienced vocal instructors. In addition to the untrained singers, 24 trained female singers were recorded singing America the Beautiful, and voice onset time was measured for selected words containing /p, b, g, k/. Univariate analyses of variance indicated that phonatory-articulatory timing, as measured with voice onset time, was different among the three groups for /g/, with the untrained-untalented singers displaying longer voice onset time than the trained singers. No other significant differences were observed across the other phonemes. Despite a significant difference observed, relatively small effect sizes and statistical power make it difficult to draw any conclusions regarding the usefulness of voice onset time as an indicator of singing talent.

Clinical voice analysis of Carnatic singers.

PubMed

Arunachalam, Ravikumar; Boominathan, Prakash; Mahalingam, Shenbagavalli

2014-01-01

Carnatic singing is a classical South Indian style of music that involves rigorous training to produce an "open throated" loud, predominantly low-pitched singing, embedded with vocal nuances in higher pitches. Voice problems in singers are not uncommon. The objective was to report the nature of voice problems and apply a routine protocol to assess the voice. Forty-five trained performing singers (females: 36 and males: 9) who reported to a tertiary care hospital with voice problems underwent voice assessment. The study analyzed their problems and the clinical findings. Voice change, difficulty in singing higher pitches, and voice fatigue were major complaints. Most of the singers suffered laryngopharyngeal reflux that coexisted with muscle tension dysphonia and chronic laryngitis. Speaking voices were rated predominantly as "moderate deviation" on GRBAS (Grade, Rough, Breathy, Asthenia, and Strain). Maximum phonation time ranged from 4 to 29 seconds (females: 10.2, standard deviation [SD]: 5.28 and males: 15.7, SD: 5.79). Singing frequency range was reduced (females: 21.3 Semitones and males: 23.99 Semitones). Dysphonia severity index (DSI) scores ranged from -3.5 to 4.91 (females: 0.075 and males: 0.64). Singing frequency range and DSI did not show significant difference between sex and across clinical diagnosis. Self-perception using voice disorder outcome profile revealed overall severity score of 5.1 (SD: 2.7). Findings are discussed from a clinical intervention perspective. Study highlighted the nature of voice problems (hyperfunctional) and required modifications in assessment protocol for Carnatic singers. Need for regular assessments and vocal hygiene education to maintain good vocal health are emphasized as outcomes. Copyright © 2014 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Instructional Features for Training in Virtual Environments

DTIC Science & Technology

2006-07-01

Technical Report 1184 Instructional Features for Training in Virtual Environments Michael J. Singer U. S. Army Research Institute Jason P. Kring...Report 1184 Instructional Features for Training in Virtual Environments Michael J. Singer U. S. Army Research Institute Jason P. Kring University of...provides in comparison to traditional, real world experience training programs (Hays & Singer , 1989; Swezey & Andrews, 2001). First, as with the

Acoustical study of classical Peking Opera singing.

PubMed

Sundberg, Johan; Gu, Lide; Huang, Qiang; Huang, Ping

2012-03-01

Acoustic characteristics of classical opera singing differ considerably between the Western and the Chinese cultures. Singers in the classical Peking opera tradition specialize on one out of a limited number of standard roles. Audio and electroglottograph signals were recorded for four performers of the Old Man role and three performers of the Colorful Face role. Recordings were made of the singers' speech and when they sang recitatives and songs from their roles. Sound pressure level, fundamental frequency, and spectrum characteristics were analyzed. Histograms showing the distribution of fundamental frequency showed marked peaks for the songs, suggesting a scale tone structure. Some of the intervals between these peaks were similar to those used in Western music. Vibrato rate was about 3.5Hz, that is, considerably slower than in Western classical singing. Spectra of vibrato-free tones contained unbroken series of harmonic partials sometimes reaching up to 17 000Hz. Long-term-average spectrum (LTAS) curves showed no trace of a singer's formant cluster. However, the Colorful Face role singers' LTAS showed a marked peak near 3300Hz, somewhat similar to that found in Western pop music singers. The mean LTAS spectrum slope between 700 and 6000Hz decreased by about 0.2dB/octave per dB of equivalent sound level. Copyright © 2012 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Pedagogical efficiency of melodic contour mapping technology as it relates to vocal timbre in singers of classical music repertoire.

PubMed

Barnes-Burroughs, Kathryn; Anderson, Edward E; Hughes, Thomas; Lan, William Y; Dent, Karl; Arnold, Sue; Dolter, Gerald; McNeil, Kathy

2007-11-01

The purpose of this investigation was to ascertain the pedagogical viability of computer-generated melodic contour mapping systems in the classical singing studio, as perceived by their resulting effect (if any) on vocal timbre when a singer's head and neck remained in a normal singing posture. The evaluation of data gathered during the course of the study indicates that the development of consistent vocal timbre produced by the classical singing student may be enhanced through visual/kinesthetic response to melodic contour inversion mapping, as it balances the singer's perception of melodic intervals in standard musical notation. Unexpectedly, it was discovered that the system, in its natural melodic contour mode, may also be useful for teaching a student to sing a consistent legato line. The results of the study also suggest that the continued development of this new technology for the general teaching studio, designed to address standard musical notation and a singer's visual/kinesthetic response to it, may indeed be useful.

Perspectives of Opera Singer Training and Education through an Examination of Collegiate-Level Opera Programs

ERIC Educational Resources Information Center

Graham, Carleen Ray

2009-01-01

The publication and exchange of pedagogical information on opera singer training has traditionally been anecdotal and not derived from empirical investigation. There appears to be a lack of communication or understanding between the educators who train aspiring opera singers and others who work with them in professional performing environments…

The Singer's Formant and Speaker's Ring Resonance: A Long-Term Average Spectrum Analysis

PubMed Central

Lee, Sang-Hyuk; Kwon, Hee-Jun; Choi, Hyun-Jin; Lee, Nam-Hun; Lee, Sung-Jin

2008-01-01

Objectives We previously showed that a trained tenor's voice has the conventional singer's formant at the region of 3 kHz and another energy peak at 8-9 kHz. Singers in other operatic voice ranges are assumed to have the same peak in their singing and speaking voice. However, to date, no specific measurement of this has been made. Methods Tenors, baritones, sopranos and mezzo sopranos were chosen to participate in this study of the singer's formant and the speaker's ring resonance. Untrained males (n=15) and females (n=15) were included in the control group. Each subject was asked to produce successive /a/ vowel sounds in their singing and speaking voice. For singing, the low pitch was produced in the chest register and the high notes in the head register. We collected the data on the long-term average spectra of the speaking and singing voices of the trained singers and the control groups. Results For the sounds produced from the head register, a significant energy concentration was seen in both 2.2-3.4 kHz and 7.5-8.4 kHz regions (except for the voices of the mezzo sopranos) in the trained singer group when compared to the control groups. Also, the chest register had a significant energy concentration in the 4 trained singer groups at the 2.2-3.1 kHz and 7.8-8.4 kHz. For speaking sound, all trained singers had a significant energy concentration at 2.2-5.3 kHz and sopranos had another energy concentration at 9-10 kHz. Conclusion The results of this study suggest that opera singers have more energy concentration in the singer's formant/speaker's ring region, in both singing and speaking voices. Furthermore, another region of energy concentration was identified in opera singer's singing sound and in sopranos' speaking sound at 8-9 kHz. The authors believe that these energy concentrations may contribute to the rich voice of trained singers. PMID:19434279

Voice onset time for female trained and untrained singers during speech and singing.

PubMed

McCrea, Christopher R; Morris, Richard J

2007-01-01

The purpose of this study was to examine the voice onset times of female trained and untrained singers during spoken and sung tasks. Thirty females were digitally recorded speaking and singing short phrases containing the English stop consonants /p/ and /b/ in the word-initial position. Voice onset time was measured for each phoneme and statistically analyzed. Mixed-ANOVAs revealed significantly longer voice onset time durations during speech for /p/ as compared to sung productions. No significant differences between the trained singers and untrained singers were observed. In addition, no task differences occurred for the /b/ productions. The results indicated that the type of phonatory task influences VOT for voiceless stops in females. As a result of this activity, the reader will be able to (1) understand articulatory and phonatory differences between spoken and sung productions; (2) understand the articulatory and phonatory timing differences between trained singers and untrained singers during spoken and sung productions.

Comparisons of voice onset time for trained male singers and male nonsingers during speaking and singing.

PubMed

McCrea, Christopher R; Morris, Richard J

2005-09-01

This study was designed to examine the temporal acoustic differences between male trained singers and nonsingers during speaking and singing across voiced and voiceless English stop consonants. Recordings were made of 5 trained singers and 5 nonsingers, and acoustically analyzed for voice onset time (VOT). A mixed analysis of variance showed that the male trained singers had significantly longer mean VOT than did the nonsingers during voiceless stop production. Sung productions of voiceless stops had significantly longer mean VOTs than did the spoken productions. No significant differences were observed for the voiced stops, nor were any interactions observed. These results indicated that vocal training and phonatory task have a significant influence on VOT.

The association between upper trapezius activity and thorax movement in classical singing.

PubMed

Pettersen, V; Westgaard, R H

2004-12-01

This study aimed to examine in classical singing the phasing of the activity in upper trapezius (TR) to upper and lower thorax movement and to the phasing of activity in the intercostals (INT) and in the lateral abdominal (OBL) muscles. Electromyographic (EMG) activity was recorded from the TR, INT, and OBL muscles on the right side. Thorax movement (TX) was traced with two strain gauge sensors placed around the upper and lower thorax. Four professional opera singers (soprano, mezzo, tenor, and baritone) and four advanced student classical singers (three sopranos and one mezzo) participated. Three of the professional singers were 33 years, and one was 40 years. The students were between 23 and 30 years. Different arias, freely chosen by the singers from their professional repertoire, served as the singing task for the opera singers. All students sang "Summertime" from Porgy and Bess. All subjects performed their task three times with variation in vocal loudness (normal, forte, piano). Thereafter, for all subjects, a biofeedback (BF) procedure was performed on TR to lower TR activity and a repeat performance of the singing tasks was carried out. EMG activity from the three recording sites and upper and lower TX circumference were compared before and after BF. A phasing of upper TR activity to INT and OBL activity was discovered, all muscles supporting the expiration phase. During phonation, the upper TR contributes in the compression of upper TX, thus serving as an accessory muscle of expiration. Group results from both opera singers and student singers showed that EMG activity was significantly lowered after BF. The lowered TR activity resulted in an expanded upper TX circumference and less TX respiratory movement after BF.

Can Listeners Hear Who Is Singing? The Role of Familiarity.

PubMed

Erickson, Molly L

2016-09-01

This study sought to determine whether familiarity with voices increases discrimination of voices across pitch intervals. This is a between-group design. This study used a forced-choice paradigm where listeners heard two different singers (singer 1 and singer 2) producing /ɑ/ at the identical pitch and an unknown singer (either singer 1 or singer 2) producing /ɑ/ at a different pitch. Listeners had to identify which singer was the unknown singer. Two baritones and two tenors were recorded producing /ɑ/ at the pitches C3, E3, G3, B3, D4, and F4. Two sopranos and two mezzo-sopranos were recorded producing /ɑ/ at the pitches C4, E4, G4, B4, D5, and F5. For each group of stimuli, male and female, all possible pairs of singers were constructed for the lowest pitch (C2 or C3, respectively) and for the highest pitch (F4 or F5, respectively). The unknown singer was varied across the remaining pitches. Participants in group 1 completed a training session where they were familiarized with the voices being tested. Participants in group 2 did not. Training did not significantly improve the ability to discriminate voices when the voices being compared were of the same voice category. However, training did significantly improve the ability to discriminate voices when the voices being compared were of different voice categories even when training lasted as little as 5 minutes. Small amount of exposure to human voices results in voice category formation but does not result in the formation of models of individual voices. Copyright © 2016 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

OVERLAP OF HEARING AND VOICING RANGES IN SINGING.

PubMed

Hunter, Eric J; Titze, Ingo R

2005-04-01

Frequency and intensity ranges in voice production by trained and untrained singers were superimposed onto the average normal human hearing range. The vocal output for all subjects was shown both in Voice Range Profiles and Spectral Level Profiles. Trained singers took greater advantage of the dynamic range of the auditory system with harmonic energy (45% of the hearing range compared to 38% for untrained vocalists). This difference seemed to come from the trained singers ablily to exploit the most sensitive part of the hearing range (around 3 to 4 kHz) through the use of the singer's formant. The trained vocalists' average maximum third-octave spectral band level was 95 dB SPL, compared to 80 dB SPL for untrained.

Perceptual and acoustic study of professionally trained versus untrained voices.

PubMed

Brown, W S; Rothman, H B; Sapienza, C M

2000-09-01

Acoustic and perceptual analyses were completed to determine the effect of vocal training on professional singers when speaking and singing. Twenty professional singers and 20 nonsingers, acting as the control, were recorded while sustaining a vowel, reading a modified Rainbow Passage, and singing "America the Beautiful." Acoustic measures included fundamental frequency, duration, percent jitter, percent shimmer, noise-to-harmonic ratio, and determination of the presence or absence of both vibrato and the singer's formant. Results indicated that, whereas certain acoustic parameters differentiated singers from nonsingers within sex, no consistently significant trends were found across males and females for either speaking or singing. The most consistent differences were the presence or absence of the singer's vibrato and formant in the singers versus the nonsingers, respectively. Perceptual analysis indicated that singers could be correctly identified with greater frequency than by chance alone from their singing, but not their speaking utterances.

Effects of vocal training on singing and speaking voice characteristics in vocally healthy adults and children based on choral and nonchoral data.

PubMed

Siupsinskiene, Nora; Lycke, Hugo

2011-07-01

This prospective cross-sectional study examines the effects of voice training on vocal capabilities in vocally healthy age and gender differentiated groups measured by voice range profile (VRP) and speech range profile (SRP). Frequency and intensity measurements of the VRP and SRP using standard singing and speaking voice protocols were derived from 161 trained choir singers (21 males, 59 females, and 81 prepubescent children) and from 188 nonsingers (38 males, 89 females, and 61 children). When compared with nonsingers, both genders of trained adult and child singers exhibited increased mean pitch range, highest frequency, and VRP area in high frequencies (P<0.05). Female singers and child singers also showed significantly increased mean maximum voice intensity, intensity range, and total VRP area. The logistic regression analysis showed that VRP pitch range, highest frequency, maximum voice intensity, and maximum-minimum intensity range, and SRP slope of speaking curve were the key predictors of voice training. Age, gender, and voice training differentiated norms of VRP and SRP parameters are presented. Significant positive effect of voice training on vocal capabilities, mostly singing voice, was confirmed. The presented norms for trained singers, with key parameters differentiated by gender and age, are suggested for clinical practice of otolaryngologists and speech-language pathologists. Copyright © 2011 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

[The voice of the singer in the phonetogram].

PubMed

Klingholz, F

1989-01-01

Phonetograms were subdivided into areas approximating voice registers. By means of an analytical description of the areas, parameters could be established for a differentiation of voice categories and efficiency. The evaluation of 21 untrained and 34 trained voices showed a significant difference between the two groups. Male singers demonstrated more efficiency in the head and chest registers than male non-singers; female singers showed a stronger efficiency only in the head voice in comparison with their non-singer counterparts. Proceeding from voice sound alone, voices are often misclassified regarding the voice categories, and voice problems arise. Moreover, enhanced training of only chest or head voice function results in functional disorders in the singing voice. Such cases can be demonstrated by means of phonetograms.

Flow Glottogram and Subglottal Pressure Relationship in Singers and Untrained Voices.

PubMed

Sundberg, Johan

2018-01-01

This article combines results from three earlier investigations of the glottal voice source during phonation at varying degrees of vocal loudness (1) in five classically trained baritone singers (Sundberg et al., 1999), (2) in 15 female and 14 male untrained voices (Sundberg et al., 2005), and (3) in voices rated as hyperfunctional by an expert panel (Millgård et al., 2015). Voice source data were obtained by inverse filtering. Associated subglottal pressures were estimated from oral pressure during the occlusion for the consonant /p/. Five flow glottogram parameters, (1) maximum flow declination rate (MFDR), (2) peak-to-peak pulse amplitude, (3) level difference between the first and the second harmonics of the voice source, (4) closed quotient, and (5) normalized amplitude quotient, were averaged across the singer subjects and related to associated MFDR values. Strong, quantitative relations, expressed as equations, are found between subglottal pressure and MFDR and between MFDR and each of the other flow glottogram parameters. The values for the untrained voices, as well as those for the voices rated as hyperfunctional, deviate systematically from the values derived from the equations. Copyright © 2018 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

A Joyful Noise: The Vocal Health of Worship Leaders and Contemporary Christian Singers.

PubMed

Neto, Leon; Meyer, David

2017-03-01

Contemporary commercial music (CCM) is a term that encompasses many styles of music. A growing subset of CCM is contemporary Christian music, a genre that has outpaced other popular styles such as Latin, jazz, and classical music. Contemporary Christian singers (CCSs) and worship leaders (WLs) are a subset of CCM musicians that face unique vocal demands and risks. They typically lack professional training and often perform in acoustically disadvantageous venues with substandard sound reinforcement systems. The vocal needs and risks of these singers are not well understood, and because of this, their training and care may be suboptimal. The aim of the present study was to investigate the vocal health of this growing population and their awareness of standard vocal hygiene principles. An online questionnaire was designed and administered to participants in the Americas, Europe, Australia, and Asia. A total of 614 participants responded to the questionnaire, which is made available in English, Portuguese, and Spanish. Many participants reported vocal symptoms such as vocal fatigue (n = 213; 34.7%), tickling or choking sensation (n = 149; 24.3%), loss of upper range (n = 172; 28%), and complete loss of voice (n = 25; 4.1%). One third of the participants (n = 210; 34%) indicated that they do not warm up their voices before performances and over half of the participants (n = 319; 52%) have no formal vocal training. Results suggest that this population demonstrates low awareness of vocal hygiene principles, frequently experience difficulty with their voices, and may face elevated risk of vocal pathology. Future studies of this population may confirm the vocal risks that our preliminary findings suggest. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Laryngeal dynamics of pedagogical taan gestures in Indian classical singing.

PubMed

Radhakrishnan, Nandhakumar; Scherer, Ronald C; Bandyopadhyay, Santanu

2011-05-01

Vocal modulations characterize many styles of singing. Vibrato, trill, and trillo are some of the ornaments that Western classical singers use. Likewise, taan is one of the basic frequency modulations demonstrated by Hindustani Indian classical singers. The objective of this descriptive study was to discover the F₀ contour of taan; establish selected acoustic, aerodynamic, and glottographic characteristics of the taan gesture; and explore the pedagogical taan utterances demonstrated by a well-known singer and teacher. Exploratory. Fundamental frequency, alternating current (AC) glottal flow, and electroglottographic width measures were obtained for taan productions by the classical Indian singer and teacher who demonstrated taan rate variations based on his pedagogical approach. The structure of the taan gesture was found to be an F₀ lowering and rising (the "taan dip") followed by a relatively flat portion (the "taan superior surface"). Rate of the F₀ structure of the taan gestures ranged from approximately 1.65 to 3.41Hz, and the F₀ extent ranged from 1.87 to 2.21semitone (ST). As the rate of the taan gesture increased, the superior surface shortened, whereas the taan dip stayed relatively constant (ranging from 170 to 230 ms). AC flow was greater for the lowest frequencies of the dip and faster rates. The pedagogical taan gesture has a specific structure of an F₀ dip followed by a relatively flat F₀ portion that shortens as taan rate increases. The F₀ dip and extent are relatively robust across rate. The taan productions are voluntarily controlled, in contrast to vibrato productions. Copyright © 2011 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Electrolaryngographically derived voice source changes of child and adolescent singers.

PubMed

Barlow, Christopher; Howard, David M

2005-01-01

Children are the most likely demographic group to undertake regular singing or singing training, but to date there has been little quantitative research into the voice production of children. The authors used closed quotient (CQ) measurements to analyse the singing voices of over 200 male and female, trained and untrained singers aged 8-18 years for differences in voice source according to sex, vocal training and age. Results indicated that the voice source production of subjects could be clearly divided into groups according to age, sex and the level of vocal training received. It was concluded that the process of training a young voice has a quantifiable effect upon the voice source. It was also concluded that sex differences result in significant differences in the voice source of child and adolescent singers.

Swedish Art Song: A Singer's Handbook to Diction and Repertoire

ERIC Educational Resources Information Center

Hersey, Anna Christine

2012-01-01

This essay is a guide to Swedish lyric diction for American singers. An overview of the linguistic traits and basic grammar of the Swedish language prepares the reader for a detailed description of Swedish phonemes and their occurrence in the language. Differences in pronunciation conventions as they pertain to classical singing, particularly the…

German Lieder in the Perception of the Modern Australian Listener and/or Singer: A Survey at the 30th National Liederfest

ERIC Educational Resources Information Center

Nafisi, Julia

2011-01-01

German Romantic Art Songs or German "Lieder" constitute a consistent part of every aspiring classical singer's repertoire around the world. This study investigates a contemporary Australian audiences' appreciation of the genre; it asks further what role the various Romantic characteristics play in German "Lieder" genre, gauges…

OVERLAP OF HEARING AND VOICING RANGES IN SINGING

PubMed Central

Hunter, Eric J.; Titze, Ingo R.

2008-01-01

Frequency and intensity ranges in voice production by trained and untrained singers were superimposed onto the average normal human hearing range. The vocal output for all subjects was shown both in Voice Range Profiles and Spectral Level Profiles. Trained singers took greater advantage of the dynamic range of the auditory system with harmonic energy (45% of the hearing range compared to 38% for untrained vocalists). This difference seemed to come from the trained singers ablily to exploit the most sensitive part of the hearing range (around 3 to 4 kHz) through the use of the singer’s formant. The trained vocalists’ average maximum third-octave spectral band level was 95 dB SPL, compared to 80 dB SPL for untrained. PMID:19844607

Laryngoscopic and spectral analysis of laryngeal and pharyngeal configuration in non-classical singing styles.

PubMed

Guzman, Marco; Lanas, Andres; Olavarria, Christian; Azocar, Maria Josefina; Muñoz, Daniel; Madrid, Sofia; Monsalve, Sebastian; Martinez, Francisca; Vargas, Sindy; Cortez, Pedro; Mayerhoff, Ross M

2015-01-01

The present study aimed to assess three different singing styles (pop, rock, and jazz) with laryngoscopic, acoustic, and perceptual analysis in healthy singers at different loudness levels. Special emphasis was given to the degree of anterior-posterior (A-P) laryngeal compression, medial laryngeal compression, vertical laryngeal position (VLP), and pharyngeal compression. Prospective study. Twelve female trained singers with at least 5 years of voice training and absence of any voice pathology were included. Flexible and rigid laryngeal endoscopic examinations were performed. Voice recording was also carried out. Four blinded judges were asked to assess laryngoscopic and auditory perceptual variables using a visual analog scale. All laryngoscopic parameters showed significant differences for all singing styles. Rock showed the greatest degree for all of them. Overall A-P laryngeal compression scores demonstrated significantly higher values than overall medial compression and VLP. High loudness level produced the highest degree of A-P compression, medial compression, pharyngeal compression, and the lowest VLP for all singing styles. Additionally, rock demonstrated the highest values for alpha ratio (less steep spectral slope), L1-L0 ratio (more glottal adduction), and Leq (more vocal intensity). Statistically significant differences between the three loudness levels were also found for these acoustic parameters. Rock singing seems to be the style with the highest degree of both laryngeal and pharyngeal activity in healthy singers. Although, supraglottic activity during singing could be labeled as hyperfunctional vocal behavior, it may not necessarily be harmful, but a strategy to avoid vocal fold damage. Copyright © 2015 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Intensive Opera Training Program Effects: A Psychological Investigation

ERIC Educational Resources Information Center

Thomson, Paula; Jaque, S. Victoria; Baltz, Ann

2017-01-01

Opera singers face psychological and occupational demands that often compromise well-being and career satisfaction. In this repeated measures study, professional and pre-professional opera singers participated in either a two-week or four-week intensive training program that was designed to enhance performance skills. Curriculum was taught in an…

A comparative study of trained and untrained rabindrasangeet singers.

PubMed

Chatterjee, Indranil; Kumar, Suman; Chattopadhyay, Durba

2012-12-01

This scientific paper proposes an analytic framework specifically for Rabindrasangeet singing that models the time-varying physical and expressive characteristics unique to an individual voice through a phonetogram analysis. The present study incorporates the most popular Rabindrasangeet into account for analysis to get an idea about the specific numerical data regarding the fundamental frequency, semitones, SPL range, and area as well as to give a precise guideline to those clients. While comparing the trained and untrained singers both males and females the F0 parameter is found to be louder in trained group. The mean semitone is always higher in females than in males and the trained male subjects have significantly higher SPL range than trained female subjects and trained females have higher SPL range than untrained female subjects. The enclosed area is larger in trained singers and more in females than males. Results of this study indicate differences between untrained and trained phonetograms. These differences can be attributed to greater natural capacities in trainedsubjects or a superior learned control over the voice mechanism.

The brain of opera singers: experience-dependent changes in functional activation.

PubMed

Kleber, B; Veit, R; Birbaumer, N; Gruzelier, J; Lotze, M

2010-05-01

Several studies have shown that motor-skill training over extended time periods results in reorganization of neural networks and changes in brain morphology. Yet, little is known about training-induced adaptive changes in the vocal system, which is largely subserved by intrinsic reflex mechanisms. We investigated highly accomplished opera singers, conservatory level vocal students, and laymen during overt singing of an Italian aria in a neuroimaging experiment. We provide the first evidence that the training of vocal skills is accompanied by increased functional activation of bilateral primary somatosensory cortex representing articulators and larynx. Opera singers showed additional activation in right primary sensorimotor cortex. Further training-related activation comprised the inferior parietal lobe and bilateral dorsolateral prefrontal cortex. At the subcortical level, expert singers showed increased activation in the basal ganglia, the thalamus, and the cerebellum. A regression analysis of functional activation with accumulated singing practice confirmed that vocal skills training correlates with increased activity of a cortical network for enhanced kinesthetic motor control and sensorimotor guidance together with increased involvement of implicit motor memory areas at the subcortical and cerebellar level. Our findings may have ramifications for both voice rehabilitation and deliberate practice of other implicit motor skills that require interoception.

Signal analysis of the female singing voice: Features for perceptual singer identity

NASA Astrophysics Data System (ADS)

Mellody, Maureen

2001-07-01

Individual singing voices tend to be easy for a listener to identify, particularly when compared to the difficulty of identifying the performer of any other musical instrument. What cues does a listener use to identify a particular singing voice? This work seeks to identify a set of features with which one can synthesize notes with the vocal quality of a particular singer. Such analysis and synthesis influences computer music (in the creation of synthetic sounds with different timbre), vocal pedagogy (as a training tool to help singers understand properties of their own voice as well as different professional-quality voices), and vocal health (to identify improper behavior in vocal production). The problem of singer identification is approached in three phases: signal analysis, the development of low- order representations, and perceptual evaluation. To perform the signal analysis, a high-resolution time- frequency distribution is applied to vowel tokens from sopranos and mezzo-sopranos. From these results, low- order representations are created for each singer's notes, which are used to synthesize sounds with the timbral quality of that singer. Finally, these synthesized sounds, along with original recordings, are evaluated by trained listeners in a variety of perceptual experiments to determine the extent to which the vocal quality of the desired singer is captured. Results from the signal analysis show that amplitude and frequency estimates extracted from the time-frequency signal analysis can be used to re-create each signal with little degradation in quality and no loss of perceptual identity. Low-order representations derived from the signal analysis are used in clustering and classification, which successfully clusters signals with corresponding singer identity. Finally, perceptual results indicate that trained listeners are, surprisingly, only modestly successful at correctly identifying the singer of a recording, and find the task to be particularly difficult for certain voices and extremely easy for others. Listeners also indicate that the majority of sounds synthesized with the low-order representations sufficiently capture the desired vocal timbre. Again, the task is easy for certain voices and much more difficult when evaluating other singers, consistent with the results from the original recordings.

Vocal handicap index in popular and erudite professional singers.

PubMed

Loiola-Barreiro, Camila Miranda; Silva, Marta Assumpção de Andrada E

To compare the voice handicap index of popular and erudite professional singers according to gender, age, professional experience time, and presence or absence of self-reported vocal complaints. One hundred thirty-two professional singers, 74 popular and 58 erudite, who responded to a questionnaire with regards to identification, age, gender, professional experience time in singing, musical genres (for popular singers), vocal classification (for erudite singers), presence of self-reported vocal complaints, and the specific protocols for popular (Modern Singing Handicap Index - MSHI) and erudite (Classical Singing Handicap Index - CSHI) singing. Higher proportion of women and higher incidence of vocal complaints were observed in the popular singers compared with the erudite singers. Most of the popular singers belonged to the genre of Brazilian Popular Music. Regarding the classification of erudite singers, there was greater participation of sopranos and tenors. No statistical differences were observed with respect to age and professional experience time between the groups. Comparison of the MSHI and CSHI scores showed no statistically significant difference between these scores and genre or age in both groups of singers. Professional experience time was related to the total score and the subscales disability and impairment in the MSHI, only for popular singers with vocal complaints. There was no correlation between these variables and the CSHI for erudite singers. The impact of vocal difficulty/problem interferes differently in these two musical genres when related to vocal complaint and professional experience time. The MSHI and CSHI protocols proved to be important tools not only for the identification of problems, but also for the understanding of how these individuals relate their voices with this occupational activity.

Effects of Focus of Attention on Tone Production in Trained Singers

ERIC Educational Resources Information Center

Atkins, Rebecca L.

2017-01-01

Motor performance in familiar tasks is often advantaged when performers focus on the effects of their movements rather than on the movements themselves. But, this phenomenon has yet to be studied systematically in the context of vocal production. I evaluated 20 trained singers' vocal tone as they varied their focus of attention. Each participant…

Relationship of the Cricothyroid Space with Vocal Range in Female Singers.

PubMed

Pullon, Beverley

2017-01-01

This study aims to investigate the relationship between the anterior cricothyroid (CT) space at rest with vocal range in female singers. Potential associations with and between voice categories, age, ethnicity, anthropometric indices, neck dimensions, laryngeal dimensions, vocal data along with habitual speaking fundamental frequency were also explored. This is a cohort study. Laryngeal dimensions anterior CT space and heights of the thyroid and cricoid cartilages were measured using ultrasound in 43 healthy, classically trained, female singers during quiet respiration. Voice categories (soprano and mezzo-soprano), age, ethnicity, weight, height, body mass index, neck circumference and length, anterior thyroid and cricoid cartilage heights, practice and performance vocal range, lowest and highest practice and performance notes along with habitual speaking fundamental frequency were collected. The main finding was that mezzo-sopranos have a significantly wider resting CT space than sopranos (11.6 mm versus 10.4 mm; P = 0.007). Mezzo-sopranos also had significantly lower "lowest and highest" performance notes than sopranos. There was no significant correlation between the magnitudes of the anterior CT space with vocal range. The participants with the narrowest and widest anterior CT space had similar vocal ranges. These results suggest that the CT space is not the major determinant of performance vocal range. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Muscular patterns and activation levels of auxiliary breathing muscles and thorax movement in classical singing.

PubMed

Pettersen, Viggo

2005-01-01

The aim of this paper is to present an overview of the findings in seven studies exploring muscular patterns and muscle activation levels in selected muscles by classical singers. In addition, the relationship of these muscles to thorax (TX) movement was investigated. Loading levels and respiratory phasing of upper trapezius (TR), sternocleidomastoideus (STM) and the scalenes (SC) were investigated in vocalization tasks with variation in vocal loudness and pitch. Further, muscle activity in the posterior neck (PN) was investigated in inhalation and phonation and, finally, TR, intercostal (INT), lateral abdominal (OBL) and anterior abdominal (RC) muscle loading in student and professional singers was examined. Muscle activity was recorded by use of an ambulatory four-channel monitoring system (Physiometer PHY 400, Premed, Norway). TX movement was traced with two strain gauge sensors (RES-117) placed around the upper TX and lower TX. A phasing of upper TR activity to INT and OBL activity was discovered, all muscles supporting the expiration phase. During phonation, TR contributes in the compression of the upper TX, thus serving as an accessory muscle of expiration. TR activity is reduced with short breathing cycles and is mostly inactive in simplified speaking tasks. During phonation, professional opera singers activate the expiratory-phased TR, INT, OBL and RC muscles to higher levels than student singers do. STM and SC show correlated activity patterns during inhalation and phonation by classical singers. During demanding singing, expiratory-phased STM and SC activity peaks produce a counterforce to the compression of upper TX at high pitches. As breathing demands are lowered, STM and SC activity are reduced and attain inspiratory phasing. Substantial muscle activity is observed in PN during inhalation and phonation. EMG biofeedback performed on TR and STM have a secondary effect of lowering EMG activity in PN. (c) 2005 S. Karger AG, Basel

Singers' and Nonsingers' Perception of Vocal Vibrato.

PubMed

Reddy, A Anita; Subramanian, Uma

2015-09-01

Vibrato, a small, nevertheless an important component in the singing voice is known to enrich the overall singing voice quality. However, in the perception of overall performance, it is often neglected. Singing performance is often appreciated by a mixed audience of those who love music, but not necessarily sing and other singers who may or may not be teachers of singing. The objectives of the present study were aimed at investigating singers' and nonsingers' perception of vocal vibrato and its effect on the ratings of singer's overall performance. Prerecorded audio samples of the chorus of a hymn (How Great Thou Art) as sung by 10 singers (both men and women) were played via a speaker to two groups of judges which consisted of three experienced singers and three experienced nonsingers. The singer judges (SJs) were vocal instructors in Western classical, music theater, pop, and contemporary styles. Seven parameters (presence of vibrato, rate, extent, conspicuousness, quality, periodicity, and type) related to vibrato were evaluated through auditory perception by these two groups of judges on a rating scale developed specifically for the study, and one parameter evaluated singer's overall performance. Cohen's Kappa statistical analysis was used for inter-rater reliability within groups. Nonsinger judges (NSJs) within the group showed varied ratings as did SJs, yet SJs did have higher agreement than NSJs. Chi-square analysis was used across groups. Both groups were distinct from each other in their perception of vibrato. Ratings of singer's overall performance were not affected for NSJs, but certainly affected for SJ. It could not be concluded that ratings on singer's overall performance was affected as a result of vibrato. Since vibrato is often over-ridden by the singer's voice. But a rare occasion can arise where a vibrato may not sound pleasant and can affect the listener's perception of the singer's performance. Often a feedback from listeners would help monitor singers' performance. Copyright © 2015 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Voice Onset Time for Female Trained and Untrained Singers during Speech and Singing

ERIC Educational Resources Information Center

McCrea, Christopher R.; Morris, Richard J.

2007-01-01

The purpose of this study was to examine the voice onset times of female trained and untrained singers during spoken and sung tasks. Thirty females were digitally recorded speaking and singing short phrases containing the English stop consonants /p/ and /b/ in the word-initial position. Voice onset time was measured for each phoneme and…

A comparison of harmonic production in trained and untrained singers

NASA Astrophysics Data System (ADS)

Hildebrand, Jonathan H.; Caso, Hilary J.

2004-05-01

This study was designed to investigate the differences in the tone qualities of trained and untrained singers of both genders by measuring the ratio of energy found in the fundamental frequency to that found in the harmonics of the two groups. Forty trained and untrained male and female subjects (ten in each group) sang the vowels [a e i o u] in the words ``me cake father obey too.'' Each subject sang through the list of words in its entirety one time. They were also asked to produce each word at a constant pitch of their choosing. The intensity (dB) was then measured at the vowel midpoint in the intact vowel, and then again with the fundamental filtered out. These two measurements allowed for a comparison to be made by subtracting the results. This process produced results showing that the fundamental frequency was responsible for the majority of the trained singers', vocal productions, where harmonics were responsible for the majority of the untrained singers', vocal productions. The data also showed that these results were more prominent for the production of the high vowels in both genders, and for women overall.

Chaos tool implementation for non-singer and singer voice comparison (preliminary study)

NASA Astrophysics Data System (ADS)

Dajer, Me; Pereira, Jc; Maciel, Cd

2007-11-01

Voice waveform is linked to the stretch, shorten, widen or constrict vocal tract. The articulation effects of the singer's vocal tract modify the voice acoustical characteristics and differ from the non-singer voices. In the last decades, Chaos Theory has shown the possibility to explore the dynamic nature of voice signals from a different point of view. The purpose of this paper is to apply the chaos technique of phase space reconstruction to analyze non- singers and singer voices in order to explore the signal nonlinear dynamic, and correlate them with traditional acoustic parameters. Eight voice samples of sustained vowel /i/ from non-singers and eight from singers were analyzed with "ANL" software. The samples were also acoustically analyzed with "Analise de Voz 5.0" in order to extract acoustic perturbation measures jitter and shimmer, and the coefficient of excess - (EX). The results showed different visual patterns for the two groups correlated with different jitter, shimmer, and coefficient of excess values. We conclude that these results clearly indicate the potential of phase space reconstruction technique for analysis and comparison of non-singers and singer voices. They also show a promising tool for training voices application.

Acoustic analysis of the singing and speaking voice in singing students.

PubMed

Lundy, D S; Roy, S; Casiano, R R; Xue, J W; Evans, J

2000-12-01

The singing power ratio (SPR) is an objective means of quantifying the singer's formant. SPR has been shown to differentiate trained singers from nonsingers and sung from spoken tones. This study was designed to evaluate SPR and acoustic parameters in singing students to determine if the singer-in-training has an identifiable difference between sung and spoken voices. Digital audio recordings were made of both sung and spoken vowel sounds in 55 singing students for acoustic analysis. SPR values were not significantly different between the sung and spoken samples. Shimmer and noise-to-harmonic ratio were significantly higher in spoken samples. SPR analysis may provide an objective tool for monitoring the student's progress.

Pitch matching accuracy of trained singers, untrained subjects with talented singing voices, and untrained subjects with nontalented singing voices in conditions of varying feedback.

PubMed

Watts, Christopher; Murphy, Jessica; Barnes-Burroughs, Kathryn

2003-06-01

At a physiological level, the act of singing involves control and coordination of several systems involved in the production of sound, including respiration, phonation, resonance, and afferent systems used to monitor production. The ability to produce a melodious singing voice (eg, in tune with accurate pitch) is dependent on control over these motor and sensory systems. To test this position, trained singers and untrained subjects with and without expressed singing talent were asked to match pitches of target pure tones. The ability to match pitch reflected the ability to accurately integrate sensory perception with motor planning and execution. Pitch-matching accuracy was measured at the onset of phonation (prephonatory set) before external feedback could be utilized to adjust the voiced source, during phonation when external auditory feedback could be utilized, and during phonation when external auditory feedback was masked. Results revealed trained singers and untrained subjects with singing talent were no different in their pitch-matching abilities when measured before or after external feedback could be utilized. The untrained subjects with singing talent were also significantly more accurate than the trained singers when external auditory feedback was masked. Both groups were significantly more accurate than the untrained subjects without singing talent.

Dr. Dinah Singer: Increasing Diversity in Cancer Research: One Lab at a Time

Cancer.gov

As part of the series “Increasing Diversity in Cancer Research,” CRCHD spoke with Dr. Dinah Singer, Director of NCI’s Division of Cancer Biology, about training and mentorship, and the role it plays in attracting and retaining students and investigators underrepresented in cancer research.

"We ARE Our Instrument!": Forming a Singer Identity

ERIC Educational Resources Information Center

O'Bryan, Jessica

2015-01-01

Preparation for the operatic stage means that for some students their voice will undergo significant transformation during training. For most operatic singers, voice type will determine future roles, the music they perform and potential career trajectory. Voice type becomes a facet of identity and position within the operatic world. This article…

Lower Vocal Tract Morphologic Adjustments Are Relevant for Voice Timbre in Singing.

PubMed

Mainka, Alexander; Poznyakovskiy, Anton; Platzek, Ivan; Fleischer, Mario; Sundberg, Johan; Mürbe, Dirk

2015-01-01

The vocal tract shape is crucial to voice production. Its lower part seems particularly relevant for voice timbre. This study analyzes the detailed morphology of parts of the epilaryngeal tube and the hypopharynx for the sustained German vowels /a/, /e/, /i/, /o/, and /u/ by thirteen male singer subjects who were at the beginning of their academic singing studies. Analysis was based on two different phonatory conditions: a natural, speech-like phonation and a singing phonation, like in classical singing. 3D models of the vocal tract were derived from magnetic resonance imaging and compared with long-term average spectrum analysis of audio recordings from the same subjects. Comparison of singing to the speech-like phonation, which served as reference, showed significant adjustments of the lower vocal tract: an average lowering of the larynx by 8 mm and an increase of the hypopharyngeal cross-sectional area (+ 21:9%) and volume (+ 16:8%). Changes in the analyzed epilaryngeal portion of the vocal tract were not significant. Consequently, lower larynx-to-hypopharynx area and volume ratios were found in singing compared to the speech-like phonation. All evaluated measures of the lower vocal tract varied significantly with vowel quality. Acoustically, an increase of high frequency energy in singing correlated with a wider hypopharyngeal area. The findings offer an explanation how classical male singers might succeed in producing a voice timbre with increased high frequency energy, creating a singer`s formant cluster.

Effects of practice and experience on the arcuate fasciculus: comparing singers, instrumentalists, and non-musicians.

PubMed

Halwani, Gus F; Loui, Psyche; Rüber, Theodor; Schlaug, Gottfried

2011-01-01

Structure and function of the human brain are affected by training in both linguistic and musical domains. Individuals with intensive vocal musical training provide a useful model for investigating neural adaptations of learning in the vocal-motor domain and can be compared with learning in a more general musical domain. Here we confirm general differences in macrostructure (tract volume) and microstructure (fractional anisotropy, FA) of the arcuate fasciculus (AF), a prominent white-matter tract connecting temporal and frontal brain regions, between singers, instrumentalists, and non-musicians. Both groups of musicians differed from non-musicians in having larger tract volume and higher FA values of the right and left AF. The AF was then subdivided in a dorsal (superior) branch connecting the superior temporal gyrus and the inferior frontal gyrus (STG ↔ IFG), and ventral (inferior) branch connecting the middle temporal gyrus and the inferior frontal gyrus (MTG ↔ IFG). Relative to instrumental musicians, singers had a larger tract volume but lower FA values in the left dorsal AF (STG ↔ IFG), and a similar trend in the left ventral AF (MTG ↔ IFG). This between-group comparison controls for the general effects of musical training, although FA was still higher in singers compared to non-musicians. Both musician groups had higher tract volumes in the right dorsal and ventral tracts compared to non-musicians, but did not show a significant difference between each other. Furthermore, in the singers' group, FA in the left dorsal branch of the AF was inversely correlated with the number of years of participants' vocal training. Our findings suggest that long-term vocal-motor training might lead to an increase in volume and microstructural complexity of specific white-matter tracts connecting regions that are fundamental to sound perception, production, and its feedforward and feedback control which can be differentiated from a more general musician effect.

Vocal perfection in yodelling--pitch stabilities and transition times.

PubMed

Echternach, Matthias; Richter, Bernhard

2010-04-01

Yodelling is a special kind of vocal performance in traditional music which consists of rapid and repeated changes in pitch. It is assumed that these pitch changes are accompanied by register changes. We analysed, using the laryngograph, yodelling on different vowels by four professional yodelling teachers (two male, two female), four professional classically trained singers, and four untrained voices. Results reveal that pitch changes in yodelling are associated with decrease of electroglottograpgic (EGG) contact quotient for the upper pitch, indicating a register shift. Furthermore, in contrast to untrained voices, for the yodellers lower and upper pitches were more stable with respect to fundamental frequency and perturbation values, and the pitch transitions were faster.

Singing voice handicap and videostrobolaryngoscopy in healthy professional singers.

PubMed

Castelblanco, Liliana; Habib, Michael; Stein, Daniel J; de Quadros, André; Cohen, Seth M; Noordzij, Jacob Pieter

2014-09-01

This study correlates the Singing Voice Handicap Index (SVHI) scores with videostrobolaryngoscopy in healthy professional singers as a measure of self-perceived vocal health versus actual pathology seen on examination. The objective was to measure the strength of self-assessment among professional singers and determine if there is a benefit of combining SVHI and videostrobolaryngoscopy for routine assessment of singers without an obvious singing voice problem. Prospective cross-sectional study. Forty-seven singers were included in the study. Singers produced spoken and sung pitches during videostrobolaryngoscopy. Examinations were blindly rated by two independent fellowship-trained laryngologists who assessed vocal fold appearance and function. The correlation between SVHI scores and total pathologic findings seen on videostrobolaryngoscopy was analyzed using linear regression and serial t tests. SVHI scores (mean of 22.45/144) were as expected for healthy singers. However, although all singers self-identified as healthy, laryngeal abnormalities were relatively common. The interrater reliability of total pathologic findings between two laryngologists was 71% (P = 0.006). Linear regression found no significant correlation (P = 0.9602) between SVHI scores and videostrobolaryngoscopy findings. Greater than expected laryngeal pathology was seen in these professional singers, who identified themselves as healthy, which possibly indicates a minimal impact on their singing voice and/or perception of vocal health. These findings demonstrate that laryngeal appearance alone does not dictate nor fully explain the sound or apparent health of a professional singer. Sustaining good vocal health is complex, and even experienced singers may not reliably assess the presence of pathology. Copyright © 2014 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

The Lombard Effect in Choral Singing

NASA Astrophysics Data System (ADS)

Tonkinson, Steven E.

The Lombard effect is a phenomenon in which a speaker or singer involuntarily raises his or her vocal intensity in the presence of high levels of sound. Many Lombard studies have been published in relation to the speaking voice but very little on the singing voice. A strong reliance upon auditory feedback seems to be a key factor in causing the Lombard effect and research has suggested that singers with more experience and training, especially soloists, do not rely as much on auditory feedback. The purpose of this study was to compare selected vocal intensity response level readings of adult singers, with varying amounts of training, before and after verbal instructions to resist the Lombard effect in choral singing. Choral singers seem especially susceptible because of the nature of the choral environment with its strong masking effect and because of a relative lack of training in voice management. Twenty-seven subjects were asked to sing the national anthem along with a choir heard through headphones. After some brief instructions to resist increasing vocal intensity as the choir increased, each subject sang once again. The performances were recorded and vocal intensity (dB SPL) readings from selected places in the song were obtained from a graphic level recorder chart and analyzed for statistical significance. A 3 x 3 x 2 multiple analysis of variance procedure was performed on the scores, the main factors being experience level, pretest-posttest differences, and places in the song. The questions to be answered by the study were: (1) Do varying levels of experience affect to a significant degree to Lombard effect in choral singing, and (2) Do instructions to maintain a constant level of vocal intensity affect to a significant degree the Lombard effect in singers of varying levels of experience. No significant difference (.05 level) for levels of experience was observed. The effect of the instructions, however, was significant (p <.05) and suggested that choral singers can learn to resist the Lombard effect and consciously regulate their vocal intensity to some extent in the face of masking sound. Choral directors are encouraged to help singers in this regard and inculcate principles of good voice management.

Collaboration and conquest: MTD as viewed by voice teacher (singing voice specialist) and speech-language pathologist.

PubMed

Goffi-Fynn, Jeanne C; Carroll, Linda M

2013-05-01

This study was designed as a qualitative case study to demonstrate the process of diagnosis and treatment between a voice team to manage a singer diagnosed with muscular tension dysphonia (MTD). Traditionally, literature suggests that MTD is challenging to treat and little in the literature directly addresses singers with MTD. Data collected included initial medical screening with laryngologist, referral to speech-language pathologist (SLP) specializing in voice disorders among singers, and adjunctive voice training with voice teacher trained in vocology (singing voice specialist or SVS). Initial target goals with SLP included reducing extrinsic laryngeal tension, using a relaxed laryngeal posture, and effective abdominal-diaphragmatic support for all phonation events. Balance of respiratory forces, laryngeal coordination, and use of optimum filtering of the source signal through resonance and articulatory awareness was emphasized. Further work with SVS included three main goals including a lowered breathing pattern to aid in decreasing subglottic air pressure, vertical laryngeal position to lower to allow for a relaxed laryngeal position, and a top-down singing approach to encourage an easier, more balanced registration, and better resonance. Initial results also emphasize the retraining of subject toward a sensory rather than auditory mode of monitoring. Other areas of consideration include singers' training and vocal use, the psychological effects of MTD, the personalities potentially associated with it, and its relationship with stress. Finally, the results emphasize that a positive rapport with the subject and collaboration between all professionals involved in a singer's care are essential for recovery. Copyright © 2013 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Variation of electrolaryngographically derived closed quotient for trained and untrained adult female singers.

PubMed

Howard, D M

1995-06-01

The derivation of larynx closed quotient (CQ) measures from the electrolarynogograph output is discussed and data are presented for a group of trained and untrained adult female singers (N = 26) for a sung two-octave G major scale. Statistically significant trends are observed between the trained and untrained groups that suggest for the trained group: (a) CQ tends to be lower for pitches below D4 and higher for pitches above B4, and (b) the gradient [CQ/log(F0)] tends to correlate positively with the number of years singing training/experience. These data are compared with those reported previously for an adult male group, and it is suggested that CQ could be a useful parameter to include in a real-time visual display for singing training.

Vocal tract and glottal function during and after vocal exercising with resonance tube and straw.

PubMed

Guzman, Marco; Laukkanen, Anne-Maria; Krupa, Petr; Horáček, Jaromir; Švec, Jan G; Geneid, Ahmed

2013-07-01

The present study aimed to investigate the vocal tract and glottal function during and after phonation into a tube and a stirring straw. A male classically trained singer was assessed. Computerized tomography (CT) was performed when the subject produced [a:] at comfortable speaking pitch, phonated into the resonance tube and when repeating [a:] after the exercise. Similar procedure was performed with a narrow straw after 15 minutes silence. Anatomic distances and area measures were obtained from CT midsagittal and transversal images. Acoustic, perceptual, electroglottographic (EGG), and subglottic pressure measures were also obtained. During and after phonation into the tube or straw, the velum closed the nasal passage better, the larynx position lowered, and hypopharynx area widened. Moreover, the ratio between the inlet of the lower pharynx and the outlet of the epilaryngeal tube became larger during and after tube/straw phonation. Acoustic results revealed a stronger spectral prominence in the singer/speaker's formant cluster region after exercising. Listening test demonstrated better voice quality after straw/tube than before. Contact quotient derived from EGG decreased during both tube and straw and remained lower after exercising. Subglottic pressure increased during straw and remained somewhat higher after it. CT and acoustic results indicated that vocal exercises with increased vocal tract impedance lead to increased vocal efficiency and economy. One of the major changes was the more prominent singer's/speaker's formant cluster. Vocal tract and glottal modifications were more prominent during and after straw exercising compared with tube phonation. Copyright © 2013 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

A comparison of trained and untrained vocalists on the Dysphonia Severity Index.

PubMed

Awan, Shaheen N; Ensslen, Anysia J

2010-11-01

The purposes of this study were (1) to compare trained and untrained singers on the Dysphonia Severity Index (DSI) and its component measures, and (2) to contribute to normative DSI data for trained singers. This study included 36 untrained participants (15 males and 21 females) and 30 participants (15 males and 15 females) with singing experience between the ages of 18 and 30 years. Measures of maximum phonation time (MPT), highest phonational frequency, lowest intensity, and jitter were obtained for each subject and incorporated into the previously published multivariate DSI formula. Results indicated that vocally trained subjects have significantly higher DSI scores than untrained subjects (mean DSI: 6.48 vs 4.00, respectively), with significant differences observed between trained and untrained groups for three of the four components of the DSI (F(0) high; I low; jitter). The findings of this study are consistent with previous reports that indicate significant increases in the DSI with vocal training, and with various studies that have observed increased vocal capability in trained singers versus their untrained counterparts. The results of this study indicate that alternative normative expectations for the DSI may need to be taken into account when using the DSI with patients who have participated in directed vocal training, such as choral participation and voice/singing lessons. Copyright © 2010 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Immediate effects of the semi-occluded vocal tract exercise with LaxVox® tube in singers.

PubMed

Fadel, Congeta Bruniere Xavier; Dassie-Leite, Ana Paula; Santos, Rosane Sampaio; Santos, Celso Gonçalves Dos; Dias, Cláudio Antônio Sorondo; Sartori, Denise Jussara

The purpose of this study was to analyze the immediate effects of the semi-occluded vocal tract exercise (SOVTE) using the LaxVox® tube in singers. Participants were 23 singers, classical singing students, aged 18 to 47 years (mean age = 27.2 years). First, data was collected through the application of a demographic questionnaire and the recording of sustained emission - vowel /ε/, counting 1-10, and a music section from the participants' current repertoire. After that, the participants were instructed and performed the SOVTE using the LaxVox® tube for three minutes. Finally, the same vocal samples were collected immediately after SOVTE performance and the singers responded to a questionnaire on their perception regarding vocal changes after the exercise. The vocal samples were analyzed by referees (speech-language pathologists and singing teachers) and by means of acoustic analysis. Most of the singers reported improved voice post-exercise in both tasks - speech and singing. Regarding the perceptual assessment (sustained vowel, speech, and singing), the referees found no difference between pre- and post-exercise emissions. The acoustic analysis of the sustained vowel showed increased Fundamental Frequency (F0) and reduction of the Glottal to Noise Excitation (GNE) ratio post-exercise. The semi-occluded vocal tract exercise with LaxVox® tube promotes immediate positive effects on the self-assessment and acoustic analysis of voice in professional singers without vocal complains. No immediate significant changes were observed with respect to auditory-perceptual evaluation of speech and singing.

The effects of preventive vocal hygiene education on the vocal hygiene habits and perceptual vocal characteristics of training singers.

PubMed

Broaddus-Lawrence, P L; Treole, K; McCabe, R B; Allen, R L; Toppin, L

2000-03-01

The purpose of the present study was to determine the effects of vocal hygiene education on the vocal hygiene behaviors and perceptual vocal characteristics of untrained singers. Eleven adult untrained singers served as subjects. They attended four 1-hour class sessions on vocal hygiene, including anatomy and physiology of the phonatory mechanism, vocally abusive behaviors, voice disorders commonly seen in singers, and measures to prevent voice disorders. Pre- and postinstruction surveys were used to record subjects' vocal abuses and their perceptions of their speaking and singing voice. They also rated their perceived value of vocal hygiene education. Results revealed minimal changes in vocal hygiene behaviors and perceptual voice characteristics. The subjects did report a high degree of benefit and learning, however.

The sensitivity of auditory-motor representations to subtle changes in auditory feedback while singing.

PubMed

Keough, Dwayne; Jones, Jeffery A

2009-08-01

Singing requires accurate control of the fundamental frequency (F0) of the voice. This study examined trained singers' and untrained singers' (nonsingers') sensitivity to subtle manipulations in auditory feedback and the subsequent effect on the mapping between F0 feedback and vocal control. Participants produced the consonant-vowel /ta/ while receiving auditory feedback that was shifted up and down in frequency. Results showed that singers and nonsingers compensated to a similar degree when presented with frequency-altered feedback (FAF); however, singers' F0 values were consistently closer to the intended pitch target. Moreover, singers initiated their compensatory responses when auditory feedback was shifted up or down 6 cents or more, compared to nonsingers who began compensating when feedback was shifted up 26 cents and down 22 cents. Additionally, examination of the first 50 ms of vocalization indicated that participants commenced subsequent vocal utterances, during FAF, near the F0 value on previous shift trials. Interestingly, nonsingers commenced F0 productions below the pitch target and increased their F0 until they matched the note. Thus, singers and nonsingers rely on an internal model to regulate voice F0, but singers' models appear to be more sensitive in response to subtle discrepancies in auditory feedback.

Effects of vocal training and phonatory task on voice onset time.

PubMed

McCrea, Christopher R; Morris, Richard J

2007-01-01

The purpose of this study was to examine the temporal-acoustic differences between trained singers and nonsingers during speech and singing tasks. Thirty male participants were separated into two groups of 15 according to level of vocal training (ie, trained or untrained). The participants spoke and sang carrier phrases containing English voiced and voiceless bilabial stops, and voice onset time (VOT) was measured for the stop consonant productions. Mixed analyses of variance revealed a significant main effect between speech and singing for /p/ and /b/, with VOT durations longer during speech than singing for /p/, and the opposite true for /b/. Furthermore, a significant phonatory task by vocal training interaction was observed for /p/ productions. The results indicated that the type of phonatory task influences VOT and that these influences are most obvious in trained singers secondary to the articulatory and phonatory adjustments learned during vocal training.

Can Genre Be "Heard" in Scale as Well as Song Tasks? An Exploratory Study of Female Singing in Western Lyric and Musical Theater Styles.

PubMed

Kayes, Gillyanne; Welch, Graham F

2017-05-01

Using an empirical design, this study investigated perceptual and acoustic differences between the recorded vocal products of songs and scales of professional female singers of classical Western Lyric (WL) and non-legit Musical Theater (MT) styles. A total of 54 audio-recorded samples of songs and scales from professional female singers were rated in a blind randomized testing process by seven expert listeners as being performed by either a WL or MT singer. Songs and scales that were accurately perceived by genre were then analyzed intra- and inter-genre using long-term average spectrum analysis. A high level of agreement was found between judges in ratings for both songs and scales according to genre (P < 0.0001). Judges were more successful in locating WL than MT, but accuracy was always >50%. For the long-term average spectrum analysis intra-genre, song and scale matched better than chance. The highest spectral peak for the WL singers was at the mean fundamental frequency, whereas this spectral area was weaker for the MT singers, who showed a marked peak at 1 kHz. The other main inter-genre difference appeared in the higher frequency region, with a peak in the MT spectrum between 4 and 5 kHz-the region of the "speaker's formant." In comparing female singers of WL and MT styles, scales as well as song tasks appear to be indicative of singer genre behavior. This implied difference in vocal production may be useful to teachers and clinicians dealing with multiple genres. The addition of a scale-in-genre task may be useful in future research seeking to identify genre-distinctive behaviors. Crown Copyright © 2017. Published by Elsevier Inc. All rights reserved.

Song Perception by Professional Singers and Actors: An MEG Study

PubMed Central

Rosslau, Ken; Herholz, Sibylle C.; Knief, Arne; Ortmann, Magdalene; Deuster, Dirk; Schmidt, Claus-Michael; Zehnhoff-Dinnesen, Antoinetteam; Pantev, Christo; Dobel, Christian

2016-01-01

The cortical correlates of speech and music perception are essentially overlapping, and the specific effects of different types of training on these networks remain unknown. We compared two groups of vocally trained professionals for music and speech, singers and actors, using recited and sung rhyme sequences from German art songs with semantic and/ or prosodic/melodic violations (i.e. violations of pitch) of the last word, in order to measure the evoked activation in a magnetoencephalographic (MEG) experiment. MEG data confirmed the existence of intertwined networks for the sung and spoken modality in an early time window after word violation. In essence for this early response, higher activity was measured after melodic/prosodic than semantic violations in predominantly right temporal areas. For singers as well as for actors, modality-specific effects were evident in predominantly left-temporal lateralized activity after semantic expectancy violations in the spoken modality, and right-dominant temporal activity in response to melodic violations in the sung modality. As an indication of a special group-dependent audiation process, higher neuronal activity for singers appeared in a late time window in right temporal and left parietal areas, both after the recited and the sung sequences. PMID:26863437

Phonetogram changes for trained singers over a nine-month period of vocal training.

PubMed

LeBorgne, Wendy DeLeo; Weinrich, Barbara D

2002-03-01

Professional vocalists encounter demands requiring voluntary control of phonation, while utilizing a considerable range of frequency and intensity. These quantifiable acoustic events can be measured and represented in a phonetogram. Previous research has compared the phonetograms of trained and untrained voices and found significant differences between these groups. This study was designed to assess the effects of vocal training for singers over a period of nine months. Phonetogram contour changes were examined, with the primary focus on expansion of frequency range and/or intensity control. Twenty-one first-year, master's level, vocal music students, who were engaged in an intensive vocal performance curriculum, participated in this study. Following nine months of vocal training, significant differences were revealed in the subjects' mean frequency range and minimum vocal intensity across frequency levels. There was no significant difference for the mean maximum vocal intensity across frequency levels following vocal training.

Adaptation and Validation of the Kannada Version of the Singing Voice Handicap Index.

PubMed

Gunjawate, Dhanshree R; Aithal, Venkataraja U; Guddattu, Vasudeva; Bellur, Rajashekhar

2017-07-01

The present study aimed to adapt and validate the Singing Voice Handicap Index (SVHI) into Kannada language using standard procedures. This is a cross-sectional study. The original English version of SVHI was translated into Kannada. It was administered on 106 Indian classical singers, of whom 22 complained of voice problems. Its internal consistency was determined using Cronbach's alpha coefficient (α), test-retest reliability using Pearson's product moment correlation and paired t test, and the difference in mean scores by independent sample t test. The results revealed that the Kannada SVHI exhibited an excellent internal consistency (α = 0.96) with a high item-to-total correlation. Further, excellent test-retest reliability (r = 0.99) and significant differences in SVHI scores were also obtained by singers with and without a voice problem (t = 12.93, df = 104, P = 0.005). The Kannada SVHI is a valid and reliable tool for self-reported assessment of singers with voice problems. It will provide a valuable insight into the singing-related voice problems as perceived by the singers themselves. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Perturbation of voice signals in register transitions on sustained frequency in professional tenors.

PubMed

Echternach, Matthias; Traser, Louisa; Richter, Bernhard

2012-09-01

Vocal register transitions in the passaggio region remain an unclarified field in classically trained male singers. We examined the acoustic and electroglottographic signals of seven tenors' transitions from voix mixte to falsetto on a sustained pitch F4 (349Hz) on the vowels /a, e, i, o, u, and æ/. It was found that in many of the tested subjects, register transitions between voix mixte and falsetto were performed very continuously without clear register transition events. However, an increase of frequency and amplitude perturbation (jitter, relative average perturbation, and shimmer) was observed during register transitions. These data suggest that professional tenors are able to avoid sudden registration events frequently observed in untrained voices. Copyright © 2012 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Effect of hydration and vocal rest on the vocal fatigue in amateur karaoke singers.

PubMed

Yiu, Edwin M L; Chan, Rainy M M

2003-06-01

Karaoke singing is a very popular entertainment among young people in Asia. It is a leisure singing activity with the singer's voice amplified with special acoustic effects in the backdrop of music. Music video and song captions are shown on television screen to remind the singers during singing. It is not uncommon to find participants singing continuously for four to five hours each time. As most of the karaoke singers have no formal training in singing, these amateur singers are more vulnerable to developing voice problems under these intensive singing activities. This study reports the performance of 20 young amateur singers (10 males and 10 females, aged between 20-25 years) on a series of phonatory function tasks carried out during continuous karaoke singing. Half of the singers were given water to drink and short duration of vocal rests at regular intervals during singing and the other half sang continuously without taking any water or rest. The subjects who were given hydration and vocal rests sang significantly longer than those who did not take any water or rest. The voice quality, as measured by perceptual and acoustic measures, and vocal function, as measured by phonetogram, did not show any significant changes during singing in the subjects who were given water and rest during the singing. However, subjects who sang continuously without drinking water and taking rests showed significant changes in the jitter measure and the highest pitch they could produce during singing. These results suggest that hydration and vocal rests are useful strategies to preserve voice function and quality during karaoke singing. This information is useful educational information for karaoke singers.

Effects on vocal range and voice quality of singing voice training: the classically trained female voice.

PubMed

Pabon, Peter; Stallinga, Rob; Södersten, Maria; Ternström, Sten

2014-01-01

A longitudinal study was performed on the acoustical effects of singing voice training under a given study program, using the voice range profile (VRP). Pretraining and posttraining recordings were made of students who participated in a 3-year bachelor singing study program. A questionnaire that included questions on optimal range, register use, classification, vocal health and hygiene, mixing technique, and training goals was used to rate and categorize self-assessed voice changes. Based on the responses, a subgroup of 10 classically trained female voices was selected, which was homogeneous enough for effects of training to be identified. The VRP perimeter contour was analyzed for effects of voice training. Also, a mapping within the VRP of voice quality, as expressed by the crest factor, was used to indicate the register boundaries and to monitor the acoustical consequences of the newly learned vocal technique of "mixed voice." VRPs were averaged across subjects. Findings were compared with the self-assessed vocal changes. Pre/post comparison of the average VRPs showed, in the midrange, (1) a decrease in the VRP area that was associated with the loud chest voice, (2) a reduction of the crest factor values, and (3) a reduction of maximum sound pressure level values. The students' self-evaluations of the voice changes appeared in some cases to contradict the VRP findings. VRPs of individual voices were seen to change over the course of a singing education. These changes were manifest also in the average group. High-resolution computerized recording, complemented with an acoustic register marker, allows a meaningful assessment of some effects of training, on an individual basis and for groups that comprise singers of a specific genre. It is argued that this kind of investigation is possible only within a focused training program, given by a faculty who has agreed on the goals. Copyright © 2014 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Action and familiarity effects on self and other expert musicians’ Laban effort-shape analyses of expressive bodily behaviors in instrumental music performance: a case study approach

PubMed Central

Broughton, Mary C.; Davidson, Jane W.

2014-01-01

Self-reflective performance review and expert evaluation are features of Western music performance practice. While music is usually the focus, visual information provided by performing musicians’ expressive bodily behaviors communicates expressiveness to musically trained and untrained observers. Yet, within a seemingly homogenous group, such as one of musically trained individuals, diversity of experience exists. Individual differences potentially affect perception of the subtleties of expressive performance, and performers’ effective communication of their expressive intentions. This study aimed to compare self- and other expert musicians’ perception of expressive bodily behaviors observed in marimba performance. We hypothesized that analyses of expressive bodily behaviors differ between expert musicians according to their specialist motor expertise and familiarity with the music. Two professional percussionists and experienced marimba players, and one professional classical singer took part in the study. Participants independently conducted Laban effort-shape analysis – proposing that intentions manifest in bodily activity are understood through shared embodied processes – of a marimbists’ expressive bodily behaviors in an audio-visual performance recording. For one percussionist, this was a self-reflective analysis. The work was unfamiliar to the other percussionist and singer. Perception of the performer’s expressive bodily behaviors appeared to differ according to participants’ individual instrumental or vocal motor expertise, and familiarity with the music. Furthermore, individual type of motor experience appeared to direct participants’ attention in approaching the analyses. Findings support forward and inverse perception–action models, and embodied cognitive theory. Implications offer scientific rigor and artistic interest for how performance practitioners can reflectively analyze performance to improve expressive communication. PMID:25400601

Experience-dependent modulation of feedback integration during singing: role of the right anterior insula.

PubMed

Kleber, Boris; Zeitouni, Anthony G; Friberg, Anders; Zatorre, Robert J

2013-04-03

Somatosensation plays an important role in the motor control of vocal functions, yet its neural correlate and relation to vocal learning is not well understood. We used fMRI in 17 trained singers and 12 nonsingers to study the effects of vocal-fold anesthesia on the vocal-motor singing network as a function of singing expertise. Tasks required participants to sing musical target intervals under normal conditions and after anesthesia. At the behavioral level, anesthesia altered pitch accuracy in both groups, but singers were less affected than nonsingers, indicating an experience-dependent effect of the intervention. At the neural level, this difference was accompanied by distinct patterns of decreased activation in singers (cortical and subcortical sensory and motor areas) and nonsingers (subcortical motor areas only) respectively, suggesting that anesthesia affected the higher-level voluntary (explicit) motor and sensorimotor integration network more in experienced singers, and the lower-level (implicit) subcortical motor loops in nonsingers. The right anterior insular cortex (AIC) was identified as the principal area dissociating the effect of expertise as a function of anesthesia by three separate sources of evidence. First, it responded differently to anesthesia in singers (decreased activation) and nonsingers (increased activation). Second, functional connectivity between AIC and bilateral A1, M1, and S1 was reduced in singers but augmented in nonsingers. Third, increased BOLD activity in right AIC in singers was correlated with larger pitch deviation under anesthesia. We conclude that the right AIC and sensory-motor areas play a role in experience-dependent modulation of feedback integration for vocal motor control during singing.

The Effect of Timbre and Vibrato on Vocal Pitch Matching Accuracy

NASA Astrophysics Data System (ADS)

Duvvuru, Sirisha

Research has shown that singers are better able to match pitch when the target stimulus has a timbre close to their own voice. This study seeks to answer the following questions: (1) Do classically trained female singers more accurately match pitch when the target stimulus is more similar to their own timbre? (2) Does the ability to match pitch vary with increasing pitch? (3) Does the ability to match pitch differ depending on whether the target stimulus is produced with or without vibrato? (4) Are mezzo sopranos less accurate than sopranos? Stimuli. Source signals were synthesized with a source slope of -12dB/octave using vibrato and without vibrato at each of the frequencies, C4, B4 and F5. These source signals were filtered using 5 formant patterns (A-E) of vowel /a/ constituting a total of 30 stimuli (5 formant patterns*3pitches*2 vibrato conditions). Procedure. Ten sopranos and 10 mezzo-sopranos with at least 3 years of individual voice training were recruited from the University Of Tennessee School Of Music and the Knoxville Opera Company. Each singer attempted to vocally match the pitch of all 30 stimuli presented twice in a random order. Analysis and results. Pitch matching accuracy was measured in terms of the difference in cents between the target and the experimental productions at two locations, (1) pre-phonatory set (2) mid-point of the vowel. Accuracy of pitch matching was compared across vibrato and non-vibrato conditions. Results indicated that there was no significant effect of formant pattern on pitch matching accuracy. With increasing pitch from C4 to F5, pitch matching accuracy increased in mid-point of the vowel condition but not in pre-phonatory set condition. Mezzo-sopranos moved towards being in tune from pre-phonatory to mid-point of the vowel. However, sopranos at C4, sang closer to being in tune at pre-phonatory, but lowered the pitch at the mid-point of the vowel. Presence or absence of vibrato did not affect the pitch matching accuracy. However, the interesting finding of the study was that singers attempted to match the timbre of stimuli with vibrato. Results are discussed in terms of interactions between pitch and timbre from auditory perceptual as well as physiological point of view and how current theories of pitch perception relate to this phenomenon. Neither physiological nor auditory perceptual mechanisms provide complete explanations for the results obtained in the study. From a perceptual point of view, an interaction between pitch and timbre seems to be more complex, for spectral and temporal theories are limited in explaining these interactions. Also, possible explanations for the phenomenon of timbre matching are provided.

Resonance strategies used in Bulgarian women's singing style: a pilot study.

PubMed

Henrich, Nathalie; Kiek, Mara; Smith, John; Wolfe, Joe

2007-01-01

Are the characteristic timbre and loudness of Bulgarian women's singing related to tuning of resonances of the vocal tract? We studied an Australian female singer, who practises and teaches Bulgarian singing technique. Two different vocal qualities of this style were studied. The louder teshka is characterized by a sonorous voice production. The less loud leka has a smoother timbre that is closer to that of the head voice register. Six vowels in each of teshka, leka and the subject's 'normal' (i.e. Western rather than Bulgarian) style were studied. The acoustic resonances of the singer's vocal tract were measured directly during singing by injecting a synthesized, broad-band acoustic current. This singer does not use resonance tuning consistently in her classical Western style. However, in both teshka and leka, she tunes the first tract resonance close to the second harmonic of the voice for most vowels. This tuning boosts the power output in the radiation field for that harmonic. This tuning also contributes to the very strong second harmonic which is a characteristic of the timbre identified as the Bulgarian style.

Describing different styles of singing: a comparison of a female singer's voice source in "Classical", "Pop", "Jazz" and "Blues".

PubMed

Thalén, M; Sundberg, J

2001-01-01

The voice is apparently used in quite different manners in different styles of singing. Some of these differences concern the voice source, which varies considerably with loudness, pitch, and mode of phonation. We attempt to describe voice source differences between Classical, Pop, Jazz and Blues styles of singing as produced in a triad melody pattern by a professional female singer in soft, middle and loud phonation. An expert panel was asked to identify these triads as examples of either Classical, Pop, Jazz or Blues. The voice source was analysed by inverse filtering. Subglottal pressure Ps, closed quotient QClosed, glottal compliance (ratio between the air volume contained in a voice pulse and Ps), and the level difference between the two lowest source spectrum partials were analysed in the styles and in four modes of phonation: breathy, flow, neutral, and pressed. The same expert panel rated the degree of pressedness in the entire material. Averages across pitch were calculated for each mode and style and related to their total range of variation in the subject. The glottogram data showed a high correlation with the ratings of pressedness. Based on these correlations a pressedness factor was computed from the glottogram data. A phonation map was constructed with the axes representing mean adduction factor and mean Ps, respectively. In this map Classical was similar to flow phonation, Pop and Jazz to neutral and flow phonation, and Blues to pressed phonation.

Castrati singers: surgery for religion and art.

PubMed

Koutsiaris, Epameinondas A; Alamanis, Christos; Eftychiadis, Aristotle; Zervas, Anastasios

2014-01-01

The act of castration was practiced from ancient times. In countries of Middle and Far East, castration was often done to provide eunuchs as guardians of the harems. In Europe and especially in Italy, it was carried out to preserve the male voice unbroken into adult life. From 16th century till the end of 18th century, castrati singers dominated opera with their supernatural voices. Boys were castrated mainly before the age of 9 years and when they grew up they had feminine characteristics, such as smooth, hairless bodies, breasts, infantile penis. The training procedure to become a castrato singer was very intense and lasted up to ten years. The most common surgical technique was either to sever the spermatic cords or crush the testis with the fingers. The voice of a castrato was the outcome of a larynx the size of a child's combined with the lung volume of an adult male. The castrati singers became superstars who dominated opera, singing both male and female roles for more than 200 years. Castrated for art, the beauty, range and flexibility of their voices raised them to mythical status.

The effect of a voiced lip trill on estimated glottal closed quotient.

PubMed

Gaskill, Christopher S; Erickson, Molly L

2008-11-01

The use of lip trills has been advocated for both vocal habilitation and rehabilitation. A voiced lip trill requires continuous vibration of the lips while simultaneously maintaining phonation. The mechanism of any effects of a lip trill on vocal fold vibration is still unknown. While other techniques that either constrict or artificially lengthen the vocal tract have been investigated, no studies thus far have systematically examined the effect of lip trills on vocal fold vibration. Classically trained singers and vocally untrained participants produced a lip trill for approximately 1 minute, and vocal fold closed quotient (CQ) was calculated both during the lip trill and on a sustained spoken vowel before and after the trill. Data are reported for both a group design and a single-subject design. Most participants showed a tendency for a reduction in CQ during the lip trill, with a more pronounced change in the untrained participants.

Evidence for Enhanced Interoceptive Accuracy in Professional Musicians

PubMed Central

Schirmer-Mokwa, Katharina L.; Fard, Pouyan R.; Zamorano, Anna M.; Finkel, Sebastian; Birbaumer, Niels; Kleber, Boris A.

2015-01-01

Interoception is defined as the perceptual activity involved in the processing of internal bodily signals. While the ability of internal perception is considered a relatively stable trait, recent data suggest that learning to integrate multisensory information can modulate it. Making music is a uniquely rich multisensory experience that has shown to alter motor, sensory, and multimodal representations in the brain of musicians. We hypothesize that musical training also heightens interoceptive accuracy comparable to other perceptual modalities. Thirteen professional singers, twelve string players, and thirteen matched non-musicians were examined using a well-established heartbeat discrimination paradigm complemented by self-reported dispositional traits. Results revealed that both groups of musicians displayed higher interoceptive accuracy than non-musicians, whereas no differences were found between singers and string-players. Regression analyses showed that accumulated musical practice explained about 49% variation in heartbeat perception accuracy in singers but not in string-players. Psychometric data yielded a number of psychologically plausible inter-correlations in musicians related to performance anxiety. However, dispositional traits were not a confounding factor on heartbeat discrimination accuracy. Together, these data provide first evidence indicating that professional musicians show enhanced interoceptive accuracy compared to non-musicians. We argue that musical training largely accounted for this effect. PMID:26733836

Physiological characteristics of the supported singing voice. A preliminary study.

PubMed

Griffin, B; Woo, P; Colton, R; Casper, J; Brewer, D

1995-03-01

The purpose of this study was to develop a definition of the supported singing voice based on physiological characteristics by comparing the subjects' concepts of a supported voice with objective measurements of their supported and unsupported voice. This preliminary report presents findings based on data from eight classically trained singers. Subjects answered questions about their concepts of the characteristics of the supported singing voice and how it is produced. Samples of the supported and unsupported singing voice produced at low, medium, and high pitches at a comfortable loudness level were collected for acoustic, spectral, airflow, electroglottographic, air volume, and stroboscopic analyses. Significant differences between the supported and unsupported voice were found for sound pressure level (SPL), peak airflow, subglottal pressure (Ps), glottal open time, and frequency of the fourth formant (F4). Mean flow and F2 frequency differences were sex and pitch related. Males adjusted laryngeal configuration to produce supported voice, whereas glottal configuration differences were greater in females. Breathing patterns were variable and not significantly different between supported and unsupported voice. Subjects in this study believe that the supported singing voice is resonant, clear, and easy to manage and is produced by correct breath management. Results of data analysis show that the supported singing voice has different spectral characteristics from and higher SPL, peak airflow, and Ps than the unsupported voice. Singers adjust laryngeal and/or glottal configuration to account for these changes, but no significant differences in breathing activity were found.

Common Vocal Effects and Partial Glottal Vibration in Professional Nonclassical Singers.

PubMed

Caffier, Philipp P; Ibrahim Nasr, Ahmed; Ropero Rendon, Maria Del Mar; Wienhausen, Sascha; Forbes, Eleanor; Seidner, Wolfram; Nawka, Tadeus

2018-05-01

To multidimensionally investigate common vocal effects in experienced professional nonclassical singers, to examine their mechanism of production and reproducibility, to demonstrate the existence of partial glottal vibration, and to assess the potential of damage to the voice from nonclassical singing. Individual cohort study. Ten male singers aged between 25 and 46 years (34 ± 7 years [mean ± SD]) with different stylistic backgrounds were recruited (five pop/rock/metal, five musical theater). Participants repeatedly presented the usual nonclassical vocal effects and techniques in their repertoire. All performances were documented and analyzed using established instruments (eg, auditory-perceptual assessment, videolaryngostroboscopy, electroglottography, voice function diagnostics). The vocal apparatus of all singers was healthy and capable of high performance. Typical nonclassical vocal effects were breathy voice, creaky voice, vocal fry, grunting, distortion, rattle, belt, and twang. All effects could be easily differentiated from each other. They were intraindividually consistently repeatable and also interindividually produced in a similar manner. A special feature in one singer was the first evidence of partial glottal vibration when belting in the high register. The unintended transition to this reduced voice quality was accompanied by physical fatigue and inflexible respiratory support. The long-lasting use of the investigated nonclassical vocal effects had no negative impact on trained singers. The possibility of long-term damage depends on the individual constitution, specific use, duration, and extent of the hyperfunction. The incidence of partial glottal vibration and its consequences require continuing research to learn more about efficient and healthy vocal function in nonclassical singing. Copyright © 2018 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Brand-Name Charters

ERIC Educational Resources Information Center

Bennett, Julie

2008-01-01

KIPP (Knowledge Is Power Program) offers training for teachers designed to turn them into school principals with an entrepreneur's skill set. Teacher Jason Singer underwent KIPP training and now recruits 5th-grade students for the charter middle school he opened. KIPP, which was founded in 1994 by Teach For America alums Michael Feinberg and David…

Emotion Recognition From Singing Voices Using Contemporary Commercial Music and Classical Styles.

PubMed

Hakanpää, Tua; Waaramaa, Teija; Laukkanen, Anne-Maria

2018-02-22

This study examines the recognition of emotion in contemporary commercial music (CCM) and classical styles of singing. This information may be useful in improving the training of interpretation in singing. This is an experimental comparative study. Thirteen singers (11 female, 2 male) with a minimum of 3 years' professional-level singing studies (in CCM or classical technique or both) participated. They sang at three pitches (females: a, e1, a1, males: one octave lower) expressing anger, sadness, joy, tenderness, and a neutral state. Twenty-nine listeners listened to 312 short (0.63- to 4.8-second) voice samples, 135 of which were sung using a classical singing technique and 165 of which were sung in a CCM style. The listeners were asked which emotion they heard. Activity and valence were derived from the chosen emotions. The percentage of correct recognitions out of all the answers in the listening test (N = 9048) was 30.2%. The recognition percentage for the CCM-style singing technique was higher (34.5%) than for the classical-style technique (24.5%). Valence and activation were better perceived than the emotions themselves, and activity was better recognized than valence. A higher pitch was more likely to be perceived as joy or anger, and a lower pitch as sorrow. Both valence and activation were better recognized in the female CCM samples than in the other samples. There are statistically significant differences in the recognition of emotions between classical and CCM styles of singing. Furthermore, in the singing voice, pitch affects the perception of emotions, and valence and activity are more easily recognized than emotions. Copyright © 2018 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

A Mozart is not a Pavarotti: singers outperform instrumentalists on foreign accent imitation

PubMed Central

Christiner, Markus; Reiterer, Susanne Maria

2015-01-01

Recent findings have shown that people with higher musical aptitude were also better in oral language imitation tasks. However, whether singing capacity and instrument playing contribute differently to the imitation of speech has been ignored so far. Research has just recently started to understand that instrumentalists develop quite distinct skills when compared to vocalists. In the same vein the role of the vocal motor system in language acquisition processes has poorly been investigated as most investigations (neurobiological and behavioral) favor to examine speech perception. We set out to test whether the vocal motor system can influence an ability to learn, produce and perceive new languages by contrasting instrumentalists and vocalists. Therefore, we investigated 96 participants, 27 instrumentalists, 33 vocalists and 36 non-musicians/non-singers. They were tested for their abilities to imitate foreign speech: unknown language (Hindi), second language (English) and their musical aptitude. Results revealed that both instrumentalists and vocalists have a higher ability to imitate unintelligible speech and foreign accents than non-musicians/non-singers. Within the musician group, vocalists outperformed instrumentalists significantly. Conclusion: First, adaptive plasticity for speech imitation is not reliant on audition alone but also on vocal-motor induced processes. Second, vocal flexibility of singers goes together with higher speech imitation aptitude. Third, vocal motor training, as of singers, may speed up foreign language acquisition processes. PMID:26379537

A Mozart is not a Pavarotti: singers outperform instrumentalists on foreign accent imitation.

PubMed

Christiner, Markus; Reiterer, Susanne Maria

2015-01-01

Recent findings have shown that people with higher musical aptitude were also better in oral language imitation tasks. However, whether singing capacity and instrument playing contribute differently to the imitation of speech has been ignored so far. Research has just recently started to understand that instrumentalists develop quite distinct skills when compared to vocalists. In the same vein the role of the vocal motor system in language acquisition processes has poorly been investigated as most investigations (neurobiological and behavioral) favor to examine speech perception. We set out to test whether the vocal motor system can influence an ability to learn, produce and perceive new languages by contrasting instrumentalists and vocalists. Therefore, we investigated 96 participants, 27 instrumentalists, 33 vocalists and 36 non-musicians/non-singers. They were tested for their abilities to imitate foreign speech: unknown language (Hindi), second language (English) and their musical aptitude. Results revealed that both instrumentalists and vocalists have a higher ability to imitate unintelligible speech and foreign accents than non-musicians/non-singers. Within the musician group, vocalists outperformed instrumentalists significantly. First, adaptive plasticity for speech imitation is not reliant on audition alone but also on vocal-motor induced processes. Second, vocal flexibility of singers goes together with higher speech imitation aptitude. Third, vocal motor training, as of singers, may speed up foreign language acquisition processes.

Vocal fold nodules in adult singers: regional opinions about etiologic factors, career impact, and treatment. A survey of otolaryngologists, speech pathologists, and teachers of singing.

PubMed

Hogikyan, N D; Appel, S; Guinn, L W; Haxer, M J

1999-03-01

This study was undertaken to better understand current regional opinions regarding vocal fold nodules in adult singers. A questionnaire was sent to 298 persons representing the 3 professional groups most involved with the care of singers with vocal nodules: otolaryngologists, speech pathologists, and teachers of singing. The questionnaire queried respondents about their level of experience with this problem, and their beliefs about causative factors, career impact, and optimum treatment. Responses within and between groups were similar, with differences between groups primarily in the magnitude of positive or negative responses, rather than in the polarity of the responses. Prevailing opinions included: recognition of causative factors in both singing and speaking voice practices, optimism about responsiveness to appropriate treatment, enthusiasm for coordinated voice therapy and voice training as first-line treatment, and acceptance of microsurgical management as appropriate treatment if behavioral management fails.

Analysis of Security Contractors in Deployed Environments

DTIC Science & Technology

2006-12-01

35 2. Proper Training and Education .......................................................36 3. Improve Overall Contract Visibility...like to acknowledge the work of P. W. Singer , author of the book titled “Corporate Warriors,” whose dedicated research and thorough analysis on the...skills, including combat operations, strategic planning, intelligence, risk assessment, operational support, training , and technical skills.”3 CPFF

Pregnancy and the singing voice: reports from a case study.

PubMed

Lã, Filipa Martins Baptista; Sundberg, Johan

2012-07-01

Significant changes in body tissues occur during pregnancy; however, literature concerning the effects of pregnancy on the voice is sparse, especially concerning the professional classically trained voice. Hormonal variations and associated bodily changes during pregnancy affect phonatory conditions, such as vocal fold motility and glottal adduction. Longitudinal case study with a semiprofessional classically trained singer. Audio, electrolaryngograph, oral pressure, and air flow signals were recorded once a week during the last 12 weeks of pregnancy, 48 hours after birth and during the following consecutive 11 weeks. Vocal tasks included diminuendo sequences of the syllable /pae/ sung at various pitches, and performing a Lied. Phonation threshold pressures (PTPs) and collision threshold pressures (CTPs), normalized amplitude quotient (NAQ), alpha ratio, and the dominance of the voice source fundamental were determined. Concentrations of sex female steroid hormones were measured on three occasions. A listening test of timbral brightness and vocal fatigue was carried out. Results demonstrated significantly elevated concentrations of estrogen and progesterone during pregnancy, which were considerably reduced after birth. During pregnancy, CTPs and PTPs were high; and NAQ, alpha ratio, and dominance of the voice source fundamental suggested elevated glottal adduction. In addition, a perceptible decrease of vocal brightness was noted. The elevated CTPs and PTPs during pregnancy suggest reduced vocal fold motility and increased glottal adduction. These changes are compatible with expected effects of elevated concentrations of estrogen and progesterone on tissue viscosity and water retention. Copyright © 2012 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Moving to the Beat and Singing are Linked in Humans

PubMed Central

Dalla Bella, Simone; Berkowska, Magdalena; Sowiński, Jakub

2015-01-01

The abilities to sing and to move to the beat of a rhythmic auditory stimulus emerge early during development, and both engage perceptual, motor, and sensorimotor processes. These similarities between singing and synchronization to a beat may be rooted in biology. Patel (2008) has suggested that motor synchronization to auditory rhythms may have emerged during evolution as a byproduct of selection for vocal learning (“vocal learning and synchronization hypothesis”). This view predicts a strong link between vocal performance and synchronization skills in humans. Here, we tested this prediction by asking occasional singers to tap along with auditory pulse trains and to imitate familiar melodies. Both vocal imitation and synchronization skills were measured in terms of accuracy and precision or consistency. Accurate and precise singers tapped more in the vicinity of the pacing stimuli (i.e., they were more accurate) than less accurate and less precise singers. Moreover, accurate singers were more consistent when tapping to the beat. These differences cannot be ascribed to basic motor skills or to motivational factors. Individual differences in terms of singing proficiency and synchronization skills may reflect the variability of a shared sensorimotor translation mechanism. PMID:26733370

Effects of increasing time delays on pitch-matching accuracy in trained singers and untrained individuals.

PubMed

Estis, Julie M; Coblentz, Joana K; Moore, Robert E

2009-07-01

Trained singers (TS) generally demonstrate accurate pitch matching, but this ability varies within the general population. Pitch-matching accuracy, given increasing silence intervals of 5, 15, and 25 seconds between target tones and vocal matches, was investigated in TS and untrained individuals. A relationship between pitch discrimination and pitch matching was also examined. Thirty-two females (20-30 years) were grouped based on individual vocal training and performance in an immediate pitch-matching task. Participants matched target pitches following time delays, and completed a pitch discrimination task, which required the classification of two tones as same or different. TS and untrained accurate participants performed comparably on all pitch-matching tasks, while untrained inaccurate participants performed significantly less accurately than the other two groups. Performances declined across groups as intervals of silence increased, suggesting degradation of pitch matching as pitch memory was taxed. A significant relationship between pitch discrimination and pitch matching was revealed across participants.

Documenting laryngeal change following prolonged loud reading. A videostroboscopic study.

PubMed

Gelfer, M P; Andrews, M L; Schmidt, C P

1996-12-01

This study investigated the effects of prolonged loud reading on trained and untrained subjects. Subjects were eight young women singers, and eight young women with limited musical experience. Each subject underwent videostroboscopic examination prior to and following 1 h of prolonged loud reading. The pretest and posttest videotaped samples were randomized and presented to three experienced judges, who evaluated various aspects of laryngeal appearance and vibratory characteristics. Analyses of group data revealed that untrained subjects showed a small but significant increase in amplitude of vocal fold excursion following the experimental task. No significant differences were noted in the trained singer group. When individual variation was analyzed, it was found that most subjects did not show many changes from pretest to posttest. It was concluded that a l-h loud-reading task was not sufficient to induce notable laryngeal alterations.

The Relationship Between Personality Traits, Flow-Experience, and Different Aspects of Practice Behavior of Amateur Vocal Students.

PubMed

Heller, Katharina; Bullerjahn, Claudia; von Georgi, Richard

2015-01-01

Most of the existing studies on musical practice are concerned with instrumentalists only. Since singers are seldom considered in research, the present study is based on an online-sample of amateur vocal students (N = 120; 92 female, 28 male). The study investigated the correlations between personality traits, flow-experience and several aspects of practice characteristics. Personality was represented by the three personality dimensions extraversion, neuroticism and psychoticism, assessed by Eysenck's Personality Profiler as well as the trait form of the Positive and Negative Affect Schedule. 'Flow-experience,' 'self-congruence' and 'fear of losing control over concentration,' assessed by the Practice Flow Inventory, served as variables for flow-experience. The practice motivation was measured by the Practice Motivation Questionnaire in four categories ('self,' 'group,' 'audience,' 'teacher'). In addition, the Practice Behavior Questionnaire was used to provide an insight into the practice situation and behavior of singing students. The results show significant correlations: participants with high extraversion-scores experience significantly more flow than less extraverted persons, whereas lesser flow-experience seems to be related to high neuroticism-scores. Nevertheless, there is no influence in flow-experience concerning singing style ('classical' or 'popular'). The longer the practicing time, the more likely students are to achieve flow-experience. However, older singers tend to have less flow-experience. Consequently, singers seem to differ in their personality and practice behavior compared to other musicians. Most of the findings show that having control over one's instrument is decisive for achieving a performance of high quality, especially for singers. On the other hand, certainty in handling an instrument is essential to arouse a flow-feeling. However, flow-experience seems to be common mainly with amateur singers. In conclusion, this offers a starting point for new research on the psychology of vocalists in greater depth.

3D analysis of the movements of the laryngeal cartilages during singing.

PubMed

Unteregger, Fabian; Honegger, Flurin; Potthast, Silke; Zwicky, Salome; Schiwowa, Julia; Storck, Claudio

2017-07-01

The vocal range of untrained singers rarely exceeds one and a half octaves, but professional singers have a range of at least two and a half octaves. The aim of this study was to better understand the muscle and cartilage movements responsible for the control of vocal pitch in singing. Prospective study. We recruited 49 female professional singers (25 sopranos and 24 altos) and analyzed laryngeal three-dimensional images derived from high-resolution computed tomography scans obtained at the mean speaking fundamental frequency (F0) and at one (F1) and two octaves (F2) above this pitch. From F0 to F1, the only observable movement was a backward cricoid tilting caused by the cricothyroid muscles (CTMs), leading to vocal fold stretching. Above F1, a medial rotation and inward rocking of the arytenoid cartilages was observed, caused by the lateral cricothyroid muscles (LCAMs) and leading to inferior displacement of the vocal process of the arytenoid cartilage, and thus to further vocal fold stretching. Trained singers achieve the first octave of pitch elevation by simple cricothyroid approximation. Further pitch elevation necessitates a complex movement of the arytenoids, first by CTM contraction and second by LCAM contraction. 4. Laryngoscope, 127:1639-1643, 2017. © 2016 The American Laryngological, Rhinological and Otological Society, Inc.

Bulgarian singer Dyana presents PA Director Dickinson with her new CD on STS-90 launch day

NASA Technical Reports Server (NTRS)

1998-01-01

David Dickinson, the acting director of the National Aeronautics and Space Administration (NASA) Public Affairs Office at Kennedy Space Center, accepts a copy of Bulgarian singer Dyana Dafova's latest compact disc (CD) from her on behalf of NASA. The 525-foot tall Vehicle Assembly Building, where Space Shuttle orbiters are mated to their external tank/solid rocket booster stacks, looms in the background. Dyana is touring the United States to promote her CD, entitled 'Sounds of the Earth,' and was an invited guest of NASA for the launch of Columbia on STS-90, the Neurolab mission, earlier in the day. Columbia lifted off from Launch Pad 39B at 2:19 p.m. EDT. Dyana characterized the music on her CD as a new sound, incorporating jazz and new age classics, sung in a newly created language comprised of Bulgarian, English, Sanskrit, Aramski and Hebrew.

A virtual castrato?

PubMed

Mecke, Ann-Christine; Sundberg, Johan; Richter, Bernhard

2010-10-01

In this investigation the voice source from trained boy singers was processed with a transfer function that contained the singer's formant cluster of a bass, a baritone, or a tenor. The modified voices were evaluated by a panel of highly specialized experts. The experts were asked 1) to assess how similar the examples sounded to the voice of the last castrato Alessandro Moreschi, and 2) to rate how similar they thought the examples were to their imagination of an 18th-century castrato voice. For both questions, the voices with tenor formants produced significantly higher ratings than the other voice types. However, the mean ratings for the second question were generally lower than those for the first.

Can listeners hear who is singing? What is the pitch bandwidth of singer discrimination in untrained listeners?

PubMed

Erickson, Molly L

2012-05-01

This study sought to determine the pitch bandwidth of singer discrimination based on singer gender, pitch range, and same-different voice category. Repeated measures factorial design. This study used a forced-choice paradigm, where listeners heard two different singers (singer 1 and singer 2) producing /ɑ/ at an identical pitch and an unknown singer (either singer 1 or singer 2) producing /ɑ/ at a different pitch. It was the listener's task to identify which singer (singer 1 or singer 2) was the unknown singer. Two baritones and two tenors were recorded producing /ɑ/ at the pitches C3, E3, G3, B3, D4, and F4. Two sopranos and two mezzo-sopranos were recorded producing /ɑ/ at the pitches C4, E4, G4, B4, D5, and F5. For each group of stimuli, male and female, all possible pairs of singers were constructed for the lowest pitch (C2 or C3, respectively) and highest pitch (F4 or F5, respectively). The unknown singer was varied across the remaining pitches. For between category comparisons, the ability to discriminate singers diminished monotonically with pitch interval, reaching below chance levels between the intervals of the 9th and 11th. For within category comparisons, it was much harder to discriminate singers across pitch, particularly when the voices were female. Timbre is not perceived as invariant across the entire singing range, and the bandwidth of this timbre invariance depends on multiple factors, including pitch range, gender, and same-different voice category. Copyright © 2012 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

[Parameters of phoniatric examination of solo vocalists].

PubMed

Mitrović, Slobodan; Jović, Rajko; Aleksić, Vesna; Cvejić, Biserka

2002-01-01

A phoniatrist analyzes the professional's voice at the beginning of his vocal studies or career but also later, in cases of voice disorder. Phoniatric examination of professional singers must be done according to "all inclusive" protocols of examination. Such protocols must establish the status of basic elements of phonatory system: activator, generator and resonator of voice and articulatory space. All patients requiring phoniatric examination no matter if they are candidates for professional singers, need to provide anamnestic data about their previous problems regarding voice or singing. This examination is necessary and it must include: examination of nose, cavum oris, pharynx, ears and larynx. This analysis is based on evaluation of physiological and pathophysiological manifestations of voice. Determination of musical voice range during phoniatric examination does not intend to make any classification of voice, nor to suggest to vocal teacher what he should count upon from future singers. Musical range can be determined only by a phoniatrist skilled in music or with musical training, but first of all vocal teacher. These methods are used for examination of phonatory function, or laryngeal pathology. They are not invasive and give objective and quantitative information. They include: laryngostroboscopy, spectral analysis of voice (sonography) and fundamental parameters of voice signal (computer program). Articulation is very important for solo singers, because good articulation contributes to qualitative emission of sound and expression of emotions. Tonal-threshold audiometry is performed as a hearing test. They include rhinomanometry, vital capacity measurements, maximal phonation time and phonation quotient. Phoniatric examination is a necessary proceeding which must be performed before admission to the academy of solo singing, and then during singers' education and career. The phoniatric protocol must include a minimal number of parameters, which can be increased if required. All parameters of phoniatric examination must be adequately evaluated by experts.

Leveraging DMO’s Hi-Tech Simulation Against the F-16 Flying Training Gap

DTIC Science & Technology

2005-04-01

39-49. 6 United States Department of Transportation, Airplance Simulator Qualification, Report AC No.120-40B (Washington, DC: Federal Aviation...and Motion Simulation Conference. Binghamton, NY: Singer-Simulation Products Division, 1976. United States Department of Transportation. Airplance

Civilian Contractors Providing Logistics and Support on the Battlefield

DTIC Science & Technology

2008-02-19

as possible to increase profits.5 Kellogg, Brown and Root (KBR) employees, once hired, attend training seminars to learn about their...well trained in avoiding ambushes, fire support, IEDs or what to do when attacked.18 Many civilians hired to do carpentry and electrical work, had...34 said Singer , a foreign policy researcher at the Brookings Institution. Replacing 1,100 Marine cooks with civilians, might make short-term

A Formant Range Profile for Singers.

PubMed

Titze, Ingo R; Maxfield, Lynn M; Walker, Megan C

2017-05-01

Vowel selection is important in differentiating between singing styles. The timbre of the vocal instrument, which is related to its frequency spectrum, is governed by both the glottal sound source and the vowel choices made by singers. Consequently, the ability to modify the vowel space is a measure of how successfully a singer can maintain a desired timbre across a range of pitches. Formant range profiles were produced as a means of quantifying this ability. Seventy-seven subjects (including trained and untrained vocalists) participated, producing vowels with three intended mouth shapes: (1) neutral or speech-like, (2) megaphone-shaped (wide open mouth), and (3) inverted-megaphone-shaped (widened oropharynx with moderate mouth opening). The first and second formant frequencies (F 1 and F 2 ) were estimated with fry phonation for each shape and values were plotted in F1-F2 space. By taking four vowels of a quadrangle /i, æ, a, u/, the resulting area was quantified in kHz 2 (kHz squared) as a measure of the subject's ability to modify their vocal tract for spectral differences. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

A FORMANT RANGE PROFILE FOR SINGERS

PubMed Central

Titze, Ingo R.; Maxfield, Lynn; Walker, Megan

2016-01-01

Vowel selection is important in differentiating between singing styles. The timbre of the vocal instrument, which is related to its frequency spectrum, is governed by both the glottal sound source and the vowel choices made by singers. Consequently, the ability to modify the vowel space is a measure of how successfully a singer can maintain a desired timbre across a range of pitches. Formant range profiles (FRPs) were produced as a means of quantifying this ability. 77 subjects (including trained and untrained vocalists) participated, producing vowels with three intended mouth shapes, (1) neutral or speech-like, (2) megaphone-shaped (wide open mouth), and (3) inverted-megaphone-shaped (widened oropharynx with moderate mouth opening). The first and second formant frequencies (F1 and F2) were estimated with fry phonation for each shape and values were plotted in F1–F2 space. By taking four vowels of a quadrangle /i, æ, a, u/, the resulting area was quantified in kHz2 (kHz squared) as a measure of the subject’s ability to modify their vocal tract for spectral differences. PMID:28029556

The relationship between measured vibrato characteristics and perception in Western operatic singing.

PubMed

Howes, Patricia; Callaghan, Jean; Davis, Pamela; Kenny, Dianna; Thorpe, William

2004-06-01

This study examined the association between acoustic and perceptual data related to vibrato in Western operatic singing using recordings of performances by internationally famous opera singers. Three related studies were conducted. Study 1 used commercial recordings of the same five singers and the same cadenza examined by Siegwart and Scherer(1), measured vibrato rate and extent in each singer's performance of the cadenza and tested possible associations between these vibrato attributes and judges' preference for singers. Studies 2 and 3, using recordings of different internationally famous singers and a different cadenza, measured vibrato onset, rate, and extent in each singer's performance of the cadenza, required judges to rank the singers in order of personal preference, to identify the emotion expressed, and to assess the degree of success in communicating emotion achieved by the singer. The findings showed that the perception of the singers' vibrato did not always agree with acoustic measurements. However, a comparison of the acoustic measurements with the preference and emotion judgments suggest that some elements of vibrato may affect listeners' perception of the voice, their preference for a particular singer, and assist the communication of emotion between singer and audience.

Enhancing Gesture Quality in Young Singers

ERIC Educational Resources Information Center

Liao, Mei-Ying; Davidson, Jane W.

2016-01-01

Studies have shown positive results for the use of gesture as a successful technique in aiding children's singing. The main purpose of this study was to examine the effects of movement training for children with regard to enhancing gesture quality. Thirty-six fifth-grade students participated in the empirical investigation. They were randomly…

Objective Identification of Prepubertal Female Singers and Non-singers by Singing Power Ratio Using Matlab.

PubMed

Usha, M; Geetha, Y V; Darshan, Y S

2017-03-01

The field of music is increasingly gaining scope and attracting researchers from varied fields in terms of improvising the art of voice modulation in singing. There has been a lot of competition, and young budding singers are emerging with more talent. This study is aimed to develop software to differentiate a prepubertal voice as that of a singer or a non-singer using an objective tool-singing power ratio (SPR)-as an objective measure to quantify the resonant voice quality. Recordings of singing and phonation were obtained from 30 singers and 30 non-singer girls (8-10 years). Three professional singers perceptually evaluated all samples using a rating scale and categorized them as singers or non-singers. Using Matlab, a program was developed to automatically calculate the SPR of a particular sample and classify it into either of two groups based on the normative values of SPR developed manually. Positive correlation for SPR of phonation or singing was found between perceptual and manual ratings, and objective values of SPR. Software could automatically give the SPR values for samples that are fed and could further differentiate them as singer or non-singer. Researchers need not depend on professional singers or musicians for the judgment of voice for research purposes. This software uses an objective tool, which serves as an instrument to judge singing talent using singing and phonation samples of children. Also, it can be used as a first line of judgment in any singing audition process, which could ease the work of professionals. Copyright © 2017 The Voice Foundation. All rights reserved.

Formant and voice source properties in two male Kunqu Opera roles: a pilot study.

PubMed

Dong, Li; Sundberg, Johan; Kong, Jiangping

2013-01-01

This investigation analyzes flow glottogram and electroglottogram (EGG) parameters as well as the relationship between formant frequencies and partials in two male Kunqu Opera roles, Colorful face (CF) and Old man (OM). Four male professional Kunqu Opera singers volunteered as participants, 2 singers for each role. Using inverse filtering of the audio signal flow glottogram parameters and formant frequencies were measured in each note of scales. Two EGG parameters, contact quotient (CoQ) and speed quotient, were measured. Formant tuning was observed only in 1 of the OM singers and appeared in a pitch range lower than the passaggio range of Western male opera singers. Both the CF and the OM role singers showed high CoQ values and low values of the normalized amplitude quotient in singing. For 3 of the 4 singers CoQ and the level difference between the first and second partials showed a positive and a negative correlation with fundamental frequency (F0), respectively. Formant tuning may be applied by a singer of the OM role, and both CF and OM role singers may use a rather pressed type of phonation, CF singers more than OM singers in the lower part of the pitch range. Most singers increased glottal adduction with rising F0.

Glottal open quotient in singing: Measurements and correlation with laryngeal mechanisms, vocal intensity, and fundamental frequency

NASA Astrophysics Data System (ADS)

Henrich, Nathalie; D'Alessandro, Christophe; Doval, Boris; Castellengo, Michèle

2005-03-01

This article presents the results of glottal open-quotient measurements in the case of singing voice production. It explores the relationship between open quotient and laryngeal mechanisms, vocal intensity, and fundamental frequency. The audio and electroglottographic signals of 18 classically trained male and female singers were recorded and analyzed with regard to vocal intensity, fundamental frequency, and open quotient. Fundamental frequency and open quotient are derived from the differentiated electroglottographic signal, using the DECOM (DEgg Correlation-based Open quotient Measurement) method. As male and female phonation may differ in respect to vocal-fold vibratory properties, a distinction is made between two different glottal configurations, which are called laryngeal mechanisms: mechanism 1 (related to chest, modal, and male head register) and mechanism 2 (related to falsetto for male and head register for female). The results show that open quotient depends on the laryngeal mechanisms. It ranges from 0.3 to 0.8 in mechanism 1 and from 0.5 to 0.95 in mechanism 2. The open quotient is strongly related to vocal intensity in mechanism 1 and to fundamental frequency in mechanism 2. .

Collision and phonation threshold pressures before and after loud, prolonged vocalization in trained and untrained voices.

PubMed

Enflo, Laura; Sundberg, Johan; McAllister, Anita

2013-09-01

The phonation threshold pressure (PTP) is defined as the lowest subglottal pressure needed for obtaining and sustaining vocal fold oscillation. It has been found to increase during vocal fatigue. In the present study, PTP is measured together with the threshold pressure needed for vocal fold collision; henceforth, the collision threshold pressure (CTP). PTP and CTP are compared before and after loud, prolonged vocalization in singer and nonsinger voices. Ten subjects repeated the vowel sequence /a, e, i, o, u/ at a Sound Pressure Level of at least 80 dB at 0.3 m for 20 minutes. Audio and electroglottography signals were recorded before and after this exercise. At the same time, oral pressure was registered while the subjects produced a diminuendo repeating the syllable /pa:/, thus acquiring an approximate of the subglottal pressure. CTP and PTP increased significantly after the vocal loading in the nonsinger subjects. On the other hand, singers reported no substantial effect of the exercise, and most singers had a mean after-to-before ratio close to 1 for both CTP and PTP. Copyright © 2013 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

The singing power ratio as an objective measure of singing voice quality in untrained talented and nontalented singers.

PubMed

Watts, Christopher; Barnes-Burroughs, Kathryn; Estis, Julie; Blanton, Debra

2006-03-01

A growing body of contemporary research has investigated differences between trained and untrained singing voices. However, few studies have separated untrained singers into those who do and do not express abilities related to singing talent, including accurate pitch control and production of a pleasant timbre (voice quality). This investigation studied measures of the singing power ratio (SPR), which is a quantitative measure of the resonant quality of the singing voice. SPR reflects the amplification or suppression in the vocal tract of the harmonics produced by the sound source. This measure was acquired from the voices of untrained talented and nontalented singers as a means to objectively investigate voice quality differences. Measures of SPR were acquired from vocal samples with fast Fourier transform (FFT) power spectra to analyze the amplitude level of the partials in the acoustic spectrum. Long-term average spectra (LTAS) were also analyzed. Results indicated significant differences in SPR between groups, which suggest that vocal tract resonance, and its effect on perceived vocal timbre or quality, may be an important variable related to the perception of singing talent. LTAS confirmed group differences in the tuning of vocal tract harmonics.

Extensive Training Is Insufficient to Produce the Work-Ethic Effect in Pigeons

ERIC Educational Resources Information Center

Vasconcelos, Marco; Urcuioli, Peter J.

2009-01-01

Zentall and Singer (2007a) hypothesized that our failure to replicate the work-ethic effect in pigeons (Vasconcelos, Urcuioli, & Lionello-DeNolf, 2007) was due to insufficient overtraining following acquisition of the high- and low-effort discriminations. We tested this hypothesis using the original work-ethic procedure (Experiment 1) and one…

From "Mystery Train" to "Cyberspace Sadie": References to Technology in Blues Recordings, 1923-2003

ERIC Educational Resources Information Center

Cooper, B. Lee

2006-01-01

Over the past eight decades the lyrics of blues recordings have provided valuable insights into the opinions and feelings of singers and songwriters. Commentaries concerning workplace relations, self esteem, romantic involvements, financial security, clothing styles, alcohol use, religion, health, death, and other universal human issues have been…

Training Students to Hear the Parts around Them

ERIC Educational Resources Information Center

DeGroot, Joanna

2007-01-01

A common challenge for choral teachers is teaching students to listen. Too often, students focus on their own singing and do not hear the other parts around them, thus creating a less unified, even disharmonious sound. Robert Russell, director of choral studies at the University of Southern Maine, has observed that confident singers often sing…

[Vocal effectiveness in speech and singing: acoustical, physiological and perceptive aspects. applications in speech therapy].

PubMed

Pillot, C; Vaissière, J

2006-01-01

What is vocal effectiveness in lyrical singing in comparison to speech? Our study tries to answer this question, using vocal efficiency and spectral vocal effectiveness. Vocal efficiency was mesured for a trained and untrained subject. According to these invasive measures, it appears that the trained singer uses her larynx less efficiently. Efficiency of the larynx in terms of energy then appears to be secondary to the desired voice quality. The acoustic measures of spectral vocal effectiveness of vowels and sentences, spoken and sung by 23 singers, reveal two complementary markers: The "singing power ratio" and the difference in amplitude between the singing formant and the spectral minimum that follows it. Magnetic resonance imaging and simulations of [a], [i] and [o] spoken and sung show laryngeal lowering and the role of the piriform sinuses as the physiological foundations of spectral vocal effectiveness, perceptively related to carrying power. These scientifical aspects allow applications in voice therapy, such as physiological and perceptual foundations allowing patients to recuperate voice carrying power with or without background noise.

Pitch-matching accuracy in trained singers and untrained individuals: the impact of musical interference and noise.

PubMed

Estis, Julie M; Dean-Claytor, Ashli; Moore, Robert E; Rowell, Thomas L

2011-03-01

The effects of musical interference and noise on pitch-matching accuracy were examined. Vocal training was explored as a factor influencing pitch-matching accuracy, and the relationship between pitch matching and pitch discrimination was examined. Twenty trained singers (TS) and 20 untrained individuals (UT) vocally matched tones in six conditions (immediate, four types of chords, noise). Fundamental frequencies were calculated, compared with the frequency of the target tone, and converted to semitone difference scores. A pitch discrimination task was also completed. TS showed significantly better pitch matching than UT across all conditions. Individual performances for UT were highly variable. Therefore, untrained participants were divided into two groups: 10 untrained accurate and 10 untrained inaccurate. Comparison of TS with untrained accurate individuals revealed significant differences between groups and across conditions. Compared with immediate vocal matching of target tones, pitch-matching accuracy was significantly reduced, given musical chord and noise interference unless the target tone was presented in the musical chord. A direct relationship between pitch matching and pitch discrimination was revealed. Across pitch-matching conditions, TS were consistently more accurate than UT. Pitch-matching accuracy diminished when auditory interference consisted of chords that did not contain the target tone and noise. Copyright © 2011 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Lower Vocal Tract Morphologic Adjustments Are Relevant for Voice Timbre in Singing

PubMed Central

Mainka, Alexander; Poznyakovskiy, Anton; Platzek, Ivan; Fleischer, Mario; Sundberg, Johan; Mürbe, Dirk

2015-01-01

The vocal tract shape is crucial to voice production. Its lower part seems particularly relevant for voice timbre. This study analyzes the detailed morphology of parts of the epilaryngeal tube and the hypopharynx for the sustained German vowels /a/, /e/, /i/, /o/, and /u/ by thirteen male singer subjects who were at the beginning of their academic singing studies. Analysis was based on two different phonatory conditions: a natural, speech-like phonation and a singing phonation, like in classical singing. 3D models of the vocal tract were derived from magnetic resonance imaging and compared with long-term average spectrum analysis of audio recordings from the same subjects. Comparison of singing to the speech-like phonation, which served as reference, showed significant adjustments of the lower vocal tract: an average lowering of the larynx by 8 mm and an increase of the hypopharyngeal cross-sectional area (+ 21.9%) and volume (+ 16.8%). Changes in the analyzed epilaryngeal portion of the vocal tract were not significant. Consequently, lower larynx-to-hypopharynx area and volume ratios were found in singing compared to the speech-like phonation. All evaluated measures of the lower vocal tract varied significantly with vowel quality. Acoustically, an increase of high frequency energy in singing correlated with a wider hypopharyngeal area. The findings offer an explanation how classical male singers might succeed in producing a voice timbre with increased high frequency energy, creating a singer‘s formant cluster. PMID:26186691

Signal-to-noise ratio of Singer product apertures

NASA Astrophysics Data System (ADS)

Shutler, Paul M. E.; Byard, Kevin

2017-09-01

Formulae for the signal-to-noise ratio (SNR) of Singer product apertures are derived, allowing optimal Singer product apertures to be identified, and the CPU time required to decode them is quantified. This allows a systematic comparison to be made of the performance of Singer product apertures against both conventionally wrapped Singer apertures, and also conventional product apertures such as square uniformly redundant arrays. For very large images, equivalently for images at very high resolution, the SNR of Singer product apertures is asymptotically as good as the best conventional apertures, but Singer product apertures decode faster than any conventional aperture by at least a factor of ten for image sizes up to several megapixels. These theoretical predictions are verified using numerical simulations, demonstrating that coded aperture video is for the first time a realistic possibility.

Building Multiclass Classifiers for Remote Homology Detection and Fold Recognition

DTIC Science & Technology

2006-04-05

classes. In this study we evaluate the effectiveness of one of these formulations that was developed by Crammer and Singer [9], which leads to...significantly more complex model can be learned by directly applying the Crammer -Singer multiclass formulation on the outputs of the binary classifiers...will refer to this as the Crammer -Singer (CS) model. Comparing the scaling approach to the Crammer -Singer approach we can see that the Crammer -Singer

Blend in Singing Ensemble Performance: Vibrato Production in a Vocal Quartet.

PubMed

Daffern, Helena

2017-05-01

"Blend" is a defining characteristic of good vocal ensemble performance. To achieve this, directors often consider vibrato as a feature to be controlled and consequently restrict its use. Analysis of individual voices in ensemble situations presents several challenges, including the isolation of voices for analysis from recordings. This study considers vibrato production as a feature that contributes to blend through an ecological study of a vocal quartet. A vocal ensemble was recorded using head-worn microphones and electrolaryngograph electrodes to enable fundamental frequency analysis of the individual voices. The same four-part material was recorded over several weeks of rehearsal to allow analysis of conscious and subconscious changes to vibrato production over time. Alongside the recording of their rehearsal discussions, singers were also asked for opinions on vibrato production in connection with blend. The results indicate that vibrato is adjusted to some extent by individual singers to improve blend, with some instances of synchrony between voice parts. Some conscious alterations to vibrato were made to improve blend; however, these are not always evident in the data, suggesting that singers' own perceptions of their performance may be influenced by other factors. These findings indicate a need for further studies of vibrato as a feature of blend, particularly in terms of the synergies between expectation and actual production, and potential synchronicity between singers; increased understanding of vibrato in an ensemble setting will lead to more efficient rehearsal techniques and vocal training, and could prevent vocal misuse leading to pathology in the future. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Strategic Forum. Number 260. November 2010. Private Contractors in Conflict Zones: The Good, the Bad, and the Strategic Impact

DTIC Science & Technology

2010-11-01

building to the new concept of “force development” that saw contractor MPRI training the Croatian army. Finally, the decision to invade Iraq with...off the books” in that they had no real impact on the political discussions about the war. As Peter Singer noted: There was no outcry whenever...limited pool of edu- cated, trained personnel. Their presence and actions can dramatically change local power structures. They frag- ment the chain

Proceedings of the 2nd Interservice/Industry Training Equipment Conference Held in Salt Lake City, Utah, November 18 through November 20, 1980.

DTIC Science & Technology

1980-01-01

public rokcxa.o and mW*e i .l Ndtibto isulmtd /I TRIIGEUPETCOFRNEAD- DOD DISTRIBUTION STATEMENT Approved for public release; distribution unlimited...GOVERNMENT RIGHTS IN DATA STATEMENT Reproduction of this publication in whole or in p,.rt is permited for any purpose of the United States Government...Singer-Link Publicity Chairman R. Stirland, Evans & Sutherland NSIA Committee Executive Col P. J. Cole (Ret), NSIA NSIA Training Group Chairman P. A

Lung Vital Capacity of Choir Singers and Nonsingers: A Comparative Study.

PubMed

Irzaldy, Abyan; Wiyasihati, Sundari Indah; Purwanto, Bambang

2016-11-01

The popularity of choir singing among Indonesian university students as an extracurricular activity has increased in the last few years. Choir singers use physiology principles especially respiration roles in the voice production process. This research aims to determine the lung vital capacity difference between singers and nonsingers. This is a cross-sectional study which uses primary data collected from spirograms of 20 university students. Half of the students were Airlangga University choir singers, and the other half were students who are not members of the choir. The spirometry tests were performed to obtain inspiratory capacity, vital capacity, and forced vital capacity of both groups. The average lung vital capacity of choir singers was higher (3.12 L) than that of the nonsingers (2.73 L). The average inspiratory capacity of the singer group was 1.79 L, and the average inspiratory capacity of the nonsinger group was 1.71 L. The lung vital capacity difference between singers and nonsingers group was statistically significant (P = 0.02). There was no significant inspiratory capacity difference between singers and nonsingers group in this study (P = 0.611). The forced vital capacity measurement showed a significant difference (P = 0.01) between singers (75.28%) and nonsingers (68.14%). It can be understood that the increasing vital capacity in choir singers is most likely from the expiration phase of the respiration. Further studies need to be conducted to confirm the causes of the increasing vital capacity in singers. Copyright © 2016 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Sound production by singing humpback whales.

PubMed

Mercado, Eduardo; Schneider, Jennifer N; Pack, Adam A; Herman, Louis M

2010-04-01

Sounds from humpback whale songs were analyzed to evaluate possible mechanisms of sound production. Song sounds fell along a continuum with trains of discrete pulses at one end and continuous tonal signals at the other. This graded vocal repertoire is comparable to that seen in false killer whales [Murray et al. (1998). J. Acoust. Soc. Am. 104, 1679-1688] and human singers, indicating that all three species generate sounds by varying the tension of pneumatically driven, vibrating membranes. Patterns in the spectral content of sounds and in nonlinear sound features show that resonating air chambers may also contribute to humpback whale sound production. Collectively, these findings suggest that categorizing individual units within songs into discrete types may obscure how singers modulate song features and illustrate how production-based characterizations of vocalizations can provide new insights into how humpback whales sing.

Self-Analysis Skills for the Developing Singer: Voice Students Who Can Analyze Their Own Singing Will Make Better Use of Their Practice Time and Become More Skilled, Expressive Singers

ERIC Educational Resources Information Center

Barefield, Robert

2006-01-01

Self-analysis is a basic component of artistic development. For the singer, self-analysis is equally important, but the steps for improvement may be less visible. As Richard Alderson has noted, a singer "hears his voice from the inside through the bony structure of the head rather than outside through the eardrum. We as singers are doomed to a…

Self-reported voice problems among three groups of professional singers.

PubMed

Phyland, D J; Oates, J; Greenwood, K M

1999-12-01

A vocal health questionnaire was administered to three groups of professional singers and a "friendship-matched" group of nonsingers in Melbourne, Australia. The responses of 79 opera, 57 musical theatre and 31 contemporary (excluding rock) singers and 86 nonsingers were analysed. The questionnaire solicited information regarding biographical data speaking and singing voice-use behaviours, and vocal health over the previous 12 months in terms of experiences of vocal impairment, vocal disability, and handicap. Significant differences between singers and nonsingers in the prevalence and nature of voice problems were reported. Of the singers, 44% reported one or more occurrences of a diagnosed vocal condition compared to 21% of nonsingers and 69% of singers experienced vocal disability compared to only 41% of nonsingers, over the previous 12 months. In contrast, no significant differences were found between the three different styles of singers in their experience of vocal impairment, disability or handicap.

The sensitivity of auditory-motor representations to subtle changes in auditory feedback while singing

PubMed Central

Keough, Dwayne; Jones, Jeffery A.

2009-01-01

Singing requires accurate control of the fundamental frequency (F0) of the voice. This study examined trained singers’ and untrained singers’ (nonsingers’) sensitivity to subtle manipulations in auditory feedback and the subsequent effect on the mapping between F0 feedback and vocal control. Participants produced the consonant-vowel ∕ta∕ while receiving auditory feedback that was shifted up and down in frequency. Results showed that singers and nonsingers compensated to a similar degree when presented with frequency-altered feedback (FAF); however, singers’ F0 values were consistently closer to the intended pitch target. Moreover, singers initiated their compensatory responses when auditory feedback was shifted up or down 6 cents or more, compared to nonsingers who began compensating when feedback was shifted up 26 cents and down 22 cents. Additionally, examination of the first 50 ms of vocalization indicated that participants commenced subsequent vocal utterances, during FAF, near the F0 value on previous shift trials. Interestingly, nonsingers commenced F0 productions below the pitch target and increased their F0 until they matched the note. Thus, singers and nonsingers rely on an internal model to regulate voice F0, but singers’ models appear to be more sensitive in response to subtle discrepancies in auditory feedback. PMID:19640048

Laryngeal Desiccation Challenge and Nebulized Isotonic Saline in Healthy Male Singers and Nonsingers: Effects on Acoustic, Aerodynamic, and Self-Perceived Effort and Dryness Measures.

PubMed

Tanner, Kristine; Fujiki, Robert B; Dromey, Christopher; Merrill, Ray M; Robb, Whitney; Kendall, Katherine A; Hopkin, J Arden; Channell, Ron W; Sivasankar, M Preeti

2016-11-01

This study examined the effects of a laryngeal desiccation challenge and nebulized isotonic saline on voice production in young, healthy male singers and nonsingers. This is a prospective, double-blind, within-subjects experimental design. Participants included 10 male university-trained singers and 10 age-matched nonsingers (mean age, 21.8 years; range, 18-26 years) who underwent a 30-minute oral breathing laryngeal desiccation challenge using medical grade dry air (<1% relative humidity) on two occasions in consecutive weeks. After the challenge, participants received either 3 mL or 9 mL of nebulized isotonic saline (0.9% Na + Cl - ); order of administration was counterbalanced. Phonation threshold pressure (PTP), the cepstral spectral index of dysphonia (CSID) for sustained vowels and connected speech, and self-perceived vocal effort, mouth dryness, and throat dryness were measured at each recording (baseline, after challenge, and at 5, 35, and 65 minutes after treatment). Self-perceived effort and dryness measures increased (worsened) after desiccation challenge and decreased (improved) after nebulized treatment (P < 0.05). No consistent changes were observed for PTP or CSID over time. Overall, singers demonstrated significantly lower vocal effort and CSID as compared with nonsingers. Young, vocally healthy men may not experience physiologic changes in voice production associated with laryngeal desiccation and nebulized saline treatments; however, self-reported increases in vocal effort which are associated with dryness symptoms might improve with nebulized treatments. Future hydration research should consider age and sex variables. Copyright © 2016 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Vocal Health Education and Medical Resources for Graduate-Level Vocal Performance Students.

PubMed

Latham, Katherine; Messing, Barbara; Bidlack, Melissa; Merritt, Samantha; Zhou, Xian; Akst, Lee M

2017-03-01

Most agree that education about vocal health and physiology can help singers avoid the development of vocal disorders. However, little is known about how this kind of education is provided to singers as part of their formal training. This study describes the amount of instruction in these topics provided through graduate-level curricula, who provides this instruction, and the kinds of affiliations such graduate singing programs have with medical professionals. This is an online survey of music schools with graduate singing programs. Survey questions addressed demographics of the programs, general attitudes about vocal health instruction for singers, the amount of vocal health instruction provided and by whom it was taught, perceived barriers to including more vocal health instruction, and any affiliations the voice program might have with medical personnel. Eighty-one survey responses were received. Instruction on vocal health was provided in 95% of the schools. In 55% of the schools, none of this instruction was given by a medical professional. Limited time in the curriculum, lack of financial support, and lack of availability of medical professional were the most frequently reported barriers to providing more instruction. When programs offered more hours of instruction, they were more likely to have some of that instruction given by a medical professional (P = 0.008) and to assess the amount of instruction provided positively (P = 0.001). There are several perceived barriers to incorporating vocal health education into graduate singing programs. Opportunity exists for more collaboration between vocal pedagogues and medical professionals in the education of singers about vocal health. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Voice Quality After a Semi-Occluded Vocal Tract Exercise With a Ventilation Mask in Contemporary Commercial Singers: Acoustic Analysis and Self-Assessments.

PubMed

Fantini, Marco; Succo, Giovanni; Crosetti, Erika; Borragán Torre, Alfonso; Demo, Roberto; Fussi, Franco

2017-05-01

The current study aimed at investigating the immediate effects of a semi-occluded vocal tract exercise with a ventilation mask in a group of contemporary commercial singers. A randomized controlled study was carried out. Thirty professional or semi-professional singers with no voice complaints were randomly divided into two groups on recruitment: an experimental group and a control group. The same warm-up exercise was performed by the experimental group with an occluded ventilation mask placed over the nose and the mouth and by the control group without the ventilation mask. Voice was recorded before and after the exercise. Acoustic and self-assessment analysis were accomplished. The acoustic parameters of the voice samples recorded before and after training were compared, as well as the parameters' variations between the experimental and the control group. Self-assessment results of the experimental and the control group were compared too. Significant changes after the warm-up exercise included jitter, shimmer, and singing power ratio (SPR) in the experimental group. No significant changes were recorded in the control group. Significant differences between the experimental and the control group were found for ΔShimmer and ΔSPR. Self-assessment analysis confirmed a significantly higher phonatory comfort and voice quality perception for the experimental group. The results of the present study support the immediate advantageous effects on singing voice of a semi-occluded vocal tract exercise with a ventilation mask in terms of acoustic quality, phonatory comfort, and voice quality perception in contemporary commercial singers. Long-term effects still remain to be studied. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Auditory-motor adaptation to frequency-altered auditory feedback occurs when participants ignore feedback.

PubMed

Keough, Dwayne; Hawco, Colin; Jones, Jeffery A

2013-03-09

Auditory feedback is important for accurate control of voice fundamental frequency (F(0)). The purpose of this study was to address whether task instructions could influence the compensatory responding and sensorimotor adaptation that has been previously found when participants are presented with a series of frequency-altered feedback (FAF) trials. Trained singers and musically untrained participants (nonsingers) were informed that their auditory feedback would be manipulated in pitch while they sang the target vowel [/α /]. Participants were instructed to either 'compensate' for, or 'ignore' the changes in auditory feedback. Whole utterance auditory feedback manipulations were either gradually presented ('ramp') in -2 cent increments down to -100 cents (1 semitone) or were suddenly ('constant') shifted down by 1 semitone. Results indicated that singers and nonsingers could not suppress their compensatory responses to FAF, nor could they reduce the sensorimotor adaptation observed during both the ramp and constant FAF trials. Compared to previous research, these data suggest that musical training is effective in suppressing compensatory responses only when FAF occurs after vocal onset (500-2500 ms). Moreover, our data suggest that compensation and adaptation are automatic and are influenced little by conscious control.

Auditory-motor adaptation to frequency-altered auditory feedback occurs when participants ignore feedback

PubMed Central

2013-01-01

Background Auditory feedback is important for accurate control of voice fundamental frequency (F0). The purpose of this study was to address whether task instructions could influence the compensatory responding and sensorimotor adaptation that has been previously found when participants are presented with a series of frequency-altered feedback (FAF) trials. Trained singers and musically untrained participants (nonsingers) were informed that their auditory feedback would be manipulated in pitch while they sang the target vowel [/ɑ /]. Participants were instructed to either ‘compensate’ for, or ‘ignore’ the changes in auditory feedback. Whole utterance auditory feedback manipulations were either gradually presented (‘ramp’) in -2 cent increments down to -100 cents (1 semitone) or were suddenly (’constant‘) shifted down by 1 semitone. Results Results indicated that singers and nonsingers could not suppress their compensatory responses to FAF, nor could they reduce the sensorimotor adaptation observed during both the ramp and constant FAF trials. Conclusions Compared to previous research, these data suggest that musical training is effective in suppressing compensatory responses only when FAF occurs after vocal onset (500-2500 ms). Moreover, our data suggest that compensation and adaptation are automatic and are influenced little by conscious control. PMID:23497238

Desiring T, desiring self: "T-style" pop singers and lesbian culture in China.

PubMed

Kam, Lucetta Y L

2014-01-01

This article examines an emerging group of "T-style" female singers in the popular music scene in China. The expression "T," which is developed from the term "tomboy," refers to lesbians with masculine gender style. It is a widely used form of identification in local lesbian communities in China. The emergence of "T-style" female singers coincided with the rapid development of local lesbian communities in major cities in China. By exploring the intersections-or mutual modeling-of "T-style" singers and local lesbian gender culture, this article also analyzes the different receptions of "T-style" singers by local lesbian women, and explores whether "T-style" singers are seen as a "cultural resource" that aids the construction of lesbian gender and sexual identities.

Average speaking fundamental frequency in soprano singers with and without symptoms of vocal attrition.

PubMed

Drew, R; Sapir, S

1995-06-01

Nineteen trained soprano singers aged 18-30 years vocalized tasks designed to assess average speaking fundamental frequency (SFF) during spontaneous speaking and reading. Vocal range and perceptual characteristics while singing with low intensity and high frequency were also assessed, and subjects completed a survey of vocal habits/symptoms. Recorded signals were digitized prior to being analyzed for SFF using the Kay Computerized Speech Lab program. Subjects were assigned to a normal voice or impaired voice group based on ratings of perceptual tasks and survey results. Data analysis showed group differences in mean SFF, no differences in vocal range, higher mean SFF values for reading than speaking, and 58% ability to perceive speaking in low pitch. The role of speaking in too low pitch as causal for vocal symptoms and need for voice classification differentiation in vocal performance studies are discussed.

Case-study magnetic resonance imaging and acoustic investigation of the effects of vocal warm-up on two voice professionals.

PubMed

Laukkanen, Anne-Maria; Horáček, Jaromir; Havlík, Radan

2012-07-01

Vocal warm-up (WU)-related changes were studied in one male musical singer and one female speech trainer. They sustained vowels before and after WU in a magnetic resonance imaging (MRI) device. Acoustic recordings were made in a studio. The vocal tract area increased after WU, a formant cluster appeared between 2 and 4.5 kHz, and SPL increased. Evidence of larynx lowering was only found for the male. The pharyngeal inlet over the epilaryngeal outlet ratio (A(ph)/A(e)) increased by 10%-28%, being 3-4 for the male and 5-7 for the female. The results seem to represent different voice training traditions. A singer's formant cluster may be achievable without a high A(ph)/A(e) (≥ 6), but limitations of the 2D method should be taken into account.

Automatic Assessment of Acoustic Parameters of the Singing Voice: Application to Professional Western Operatic and Jazz Singers.

PubMed

Manfredi, Claudia; Barbagallo, Davide; Baracca, Giovanna; Orlandi, Silvia; Bandini, Andrea; Dejonckere, Philippe H

2015-07-01

The obvious perceptual differences between various singing styles like Western operatic and jazz rely on specific dissimilarities in vocal technique. The present study focuses on differences in vibrato acoustics and in singer's formant as analyzed by a novel software tool, named BioVoice, based on robust high-resolution and adaptive techniques that have proven its validity on synthetic voice signals. A total of 48 professional singers were investigated (29 females; 19 males; 29 Western operatic; and 19 jazz). They were asked to sing "a cappella," but with artistic expression, a well-known musical phrase from Gershwin's Porgy and Bess, in their own style: either operatic or jazz. A specific sustained note was extracted for detailed vibrato analysis. Beside rate (s(-1)) and extent (cents), duration (seconds) and regularity were computed. Two new concepts are introduced: vibrato jitter and vibrato shimmer, by analogy with the traditional jitter and shimmer of voice signals. For the singer's formant, on the same sustained tone, the ratio of the acoustic energy in formants 1-2 to the energy in formants 3, 4, and 5 was automatically computed, providing a quality ratio (QR). Vibrato rates did not differ among groups. Extent was significantly larger in operatic singers, particularly females. Vibrato jitter and vibrato shimmer were significantly smaller in operatic singers. Duration of vibrato was also significantly longer in operatic singers. QR was significantly lower in male operatic singers. Some vibrato characteristics (extent, regularity, and duration) very clearly differentiate the Western operatic singing style from the jazz singing style. The singer's formant is typical of male operatic singers. The new software tool is well suited to provide useful feedback in a pedagogical context. Copyright © 2015 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

The Singer's and the Clinician's Perspective on Vitamin B12 Treatment for Vocal Benefits.

PubMed

Shoffel-Havakuk, Hagit; Lava, Christian X; Hapner, Edie R; O'Dell, Karla; Reder, Lindsay; Johns, Michael M

2018-01-03

There is a belief among vocalists that there are voice benefits from vitamin B 12 treatment. Yet there are no previous reports regarding vitamin B 12 effects on voice. To assess the prevalence of vitamin B 12 use among singers and their beliefs regarding vitamin B 12 therapy. Anonymous online survey administered to singers, singing-teachers, speech-language pathologists, and laryngologists. A total of 192 participants completed the surveys; 128 singers (68 singing-teachers, 30 speech-language pathologists) and 64 laryngologists. Among singers, 12% have perceived voice benefits from vitamin B 12 treatment taken for any reason. Four percent used vitamin B 12 for voice benefits; all perceived voice benefits as a result. The leading voice benefits were improved stamina, reduced effort, confidence, and control. Nineteen percent of the singers would recommend vitamin B 12 treatment to a friend; 15% of the singing-teachers would recommend it to a student. Among laryngologists, 33% been asked by a singer to prescribe vitamin B 12 for voice benefits; 9% have prescribed it in the past. Yet only 3% would you recommend it to a patient. When asked "Do you believe vitamin B 12 therapy improves vocal performance?" 31% of the singers responded "Yes," compared with none in the laryngologists. When asked "Do you think the singing community believes vitamin B 12 therapy improves vocal performance?" 26% of the singers responded "Yes," compared with 53% of the laryngologists (P = 0.0002). There is a discrepancy between the singers' and the laryngologists' beliefs regarding vocal benefits perceived by vitamin B 12 . Blinded randomized trials are required to verify or refute this belief. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Humpback whale (Megaptera novaeangliae) singers in Hawaii are attracted to playback of similar song (L).

PubMed

Darling, James D; Jones, Meagan E; Nicklin, Charles P

2012-11-01

The use of playback experiments to study humpback whale song was assessed. Singers clearly detected playback song while singing and with other singers in the distance. Singers approached or joined song similar to their own from as far as 800 m but did not do so for a different (foreign) song. In one compound trial, on the playback of different song, the singer moved away and continued singing; when the playback was changed to similar song, it stopped singing and joined the playback speaker. Song playback experiments on the breeding grounds are viable and may provide insight into song function.

Auditory-motor Mapping for Pitch Control in Singers and Nonsingers

PubMed Central

Jones, Jeffery A.; Keough, Dwayne

2009-01-01

Little is known about the basic processes underlying the behavior of singing. This experiment was designed to examine differences in the representation of the mapping between fundamental frequency (F0) feedback and the vocal production system in singers and nonsingers. Auditory feedback regarding F0 was shifted down in frequency while participants sang the consonant-vowel /ta/. During the initial frequency-altered trials, singers compensated to a lesser degree than nonsingers, but this difference was reduced with continued exposure to frequency-altered feedback. After brief exposure to frequency altered auditory feedback, both singers and nonsingers suddenly heard their F0 unaltered. When participants received this unaltered feedback, only singers' F0 values were found to be significantly higher than their F0 values produced during baseline and control trials. These aftereffects in singers were replicated when participants sang a different note than the note they produced while hearing altered feedback. Together, these results suggest that singers rely more on internal models than nonsingers to regulate vocal productions rather than real time auditory feedback. PMID:18592224

Correlation between vocal tract symptoms and modern singing handicap index in church gospel singers.

PubMed

Pinheiro, Joel; Silverio, Kelly Cristina Alves; Siqueira, Larissa Thaís Donalonso; Ramos, Janine Santos; Brasolotto, Alcione Ghedini; Zambon, Fabiana; Behlau, Mara

2017-08-24

To verify the correlation between vocal tract discomfort symptoms and perceived voice handicaps in gospel singers, analyzing possible differences according to gender. 100 gospel singers volunteered, 50 male and 50 female. All participants answered two questionnaires: Vocal Tract Discomfort (VTD) scale and the Modern Singing Handicap Index (MSHI) that investigates the vocal handicap perceived by singers, linking the results of both instruments (p<0.05). Women presented more perceived handicaps and also more frequent and higher intensity vocal tract discomfort. Furthermore, the more frequent and intense the vocal tract symptoms, the higher the vocal handicap for singing. Female gospel singers present higher frequency and intensity of vocal tract discomfort symptoms, as well as higher voice handicap for singing than male gospel singers. The higher the frequency and intensity of the laryngeal symptoms, the higher the vocal handicap will be.

Acoustical analysis of the underlying voice differences between two groups of professional singers: opera and country and western.

PubMed

Burns, P

1986-05-01

An acoustical analysis of the speaking and singing voices of two types of professional singers was conducted. The vowels /i/, /a/, and /o/ were spoken and sung ten times each by seven opera and seven country and western singers. Vowel spectra were derived by computer software techniques allowing quantitative assessment of formant structure (F1-F4), relative amplitude of resonance peaks (F1-F4), fundamental frequency, and harmonic high frequency energy. Formant analysis was the most effective parameter differentiating the two groups. Only opera singers lowered their fourth formant creating a wide-band resonance area (approximately 2,800 Hz) corresponding to the well-known "singing formant." Country and western singers revealed similar resonatory voice characteristics for both spoken and sung output. These results implicate faulty vocal technique in country and western singers as a contributory reason for vocal abuse/fatigue.

Cross-modal signatures in maternal speech and singing

PubMed Central

Trehub, Sandra E.; Plantinga, Judy; Brcic, Jelena; Nowicki, Magda

2013-01-01

We explored the possibility of a unique cross-modal signature in maternal speech and singing that enables adults and infants to link unfamiliar speaking or singing voices with subsequently viewed silent videos of the talkers or singers. In Experiment 1, adults listened to 30-s excerpts of speech followed by successively presented 7-s silent video clips, one from the previously heard speaker (different speech content) and the other from a different speaker. They successfully identified the previously heard speaker. In Experiment 2, adults heard comparable excerpts of singing followed by silent video clips from the previously heard singer (different song) and another singer. They failed to identify the previously heard singer. In Experiment 3, the videos of talkers and singers were blurred to obscure mouth movements. Adults successfully identified the talkers and they also identified the singers from videos of different portions of the song previously heard. In Experiment 4, 6− to 8-month-old infants listened to 30-s excerpts of the same maternal speech or singing followed by exposure to the silent videos on alternating trials. They looked longer at the silent videos of previously heard talkers and singers. The findings confirm the individuality of maternal speech and singing performance as well as adults' and infants' ability to discern the unique cross-modal signatures. The cues that enable cross-modal matching of talker and singer identity remain to be determined. PMID:24198805

Cross-modal signatures in maternal speech and singing.

PubMed

Trehub, Sandra E; Plantinga, Judy; Brcic, Jelena; Nowicki, Magda

2013-01-01

We explored the possibility of a unique cross-modal signature in maternal speech and singing that enables adults and infants to link unfamiliar speaking or singing voices with subsequently viewed silent videos of the talkers or singers. In Experiment 1, adults listened to 30-s excerpts of speech followed by successively presented 7-s silent video clips, one from the previously heard speaker (different speech content) and the other from a different speaker. They successfully identified the previously heard speaker. In Experiment 2, adults heard comparable excerpts of singing followed by silent video clips from the previously heard singer (different song) and another singer. They failed to identify the previously heard singer. In Experiment 3, the videos of talkers and singers were blurred to obscure mouth movements. Adults successfully identified the talkers and they also identified the singers from videos of different portions of the song previously heard. In Experiment 4, 6- to 8-month-old infants listened to 30-s excerpts of the same maternal speech or singing followed by exposure to the silent videos on alternating trials. They looked longer at the silent videos of previously heard talkers and singers. The findings confirm the individuality of maternal speech and singing performance as well as adults' and infants' ability to discern the unique cross-modal signatures. The cues that enable cross-modal matching of talker and singer identity remain to be determined.

Subjective preference evaluation of sound fields by performing singers

NASA Astrophysics Data System (ADS)

Noson, Dennis

2003-08-01

A model of the auditory process is proposed for performing singers, which incorporates the added signal from bone conduction, as well as the psychological distance for subjective preference of the performer from the acoustic sound field of the stage. The explanatory power of previous scientific studies of vocal stage acoustics has been limited by a lack of an underlying theory of performer preference. Ando's theory, using the autocorrelation function (ACF) for parametrizing temporal factors, was applied to interpretation of singer sound field preference determined by the pair comparison method. Melisma style singing (no lyrics) was shown to increase the preferred delay time of reflections from a mean of 14 ms with lyrics to 23 ms without (p<0.05). The extent of the shift in preferred time delay was shown to be directly related to minima of the effective duration of the running ACF, (τe)min, calculated from each singer's voice. Voice matching experiments for singers demonstrated a strong overestimate of the voice outside the head compared with the singer's own voice (22.4 dB overestimate, p<0.01). Individual singer melisma singing delay preferences were compared for ``ah'' versus ``hum'' syllables, and the increased delay preference (41 ms) was shown to be correlated with (τe)min (r2<0.68, p<0.01). When the proposed bone conduction model was applied, using the measured overestimate of sound level of the singer's own voice for each singer (9.9 dB mean overestimate difference between ``ah'' and ``hum,'' p<0.01), the relationship of singer preference to (τe)min was improved (r2=0.97, p<0.01). Thesis advisor: Yoichi Ando Copies of this thesis are available from the author by inquiry at BRC Acoustics, 1741 First Avenue South, Seattle, WA 98134 USA. E-mail address: dnoson@brcacoustics.com

Can Inexperienced Listeners Hear Who Is Singing? The Role of Onset Cues.

PubMed

Erickson, Molly L

2018-05-28

This study sought to determine whether the acoustic information contained in the onset of phonation can improve the ability to discriminate voices across pitch. This study was a repeated-measures factorial design. Listeners heard two singers producing /ɑ/ at the same pitch and an unknown singer producing /ɑ/ at a different pitch. Listener's identified which singer was the unknown singer. Two baritones and two tenors were recorded producing /ɑ/ at the pitches C3, E3, G3, B3, D4, and F4. Two sopranos and two mezzo-sopranos were recorded producing /ɑ/ at the pitches C4, E4, G4, B4, D5, and F5. For each group of stimuli, male and female, all possible pairs of singers were constructed for the lowest pitch. The unknown singer was varied across the remaining pitches. All stimulus combinations were presented with and without onset cues. In general, the inclusion of onset information affected listeners' ability to discriminate singers across pitch. When the pitch interval was small, a 3rd or a 5th, onset information improved the ability to correctly discriminate singers across pitch. This effect was greater for female voices than for male voices. However, when the pitch interval was larger, a 7th, 9th, or 11th, the onset information either had no effect, as was seen in the female voices, or had a negative effect, as was seen in the male voices. Voice onset information affects voice discrimination in certain circumstances, but cannot be used by inexperienced listeners as a consistent cue to improve singer discrimination across all pitch intervals. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Task-specific singing dystonia: vocal instability that technique cannot fix.

PubMed

Halstead, Lucinda A; McBroom, Deanna M; Bonilha, Heather Shaw

2015-01-01

Singer's dystonia is a rare variation of focal laryngeal dystonia presenting only during specific tasks in the singing voice. It is underdiagnosed since it is commonly attributed to technique problems including increased muscle tension, register transition, or wobble. Singer's dystonia differs from technique-related issues in that it is task- and/or pitch-specific, reproducible and occurs independently from the previously mentioned technical issues.This case series compares and contrasts profiles of four patients with singer's dystonia to increase our knowledge of this disorder. This retrospective case series includes a detailed case history, results of singing evaluations from individual voice teachers, review of singing voice samples by a singing voice specialist, evaluation by a laryngologist with endoscopy and laryngeal electromyography (LEMG), and spectral analysis of the voice samples by a speech-language pathologist. Results demonstrate the similarities and unique differences of individuals with singer's dystonia. Response to treatment and singing status varied from nearly complete relief of symptoms with botulinum toxin injections to minor relief of symptoms and discontinuation of singing. The following are the conclusions from this case series: (1) singer's dystonia exists as a separate entity from technique issues, (2) singer's dystonia is consistent with other focal task-specific dystonias found in musicians, (3) correctly diagnosing singer's dystonia allows singer's access to medical treatment of dystonia and an opportunity to modify their singing repertoire to continue singing with the voice they have, and (4) diagnosis of singer's dystonia requires careful sequential multidisciplinary evaluation to isolate the instability and confirm dystonia by LEMG and spectral voice analysis. Copyright © 2015 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Long-term-average spectrum characteristics of Kunqu Opera singers' speaking, singing and stage speech.

PubMed

Dong, Li; Kong, Jiangping; Sundberg, Johan

2014-07-01

Long-term-average spectrum (LTAS) characteristics were analyzed for ten Kunqu Opera singers, two in each of five roles. Each singer performed singing, stage speech, and conversational speech. Differences between the roles and between their performances of these three conditions are examined. After compensating for Leq difference LTAS characteristics still differ between the roles but are similar for the three conditions, especially for Colorful face (CF) and Old man roles, and especially between reading and singing. The curves show no evidence of a singer's formant cluster peak, but the CF role demonstrates a speaker's formant peak near 3 kHz. The LTAS characteristics deviate markedly from non-singers' standard conversational speech as well as from those of Western opera singing.

The Seven-Year Plan of Georgia - USSR .

DTIC Science & Technology

1961-08-07

Georgian art. A new pleiad of talented singers, musicians and artists has appeared. At a review of the cultural achievements of Georgia held in Moscow...and gymnastics are favorite types of athletics. The creation of a sport base, of cadres of trainers and teachers makes it possible to train first...account the actual demands of industry. Writers and artists are concluding friendship treaties with enterprises and constructions* The initiative

DOMAIN MISMATCH COMPENSATION FOR SPEAKER RECOGNITION USING A LIBRARY OF WHITENERS

DTIC Science & Technology

2015-05-29

DOMAIN MISMATCH COMPENSATION FOR SPEAKER RECOGNITION USING A LIBRARY OF WHITENERS Elliot Singer and Douglas Reynolds Massachusetts Institute of...development data is assumed to be unavailable. The method is based on a generalization of data whitening used in association with i-vector length...normalization and utilizes a library of whitening transforms trained at system development time using strictly out-of-domain data. The approach is

Directivity of singers

NASA Astrophysics Data System (ADS)

Jers, Harald

2005-09-01

Studies of acoustical balance between singers within a choir by means of room acoustical measurements have shown that the directional sound propagation of the source is important. For this reason the directivity of female and male singers for different vowels has been measured in this investigation. Measurements of a pilot study and some first measurements in 1998 have been supplemented with new measurements and an enhanced setup. A special measurement setup with reference and recording microphones was used to collect the directivity data. A resolution of 10 deg for azimuth and elevation angle was obtained. The results will be shown in 3D spherical plots with frequency adjustments in semitones from 80 to 8000 Hz. The measurements are compared to an artificial singer's directivity, and the influence of a sheet music binder in front of a singer will be shown. The results give information on the directivity of singers and are relevant for the prediction of self-to-other-ratios that result from placement and formation aspects within a choir.

Vocal fold hemorrhage associated with coumadin therapy in an opera singer.

PubMed

Neely, J L; Rosen, C

2000-06-01

Vocal fold hemorrhage can represent a disastrous and potentially career ending injury to a singer or professional voice user. The risk factors of vocal fold hemorrhage, including laryngeal trauma, phonotrauma, aspirin and nonsteroidal antiinflammatories, and hormonal imbalances are well known. We present a case of an opera singer who developed recurrent vocal fold hemorrhage associated with coumadin anticoagulation therapy. This case highlights the importance of the risk of vocal fold hemorrhage to professional singers and professional voice users and offers an alternative to long-term coumadin therapy in this select population.

Kuhse, Singer and slippery slopes.

PubMed Central

Fairbairn, G J

1988-01-01

Helga Kuhse and Peter Singer recently examined the view expressed by John Lorber that whereas at times it is permissible to allow severely handicapped infants to die, killing them must never be allowed. In attempting to demonstrate the mistaken nature of Lorber's fear that allowing active infanticide would lead us onto a slippery slope Kuhse and Singer make much use of John Harris's paper in the Journal of Medical Ethics in which he criticised Lorber's views. This paper examines some aspects of the case advanced by Kuhse and Singer and of the earlier paper by Harris. PMID:2972837

[Computer-assisted phonetography as a diagnostic aid in functional dysphonia].

PubMed

Airainer, R; Klingholz, F

1991-07-01

A total of 160 voice-trained and untrained subjects with functional dysphonia were given a "clinical rating" according to their clinical findings. This was a certain value on a scale that recorded the degree of functional voice disorder ranging from a marked hypofunction to an extreme hyperfunction. The phonetograms of these patients were approximated by ellipses, whereby the definition and quantitative recording of several phonetogram parameters were rendered possible. By means of a linear combination of phonetogram parameters, a "calculated assessment" was obtained for each patient that was expected to tally with the "clinical rating". This paper demonstrates that a graduation of the dysphonic clinical picture with regard to the presence of hypofunctional or hyperfunctional components is possible via computerised phonetogram evaluation. In this case, the "calculated assessments" for both male and female singers and non-singers must be computed using different linear combinations. The method can be introduced as a supplementary diagnostic procedure in the diagnosis of functional dysphonia.

Weight-Bearing MR Imaging as an Option in the Study of Gravitational Effects on the Vocal Tract of Untrained Subjects in Singing Phonation

PubMed Central

Traser, Louisa; Burdumy, Michael; Richter, Bernhard; Vicari, Marco; Echternach, Matthias

2014-01-01

Magnetic Resonance Imaging (MRI) of subjects in a supine position can be used to evaluate the configuration of the vocal tract during phonation. However, studies of speech phonation have shown that gravity can affect vocal tract shape and bias measurements. This is one of the reasons that MRI studies of singing phonation have used professionally trained singers as subjects, because they are generally considered to be less affected by the supine body position and environmental distractions. A study of untrained singers might not only contribute to the understanding of intuitive singing function and aid the evaluation of potential hazards for vocal health, but also provide insights into the effect of the supine position on singers in general. In the present study, an open configuration 0.25 T MRI system with a rotatable examination bed was used to study the effect of body position in 20 vocally untrained subjects. The subjects were asked to sing sustained tones in both supine and upright body positions on different pitches and in different register conditions. Morphometric measurements were taken from the acquired images of a sagittal slice depicting the vocal tract. The analysis concerning the vocal tract configuration in the two body positions revealed differences in 5 out of 10 measured articulatory parameters. In the upright position the jaw was less protruded, the uvula was elongated, the larynx more tilted and the tongue was positioned more to the front of the mouth than in the supine position. The findings presented are in agreement with several studies on gravitational effects in speech phonation, but contrast with the results of a previous study on professional singers of our group where only minor differences between upright and supine body posture were observed. The present study demonstrates that imaging of the vocal tract using weight-bearing MR imaging is a feasible tool for the study of sustained phonation in singing for vocally untrained subjects. PMID:25379885

Weight-bearing MR imaging as an option in the study of gravitational effects on the vocal tract of untrained subjects in singing phonation.

PubMed

Traser, Louisa; Burdumy, Michael; Richter, Bernhard; Vicari, Marco; Echternach, Matthias

2014-01-01

Magnetic Resonance Imaging (MRI) of subjects in a supine position can be used to evaluate the configuration of the vocal tract during phonation. However, studies of speech phonation have shown that gravity can affect vocal tract shape and bias measurements. This is one of the reasons that MRI studies of singing phonation have used professionally trained singers as subjects, because they are generally considered to be less affected by the supine body position and environmental distractions. A study of untrained singers might not only contribute to the understanding of intuitive singing function and aid the evaluation of potential hazards for vocal health, but also provide insights into the effect of the supine position on singers in general. In the present study, an open configuration 0.25 T MRI system with a rotatable examination bed was used to study the effect of body position in 20 vocally untrained subjects. The subjects were asked to sing sustained tones in both supine and upright body positions on different pitches and in different register conditions. Morphometric measurements were taken from the acquired images of a sagittal slice depicting the vocal tract. The analysis concerning the vocal tract configuration in the two body positions revealed differences in 5 out of 10 measured articulatory parameters. In the upright position the jaw was less protruded, the uvula was elongated, the larynx more tilted and the tongue was positioned more to the front of the mouth than in the supine position. The findings presented are in agreement with several studies on gravitational effects in speech phonation, but contrast with the results of a previous study on professional singers of our group where only minor differences between upright and supine body posture were observed. The present study demonstrates that imaging of the vocal tract using weight-bearing MR imaging is a feasible tool for the study of sustained phonation in singing for vocally untrained subjects.

["Scores of Independence for Neurologic and Geriatric Rehabilitation (SINGER)" - development and validation of a new assessment instrument].

PubMed

Gerdes, N; Funke, U-N; Schüwer, U; Themann, P; Pfeiffer, G; Meffert, C

2012-10-01

In the context of developing and testing a procedure for "Outcome-oriented payment for rehabilitation after stroke", we found that the instruments commonly used to measure the outcomes of rehabilitation after stroke (e. g., Barthel-Index or FIM) were not meeting the special requirements of the new payment system. Therefore the "Scores of Independence for Neurologic and Geriatric Rehabilitation" (SINGER) was developed as a new assessment instrument. This instrument is based on the ICF and measures 20 aspects of "independence in activities of daily living". The characteristic feature of the SINGER is, above all, the way all items are graded in 6 steps: the gradation does not refer to the degree of disability but to the kind and amount of help required for the respective activity, i. e.: 0 = totally dependent on professional help; 1 = professional contact help needed; 2 = contact help by (instructed) lay persons sufficient; 3 = preparation or supervision by lay persons still needed; 4 = independent with assistive device or still slow; 5 = independent without assistive device. For experienced personnel in neurologic rehabilitation, these gradations are "intuitively plausible". A manual moreover describes each grade in detail for each item so that the instrument can be used in rehabilitation facilities without extensive training. The SINGER has been tested and validated in a pilot study (n = 100) and in 2 subsequent studies with large case numbers in neurologic rehabilitation (n = 1058 and n = 700 patients after stroke in all categories of severity). Factor analyses showed that the instrument contains 2 dimensions which can be interpreted as "physical activities" and "activities of communication and cognition". Each of these 2 dimensions can be split into 2 sub-dimensions that can be assigned to the tasks of therapeutical professions in care/Occupational Therapy, physiotherapy, logopedics, and neuro- psychology. The test criteria of reliability, sensitivity, convergent validity, floor and ceiling effects as well as sensitivity to change show good to very good results. Particular emphasis can be given to the high degree of interrater reliability and the wide range of possible applications in clinical practice as well as in research. A limitation of the instrument to be taken into account is the fact that the SINGER has not yet been tested and validated in geriatric rehabilitation facilities. © Georg Thieme Verlag KG Stuttgart · New York.

Acoustic Analysis of Voice in Singers: A Systematic Review

ERIC Educational Resources Information Center

Gunjawate, Dhanshree R.; Ravi, Rohit; Bellur, Rajashekhar

2018-01-01

Purpose: Singers are vocal athletes having specific demands from their voice and require special consideration during voice evaluation. Presently, there is a lack of standards for acoustic evaluation in them. The aim of the present study was to systematically review the available literature on the acoustic analysis of voice in singers. Method: A…

Supernatural Themes in Selected Children's Stories of Isaac Bashevis Singer.

ERIC Educational Resources Information Center

Schlessinger, June H.; Vanderryst, June D.

1989-01-01

Discusses the impact of the traditional folklore theme of good versus evil on children's development and analyzes the development of this theme using magical and supernatural situations in the work of Isaac Bashevis Singer. A selected bibliography of work by and literary criticisms of Singer's writings is provided. (five references) (CLB)

Mindfulness for Singers: The Effects of a Targeted Mindfulness Course on Learning Vocal Technique

ERIC Educational Resources Information Center

Czajkowski, Anne-Marie L.; Greasley, Alinka E.

2015-01-01

This paper reports the development and implementation of a unique Mindfulness for Singers (MfS) course designed to improve singers' vocal technique. Eight university students completed the intervention. Five Facet Mindfulness Questionnaire (FFMQ) scores showed general improvement across all five facets of mindfulness. Qualitative results showed…

Get Your First-Time Singers to Sing Well

ERIC Educational Resources Information Center

Packwood, Gary

2005-01-01

First-time singers present excellent opportunities for choral directors to fine-tune their teaching by truly working with beginners. In this article, the author discusses how beginning singers learn to sing well. Despite the unique challenges and various musical backgrounds of these students, if choral directors can teach them the basics of…

Teaching Vocal Canons: A Dare and a Chair

ERIC Educational Resources Information Center

Hess, Kenneth

2006-01-01

Many elementary vocal teachers experience a certain amount of trepidation about teaching students to sing in harmony. In the general music classroom, they face uncertain singers, inaccurate singers, and uninterested or defiant singers, as well as eager children who sing with appropriate head tone and good intonation. Often this colorful mix makes…

[Change in laryngeal vibratory mechanism: a physiological entity].

PubMed

Roubeau, B; Chevrie-Muller, C; Arabia, C; Arragon, C

1993-01-01

The purpose of this paper is to examine the change of laryngeal vibratory mechanism in 10 males and 9 females trained and untrained singers. The electroglottographic (E.G.G.) data analysis demonstrated strong evidence to support the view that such event could be considered as a whole physiological entity. In fact findings clearly indicated biomechanical, neuromuscular and central levels in the control of the laryngeal vibration involved in the change of mechanism.

Effect on long-term average spectrum of pop singers' vocal warm-up with vocal function exercises.

PubMed

Guzman, Marco; Angulo, Mabel; Muñoz, Daniel; Mayerhoff, Ross

2013-04-01

Abstract This case-control study aimed to investigate if there is any change on the spectral slope declination immediately after vocal function exercises (VFE) vs traditional vocal warm-up exercises in normal singers. Thirty-eight pop singers with perceptually normal voices were divided into two groups: an experimental group (n = 20) and a control group (n = 18). One single session with VFE for the experimental group and traditional singing warm-up exercises for the control group was applied. Voice was recorded before and after the exercises. The recorded tasks were to read a phonetically balanced text and to sing a song. Long-term average spectrum (LTAS) analysis included alpha ratio, L1-L0 ratio, and singing power ratio (SPR). Acoustic parameters of voice samples pre- and post-training were compared. Comparison between VFE and control group was also performed. Significant changes after treatment included the alpha ratio and singing power ratio in speaking voice, and SPR in the singing voice for VFE group. The traditional vocal warm-up of the control group also showed pre-post changes. Significant differences between VFE group and control group for alpha ratio and SPR were found in speaking voice samples. This study demonstrates that VFE have an immediate effect on the spectrum of the voice, specifically a decrease on the spectral slope declination. The results of this study provide support for the advantageous effect of VFE as vocal warm-up on voice quality.

Conductor Feedback and the Amateur Singer: The Role of Criticism and Praise in Building Choral Confidence

ERIC Educational Resources Information Center

Bonshor, Michael

2017-01-01

This article is based on the findings of a qualitative exploration of factors influencing confidence levels among adult amateur choral singers. Three focus group interviews, involving 18 singers in total, and 16 individual interviews were carried out. These provided over 40 hours of recorded verbal data, which then underwent a process of…

The Effects of a Remedial Singing Method on the Vocal Pitch Accuracy of Inaccurate Elementary Singers

ERIC Educational Resources Information Center

Miyamoto, Karen A.

2005-01-01

A pretest-posttest experimental design was utilized to determine the efficacy of the Yuba Method on inaccurate elementary singers. Testing of pitch accuracy was analyzed using the Sona-Speech Model 3600 software program. Inaccurate singers (N=168) from a population of 320 fourth, fifth, and sixth grade students, were divided into three subgroups…

Singer Responses to Sound Fields with a Simulated Reflection

NASA Astrophysics Data System (ADS)

NOSON, D.; SATO, S.; SAKAI, H.; ANDO, Y.

2000-04-01

While numerous recent studies have reported results concerning improvements to stage acoustics for orchestral performers, the preferred acoustical conditions on performing stages for singers has received limited attention in the past 20 years. A series of acoustical modifications have been proposed for a Seattle church to improve the acoustics for both the listeners and the performing choir. An on-site preliminary study was made to determine what acoustical changes might be important to singers. During solo fast-tempo singing and duet singing, singer preference increased with simulated short-delay reflections. The results suggest a potential for new reflectors to produce noticeable improvement in the choir acoustics. Subsequently, a solo singer study was conducted to establish preferred range of time delays for a single-simulated reflection. When singing faster-tempo music, the consensus of preference is statistically significant and the preferred delay averages 20 ms, while with a slow-tempo piece, the singers were not consistent in their judgment of preference and a strong individual variability predominated in the pair-comparison tests. The results point the way for an examination of a wider range of time delays and music motifs to acquire a clearer picture of consensus and individual preference for time-delayed reflections.

Formant frequencies in Middle Eastern singers.

PubMed

Hamdan, Abdul-latif; Tabri, Dollen; Deeb, Reem; Rifai, Hani; Rameh, Charbel; Fuleihan, Nabil

2008-01-01

This work was conducted to describe the formant frequencies in a group of Middle Eastern singers and to look for the presence of the singer's formant described in operatic singers. A total of 13 Middle Eastern singers were enrolled in this study. There were 5 men and 8 women. Descriptive analysis was performed to report the various formants (F1, F2, F3, and F4) in both speaking and singing. The Wilcoxon test was used to compare the means of the formants under both conditions. For both sexes combined, for the /a/ vowel, F1 singing was significantly lower than F1 speaking (P = .05) and F3 singing was significantly higher than F3 speaking (P = .046). For the /u/ vowel, only F2 singing was significantly higher than F2 speaking (P = .012). For the /i/ vowel, both F2 and F3 singing were significantly lower than F2 and F3 speaking, respectively (P = .006 and .012, respectively). There was no clustering of the formants in any of the Middle Eastern sung vowels. Formant frequencies for the vowels /a/, /i/, and /u/ differ between Middle Eastern singing vs speaking. There is absence of the singer's formant.

The Identification of High-pitched Sung Vowels in Sense and Nonsense Words by Professional Singers and Untrained Listeners.

PubMed

Deme, Andrea

2017-03-01

High-pitched sung vowels may be considered phonetically "underspecified" because of (i) the tuning of the F 1 to the f 0 accompanying pitch raising and (ii) the wide harmonic spacing of the voice source resulting in the undersampling of the vocal tract transfer function. Therefore, sung vowel intelligibility is expected to decrease as the f 0 increases. Based on the literature of speech perception, it is often suggested that sung vowels are better perceived if uttered in consonantal (CVC) context than in isolation even at high f 0 . The results for singing, however, are contradictory. In the present study, we further investigate this question. We compare vowel identification in sense and nonsense CVC sequences and show that the positive effect of the context disappears if the number of legal choices in a perception test is similar in both conditions, meaning that any positive effect of the CVC context may only stem from the smaller number of possible responses, i.e., from higher probabilities. Additionally, it is also tested whether the training in production (i.e., singing training) may also lead to a perceptual advantage of the singers over nonsingers in the identification of high-pitched sung vowels. The results show no advantage of this kind. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Incidence and predisposing factors of common upper respiratory tract infections in vocal students during their professional training.

PubMed

Zimmer-Nowicka, Joanna; Januszewska-Stańczyk, Henryka

2011-07-01

Upper respiratory tract infections (URTI) are among the major causes of dysphonia. There are only scarce data available on the incidence and predisposing factors of URTI in young singers, in particular, during a period of intense voice training. The data were obtained from medical records and a 43-item questionnaire distributed among 94 students of the vocal faculty (66 females and 28 males-age: 23.5±3.7 years) at all levels of their studies. The questions were divided into several categories, that is, personal, anthropometric, demographic, history of vocal education, and both general and singer-specific health risk factors. The rate of URTI showed a steady decrease during vocal studies. The strongest factor predisposing to infections in the multivariate regression model was nonadherence to vocal hygiene. There was also a weak protective effect of a regular holiday rest and negative effect of allergy. The prevalence of several recognized risk factors of URTI was exceptionally high in the group of vocal students, for example, passive smoking (42.5%), poor dental status (39.4%), frequent gastric complaints (44.7%), and allergy (50%). Despite the persistence of many risk factors throughout the vocal studies, the frequency of URTI significantly decreases most likely because of vocal hygiene education and growing professional experience. Copyright © 2011 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Singing proficiency in the majority: normality and "phenotypes" of poor singing.

PubMed

Dalla Bella, Simone; Berkowska, Magdalena

2009-07-01

Recent evidence indicates that the majority of occasional singers can carry a tune. For example, when asked to sing a well-known song (e.g., "Happy Birthday"), nonmusicians performing at a slow tempo are as proficient as professional singers. Yet, some occasional singers are poor singers, mostly in the pitch domain, and sometimes despite not having impoverished perception. Poor singing is not a monolithic deficit, but is likely to be characterized by a diversity of singing "phenotypes." Here we systematically examined singing proficiency in a group of occasional singers, with the goal of characterizing the different patterns of poor singing. Participants sang three well-known melodies (e.g., "Jingle Bells") at a natural tempo and at a slow tempo, as indicated by a metronome. For each rendition, we computed objective measures of pitch and time accuracy with an acoustical method. The results confirmed previous observations that the majority of occasional singers can sing in tune and in time. Moreover, singing at a slow tempo after the target melody to be imitated was presented with a metronome improved pitch and time accuracy. In general, poor singers were mostly impaired on the pitch dimension, although various patterns of impairment emerged. Pitch accuracy or time accuracy could be selectively impaired; moreover, absolute measures of singing proficiency (pitch or tempo transposition) dissociated from relative measures of proficiency (pitch intervals, relative duration). These patterns of dissociations point to a multicomponent system underlying proficient singing that fractionates as a result of a developmental anomaly.

Once a Poor Pitch Singer, Always a Poor Pitch Singer? A Bottom up Study of Factors That May Support Singing Development

ERIC Educational Resources Information Center

Turøy, Anne Kristine Wallace

2018-01-01

Approximately 10% of students have singing difficulties appearing as poor pitch singing. During the period 2012 to 2014, I assessed 2390 recordings from 239 students. 25 students were graded below C, and thus were defined as poor pitch singers (PPS). However, these students showed varying patterns of mastery within their own portfolios of…

Finding My Voice: [Re]living, [Re]learning, and [Re]searching Becoming a Singer in a Culture of Marginalization

ERIC Educational Resources Information Center

Manovski, Miroslav Pavle

2012-01-01

Boys who sing in school are often marginalized, taunted, sometimes called "gay." What if "singer" is someone's whole identity, and that person also happens to be gay? This autoethnography (Ellis, 2004) is a story of the education and development of such a singer and how, within this context, a voice teacher with an empowering…

"Ring" in the solo child singing voice.

PubMed

Howard, David M; Williams, Jenevora; Herbst, Christian T

2014-03-01

Listeners often describe the voices of solo child singers as being "pure" or "clear"; these terms would suggest that the voice is not only pleasant but also clearly audible. The audibility or clarity could be attributed to the presence of high-frequency partials in the sound: a "brightness" or "ring." This article aims to investigate spectrally the acoustic nature of this ring phenomenon in children's solo voices, and in particular, relating it to their "nonring" production. Additionally, this is set in the context of establishing to what extent, if any, the spectral characteristics of ring are shared with those of the singer's formant cluster associated with professional adult opera singers in the 2.5-3.5kHz region. A group of child solo singers, acknowledged as outstanding by a singing teacher who specializes in teaching professional child singers, were recorded in a major UK concert hall performing Come unto him, all ye that labour, from the aria He shall feed his flock from The Messiah by GF Handel. Their singing was accompanied by a recording of a piano played through in-ear headphones. Sound pressure recordings were made from well within the critical distance in the hall. The singers were observed to produce notes with and without ring, and these recordings were analyzed in the frequency domain to investigate their spectra. The results indicate that there is evidence to suggest that ring in child solo singers is carried in two areas of the output spectrum: first in the singer's formant cluster region, centered around 4kHz, which is more than 1000Hz higher than what is observed in adults; and second in the region around 7.5-11kHz where a significant strengthening of harmonic presence is observed. A perceptual test has been carried out demonstrating that 94% of 62 listeners label a synthesized version of the calculated overall average ring spectrum for all subjects as having ring when compared with a synthesized version of the calculated overall average nonring spectrum. The notion of ring in the child solo voice manifests itself not only with spectral features in common with the projection peak found in adult singers but also in a higher frequency region. It is suggested that the formant cluster at around 4kHz is the children's equivalent of the singers' formant cluster; the frequency is higher than in the adult, most likely due to the smaller dimensions of the epilaryngeal tube. The frequency cluster observed as a strong peak at about 7.5-11kHz, when added to the children's singers' formant cluster, may be the key to cueing the notion of ring in the child solo voice. Copyright © 2014 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

What do male singers mean by modal and falsetto register? An investigation of the glottal voice source.

PubMed

Salomão, Gláucia Laís; Sundberg, Johan

2009-01-01

The voice source differs between modal and falsetto registers, but singers often try to reduce the associated timbral differences, some even doubting that there are any. A total of 54 vowel sounds sung in falsetto and modal register by 13 male more or less experienced choir singers were analyzed by inverse filtering and electroglottography. Closed quotient, maximum flow declination rate, peak-to-peak airflow amplitude, normalized amplitude quotient, and level difference between the two lowest source spectrum partials were determined, and systematic differences were found in all singers, regardless of experience of singing. The observations seem compatible with previous observations of thicker vocal folds in modal register.

Supporting the Health of College Solo Singers: The Relationship of Positive Emotions and Stress to Changes in Salivary IgA and Cortisol during Singing

ERIC Educational Resources Information Center

Beck, Robert J.; Gottfried, Terry L.; Hall, David J.; Cisler, Caitlin A.; Bozeman, Kenneth W.

2006-01-01

Singers appear to experience health benefits from singing, but their art makes physical demands that may leave them prone to health problems. The study sought to measure singers' immunocompetence under practice and performance conditions. Salivary IgA and cortisol measurements were assayed from multiple pre-post saliva samples obtained from 10…

Laryngoscopic, acoustic, perceptual, and functional assessment of voice in rock singers.

PubMed

Guzman, Marco; Barros, Macarena; Espinoza, Fernanda; Herrera, Alejandro; Parra, Daniela; Muñoz, Daniel; Lloyd, Adam

2013-01-01

The present study aimed to vocally assess a group of rock singers who use growl voice and reinforced falsetto. A group of 21 rock singers and a control group of 18 pop singers were included. Singing and speaking voice was assessed through acoustic, perceptual, functional and laryngoscopic analysis. No significant differences were observed between groups in most of the analyses. Acoustic and perceptual analysis of the experimental group demonstrated normality of speaking voice. Endoscopic evaluation showed that most rock singers presented during singing voice a high vertical laryngeal position, pharyngeal compression and laryngeal supraglottic compression. Supraglottic activity during speaking voice tasks was also observed. However, overall vocal fold integrity was demonstrated in most of the participants. Slightly abnormal observations were demonstrated in few of them. Singing voice handicap index revealed that the most affected variable was the physical sphere, followed by the social and emotional spheres. Although growl voice and reinforced falsetto represent laryngeal and pharyngeal hyperfunctional activity, they did not seem to contribute to the presence of any major vocal fold disorder in our subjects. Nevertheless, we cannot rule out the possibility that more evident vocal fold disorders could be found in singers who use these techniques more often and during a longer period of time.

Singer's preferred acoustic condition in performance in an opera house and self-perception of the singer's voice

NASA Astrophysics Data System (ADS)

Noson, Dennis; Kato, Kosuke; Ando, Yoichi

2004-05-01

Solo singers have been shown to over estimate the relative sound pressure level of a delayed, external reproduction of their own voice, singing single syllables, which, in turn, appears to influence the preferred delay of simulated stage reflections [Noson, Ph.D. thesis, Kobe University, 2003]. Bone conduction is thought to be one factor separating singer versus instrumental performer judgments of stage acoustics. Using a parameter derived from the vocal signal autocorrelation function (ACF envelope), the changes in singer preference for delayed reflections is primarily explained by the ACF parameter, rather than internal bone conduction. An auditory model of a singer's preferred reflection delay is proposed, combining the effects of acoustical environment (reflection amplitude), bone conduction, and performer vocal overestimate, which may be applied to the acoustic design of reflecting elements in both upstage and forestage environments of opera stages. For example, soloists who characteristically underestimate external voice levels (or overestimate their own voice) should be provided shorter distances to reflective panels-irrespective of their singing style. Adjustable elements can be deployed to adapt opera houses intended for bel canto style performances to other styles. Additional examples will also be discussed. a)Now at Kumamoto Univ., Kumamoto, Japan. b)Now at: 1-10-27 Yamano Kami, Kumamoto, Japan.

Signal-to-background-ratio preferences of normal-hearing listeners as a function of music

NASA Astrophysics Data System (ADS)

Barrett, Jillian G.

2005-04-01

The primary purpose of speech is to convey a message. Many factors affect the listener's overall reception, several of which have little to do with the linguistic content itself, but rather with the delivery (e.g., prosody, intonation patterns, pragmatics, paralinguistic cues). Music, however, may convey a message either with or without linguistic content. In instances in which music has lyrics, one cannot assume verbal content will take precedence over sonic properties. Lyric emphasis over other aspects of music cannot be assumed. Singing introduces distortion of the vowel-consonant temporal ratio of speech, emphasizing vowels and de-emphasizing consonants. The phonemic production alterations of singing make it difficult for even those with normal hearing to understand the singer. This investigation was designed to identify singer-to-background-ratio (SBR) prefer- ences for normal hearing adult listeners (as opposed to SBR levels maxi-mizing speech discrimination ability). Stimuli were derived from three different original songs, each produced in two different genres and sung by six different singers. Singer and genre were the two primary contributors to significant differences in SBR preferences, though results clearly indicate genre, style and singer interact in different combinations for each song, each singer, and for each subject in an unpredictable manner.

Autophonic Loudness of Singers in Simulated Room Acoustic Environments.

PubMed

Yadav, Manuj; Cabrera, Densil

2017-05-01

This paper aims to study the effect of room acoustics and phonemes on the perception of loudness of one's own voice (autophonic loudness) for a group of trained singers. For a set of five phonemes, 20 singers vocalized over several autophonic loudness ratios, while maintaining pitch constancy over extreme voice levels, within five simulated rooms. There were statistically significant differences in the slope of the autophonic loudness function (logarithm of autophonic loudness as a function of voice sound pressure level) for the five phonemes, with slopes ranging from 1.3 (/a:/) to 2.0 (/z/). There was no significant variation in the autophonic loudness function slopes with variations in room acoustics. The autophonic room response, which represents a systematic decrease in voice levels with increasing levels of room reflections, was also studied, with some evidence found in support. Overall, the average slope of the autophonic room response for the three corner vowels (/a:/, /i:/, and /u:/) was -1.4 for medium autophonic loudness. The findings relating to the slope of the autophonic loudness function are in agreement with the findings of previous studies where the sensorimotor mechanisms in regulating voice were shown to be more important in the perception of autophonic loudness than hearing of room acoustics. However, the role of room acoustics, in terms of the autophonic room response, is shown to be more complicated, requiring further inquiry. Overall, it is shown that autophonic loudness grows at more than twice the rate of loudness growth for sounds created outside the human body. Crown Copyright © 2017. Published by Elsevier Inc. All rights reserved.

Paradoxical vocal changes in a trained singer by focally cooling the right superior temporal gyrus

PubMed Central

Katlowitz, Kalman A.; Oya, Hiroyuki; Howard, Matthew A.; Greenlee, Jeremy D.W.; Long, Michael A.

2017-01-01

The production and perception of music is preferentially mediated by cortical areas within the right hemisphere, but little is known about how these brain regions individually contribute to this process. In an experienced singer undergoing awake craniotomy, we demonstrated that direct electrical stimulation to a portion of the right posterior superior temporal gyrus (pSTG) selectively interrupted singing but not speaking. We then focally cooled this region to modulate its activity during vocalization. In contrast to similar manipulations in left hemisphere speech production regions, pSTG cooling did not elicit any changes in vocal timing or quality. However, this manipulation led to an increase in the pitch of speaking with no such change in singing. Further analysis revealed that all vocalizations exhibited a cooling-induced increase in the frequency of the first formant, raising the possibility that potential pitch offsets may have been actively avoided during singing. Our results suggest that the right pSTG plays a key role in vocal sensorimotor processing whose impact is dependent on the type of vocalization produced. PMID:28282570

Paradoxical vocal changes in a trained singer by focally cooling the right superior temporal gyrus.

PubMed

Katlowitz, Kalman A; Oya, Hiroyuki; Howard, Matthew A; Greenlee, Jeremy D W; Long, Michael A

2017-04-01

The production and perception of music is preferentially mediated by cortical areas within the right hemisphere, but little is known about how these brain regions individually contribute to this process. In an experienced singer undergoing awake craniotomy, we demonstrated that direct electrical stimulation to a portion of the right posterior superior temporal gyrus (pSTG) selectively interrupted singing but not speaking. We then focally cooled this region to modulate its activity during vocalization. In contrast to similar manipulations in left hemisphere speech production regions, pSTG cooling did not elicit any changes in vocal timing or quality. However, this manipulation led to an increase in the pitch of speaking with no such change in singing. Further analysis revealed that all vocalizations exhibited a cooling-induced increase in the frequency of the first formant, raising the possibility that potential pitch offsets may have been actively avoided during singing. Our results suggest that the right pSTG plays a key role in vocal sensorimotor processing whose impact is dependent on the type of vocalization produced. Copyright © 2017 Elsevier Ltd. All rights reserved.

Seeing a singer helps comprehension of the song's lyrics.

PubMed

Jesse, Alexandra; Massaro, Dominic W

2010-06-01

When listening to speech, we often benefit when also seeing the speaker's face. If this advantage is not domain specific for speech, the recognition of sung lyrics should also benefit from seeing the singer's face. By independently varying the sight and sound of the lyrics, we found a substantial comprehension benefit of seeing a singer. This benefit was robust across participants, lyrics, and repetition of the test materials. This benefit was much larger than the benefit for sung lyrics obtained in previous research, which had not provided the visual information normally present in singing. Given that the comprehension of sung lyrics benefits from seeing the singer, just like speech comprehension benefits from seeing the speaker, both speech and music perception appear to be multisensory processes.

ELIPGRID-PC: A PC program for calculating hot spot probabilities

DOE Office of Scientific and Technical Information (OSTI.GOV)

Davidson, J.R.

1994-10-01

ELIPGRID-PC, a new personal computer program has been developed to provide easy access to Singer`s 1972 ELIPGRID algorithm for hot-spot detection probabilities. Three features of the program are the ability to determine: (1) the grid size required for specified conditions, (2) the smallest hot spot that can be sampled with a given probability, and (3) the approximate grid size resulting from specified conditions and sampling cost. ELIPGRID-PC also provides probability of hit versus cost data for graphing with spread-sheets or graphics software. The program has been successfully tested using Singer`s published ELIPGRID results. An apparent error in the original ELIPGRIDmore » code has been uncovered and an appropriate modification incorporated into the new program.« less

Rapid pitch correction in choir singers.

PubMed

Grell, Anke; Sundberg, Johan; Ternström, Sten; Ptok, Martin; Altenmüller, Eckart

2009-07-01

Highly and moderately skilled choral singers listened to a perfect fifth reference, with the instruction to complement the fifth such that a major triad resulted. The fifth was suddenly and unexpectedly shifted in pitch, and the singers' task was to shift the fundamental frequency of the sung tone accordingly. The F0 curves during the transitions often showed two phases, an initial quick and large change followed by a slower and smaller change, apparently intended to fine-tune voice F0 to complement the fifth. Anesthetizing the vocal folds of moderately skilled singers tended to delay the reaction. The means of the response times varied in the range 197- 259 ms depending on direction and size of the pitch shifts, as well as on skill and anesthetization.

Development and preliminary validation of the EASE: a tool to measure perceived singing voice function.

PubMed

Phyland, Debra J; Pallant, Julie F; Benninger, Michael S; Thibeault, Susan L; Greenwood, Ken M; Smith, Julian A; Vallance, Neil

2013-07-01

Most voice self-rating tools are disease-specific measures and are not suitable for use with healthy voice users. There is a need for a tool that is sensitive to the subtleties of a singer's voice and to perceived physical changes in the singing voice mechanism as a function of load. The aim of this study was to devise and validate a scale to assess singer's perceptions of the current status of their singing voice. Ninety-five vocal health descriptors were collected from focus group interviews of singers. These were reviewed by 25 currently performing music theater (MT) singers. Based on a consensus technique, the number of descriptors was decreased to 42 items. These were administered to a sample of 284 professional MT singers using an online survey to evaluate their perception of current singing voice status. Principal component analysis identified two subsets of items. Rasch analysis was used to evaluate and refine these sets of items to form two 10-item subscales. Both subscales demonstrated good overall fit to the Rasch model, no differential item functioning by sex or age, and good internal consistency reliability. The two subscales were strongly correlated and subsequent Rasch analysis supported their combination to form a single 20-item scale with good psychometric properties. The Evaluation of the Ability to Sing Easily (EASE) is a concise clinical tool to assess singer's perceptions of the current status of their singing voice with good measurement properties. EASE may prove a useful tool to measure changes in the singing voice as indicators of the effect of vocal load. Furthermore, it may offer a valuable means for the prediction or screening of singers "at risk" of developing voice disorders. Copyright © 2013 The Voice Foundation. All rights reserved.

A Survey of Equipment in the Singing Voice Studio and Its Perceived Effectiveness by Vocologists and Student Singers.

PubMed

Gerhard, Julia; Rosow, David E

2016-05-01

Speech-language pathologists have long used technology for the clinical measurement of the speaking voice, but present research shows that vocal pedagogues and voice students are becoming more accepting of technology in the studio. As a result, the equipment and technology used in singing voice studios by speech-language pathologists and vocal pedagogues are changing. Although guides exist regarding equipment and technology necessary for developing a voice laboratory and private voice studio, there are no data documenting the current implementation of these items and their perceived effectiveness. This study seeks to document current trends in equipment used in voice laboratories and studios. Two separate surveys were distributed to 60 vocologists and approximately 300 student singers representative of the general singing student population. The surveys contained questions about the inventory of items found in voice studios and perceived effectiveness of these items. Data were analyzed using descriptive analyses and statistical analyses when applicable. Twenty-six of 60 potential vocologists responded, and 66 student singers responded. The vocologists reported highly uniform inventories and ratings of studio items. There were wide-ranging differences between the inventories reported by the vocologist and student singer groups. Statistically significant differences between ratings of effectiveness of studio items were found for 11 of the 17 items. In all significant cases, vocologists rated usefulness to be higher than student singers. Although the order of rankings of vocologists and student singers was similar, a much higher percentage of vocologists report the items as being efficient and effective than students. The historically typical studio items, including the keyboard and mirror, were ranked as most effective by both vocologists and student singers. Copyright © 2016 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Evaluation of Singing Vocal Health in Yakshagana Singers.

PubMed

Gunjawate, Dhanshree R; Aithal, Venkataraja U; Devadas, Usha; Guddattu, Vasudeva

2017-03-01

Yakshagana, a popular traditional folk art from Karnataka, India, includes singing and dancing. Yakshagana singer or Bhagavata plays an important role in singing and conducting the performance. The present study aims to assess the singing vocal health using Singing Voice Handicap Index-10 (SVHI-10) in these singers and to compare between those who report voice problem and those who do not. A cross-sectional study was carried out on 26 Bhagavata using demographic questionnaire and SVHI-10 in the Kannada language. Descriptive statistics was used to summarize the data. Independent sample t test was used to compare the responses for demographic variables between the two groups of singers with and without voice problems. The difference in scores of SVHI-10 between the two groups was analyzed using Pearson's chi-square test. Of the Bhagavata, 38% reported to have experienced voice problems, which affected their singing, with higher total SVHI-10 score (31.2 ± 5.7) compared with those who did not report any problems (16.81 ± 9.56). A statistically significant difference between the groups was noted in the emotional domain and total scores. The present study provides preliminary information on the voice handicap reported by Bhagavata. The singers reporting voice problems scored higher on SVHI-10. A healthy singing voice is essential for Yakshagana singers, and voice problems can have a significant impact on their performance and livelihood. Hence, results of the present study indicate the need to understand these singers' voice problems and their impact more comprehensively, and educate them about voice care. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Loudness and pitch of Kunqu opera.

PubMed

Dong, Li; Sundberg, Johan; Kong, Jiangping

2014-01-01

Equivalent sound level (Leq), sound pressure level (SPL), and fundamental frequency (F0) are analyzed in each of five Kunqu Opera roles, Young girl and Young woman, Young man, Old man, and Colorful face. Their pitch ranges are similar to those of some western opera singers (alto, alto, tenor, baritone, and baritone, respectively). Differences among tasks, conditions (stage speech, singing, and reading lyrics), singers, and roles are examined. For all singers, Leq of stage speech and singing were considerably higher than that of conversational speech. Interrole differences of Leq among tasks and singers were larger than the intrarole differences. For most roles, time domain variation of SPL differed between roles both in singing and stage speech. In singing, as compared with stage speech, SPL distribution was more concentrated and variation of SPL with time was smaller. With regard to gender and age, male roles had higher mean Leq and lower average F0, MF0, as compared with female roles. Female singers showed a wider F0 distribution for singing than for stage speech, whereas the opposite was true for male singers. The Leq of stage speech was higher than in singing for young personages. Younger female personages showed higher Leq, whereas older male personages had higher Leq. The roles performed with higher Leq tended to be sung at a lower MF0. Copyright © 2014 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Euthanasia and John Paul II's "silent language of profound sharing of affection:" why Christians should care about Peter Singer.

PubMed

Jeffreys, Derek S

2001-12-01

Peter Singer's recent appointment to Princeton University created considerable controversy, most of it focused on his proposal for active euthanasia of disabled infants. Singer articulates utilitarian ideas that often appear in public discussions of euthanasia. Drawing on Pope John Paul II's work on ethics and suffering, I argue that Singer's utilitarian theory of value is impoverished. After introducing the Pope's ethic based on the imago dei, I discuss love as self-gift. I show how this concept supports a theory of value in which spiritual goods are preeminent over material goods. I then describe how suffering reveals spiritual goods, discussing how participation in Christ's suffering can alter our perception of value. I also consider how communal responses to suffering provide opportunities for self-giving. Third, I consider Singer's proposal for killing infants with hemophilia, arguing that it arbitrarily ignores spiritual goods. I then discuss proposals to kill anencephalic infants, discussing how parental responses to their suffering can demonstrate an extraordinary love in seemingly hopeless circumstances. I conclude by calling for a more sustained social response to euthanasia initiatives.

Significance of auditory and kinesthetic feedback to singers' pitch control.

PubMed

Mürbe, Dirk; Pabst, Friedemann; Hofmann, Gert; Sundberg, Johan

2002-03-01

An accurate control of fundamental frequency (F0) is required from singers. This control relies on auditory and kinesthetic feedback. However, a loud accompaniment may mask the auditory feedback, leaving the singers to rely on kinesthetic feedback. The object of the present study was to estimate the significance of auditory and kinesthetic feedback to pitch control in 28 students beginning a professional solo singing education. The singers sang an ascending and descending triad pattern covering their entire pitch range with and without masking noise in legato and staccato and in a slow and a fast tempo. F0 was measured by means of a computer program. The interval sizes between adjacent tones were determined and their departures from equally tempered tuning were calculated. The deviations from this tuning were used as a measure of the accuracy of intonation. Statistical analysis showed a significant effect of masking that amounted to a mean impairment of pitch accuracy by 14 cent across all subjects. Furthermore, significant effects were found of tempo as well as of the staccato/legato conditions. The results indicate that auditory feedback contributes significantly to singers' control of pitch.

Acoustical analysis of trained and untrained singers onsite before and after prolonged voice use

NASA Astrophysics Data System (ADS)

Jackson, Christophe E.

Controlled acoustic environments are important in voice research. Recording environment affects the quality of voice recordings. While sound booths and anechoic chambers are examples of controlled acoustic environments widely used in research, they are both costly and not portable. The long-term goal of this project is to compare the voice usage and efficiency of trained and untrained singers onsite immediately before and after vocal performance. The specific goal of this project is the further of development a Portable Sound Booth (PSB) and standardization of onsite voice recording procedures under controlled conditions. We hypothesized that the simple and controlled acoustic environment provided by the PSB would enable consistent reliable onsite voice recordings and the immediate differences as a consequence of voice usage were measurable. Research has suggested that it would be possible to conduct onsite voice recordings. Proof of concept research titled "Construction and Characterization of a Portable Sound Booth for Onsite Measurement" was conducted before initiating the full research effort. Preliminary findings revealed that: (1) it was possible to make high-quality voice recordings onsite, (2) the use of a Portable Sound Booth (PSB) required further acoustic characterization of its inherent acoustic properties, and (3) testable differences before and after performance were evident. The specific aims were to (1) develop and refine onsite objective voice measurements in the PSB and (2) evaluate use of the PSB to measure voice quality changes before and after voice usage.

[The lombard reflex as a test of vocal function (author's transl)].

PubMed

Schultz-Coulon, H J; Fues, C P

1976-06-01

Any impairment of audio-phonatory control by background noise is followed by an increase in both the intensity and pitch of the speaking voice (Lombard reflex, 1911), thus increasing vocal strain. As a consequence, it might be anticipated that persons reacting to noise with marked changes in voice might be more liable to develop dysphonia. 22 singers, 34 normal controls, and 22 patients with hyperfunctional dysphonia where studied. In all patients, both ears were gradually masked with white noise. The change of the mean intensity level and of the mean pitch level of the speaking voice were then measured objectively with a special fundamental frequency analyzer (Fedders and Schultz-Coulon, 1975). Results show that the increase of intensity is comparable in all subjects, whereas the elevation of the mean pitch level differs significantly: trained voices (singers) react with the least pitch increment whereas dysphonic patients react with the most. The following conclusions were made from the present investigation: 1. Extreme increments in pitch level can be considered to be a more significant etiological factor of dysphonia than intensity increments; 2. Vocal therapy and voice training may have a favorable effect on the Lombard reflex (probably by improvement of the kinesthetic control mechanism) so that the speaking voice in a noisy environment is raised less with less vocal strain. The study also indicates that measurement of pitch changes during binaural masking can provide important information for the diagnosis, therapy and prophylaxis of dysphonia.

Laryngeal evidence for the first and second passaggio in professionally trained sopranos

PubMed Central

Burk, Fabian; Köberlein, Marie; Selamtzis, Andreas; Döllinger, Michael; Burdumy, Michael; Richter, Bernhard

2017-01-01

Introduction Due to a lack of empirical data, the current understanding of the laryngeal mechanics in the passaggio regions (i.e., the fundamental frequency ranges where vocal registration events usually occur) of the female singing voice is still limited. Material and methods In this study the first and second passaggio regions of 10 professionally trained female classical soprano singers were analyzed. The sopranos performed pitch glides from A3 (ƒo = 220 Hz) to A4 (ƒo = 440 Hz) and from A4 (ƒo = 440 Hz) to A5 (ƒo = 880 Hz) on the vowel [iː]. Vocal fold vibration was assessed with trans-nasal high speed videoendoscopy at 20,000 fps, complemented by simultaneous electroglottographic (EGG) and acoustic recordings. Register breaks were perceptually rated by 12 voice experts. Voice stability was documented with the EGG-based sample entropy. Glottal opening and closing patterns during the passaggi were analyzed, supplemented with open quotient data extracted from the glottal area waveform. Results In both the first and the second passaggio, variations of vocal fold vibration patterns were found. Four distinct patterns emerged: smooth transitions with either increasing or decreasing durations of glottal closure, abrupt register transitions, and intermediate loss of vocal fold contact. Audible register transitions (in both the first and second passaggi) generally coincided with higher sample entropy values and higher open quotient variance through the respective passaggi. Conclusions Noteworthy vocal fold oscillatory registration events occur in both the first and the second passaggio even in professional sopranos. The respective transitions are hypothesized to be caused by either (a) a change of laryngeal biomechanical properties; or by (b) vocal tract resonance effects, constituting level 2 source-filter interactions. PMID:28467509

The Effect of Timbre, Pitch, and Vibrato on Vocal Pitch-Matching Accuracy.

PubMed

Duvvuru, Sirisha; Erickson, Molly

2016-05-01

This study seeks to examine how target stimulus timbre, vibrato, pitch, and singer classification affect pitch-matching accuracy. This is a repeated-measures factorial design. Source signals were synthesized with a source slope of -12 dB/octave with and without vibrato at each of the pitches, C4, B4, and F5. These source signals were filtered using five formant patterns (A-E) constituting a total of 30 stimuli (5 formant patterns × 3 pitches × 2 vibrato conditions). Twelve sopranos and 11 mezzo-sopranos with at least 3 years of individual voice training were recruited from the University Of Tennessee, Knoxville, School of Music and the Knoxville Opera Company. Each singer attempted to match the pitch of all 30 stimuli presented twice in a random order. Results indicated that there was no significant effect of formant pattern on pitch-matching accuracy. With increasing pitch from C4 to F5, pitch-matching accuracy increased in midpoint of the vowel condition but not in prephonatory set condition. Mezzo-sopranos moved toward being in tune from prephonatory to midpoint of the vowel. However, sopranos at C4 sang closer to being in tune at prephonatory but lowered the pitch at the midpoint of the vowel. Presence or absence of vibrato did not affect the pitch-matching accuracy. However, the interesting finding of the study was that singers attempted to match the timbre of stimuli with vibrato. The results of this study show that pitch matching is a complex process affected by many parameters. Copyright © 2016 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Bioethics and academic freedom.

PubMed

Singer, Peter

1990-01-01

The author describes the events surrounding his attempts to lecture on the subject of euthanasia in West Germany in June 1989. Singer, who defends the view that active euthanasia for some newborns with handicaps may be ethically permissible, had been invited to speak to professional and academic groups. Strong public protests against Singer and his topic led to the cancellation of some of his engagements, disruptions during others, and harrassment of the German academics who had invited him to speak. These incidents and the subject of euthanasia became matters of intense national debate in West Germany, but there was little public or academic support for Singer's right to be heard. Singer argues that bioethics and bioethicists must have the freedom to challenge conventional moral beliefs, and that the events in West Germany illustrate the grave danger to that freedom from religious and political intolerance.

Combined Functional Voice Therapy in Singers With Muscle Tension Dysphonia in Singing.

PubMed

Sielska-Badurek, Ewelina; Osuch-Wójcikiewicz, Ewa; Sobol, Maria; Kazanecka, Ewa; Rzepakowska, Anna; Niemczyk, Kazimierz

2017-07-01

The purpose of this study was to evaluate vocal tract function and the voice quality in singers with muscle tension dysphonia (MTD) after undergoing combined functional voice therapy of the singing voice. This is a prospective, randomized study. Forty singers (29 females and 11 males, mean age: 24.6 ± 8.8 years) with MTD were enrolled in the study. The study group consisted of 20 singers who underwent combined functional voice therapy (10-15 individual sessions, 30-40 minutes each). Singers who did not opt for vocal rehabilitation consisted of the control group. Effects of rehabilitation were assessed with videolaryngostroboscopy, palpation of the vocal tract structures, flexible fiberoptic evaluation of the pharynx and the larynx, perceptual speaking and singing voice assessment, acoustic analysis, maximal phonation time, and the Voice Handicap Index. After combined functional voice therapy in the study group, great improvement was noticed in palpation of the vocal tract structures (P < 0.001), perceptual voice assessment (P < 0.001), phonetograms (P = 0.002), and singing range obtained from acoustic analysis of glissando (P < 0.001). In the control group, no statistically significant differences were found between the first and the second assessments. Combined functional voice therapy proved to be an efficacious treatment method in singers with MTD in singing. Development of palpation and perceptual singing voice examination protocols enables one to compare results before and after rehabilitation in clinics. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Predicted singers' vocal fold lengths and voice classification-a study of x-ray morphological measures.

PubMed

Roers, Friederike; Mürbe, Dirk; Sundberg, Johan

2009-07-01

Students admitted to the solo singing education at the University of Music Dresden, Germany have been submitted to a detailed physical examination of a variety of factors with relevance to voice function since 1959. In the years 1959-1991, this scheme of examinations included X-ray profiles of the singers' vocal tracts. This material of 132 X-rays of voice professionals was used to investigate different laryngeal morphological measures and their relation to vocal fold length. Further, the study aimed to investigate if there are consistent anatomical differences between singers of different voice classifications. The study design used was a retrospective analysis. Vocal fold length could be measured in 29 of these singer subjects directly. These data showed a strong correlation with the anterior-posterior diameter of the subglottis and the trachea as well as with the distance from the anterior contour of the thyroid cartilage to the anterior contour of the spine. These relations were used in an attempt to predict the 132 singers' vocal fold lengths. The results revealed a clear covariation between predicted vocal fold length and voice classification. Anterior-posterior subglottic-tracheal diameter yielded mean vocal fold lengths of 14.9, 16.0, 16.6, 18.4, 19.5, and 20.9mm for sopranos, mezzo-sopranos, altos, tenors, baritones, and basses, respectively. The data support the assumption that there are consistent anatomical laryngeal differences between singers of different voice classifications, which are of relevance to pitch range and timbre of the voice.

Regional cerebral blood flow for singers and nonsingers while speaking, singing, and humming a rote passage

DOE Office of Scientific and Technical Information (OSTI.GOV)

Formby, C.; Thomas, R.G.; Halsey, J.H. Jr.

1989-05-01

Two groups of singers (n = 12,13) and a group of nonsingers (n = 12) each produced the national anthem by (1) speaking and (2) singing the words and by (3) humming the melody. Regional cerebral blood flow (rCBF) was measured at rest and during each phonation task from seven areas in each hemisphere by the {sup 133}Xe-inhalation method. Intrahemisphere, interhemisphere, and global rCBF were generally similar across phonation tasks and did not yield appreciable differences among the nonsingers and the singers.

Regional cerebral blood flow for singers and nonsingers while speaking, singing, and humming a rote passage.

PubMed

Formby, C; Thomas, R G; Halsey, J H

1989-05-01

Two groups of singers (n = 12,13) and a group of nonsingers (n = 12) each produced the national anthem by (1) speaking and (2) singing the words and by (3) humming the melody. Regional cerebral blood flow (rCBF) was measured at rest and during each phonation task from seven areas in each hemisphere by the 133Xe-inhalation method. Intrahemisphere, interhemisphere, and global rCBF were generally similar across phonation tasks and did not yield appreciable differences among the nonsingers and the singers.

Factors associated with perception of singing voice handicap.

PubMed

Cohen, Seth M; Noordzij, J Pieter; Garrett, C Gaelyn; Ossoff, Robert H

2008-04-01

This study will determine factors that influence the self-perceived handicap associated with singing voice problems. A prospective cohort. Singers presenting to a voice clinic prospectively completed the Singing Voice Handicap Index (SVHI) before evaluation and treatment. Demographic data, singing style, professional status, duration of symptoms, medical problems, and diagnosis were collected. Univariate and multivariate analysis was performed. One hundred seventy-one singers completed the SVHI. The duration of symptoms, being an amateur singer or singing teacher, benign vocal fold lesions, and neurologic voice disorders were associated with increased SVHI scores (P < 0.05, multiple linear regression). Age greater than 50 years and gospel singing were predictive of increased SVHI scores only on univariate analysis (P < 0.05, t test). Singers experience significant handicap as a result of their singing problems with certain factors associated with greater impairment. Targeting interventions at patients more severely affected may improve outcomes.

Effects of singing training on the speaking voice of voice majors.

PubMed

Mendes, Ana P; Brown, W S; Rothman, Howard B; Sapienza, Christine

2004-03-01

This longitudinal study gathered data with regard to the question: Does singing training have an effect on the speaking voice? Fourteen voice majors (12 females and two males; age range 17 to 20 years) were recorded once a semester for four consecutive semesters, while sustaining vowels and reading the "Rainbow Passage." Acoustic measures included speaking fundamental frequency (SFF) and sound pressure level (SLP). Perturbation measures included jitter, shimmer, and harmonic-to-noise ratio. Temporal measures included sentence, consonant, and diphthong durations. Results revealed that, as the number of semesters increased, the SFF increased while jitter and shimmer slightly decreased. Repeated measure analysis, however, indicated that none of the acoustic, temporal, or perturbation differences were statistically significant. These results confirm earlier cross-sectional studies that compared singers with nonsingers, in that singing training mostly affects the singing voice and rarely the speaking voice.

A Dual-Stream Neuroanatomy of Singing

PubMed Central

Loui, Psyche

2015-01-01

Singing requires effortless and efficient use of auditory and motor systems that center around the perception and production of the human voice. Although perception and production are usually tightly coupled functions, occasional mismatches between the two systems inform us of dissociable pathways in the brain systems that enable singing. Here I review the literature on perception and production in the auditory modality, and propose a dual-stream neuroanatomical model that subserves singing. I will discuss studies surrounding the neural functions of feedforward, feedback, and efference systems that control vocal monitoring, as well as the white matter pathways that connect frontal and temporal regions that are involved in perception and production. I will also consider disruptions of the perception-production network that are evident in tone-deaf individuals and poor pitch singers. Finally, by comparing expert singers against other musicians and nonmusicians, I will evaluate the possibility that singing training might offer rehabilitation from these disruptions through neuroplasticity of the perception-production network. Taken together, the best available evidence supports a model of dorsal and ventral pathways in auditory-motor integration that enables singing and is shared with language, music, speech, and human interactions in the auditory environment. PMID:26120242

A Dual-Stream Neuroanatomy of Singing.

PubMed

Loui, Psyche

2015-02-01

Singing requires effortless and efficient use of auditory and motor systems that center around the perception and production of the human voice. Although perception and production are usually tightly coupled functions, occasional mismatches between the two systems inform us of dissociable pathways in the brain systems that enable singing. Here I review the literature on perception and production in the auditory modality, and propose a dual-stream neuroanatomical model that subserves singing. I will discuss studies surrounding the neural functions of feedforward, feedback, and efference systems that control vocal monitoring, as well as the white matter pathways that connect frontal and temporal regions that are involved in perception and production. I will also consider disruptions of the perception-production network that are evident in tone-deaf individuals and poor pitch singers. Finally, by comparing expert singers against other musicians and nonmusicians, I will evaluate the possibility that singing training might offer rehabilitation from these disruptions through neuroplasticity of the perception-production network. Taken together, the best available evidence supports a model of dorsal and ventral pathways in auditory-motor integration that enables singing and is shared with language, music, speech, and human interactions in the auditory environment.

In Praise of Progress

MedlinePlus

... singer Randy Owen, formerly lead singer of the band Alabama, (with his wife Kelly). Photo courtesy of NIH NIH Director Elias Zerhouni, M.D., comments at the awards dinner focused on the vital role medical research plays in improving health care for all ...

The ice-breaker effect: singing mediates fast social bonding.

PubMed

Pearce, Eiluned; Launay, Jacques; Dunbar, Robin I M

2015-10-01

It has been proposed that singing evolved to facilitate social cohesion. However, it remains unclear whether bonding arises out of properties intrinsic to singing or whether any social engagement can have a similar effect. Furthermore, previous research has used one-off singing sessions without exploring the emergence of social bonding over time. In this semi-naturalistic study, we followed newly formed singing and non-singing (crafts or creative writing) adult education classes over seven months. Participants rated their closeness to their group and their affect, and were given a proxy measure of endorphin release, before and after their class, at three timepoints (months 1, 3 and 7). We show that although singers and non-singers felt equally connected by timepoint 3, singers experienced much faster bonding: singers demonstrated a significantly greater increase in closeness at timepoint 1, but the more gradual increase shown by non-singers caught up over time. This represents the first evidence for an 'ice-breaker effect' of singing in promoting fast cohesion between unfamiliar individuals, which bypasses the need for personal knowledge of group members gained through prolonged interaction. We argue that singing may have evolved to quickly bond large human groups of relative strangers, potentially through encouraging willingness to coordinate by enhancing positive affect.

The ice-breaker effect: singing mediates fast social bonding

PubMed Central

Pearce, Eiluned; Launay, Jacques; Dunbar, Robin I. M.

2015-01-01

It has been proposed that singing evolved to facilitate social cohesion. However, it remains unclear whether bonding arises out of properties intrinsic to singing or whether any social engagement can have a similar effect. Furthermore, previous research has used one-off singing sessions without exploring the emergence of social bonding over time. In this semi-naturalistic study, we followed newly formed singing and non-singing (crafts or creative writing) adult education classes over seven months. Participants rated their closeness to their group and their affect, and were given a proxy measure of endorphin release, before and after their class, at three timepoints (months 1, 3 and 7). We show that although singers and non-singers felt equally connected by timepoint 3, singers experienced much faster bonding: singers demonstrated a significantly greater increase in closeness at timepoint 1, but the more gradual increase shown by non-singers caught up over time. This represents the first evidence for an ‘ice-breaker effect’ of singing in promoting fast cohesion between unfamiliar individuals, which bypasses the need for personal knowledge of group members gained through prolonged interaction. We argue that singing may have evolved to quickly bond large human groups of relative strangers, potentially through encouraging willingness to coordinate by enhancing positive affect. PMID:26587241

Instrumental and perceptual evaluations of two related singers.

PubMed

Buder, Eugene H; Wolf, Teresa

2003-06-01

The primary goal of this study was to characterize a performer's singing and speaking voice. One woman was not admitted to a premier choral group, but her sister, who was comparable in physical characteristics and background, was admitted and provided a valuable control subject. The perceptual judgment of a vocal coach who conducted the group's auditions was decisive in discriminating these 2 singers. The singer not admitted to the group described a history of voice pathology, lacked a functional head register, and spoke with a voice characterized by hoarseness. Multiple listener judgments and acoustic and aerodynamic evaluations of both singers provided a more systematic basis for determining: 1) the phonatory basis for this judgment; 2) whether similar judgments would be made by groups of vocal coaches and speech-language pathologists; and 3) whether the type of tasks (e.g., sung vs. spoken) would influence these judgments. Statistically significant differences were observed between the ratings of vocal health provided by two different groups of listeners. Significant interactions were also observed as a function of the types of voice samples heard by these listeners. Instrumental analyses provided evidence that, in comparison to her sister, the rejected singer had a compromised vocal range, glottal insufficiencies as assessed aerodynamically and electroglottographically, and impaired acoustic quality, especially in her speaking voice.

Singing with yourself: evidence for an inverse modeling account of poor-pitch singing.

PubMed

Pfordresher, Peter Q; Mantell, James T

2014-05-01

Singing is a ubiquitous and culturally significant activity that humans engage in from an early age. Nevertheless, some individuals - termed poor-pitch singers - are unable to match target pitches within a musical semitone while singing. In the experiments reported here, we tested whether poor-pitch singing deficits would be reduced when individuals imitate recordings of themselves as opposed to recordings of other individuals. This prediction was based on the hypothesis that poor-pitch singers have not developed an abstract "inverse model" of the auditory-vocal system and instead must rely on sensorimotor associations that they have experienced directly, which is true for sequences an individual has already produced. In three experiments, participants, both accurate and poor-pitch singers, were better able to imitate sung recordings of themselves than sung recordings of other singers. However, this self-advantage was enhanced for poor-pitch singers. These effects were not a byproduct of self-recognition (Experiment 1), vocal timbre (Experiment 2), or the absolute pitch of target recordings (i.e., the advantage remains when recordings are transposed, Experiment 3). Results support the conceptualization of poor-pitch singing as an imitative deficit resulting from a deficient inverse model of the auditory-vocal system with respect to pitch. Copyright © 2014 Elsevier Inc. All rights reserved.

Clinical ethics revisited: responses

PubMed Central

Benatar, Solomon R; Bhutta, Zulfiqar A; Daar, Abdallah S; Hope, Tony; MacRae, Sue; Roberts, Laura W; Sharpe, Virginia A

2001-01-01

This series of responses was commissioned to accompany the article by Singer et al, which can be found at . If you would like to comment on the article by Singer et al or any of the responses, please email us on editorial@biomedcentral.com. PMID:11346457

The acoustic and perceptual differences to the non-singer's singing voice before and after a singing vocal warm-up

NASA Astrophysics Data System (ADS)

DeRosa, Angela

The present study analyzed the acoustic and perceptual differences in non-singer's singing voice before and after a vocal warm-up. Experiments were conducted with 12 females who had no singing experience and considered themselves to be non-singers. Participants were recorded performing 3 tasks: a musical scale stretching to their most comfortable high and low pitches, sustained productions of the vowels /a/ and /i/, and singing performance of the "Star Spangled Banner." Participants were recorded performing these three tasks before a vocal warm-up, after a vocal warm-up, and then again 2-3 weeks later after 2-3 weeks of practice. Acoustical analysis consisted of formant frequency analysis, singer's formant/singing power ratio analysis, maximum phonation frequency range analysis, and an analysis of jitter, noise to harmonic ratio (NHR), relative average perturbation (RAP), and voice turbulence index (VTI). A perceptual analysis was also conducted with 12 listeners rating comparison performances of before vs. after the vocal warm-up, before vs. after the second vocal warm-up, and after both vocal warm-ups. There were no significant findings for the formant frequency analysis of the vowel /a/, but there was significance for the 1st formant frequency analysis of the vowel /i/. Singer's formant analyzed via Singing Power Ratio analysis showed significance only for the vowel /i/. Maximum phonation frequency range analysis showed a significant increase after the vocal warm-ups. There were no significant findings for the acoustic measures of jitter, NHR, RAP, and VTI. Perceptual analysis showed a significant difference after a vocal warm-up. The results indicate that a singing vocal warm-up can have a significant positive influence on the singing voice of non-singers.

Vocal education for the professional voice user and singer.

PubMed

Murry, T; Rosen, C A

2000-10-01

Providing education on voice-related anatomy, physiology, and vocal hygiene information is the responsibility of every voice care professional. This article discusses the importance of a vocal education program for singers and professional voice users. An outline of a vocal education lecture is provided.

[Validation of the German version of the Singing Voice Handicap Index].

PubMed

Lorenz, A; Kleber, B; Büttner, M; Fuchs, M; Mürbe, D; Richter, B; Sandel, M; Nawka, T

2013-08-01

The Singing Voice Handicap Index (SVHI) was developed in the United States for the self-assessment of patients with singing problems. It has been translated into German and its reliability and validity have been assessed. In total, 54 (35 female, 19 male) dysphonic singers and 130 (74 female, 56 male) non-dysphonic professional singers were included in the study. Reliability rested on high test-retest reliability (r = 0.960, p ≤ 0.001, Pearson correlation) and a Cronbach's α of 0.975. A principal component analysis using the Varimax method and the results of the screeplot suggest the SVHI scored as a single scale. Validity rested on a highly significant correlation between the severity of the self-rated voice impairment by the patient and the total SVHI score. Dysphonic singers have significantly higher SVHI scores than healthy singers. The SVHI is thus suited to implementation as a diagnostic tool in German-speaking countries.

Peter Singer's argument for utilitarianism.

PubMed

Buckle, Stephen

2005-01-01

The paper begins by situating Singer within the British meta-ethical tradition. It sets out the main steps in his argument for utilitarianism as the 'default setting' of ethical thought. It argues that Singer's argument depends on a hierarchy of reasons, such that the ethical viewpoint is understood to be an adaptation--an extension--of a fundamental self-interest. It concludes that the argument fails because it is impossible to get from this starting-point in self-interest to his conception of the ethical point of view. The fundamental problem is its mixing the immiscible: the Humean subordination of reason to interest with the Kantian conception of reason as universal and authoritative.

Jody Singer, MSFC deputy director, and Bobby Watkins visit the P

NASA Image and Video Library

2017-04-24

Jody Singer, left, Marshall deputy director, and Bobby Watkins, director of Marshall's Human Exploration and Development Operations Office visit the POIC April 24 as new procedures increasing the efficiency of the facility were introduced in anticipation of doubling the science performed in orbit.

Reducing Apprehensions of Adolescent Singers in Choral Classrooms

ERIC Educational Resources Information Center

Silvey, Philip E.

2014-01-01

Choral music educators can purposefully create a learning environment that helps minimize the anxieties of young singers. According to Parker Palmer, "to teach is to create a space" that possesses three qualities: hospitality, openness, and boundaries. Choral music educators can influence these characteristics by applying five strategies…

Singing voice handicap mapped by different self-assessment instruments.

PubMed

Paoliello, Karla; Oliveira, Gisele; Behlau, Mara

2013-01-01

To map voice handicap of popular singers with a general voice and two singing voice self-assessment questionnaires. Fifty singers, 25 male and 25 female, 23 with vocal complaint and 27 without vocal complaint answered randomly the questionnaires. For the comparison of data, the following statistical tests were performed: Mann-Whitney, Friedman, Wilcoxon, Spearman and Correlation. Data showed that the VHI yielded a smaller handicap when compared to the other two questionnaires (VHI x S-VHI - p=0.001; VHI x MSVH - p=0.004). The S-VHI and MSVH produced similar results (p=0.723). Singers with vocal complaint had a VHI total score of 17.5. The other two instruments showed more deviated scores (S-VHI - 24.9; MSVH - 25.2). There was no relationship between gender and singing style with the handicap perceived. A weak negative correlation between the perceived handicap and the time of singing experience was found (-37.7 to -13.10%), that is, the smaller the time of singing experience, the greater the handicap is. The questionnaires developed for the assessment of singing voice, S-VHI and MSVH, showed to be more specific and correspondent to each other for the evaluation of vocal handicap in singers. Findings showed that the more the time of singer's singing experience, the smaller the handicap is. Gender and singing styles did not influence the perception of the handicap.

Factors Affecting Healthful Eating Among Touring Popular Musicians and Singers.

PubMed

Cizek, Erin; Kelly, Patrick; Kress, Kathleen; Mattfeldt-Beman, Mildred

2016-06-01

Maintaining good health is essential for touring musicians and singers. The stressful demands of touring may impact food choices, leading to detrimental effects on health and performance. This exploratory pilot study aimed to assess factors affecting healthful eating of touring musicians and singers. A 46-item survey was used to assess food- and nutrition-related attitudes, knowledge and behaviors, and environmental factors, as well as lifestyle, musical background, and demographic data. Participants (n=35) were recruited from a musicians' assistance foundation as well as touring musical theater productions and a music festival. Results indicate that touring musicians and singers had positive attitudes regarding healthful foods. Of 35 respondents, 80.0% indicated eating healthful food was important to them. Respondents reported feeling confident selecting (76.5%) and preparing (82.4%) healthful foods; however, they showed uncertainty when determining if carbohydrate-containing foods should be consumed or avoided. Respondents indicated environmental factors including availability and cost of healthy food options and tour schedules limited access to healthful foods. Venues (73.5%), fast food restaurants (67.6%), and airports (64.7%) were the most frequently identified locations in need of offering more healthful food choices. Respondents (52.9%) indicated more support from others while touring would help them make healthier food choices. More research is needed to develop mobile wellness programs as well as performance-based nutrition guidelines for musicians and singers that address the unique demands associated with touring.

The singer's voice range profile: female professional opera soloists.

PubMed

Lamarche, Anick; Ternström, Sten; Pabon, Peter

2010-07-01

This work concerns the collection of 30 voice range profiles (VRPs) of female operatic voice. We address the questions: Is there a need for a singer's protocol in VRP acquisition? Are physiological measurements sufficient or should the measurement of performance capabilities also be included? Can we address the female singing voice in general or is there a case for categorizing voices when studying phonetographic data? Subjects performed a series of structured tasks involving both standard speech voice protocols and additional singing tasks. Singers also completed an extensive questionnaire. Physiological VRPs differ from performance VRPs. Two new VRP metrics, the voice area above a defined level threshold and the dynamic range independent from the fundamental frequency (F(0)), were found to be useful in the analysis of singer VRPs. Task design had no effect on performance VRP outcomes. Voice category differences were mainly attributable to phonation frequency-based information. Results support the clinical importance of addressing the vocal instrument as it is used in performance. Equally important is the elaboration of a protocol suitable for the singing voice. The given context and instructions can be more important than task design for performance VRPs. Yet, for physiological VRP recordings, task design remains critical. Both types of VRPs are suggested for a singer's voice evaluation. Copyright (c) 2010 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Vocal Hygiene Habits and Vocal Handicap Among Conservatory Students of Classical Singing.

PubMed

Achey, Meredith A; He, Mike Z; Akst, Lee M

2016-03-01

This study sought to assess classical singing students' compliance with vocal hygiene practices identified in the literature and to explore the relationship between self-reported vocal hygiene practice and self-reported singing voice handicap in this population. The primary hypothesis was that increased attention to commonly recommended vocal hygiene practices would correlate with reduced singing voice handicap. This is a cross-sectional, survey-based study. An anonymous survey assessing demographics, attention to 11 common vocal hygiene recommendations in both performance and nonperformance periods, and the Singing Voice Handicap Index 10 (SVHI-10) was distributed to classical singing teachers to be administered to their students at two major schools of music. Of the 215 surveys distributed, 108 were returned (50.2%), of which 4 were incomplete and discarded from analysis. Conservatory students of classical singing reported a moderate degree of vocal handicap (mean SVHI-10, 12; range, 0-29). Singers reported considering all 11 vocal hygiene factors more frequently when preparing for performances than when not preparing for performances. Of these, significant correlations with increased handicap were identified for consideration of stress reduction in nonperformance (P = 0.01) and performance periods (P = 0.02) and with decreased handicap for consideration of singing voice use in performance periods alone (P = 0.02). Conservatory students of classical singing report more assiduous attention to vocal hygiene practices when preparing for performances and report moderate degrees of vocal handicap overall. These students may have elevated risk for dysphonia and voice disorders which is not effectively addressed through common vocal hygiene recommendations alone. Copyright © 2016 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Overexcitability: A Psychological Comparison between Dancers, Opera Singers, and Athletes

ERIC Educational Resources Information Center

Thomson, Paula; Jaque, S. Victoria

2016-01-01

Overexcitability is a component in Dabrowski's theory of positive disintegration. This cross-sectional study investigated the psychological profile, including the five overexcitability dimensions (psychomotor, sensual, imaginational, intellectual, emotional), of three talented groups of dancers (n = 84), opera singers (n = 62), and athletes…

Amyloidity is not diagnostic for species in the Mycena pearsoniana complex (Mycena sectio Calodontes)

Treesearch

Christoffer Bugge Harder; D. Jean Lodge; Ronald H. Petersen; Karen W. Hughes; Joaquin Cifuentes Blanco; Tobias Guldberg Froslev; Thomas. L& #230; ssoe

2012-01-01

Mycena sectio Calodontes with otherwise amyloid spores, the inamyloid spores of Mycena pearsoniana Dennis ex Singer were a distinguishing feature for this species and its subsection Violacella. Although the original concept of this species was European, Singer chose to typify it with material...

Air Force Health Care Providers Incidence of Performing Testicular Exams and Instruction of Testicular Self-Exam

DTIC Science & Technology

1999-05-01

Misener & Fuller,1995; Singer, Tichler , Orvieto, Finestone, & Moskowitz,1993; Sladden & Dickinson, 1995). This continues despite the American Cancer...175. Shaffner, R.J. (1995). Knowledge of testicular self exam. Nurse Practitioner, 20, (8), 10-11. Singer, A.J., Tichler , T., Orvieto, R., Finestone

Air Force Health Care Providers Incidence of Performing Testicular Exams and Instruction of Testicular Self-Exam

DTIC Science & Technology

1999-06-01

or discussing TSE with patients (Misener & Fuller, 1995; Singer, Tichler , Orvieto, Finestone, & Moskowitz, 1993; Sladden & Dickinson, 1995). This...Clinicians, 43, 3, 151-175. Shaffner, R.J. (1995). Knowledge of testicular self exam. Nurse Practitioner, 20, (8), 10-11. Singer, A.J., Tichler , T

Uncovering Adolescent Choral Singers' Philosophical Beliefs about Music-Making: A Qualitative Inquiry

ERIC Educational Resources Information Center

Parker, Elizabeth Cassidy

2011-01-01

The purpose of this qualitative inquiry was to investigate adolescent choral singers' philosophical beliefs regarding music-making within three different, mid-sized, Midwestern mixed choirs in the United States. Eighteen participants were interviewed for approximately 40 minutes each. Audio files were transcribed and coded with four themes…

Glottal behavior in the high soprano range and the transition to the whistle register.

PubMed

Garnier, Maëva; Henrich, Nathalie; Crevier-Buchman, Lise; Vincent, Coralie; Smith, John; Wolfe, Joe

2012-01-01

The high soprano range was investigated by acoustic and electroglottographic measurements of 12 sopranos and high-speed endoscopy of one of these. A single laryngeal transition was observed on glissandi above the primo passaggio. It supports the existence of two distinct laryngeal mechanisms in the high soprano range: M2 and M3, underlying head and whistle registers. The laryngeal transition occurred gradually over several tones within the interval D#5-D6. It occurred over a wider range and was completed at a higher pitch for trained than untrained sopranos. The upper limit of the laryngeal transition during glissandi was accompanied by pitch jumps or instabilities, but, for most singers, it did not coincide with the upper limit of R1:f(0) tuning (i.e., tuning the first resonance to the fundamental frequency). However, pitch jumps could also be associated with changes in resonance tuning. Four singers demonstrated an overlap range over which they could sing with a full head or fluty resonant quality. Glottal behaviors underlying these two qualities were similar to the M2 and M3 mechanisms respectively. Pitch jumps and discontinuous glottal and spectral changes characteristic of a M2-M3 laryngeal transition were observed on decrescendi produced within this overlap range. © 2012 Acoustical Society of America.

Singer product apertures-A coded aperture system with a fast decoding algorithm

NASA Astrophysics Data System (ADS)

Byard, Kevin; Shutler, Paul M. E.

2017-06-01

A new type of coded aperture configuration that enables fast decoding of the coded aperture shadowgram data is presented. Based on the products of incidence vectors generated from the Singer difference sets, we call these Singer product apertures. For a range of aperture dimensions, we compare experimentally the performance of three decoding methods: standard decoding, induction decoding and direct vector decoding. In all cases the induction and direct vector methods are several orders of magnitude faster than the standard method, with direct vector decoding being significantly faster than induction decoding. For apertures of the same dimensions the increase in speed offered by direct vector decoding over induction decoding is better for lower throughput apertures.

The Traditional/Acoustic Music Project: a study of vocal demands and vocal health.

PubMed

Erickson, Molly L

2012-09-01

The Traditional/Acoustic Music Project seeks to identify the musical and performance characteristics of traditional/acoustic musicians and determine the vocal demands they face with the goals of (1) providing information and outreach to this important group of singers and (2) providing information to physicians, speech-language pathologists, and singing teachers who will enable them to provide appropriate services. Descriptive cross-sectional study. Data have been collected through administration of a 53-item questionnaire. The questionnaire was administered to artists performing at local venues in Knoxville, Tennessee and also to musicians attending the 2008 Folk Alliance Festival in Memphis, Tennessee. Approximately 41% of the respondents have had no vocal training, whereas approximately 34% of the respondents have had some form of formal vocal training (private lessons or group instruction). About 41% of the participants had experienced a tired voice, whereas about 30% of the participants had experienced either a loss of the top range of the voice or a total loss of voice at least once in their careers. Approximately 31% of the respondents had no health insurance. Approximately 69% of the respondents reported that they get their information about healthy singing practices solely from fellow musicians or that they do not get any information at all. Traditional/acoustic musicians are a poorly studied population at risk for the development of voice disorders. Continued research is necessary with the goal of a large sample that can be analyzed for associations, identification of subpopulations, and formulation of specific hypotheses that lend themselves to experimental research. Appropriate models of information and service delivery tailored for the singer-instrumentalist are needed. Copyright © 2012 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Vocal Improvisation and Creative Thinking by Australian and American University Jazz Singers: A Factor Analytic Study

ERIC Educational Resources Information Center

Ward-Steinman, Patrice Madura

2008-01-01

In this study, the author investigated factors underlying vocal improvisation achievement and relationships with the singers' musical background. Participants were 102 college students in Australia and the United States who performed 3 jazz improvisations and 1 free improvisation. Jazz improvisations were rated on rhythmic, tonal, and creative…

Effects of the Menstrual Cycle and Oral Contraception on Singers' Pitch Control

ERIC Educational Resources Information Center

La, Filipa M. B.; Sundberg, Johan; Howard, David M.; Sa-Couto, Pedro; Freitas, Adelaide

2012-01-01

Purpose: Difficulties with intonation and vibrato control during the menstrual cycle have been reported by singers; however, this phenomenon has not yet been systematically investigated. Method: A double-blind randomized placebo-controlled trial assessing effects of the menstrual cycle and use of a combined oral contraceptive pill (OCP) on pitch…

An Investigation into the Choral Singer's Experience of Music Performance Anxiety

ERIC Educational Resources Information Center

Ryan, Charlene; Andrews, Nicholle

2009-01-01

The purpose of this study was to examine the performance experiences of choral singers with respect to music performance anxiety. Members of seven semiprofessional choirs (N = 201) completed questionnaires pertaining to their experience of performance anxiety in the context of their performance history, their experience with conductors, and their…

Harmony within the Walls: Perceptions of Worthiness and Competence in a Community Prison Choir

ERIC Educational Resources Information Center

Cohen, Mary L.

2012-01-01

Based on theories that low self-esteem is related to criminal activity (Oser, 2006) and high self-esteem derives from competence and worthiness (Harter, 1985; Mruk, 2006), this study measured changes in community singers' attitudes toward prisoners and documented changes in prisoner singers' perceptions of their social competence. Participants…

A Comparison of Successful and Unsuccessful Strategies in Individual Sight-Singing Preparation and Performance

ERIC Educational Resources Information Center

Killian, Janice N.; Henry, Michele L.

2005-01-01

High school singers (N = 198) individually sang two melodies from notation, with and without a 30-second practice opportunity. Overall accuracy scores were significantly higher with preparation time. The less accurate singers, however, did not benefit from practice time. Analysis of videoed tests indicated that high scorers tonicized (vocally…

The Process of Social Identity Development in Adolescent High School Choral Singers: A Grounded Theory

ERIC Educational Resources Information Center

Parker, Elizabeth Cassidy

2014-01-01

The purpose of this grounded theory study was to describe the process of adolescent choral singers' social identity development within three midsized, midwestern high school mixed choirs. Forty-nine interviews were conducted with 36 different participants. Secondary data sources included memoing, observations, and interviews with the choir…

Vocal Sight-Reading Assessment: Technological Advances, Student Perceptions, and Instructional Implications

ERIC Educational Resources Information Center

Henry, Michele

2015-01-01

This study investigated choral singers' comfort level using computer technology for vocal sight-reading assessment. High school choral singers (N = 138) attending a summer music camp completed a computer-based sight-reading assessment and accompanying pre- and posttest surveys on their musical backgrounds and perceptions about technology. A large…

Quantifying Laryngopharyngeal Reflux in Singers: Perceptual and Objective Findings

PubMed Central

Lewis, Vicki M.

2017-01-01

This study examines the relationship between laryngopharyngeal reflux (LPR) symptoms and oropharyngeal pH levels in singers. We hypothesized that reported symptoms would correlate with objective measures of pH levels from the oropharynx, including the number and total duration of reflux episodes. Twenty professional/semiprofessional singers completed the Reflux Symptom Index (RSI) and underwent oropharyngeal pH monitoring. Mild, moderate, or severe pH exposure was recorded during oropharyngeal pH monitoring. Correlations were performed to examine potential relationships between reflux symptoms and duration of LPR episodes. Symptom severity did not correlate with pH levels; however, we found a number of covariances of interest. Large sample sizes are necessary to determine if true correlations exist. Our results suggest that singers may exhibit enhanced sensitivity to LPR and may therefore manifest symptoms, even in response to subtle changes in pH. This study emphasizes the importance of sensitive and objective measures of reflux severity as well as consideration of the cumulative time of reflux exposure in addition to the number of reflux episodes. PMID:29098155

Working 9-5: Causal Relationships Between Singers' "Day Jobs" and Their Performance Work, With Implications for Vocal Health.

PubMed

Bartlett, Irene; Wilson, Pat H

2017-03-01

It is acknowledged generally that professional contemporary commercial music (CCM) singers engage in supplementary employment ("the day job") to achieve and maintain a reliable living wage. In this paper, consideration is given to the impact of such nonperformance employment on CCM's sustainable vocal health. Collected data from a survey of 102 professional contemporary gig singers were analysed using descriptive statistical procedures from the Statistical Package for the Social Sciences. Although these data provided descriptions of the personal characteristics of individuals in the sample, the inclusion of open format questions encouraged participants to report details of their "lived" experience. Additionally, a meta-analysis of a range of associated literature was undertaken. Sixty-five participants (N = 102) reported that in addition to their heavy performance voice use, they were employed in "other" work (the "day job") where their speaking voice loads were high. In responding to open-ended questions, many proffered written comments that were unprompted. The collected data from this element of the research study are reported here. We propose that at least some causal factors of singers' reported voice problems may lie in the misuse or overuse of their everyday speaking voice (as demanded by their "day job") rather than a misuse of their singing voice. These findings have practical application to all whose concern is care for the vocal or emotional health and performance longevity of professional singers. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

How Age and Frequency Impact the Thyroid Cartilages of Professional Singers.

PubMed

Unteregger, Fabian; Thommen, Jan; Honegger, Flurin; Potthast, Silke; Zwicky, Salome; Storck, Claudio

2018-01-08

Young professional singers can easily reach very high pitches. In contrast, older singers often complain that they have to exert substantially more laryngopharyngeal force to reach the same high pitch compared with their earlier years. Various factors such as the property changes of the mucosa and ossification that impact the singing apparatus were suggested as explanations in the literature. The aim of this study was to analyze thyroid deformation-and thereby stiffness indirectly-during singing as a potential reason for this phenomenon. Prospective study. We examined 44 female professional singers. High-resolution computed tomography scans were performed during singing at the fundamental mean speaking frequency and the first and second octaves above it. Digital Imaging and Communications in Medicine scan data were rendered and visualized 3-dimensionally using MIMICS software. By superimposition of the different 3-dimensional images, different positions of the thyroid were visualized. The distance from the posterior border of the thyroid was measured in all the examinations. All laryngeal cartilages could be three-dimensionally visualized. The magnitude of the thyroidal deformation significantly depends on pitch and significantly correlates with age (r 2  = 0.7, P < 0.001). The thyroid cartilage is flexible and its formability is especially important during singing. At higher pitches, the cartilage was more deformed. The larynx in older singers showed less thyroid cartilage deformation. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Various applications of Active Field Control (AFC)

NASA Astrophysics Data System (ADS)

Watanabe, Takayuki; Miyazaki, Hideo; Kishinaga, Shinji; Kawakami, Fukushi

2003-10-01

AFC is an electro-acoustic enhancement system, which has been under development at Yamaha Corporation. In this paper, several types of various AFC applications are discussed, while referring to representative projects for each application in Japan. (1) Realization of acoustics in a huge hall to classical music program, e.g., Tokyo International Forum. This venue is a multipurpose hall with approximately 5000 seats. AFC achieves loudness and reverberance equivalent to those of a hall with 2500 seats or fewer. (2) Optimization of acoustics for a variety of programs, e.g., Arkas Sasebo. AFC is used to create the optimum acoustics for each program, such as reverberance for classical concerts, acoustical support for opera singers, uniformity throughout the hall from the stage to under-balcony area, etc. (3) Control of room shape acoustical effect, e.g., Osaka Central Public Hall: In this renovation project, preservation of historically important architecture in the original form is required. AFC is installed to vary only the acoustical environment without architectural changes. (4) Assistance with crowd enthusiasm for sports entertainment, e.g., Tokyo Metropolitan Gymnasium. In this venue, which is designed as a very absorptive space for speech intelligibility, AFC is installed to enhance the atmosphere of live sports entertainment.

Influence of musical and psychoacoustical training on pitch discrimination.

PubMed

Micheyl, Christophe; Delhommeau, Karine; Perrot, Xavier; Oxenham, Andrew J

2006-09-01

This study compared the influence of musical and psychoacoustical training on auditory pitch discrimination abilities. In a first experiment, pitch discrimination thresholds for pure and complex tones were measured in 30 classical musicians and 30 non-musicians, none of whom had prior psychoacoustical training. The non-musicians' mean thresholds were more than six times larger than those of the classical musicians initially, and still about four times larger after 2h of training using an adaptive two-interval forced-choice procedure; this difference is two to three times larger than suggested by previous studies. The musicians' thresholds were close to those measured in earlier psychoacoustical studies using highly trained listeners, and showed little improvement with training; this suggests that classical musical training can lead to optimal or nearly optimal pitch discrimination performance. A second experiment was performed to determine how much additional training was required for the non-musicians to obtain thresholds as low as those of the classical musicians from experiment 1. Eight new non-musicians with no prior training practiced the frequency discrimination task for a total of 14 h. It took between 4 and 8h of training for their thresholds to become as small as those measured in the classical musicians from experiment 1. These findings supplement and qualify earlier data in the literature regarding the respective influence of musical and psychoacoustical training on pitch discrimination performance.

TECHNICAL REPORT

DOE Office of Scientific and Technical Information (OSTI.GOV)

DR. ROBERT SINGER

2007-10-11

Because this DOE grant was abruptly terminated without warning, this group was not able to accomplish the insertion of the biosensor genes into the mouse lines. They have been able to generate some of the mouse lines but have not been able to complete the ones that would give them the model systems that would allow them to investigate metastasis real-time in living tumors at the cellular level. Nonetheless, until the loss of funding, they have made progress in applications of the equipment to biological problems involving RNA and protein movement in living cells. The following products were delivered: (1)more » Imaging of gene expression in living cells and tissues, Singer RH, Lawrence DS, Ovryn B, Condeelis J, J Biomed Optics 10:0514061-0514069, 2005. This paper describes the method for activating single genes within cells and tissues. (2) Single Cell Gene Expression Profiling: Multiplexed Expression Fluorescence in situ Hybridization (FISH): Application to the Analysis of Cultured Cells. Levsky JM, Braut SA, Singer RH, Cell Biology: A Laboratory Handbook Volume 4, eds Celis JE, et al, 121-130. Academic Press, 2005. This paper describes the methodology for single cell expression profiling in tissues. (3) Spatial regulation of beta-actin translation by Src-dependent phosphorylation of ZBP1, Huttelmaier S, Zenklusen D, Lederer M, Dictenberg J, Lorenz M, Meng X, Bassell GJ, Condeelis J, Singer RH, Nature 438:512-515, 2005. This paper describes the mechanism by which the translational repressor of actin mRNA ZBP1 can effect regulation of cell motility and metastasis. (4) Visualization of mRNA translation in living cells, Rodriguez AJ, Shenoy SM, Singer RH, Condeelis J, J Cell Biol 175:67-76, 2006. This work describes a method to visualize mRNA translation in single cells. (5) Imaging mRNA movement from transcription sites to translation sites, Rodriguez AJ, Condeelis J, Singer RH, Dictenberg JB, Semin Cell Dev Biol 18:202-208, 2007. This review describes current technology for visualizing mRNA from birth to death. (6) In vivo dynamics of RNA polymerase II transcription, Darzacq X, Shav-Tal Y, de Turris V, Brody Y, Shenoy SM, Phair RD, Singer RH, Nat Struct Mol Biol 14:796-806, 2007. This paper describes methods for visualizing gene transcription in real time and provides a systems modeling approach to understanding polymerase dynamics. (See News & Views 14:788) (7) Nuclear microenvironment in cancer diagnosis and treatment, Pezo RC, Singer RH, J Cell Biochem in press (2007). This work describes the environmental factors acting on the genes directly. (8) The spatial order of transcription in mammalian cells, Levsky JM, Shenoy SM, Chubb JR, Hall CB, Capodieci P, Singer RH, J Cell Biochem in press (2007). This work describes how active genes are spatially distributed throughout the nucleus. (9) ZBP1 Enhances Cell Polarity and Reduces Metastasis, Lapidus K, Wyckoff J, Mouneimne G, Lorenz M, Soon L, Condeelis J and Singer RH, JCS in press (2007). This work describes the role of the RNA binding protein in cell polarity and metastasis.« less

Song and Male Quality in Prairie Warblers

Treesearch

Bruce E. Byers; Michael E. Akresh; David I. King; W. Koenig

2016-01-01

To determine if the songs of male prairie warblers could potentially reveal to female listeners information about the quality of singers, we compared various aspects of prairie warbler song structure and performance to attributes that might reflect a male singer's potential to enhance the fitness of his mate. We found that all the tested male attributes—arrival...

Ethos Derived from Karaoke Performance in Taiwan.

ERIC Educational Resources Information Center

Ma, Ringo

Karaoke (singing along to music videos) has swept Taiwan with such force that many people go to singing schools to improve their singing. Three cases in this paper demonstrate how the ethos, or credibility, of the singer is a combination of initial and derived ethos. Who the singer is tends to determine how much attention he or she receives…

Beliefs and Practices of Active Duty Air Force Males Related to Testicular Cancer and Testicular Self-Examination

DTIC Science & Technology

2000-05-01

Singer, Tichler , Orvieto, Finestone, and Moscovitz, 1993). Data indicates that the incidence of TC has increased over the past 20 years. It has been...Rutledge, D. (1987). Factors related to women’s practice of breast self-examination. Nursing Research, 36, 117-121. Singer, A, J., Tichler , T

Elaborations for the Validation of Causal Bridging Inferences in Text Comprehension

ERIC Educational Resources Information Center

Morishima, Yasunori

2016-01-01

The validation model of causal bridging inferences proposed by Singer and colleagues (e.g., Singer in "Can J Exp Psychol," 47(2):340-359, 1993) claims that before a causal bridging inference is accepted, it must be validated by existing knowledge. For example, to understand "Dorothy took the aspirins. Her pain went away," one…

Emergence of collective intonation in the musical performance of crowds

NASA Astrophysics Data System (ADS)

Lacasa, Lucas

2016-09-01

The average individual is typically a mediocre singer, with a rather restricted capacity to sing a melody in tune. Yet when many singers are assembled to perform collectively, the resulting melody of the crowd is suddenly perceived by an external listener as perfectly tuned —as if it was actually a choral performance— even if each individual singer is out of tune. This collective phenomenon is an example of a wisdom of crowds effect that can be routinely observed in music concerts or other social events, when a group of people spontaneously sings at unison. In this paper we rely on the psychoacoustic properties of pitch and provide a simple mechanistic explanation for the onset of this emergent behavior.

The perceptual features of vocal fatigue as self-reported by a group of actors and singers.

PubMed

Kitch, J A; Oates, J

1994-09-01

Performers (10 actors/10 singers) rated via a self-report questionnaire the severity of their voice-related changes when vocally fatigued. Similar frequency patterns and perceptual features of vocal fatigue were found across subjects. Actors rated "power" aspects (e.g., voice projection) and singers rated vocal dynamic aspects (e.g., pitch range) of their voices as most affected when vocally fatigued. Vocal fatigue was evidenced by changes in kinesthetic/proprioceptive sensations and vocal dynamics. The causes and context of vocal fatigue were vocal misuse, being "run down," high performance demands, and using high pitch/volume levels. Further research is needed to delineate the perceptual features of "normal" levels of vocal fatigue and its possible causes.

(Mis)understanding Singer: replaceability of children or intellectual endeavour?

PubMed

Maeckelberghe, E L M

2002-01-01

Should doctors have the possibility to save children from incurable suffering and end their lives?. At first glance, the standpoints in the debate around this question seem translucent and well known and the debate intelligible. I contend that this is not the case and I will illustrate this in analysing the debate between Peter Singer and Ulrich Bleidick. Whomever wants to answer the question whether it is acceptable to end the lives of suffering small children will have to do some careful reading and thinking about the different and differing moral arguments in the debate. This demands emotional restraint and intellectual honesty. Trying to understand Singer and his opponents is a challenging way of charting what exactly is at stake in this debate.

Extensive Training Is Insufficient to Produce The Work-Ethic Effect In Pigeons

PubMed Central

Vasconcelos, Marco; Urcuioli, Peter J

2009-01-01

Zentall and Singer (2007a) hypothesized that our failure to replicate the work-ethic effect in pigeons (Vasconcelos, Urcuioli, & Lionello-DeNolf, 2007) was due to insufficient overtraining following acquisition of the high- and low-effort discriminations. We tested this hypothesis using the original work-ethic procedure (Experiment 1) and one similar to that used with starlings (Experiment 2) by providing at least 60 overtraining sessions. Despite this extensive overtraining, neither experiment revealed a significant preference for stimuli obtained after high effort. Together with other findings, these data support our contention that pigeons do not reliably show a work-ethic effect. PMID:19230517

The professional voice.

PubMed

Benninger, M S

2011-02-01

The human voice is not only the key to human communication but also serves as the primary musical instrument. Many professions rely on the voice, but the most noticeable and visible are singers. Care of the performing voice requires a thorough understanding of the interaction between the anatomy and physiology of voice production, along with an awareness of the interrelationships between vocalisation, acoustic science and non-vocal components of performance. This review gives an overview of the care and prevention of professional voice disorders by describing the unique and integrated anatomy and physiology of singing, the roles of development and training, and the importance of the voice care team.

Acoustic and Perceptual Measures of SATB Choir Performances on Two Types of Portable Choral Riser Units in Three Singer-Spacing Conditions

ERIC Educational Resources Information Center

Daugherty, James F.; Manternach, Jeremy N.; Brunkan, Melissa C.

2013-01-01

Under controlled conditions, we assessed acoustically (long-term average spectra) and perceptually (singer survey, listener survey) six performances of an soprano, alto, tenor, and bass (SATB) choir ("N" = 27) as it sang the same musical excerpt on two portable riser units (standard riser step height, taller riser step height) with…

High-Speek Polymer Fiber Electrooptic Modulators and Devices

DTIC Science & Technology

1999-12-10

R. F. Shi, A. F. Garito, and C. H. Grossman, Opt. Lett. 19, 786 (1994). [5] J. H. Andrews, J. D. V. Khaydarov , and K. D. Singer, Opt. Lett. 19, 984...1994). [6] J. H. Andrews, J. D. V. Khaydarov , and K. D. Singer, Opt. Lett. 19, 1909 (1994) [7] C. Poga, T. M. Brown, M. G. Kuzyk, and C. W. Dirk, J

Alternative Pathways to Talent Development in Music: The Narrative of an Eminent Filipino Singer-Songwriter

ERIC Educational Resources Information Center

Garces-Bacsal, Rhoda Myra

2014-01-01

The narrative of an eminent Filipino singer-songwriter, Noel Cabangon, provides a description of an alternative pathway to musical talent development. Most theories on talent development assume that a young artist would have access to the resources required for one to advance in the domain. The results of multiple in-depth interviews suggested…

Singers' Recall for the Words and Melody of a New, Unaccompanied Song

ERIC Educational Resources Information Center

Ginsborg, Jane; Sloboda, John A.

2007-01-01

The nature of the relationship between words and music in memory has been studied in a variety of ways, from investigations of listeners' recall for the words of songs stored in long-term memory to recall for novel information set to unfamiliar melodies. We asked singers to perform an unaccompanied song from memory following deliberate learning…

Beliefs and Practices of Active Duty Air Force Males Related to Testicular Cancer and Testicular Self-Examination

DTIC Science & Technology

2000-04-10

cancer (TC) in the United States is on the rise. TC is the most common form of cancer among males between the ages of 15 and 35 (Singer, Tichler ...Factors related to women’s practice of breast self-examination. Nursing Research, 36, 117-121. Singer, A, J., Tichler , T., Orvieto, R., Finestone, A

Dispelling the Myth of the Non-Singer: Embracing the Two Aesthetics for Singing

ERIC Educational Resources Information Center

Pascale, Louise M.

2005-01-01

One of the most critical limitations in music education is that we have classroom teachers who rarely, if ever, sing with their students. The gap between those in education who sing and offer musical activities to their students and those who do not is greater than ever. The "non-singer" mentality persists in educational communities and is not…

Representation and Execution of Vocal Motor Programs for Expert Singing of Tonal Melodies

ERIC Educational Resources Information Center

Zurbriggen, Eileen L.; Fontenot, Dwight L.; Meyer, David E.

2006-01-01

Three experiments were conducted to study motor programs used by expert singers to produce short tonal melodies. Each experiment involved a response-priming procedure in which singers prepared to sing a primary melody but on 50% of trials had to switch and sing a different (secondary) melody instead. In Experiment 1, secondary melodies in the same…

Perspectives of European Boys about Their Voice Change and School Choral Singing: Developing the Possible Selves of Adolescent Male Singers

ERIC Educational Resources Information Center

Freer, Patrick K.

2015-01-01

This article reports analysis of interviews with 85 boys from England, Greece, Ireland and Spain about the voice change, school singing and choral music instruction. Consistent, former and self-described non-singers were included. Data suggest consistency with much of the existing narrative literature about the experience of voice change. Unique…

Overexcitability and Optimal Flow in Talented Dancers, Singers, and Athletes

ERIC Educational Resources Information Center

Thomson, Paula; Jaque, S. Victoria

2016-01-01

Overexcitability (OE) and optimal flow are variables shared by talented individuals. This study demonstrated that the dancer (n = 86) and opera singer (n = 61) groups shared higher OE profiles compared to the athlete group (n = 50). Two self-report instruments assessed flow (global and subscales) and the five OE dimensions. All groups endorsed…

A Grounded Theory of Adolescent High School Women's Choir Singers' Process of Social Identity Development

ERIC Educational Resources Information Center

Parker, Elizabeth Cassidy

2018-01-01

The purpose of this grounded theory study was to discover the process of social identity development for adolescent high school women's choir participants. Purposive maximum variation sampling was used to identify three public high school women's choirs where 54 interviews were conducted with 40 different public school singers. Three waves of data…

Humpback whale-generated ambient noise levels provide insight into singers' spatial densities.

PubMed

Seger, Kerri D; Thode, Aaron M; Urbán-R, Jorge; Martínez-Loustalot, Pamela; Jiménez-López, M Esther; López-Arzate, Diana

2016-09-01

Baleen whale vocal activity can be the dominant underwater ambient noise source for certain locations and seasons. Previous wind-driven ambient-noise formulations have been adjusted to model ambient noise levels generated by random distributions of singing humpback whales in ocean waveguides and have been combined to a single model. This theoretical model predicts that changes in ambient noise levels with respect to fractional changes in singer population (defined as the noise "sensitivity") are relatively unaffected by the source level distributions and song spectra of individual humpback whales (Megaptera novaeangliae). However, the noise "sensitivity" does depend on frequency and on how the singers' spatial density changes with population size. The theoretical model was tested by comparing visual line transect surveys with bottom-mounted passive acoustic data collected during the 2013 and 2014 humpback whale breeding seasons off Los Cabos, Mexico. A generalized linear model (GLM) estimated the noise "sensitivity" across multiple frequency bands. Comparing the GLM estimates with the theoretical predictions suggests that humpback whales tend to maintain relatively constant spacing between one another while singing, but that individual singers either slightly increase their source levels or song duration, or cluster more tightly as the singing population increases.

Combining Charge Couple Devices and Rate Sensors for the Feedforward Control System of a Charge Coupled Device Tracking Loop.

PubMed

Tang, Tao; Tian, Jing; Zhong, Daijun; Fu, Chengyu

2016-06-25

A rate feed forward control-based sensor fusion is proposed to improve the closed-loop performance for a charge couple device (CCD) tracking loop. The target trajectory is recovered by combining line of sight (LOS) errors from the CCD and the angular rate from a fiber-optic gyroscope (FOG). A Kalman filter based on the Singer acceleration model utilizes the reconstructive target trajectory to estimate the target velocity. Different from classical feed forward control, additive feedback loops are inevitably added to the original control loops due to the fact some closed-loop information is used. The transfer function of the Kalman filter in the frequency domain is built for analyzing the closed loop stability. The bandwidth of the Kalman filter is the major factor affecting the control stability and close-loop performance. Both simulations and experiments are provided to demonstrate the benefits of the proposed algorithm.

KSC-98pc633

NASA Image and Video Library

1998-04-17

KENNEDY SPACE CENTER, FLA. -- David Dickinson, the acting director of the National Aeronautics and Space Administration (NASA) Public Affairs Office at Kennedy Space Center, accepts a copy of Bulgarian singer Dyana Dafova's latest compact disc (CD) from her on behalf of NASA. The 525-foot tall Vehicle Assembly Building, where Space Shuttle orbiters are mated to their external tank/solid rocket booster stacks, looms in the background. Dyana is touring the United States to promote her CD, entitled "Sounds of the Earth," and was an invited guest of NASA for the launch of Columbia on STS-90, the Neurolab mission, earlier in the day. Columbia lifted off from Launch Pad 39B at 2:19 p.m. EDT. Dyana characterized the music on her CD as a new sound, incorporating jazz and new age classics, sung in a newly created language comprised of Bulgarian, English, Sanskrit, Aramski and Hebrew

Intonation and expressivity: a single case study of classical western singing.

PubMed

Sundberg, Johan; Lã, Filipa M B; Himonides, Evangelos

2013-05-01

Previous studies have shown that singers tend to sharpen phrase-peak tones as compared with equally tempered tuning (ETT). Here we test the hypothesis that this can serve the purpose of musical expressivity. Data were drawn from earlier recordings, where a professional baritone sang excerpts as void of musical expression as he could (Neutral) and as expressive as in a concert (Concert). Fundamental frequency averaged over tones was examined and compared with ETT. Phrase-peak tones were sharper in excited examples, particularly in the Concert versions. These tones were flattened to ETT using the Melodyne software. The manipulated and original versions were presented pairwise to a musician panel that was asked to choose the more expressive version. By and large, the original versions were perceived as more expressive, thus supporting the common claim that intonation is a means for adding expressivity to a performance. Copyright © 2013 The Voice Foundation. All rights reserved.

Portuguese Guitar

NASA Astrophysics Data System (ADS)

Inacio, Octavio

When referring to Portuguese traditional music, fado inevitably comes to mind. In this particular style of Portuguese music a singer is accompanied by two instruments: a classical guitar (more commonly known as viola) and a pear-shaped plucked chordophone, with six courses of double strings - the Portuguese guitar. The characteristic sonority of this instrument is a great part of what makes fado so distinguishable from any other style of traditional music in Europe. While from an ethnological and a musicological perspective this instrument has gained the attention of a handful of researchers (de Oliveira 2000; Cabral 1998), the scientific study of the vibroacoustic dynamics of these instruments is very recent. Fortunately, as with most other instruments, decades of refining craftsmanship have provided Portuguese guitars of excellent quality. Even if still unknown to the greater part of the musical world, the sonority, timbre and dynamical range of the Portuguese guitar continue to seduce many new listeners.

Speech-Language Pathology production regarding voice in popular singing.

PubMed

Drumond, Lorena Badaró; Vieira, Naymme Barbosa; Oliveira, Domingos Sávio Ferreira de

2011-12-01

To present a literature review about the Brazilian scientific production in Speech-Language Pathology and Audiology regarding voice in popular singing in the last decade, as for number of publications, musical styles studied, focus of the researches, and instruments used for data collection. Cross-sectional descriptive study carried out in two stages: search in databases and publications encompassing the last decade of researches in this area in Brazil, and reading of the material obtained for posterior categorization. The databases LILACS and SciELO, the Databasis of Dissertations and Theses organized by CAPES, the online version of Acta ORL, and the online version of OPUS were searched, using the following uniterms: voice, professional voice, singing voice, dysphonia, voice disorders, voice training, music, dysodia. Articles published between the years 2000 and 2010 were selected. The researches found were classified and categorized after reading their abstracts and, when necessary, the whole study. Twenty researches within the proposed theme were selected, all of which were descriptive, involving several musical styles. Twelve studies focused on the evaluation of the popular singer's voice, and the most frequently used data collection instrument was the auditory-perceptual evaluation. The results of the publications found corroborate the objectives proposed by the authors and the different methodologies. The number of studies published is still restricted when compared to the diversity of musical genres and the uniqueness of popular singer.

Finding and Learning to Use the Singing Voice: A Manual for Teachers.

ERIC Educational Resources Information Center

Gould, A. Oren

The child who is unable to reproduce a melody at a given pitch range can begin to "carry a tune" by learning to hear and control his singing voice and to match his voice with voices of other singers or with instruments. The "too low problem singer," the child with the most common difficulty, must learn to make successful song responses in his…

Every Child a Singer: Techniques for Assisting Developing Singers--All Children Can Sing if You Take the Time to Teach Them

ERIC Educational Resources Information Center

Smith, Janice

2006-01-01

Humans sing to express emotions beyond mere words. Making music transcends literal communication and expresses intense feelings that defy verbal description. Even very young children can, and do, express inexpressible feelings in song. Singing is present in every culture. It provides a sense of community and belonging. Music is a component of…

The Kadison–Singer Problem in mathematics and engineering

PubMed Central

Casazza, Peter G.; Tremain, Janet Crandell

2006-01-01

We will see that the famous intractible 1959 Kadison–Singer Problem in C*-algebras is equivalent to fundamental open problems in a dozen different areas of research in mathematics and engineering. This work gives all these areas common ground on which to interact as well as explaining why each area has volumes of literature on their respective problems without a satisfactory resolution. PMID:16461465

The effect of choir formation on the acoustical attributes of the singing voice

NASA Astrophysics Data System (ADS)

Atkinson, Debra Sue

Research shows that many things can influence choral tone and choral blend. Some of these are vowel uniformity, vibrato, choral formation, strategic placement of singers, and spacing between singers. This study sought to determine the effect that changes in choral formation and spacing between singers would have on four randomly selected voices of an ensemble as revealed through long-term average spectra (LTAS) of the individual singers. All members of the ensemble were given the opportunity to express their preferences for each of the choral formations and the four randomly selected choristers were asked specific questions regarding the differences between choral singing and solo singing. The results indicated that experienced singers preferred singing in a mixed-spread choral formation. However, the graphs of the choral excerpts as compared to the solo recordings revealed that the choral graphs for the soprano and bass were very similar to the graphs of their solos, but the graphs of the tenor and the alto were different from their solo graphs. It is obvious from the results of this study that the four selected singers did sing with slightly different techniques in the choral formations than they did while singing their solos. The members of this ensemble were accustomed to singing in many different formations. Therefore, it was easy for them to consciously think about how they sang in each of the four formations (mixed-close, mixed-spread, sectional-close, and sectional-spread) and answer the questionnaire accordingly. This would not be as easy for a group that never changed choral formations. Therefore, the results of this study cannot be generalized to choirs who only sing in sectional formation. As researchers learn more about choral acoustics and the effects of choral singing on the voice, choral conductors will be able to make better decisions about the methods used to achieve their desired choral blend. It is up to the choral conductors to glean the knowledge from the research that is taking place and use it for the betterment of choral music.

The Operant and the Classical in Conditioned Orientation of Drosophila melanogaster at the Flight Simulator

PubMed Central

Brembs, Björn; Heisenberg, Martin

2000-01-01

Ever since learning and memory have been studied experimentally, the relationship between operant and classical conditioning has been controversial. Operant conditioning is any form of conditioning that essentially depends on the animal's behavior. It relies on operant behavior. A motor output is called operant if it controls a sensory variable. The Drosophila flight simulator, in which the relevant behavior is a single motor variable (yaw torque), fully separates the operant and classical components of a complex conditioning task. In this paradigm a tethered fly learns, operantly or classically, to prefer and avoid certain flight orientations in relation to the surrounding panorama. Yaw torque is recorded and, in the operant mode, controls the panorama. Using a yoked control, we show that classical pattern learning necessitates more extensive training than operant pattern learning. We compare in detail the microstructure of yaw torque after classical and operant training but find no evidence for acquired behavioral traits after operant conditioning that might explain this difference. We therefore conclude that the operant behavior has a facilitating effect on the classical training. In addition, we show that an operantly learned stimulus is successfully transferred from the behavior of the training to a different behavior. This result unequivocally demonstrates that during operant conditioning classical associations can be formed. PMID:10753977

The operant and the classical in conditioned orientation of Drosophila melanogaster at the flight simulator.

PubMed

Brembs, B; Heisenberg, M

2000-01-01

Ever since learning and memory have been studied experimentally, the relationship between operant and classical conditioning has been controversial. Operant conditioning is any form of conditioning that essentially depends on the animal's behavior. It relies on operant behavior. A motor output is called operant if it controls a sensory variable. The Drosophila flight simulator, in which the relevant behavior is a single motor variable (yaw torque), fully separates the operant and classical components of a complex conditioning task. In this paradigm a tethered fly learns, operantly or classically, to prefer and avoid certain flight orientations in relation to the surrounding panorama. Yaw torque is recorded and, in the operant mode, controls the panorama. Using a yoked control, we show that classical pattern learning necessitates more extensive training than operant pattern learning. We compare in detail the microstructure of yaw torque after classical and operant training but find no evidence for acquired behavioral traits after operant conditioning that might explain this difference. We therefore conclude that the operant behavior has a facilitating effect on the classical training. In addition, we show that an operantly learned stimulus is successfully transferred from the behavior of the training to a different behavior. This result unequivocally demonstrates that during operant conditioning classical associations can be formed.

Effects of a Straw Phonation Protocol on Acoustic Measures of an SATB Chorus Singing Two Contrasting Renaissance Works.

PubMed

Manternach, Jeremy N; Clark, Chad; Daugherty, James F

2017-07-01

Researchers have found that semi-occluded vocal tract (SOVT) exercises may increase vocal economy by reducing phonation threshold pressure and effort while increasing or maintaining consistent acoustic output. This research has focused solely on individual singers. Much singing instruction, however, takes place in choral settings. Choral singers may use different resonance strategies or unconsciously adjust their singing based on the ability to hear their own sound in relation to others. Results of studies with individual singers, then, may not be directly applicable to choral settings. The purpose of this investigation was to measure the effect of an SOVT protocol (ie, straw phonation) on acoustic changes of conglomerate, choral sound. This is a quasi-experimental, one-group, pretest-posttest design. Participants in this study constituted an intact SATB choir (soprano, alto, tenor, and bass) (N = 15 singers) who performed from memory two unaccompanied pieces of varied tempos from memory, participated in a 4-minute straw phonation protocol with a small stirring straw, and then sang each piece a second time. The long-term average spectrum results indicated small, statistically significant increases in spectral energy for both pieces in the 0-10 kHz (.32 and .20 dB Sound Pressure Level) and 2-4 kHz regions (.46 and .25 dB SPL). These results, although not likely audible to average hearing humans, seem consistent with the assertion that singers enjoy vocal benefits with consistent or increased vocal output. SOVT exercises, therefore, may be useful as a time-efficient way to evoke more efficient and economical singing during choral warm-up and voice building procedures. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Comparison of Well-being of Older Adult Choir Singers and the General Population in Finland: A Case-Control Study.

PubMed

Johnson, Julene K; Louhivuori, Jukka; Siljander, Eero

2017-06-01

Previous research suggests that singing in a choir as an older adult is associated with better quality of life (QOL). However, the degree to which sociodemographic variables and level of engagement in hobbies contribute to this relationship is largely unknown. The aim of the study was to compare quality of life (QOL) of older adult choir singers with a matched sample of older adults from the general population in Finland, taking into consideration sociodemographic, satisfaction with health, and level of engagement in hobbies (active, inactive). Case-control methods were used to match a sample of 109 older adult singers with a sample of 307 older adults from the general population. Tobit regression analysis with sociodemographic covariates was used to explore observed group differences in QOL as measured by two WHOQOL-Bref domains (psychological and physical). Probit regression analysis was used to examine the effect of sociodemographic variables and engagement in hobbies and on overall QOL and satisfaction with health. As expected, sociodemographic variables were strongly associated with physical and psychological QOL. After controlling for sociodemographic variables, the older choir singers reported significantly higher ratings on physical QOL, but not psychological QOL, compared to matched controls. Additional adjustment for satisfaction for health attenuated the results. When considering level of engagement in hobbies, older adult choir singers reported significantly higher overall QOL and satisfaction with health when compared to either controls who were either actively engaged in hobbies or not active in hobbies. These results suggest that singing in a choir as an older adult may promote well-being, even after accounting for sociodemographic and level of engagement in hobbies.

Comparison of Well-being of Older Adult Choir Singers and the General Population in Finland: A Case-Control Study

PubMed Central

Johnson, Julene K; Louhivuori, Jukka; Siljander, Eero

2017-01-01

Previous research suggests that singing in a choir as an older adult is associated with better quality of life (QOL). However, the degree to which sociodemographic variables and level of engagement in hobbies contribute to this relationship is largely unknown. The aim of the study was to compare quality of life (QOL) of older adult choir singers with a matched sample of older adults from the general population in Finland, taking into consideration sociodemographic, satisfaction with health, and level of engagement in hobbies (active, inactive). Case-control methods were used to match a sample of 109 older adult singers with a sample of 307 older adults from the general population. Tobit regression analysis with sociodemographic covariates was used to explore observed group differences in QOL as measured by two WHOQOL-Bref domains (psychological and physical). Probit regression analysis was used to examine the effect of sociodemographic variables and engagement in hobbies and on overall QOL and satisfaction with health. As expected, sociodemographic variables were strongly associated with physical and psychological QOL. After controlling for sociodemographic variables, the older choir singers reported significantly higher ratings on physical QOL, but not psychological QOL, compared to matched controls. Additional adjustment for satisfaction for health attenuated the results. When considering level of engagement in hobbies, older adult choir singers reported significantly higher overall QOL and satisfaction with health when compared to either controls who were either actively engaged in hobbies or not active in hobbies. These results suggest that singing in a choir as an older adult may promote well-being, even after accounting for sociodemographic and level of engagement in hobbies. PMID:28736492

Toward Defining "Vocal Constriction": Practitioner Perspectives.

PubMed

Lemon-McMahon, Belinda; Hughes, Diane

2018-01-01

This research investigated the terminology used in relation to constriction of the singing voice from a range of practitioner perspectives. It focused on the locality, causes, consequences, management, trends, identification, and vocabulary of constriction. The research aimed to develop a holistic understanding of the term "vocal constriction" from participant experiences and perceptions (N = 10). Data collection occurred through in-depth, semi-structured interviews with a range of voice care professionals. Participants included three professional groups: (1) Ear, Nose, and Throat medical specialists or laryngologists, (2) speech pathologists or speech therapists, and (3) singing teachers. Purposive sampling was used to ensure that the participants from groups 1 and 2 had extensive experience with singers in their practice. The singing teachers were experienced in either classical or contemporary styles, or both. Participant responses highlighted a discrepancy in preferred terminology, with "constriction" being less favored overall. Several anatomical locations were identified including postural, supraglottic (anteroposterior and false fold), articulatory, and in the intrinsic and extrinsic laryngeal musculature; psychological issues were also identified. Primary causes, secondary causes, and influencing factors were identified. Inefficient technique and poor posture or alignment were considered primary causes; similarly, emotion and anxiety or stress were identified as influencing factors by the majority of participants. There was less uniformity in responses regarding other causes. The major findings of this research are the respective participant group distinctions, an uncertainty regarding anteroposterior constriction, and that the location and effects of constriction are individual to the singer and must be considered contextually. A definition is offered, and areas for further research are identified. Copyright © 2018 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Rehabilitation: disability ethics versus Peter Singer.

PubMed

McPherson, Gary W; Sobsey, Dick

2003-08-01

This commentary discusses utilitarian bioethics currently articulated by Peter Singer, one of the most widely known bioethicists of the 21st century. His controversial concepts of personhood and replaceability have important implications for people with disabilities, caregivers, and rehabilitation in general. Singer suggests that people with severe disabilities should not be considered persons and therefore have no rights or status in ethical issues. In addition, he argues that, although some people with less severe disabilities qualify as persons, their potential quality of life is significantly compromised by disability and therefore it may be ethically desirable to eliminate them so that their resources can be used for someone with superior potential. We reject these ideas, and suggest that those involved in rehabilitation carefully consider these ideas because they imply that rehabilitation is an immoral act unless it results in full and typical function.

Acoustics of the trained versus untrained singing voice.

PubMed

Howard, David M

2009-06-01

Acoustic voice analysis is now widely available on today's multimedia computers and knowledge of the acoustics of the trained and untrained singing voice has advanced dramatically in recent years. New techniques have emerged that are providing clearer representations of aspects of the physiology of voice function and a greater understanding of the differences between the voices of untrained and trained singers. Improvements in endoscope technology are changing understanding of vocal fold function and videokymography provides a new way of interpreting the output; some new and interesting possibilities are emerging. Larynx height variation is a feature of untrained singing and singing in different styles and its measurement has been inaccurate hitherto; perhaps the laryngoaltimeter will provide a solution. Magnetic resonance imaging is now a vital tool for vocal tract shape measurement but a new bio-inspired computing is offering a possible alternative. Differences between an untrained and trained singing voice lie in one or more of breathing technique, larynx settings or vocal tract settings. Measurement techniques in each of these areas are important to provide data on the singing voice, and accurate data are essential for natural personalized electronic voice synthesis in the future.

Promoting Vocal Health in the Choral Rehearsal: When Planning for and Conducting Choral Rehearsals, Guide Your Students in Healthful Singing

ERIC Educational Resources Information Center

Webb, Jeffrey L.

2007-01-01

Choral conductors can positively affect the voices in their choirs through their instruction. It is their job to teach the choir not only the music, but also the healthy ways of singing it. Promoting vocal health benefits both singers and conductors. For singers, it helps remove the risk factors for vocal fatigue. For the choral conductor,…

Relationships of a Circular Singer Arm Gesture to Acoustical and Perceptual Measures of Singing: A Motion Capture Study

ERIC Educational Resources Information Center

Brunkan, Melissa C.

2016-01-01

The purpose of this study was to validate previous research that suggests using movement in conjunction with singing tasks can affect intonation and perception of the task. Singers (N = 49) were video and audio recorded, using a motion capture system, while singing a phrase from a familiar song, first with no motion, and then while doing a low,…

Silencing the Singer. Antibioethics in Germany.

PubMed

Schöne-Seifert, B; Rippe, K P

1991-01-01

"Die Gedanken sind frei," in the words of the old song. But in Germany, thoughts are no longer free. Peter Singer, the "death ethicist," has become a special target for activists attempting to silence bioethical debate in Germany. In the context of the trauma inflicted by National Socialism, a profound unease over issues at the end of life is accompanied by an insistence that these issues are not to be discussed.

Songbird dynamics under the sea: acoustic interactions between humpback whales suggest song mediates male interactions

PubMed Central

Cerchio, Salvatore; Jacobsen, Jeff K.; Urbán-R., Jorge

2018-01-01

The function of song has been well studied in numerous taxa and plays a role in mediating both intersexual and intrasexual interactions. Humpback whales are among few mammals who sing, but the role of sexual selection on song in this species is poorly understood. While one predominant hypothesis is that song mediates male–male interactions, the mechanism by which this may occur has never been explored. We applied metrics typically used to assess songbird interactions to examine song sequences and movement patterns of humpback whale singers. We found that males altered their song presentation in the presence of other singers; focal males increased the rate at which they switched between phrase types (p = 0.005), and tended to increase the overall evenness of their song presentation (p = 0.06) after a second male began singing. Two-singer dyads overlapped their song sequences significantly more than expected by chance. Spatial analyses revealed that change in distance between singers was related to whether both males kept singing (p = 0.012), with close approaches leading to song cessation. Overall, acoustic interactions resemble known mechanisms of mediating intrasexual interactions in songbirds. Future work should focus on more precisely resolving how changes in song presentation may be used in competition between singing males. PMID:29515847

The relationship between professional operatic soprano voice and high range spectral energy

NASA Astrophysics Data System (ADS)

Barnes, Jennifer J.; Davis, Pamela; Oates, Jennifer; Chapman, Janice

2004-07-01

Operatic sopranos need to be audible over an orchestra yet they are not considered to possess a singer's formant. As in other voice types, some singers are more successful than others at being heard and so this work investigated the frequency range of the singer's formant between 2000 and 4000 Hz to consider the question of extra energy in this range. Such energy would give an advantage over an orchestra, so the aims were to ascertain what levels of excess energy there might be and look at any relationship between extra energy levels and performance level. The voices of six operatic sopranos (national and international standard) were recorded performing vowel and song tasks and subsequently analyzed acoustically. Measures taken from vowel data were compared with song task data to assess the consistency of the approaches. Comparisons were also made with regard to two conditions of intended projection (maximal and comfortable), two song tasks (anthem and aria), two recording environments (studio and anechoic room), and between subjects. Ranking the singers from highest energy result to lowest showed the consistency of the results from both vowel and song methods and correlated reasonably well with the performance level of the subjects. The use of formant tuning is considered and examined.

Self-reported changes in the professional singing voice after surgical intervention treatment for breast cancer: a survey pilot study of female professional singers.

PubMed

Baroody, Margaret M; Barnes-Burroughs, Kathryn; Rodriguez, Michael C; Sataloff, Dahlia M; Sataloff, Robert Thayer

2013-03-01

The effects of breast cancer surgical treatment on the professional singing voice are unknown. The purpose of this study was to discover whether there are self-perceived changes in the quality and/or process of singing experienced by professional female singers who have undergone surgical intervention for the treatment of diagnosed breast cancer-including any changes perceived from the use of radiation, chemotherapy, and other drug treatments related to those surgeries. A voluntary subject pool comprised female professional singers who have undergone surgery for breast cancer was recruited from professional singing networks. Participants underwent evaluation through an anonymous online survey, psychometrically vetted for content and instrument reliability/validity before administration. Valid participants (N=56) responded to 45 questions regarding surgical procedures, related therapies, and self-perceived vocal effects. Analysis of results produced a preliminary description of types of voice change, duration of changes, and qualitative self-perceptions. This initial report reveals that there are self-perceived singing voice changes experienced by professional singers treated for breast cancer. However, additional research is needed to determine the degree of vocal impact perceived to be attributable to individual surgical interventions and related therapies. Copyright © 2013 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Songbird dynamics under the sea: acoustic interactions between humpback whales suggest song mediates male interactions.

PubMed

Cholewiak, Danielle M; Cerchio, Salvatore; Jacobsen, Jeff K; Urbán-R, Jorge; Clark, Christopher W

2018-02-01

The function of song has been well studied in numerous taxa and plays a role in mediating both intersexual and intrasexual interactions. Humpback whales are among few mammals who sing, but the role of sexual selection on song in this species is poorly understood. While one predominant hypothesis is that song mediates male-male interactions, the mechanism by which this may occur has never been explored. We applied metrics typically used to assess songbird interactions to examine song sequences and movement patterns of humpback whale singers. We found that males altered their song presentation in the presence of other singers; focal males increased the rate at which they switched between phrase types ( p  = 0.005), and tended to increase the overall evenness of their song presentation ( p  = 0.06) after a second male began singing. Two-singer dyads overlapped their song sequences significantly more than expected by chance. Spatial analyses revealed that change in distance between singers was related to whether both males kept singing ( p  = 0.012), with close approaches leading to song cessation. Overall, acoustic interactions resemble known mechanisms of mediating intrasexual interactions in songbirds. Future work should focus on more precisely resolving how changes in song presentation may be used in competition between singing males.

The German VR Simulation Realism Scale--psychometric construction for virtual reality applications with virtual humans.

PubMed

Poeschl, Sandra; Doering, Nicola

2013-01-01

Virtual training applications with high levels of immersion or fidelity (for example for social phobia treatment) produce high levels of presence and therefore belong to the most successful Virtual Reality developments. Whereas display and interaction fidelity (as sub-dimensions of immersion) and their influence on presence are well researched, realism of the displayed simulation depends on the specific application and is therefore difficult to measure. We propose to measure simulation realism by using a self-report questionnaire. The German VR Simulation Realism Scale for VR training applications was developed based on a translation of scene realism items from the Witmer-Singer-Presence Questionnaire. Items for realism of virtual humans (for example for social phobia training applications) were supplemented. A sample of N = 151 students rated simulation realism of a Fear of Public Speaking application. Four factors were derived by item- and principle component analysis (Varimax rotation), representing Scene Realism, Audience Behavior, Audience Appearance and Sound Realism. The scale developed can be used as a starting point for future research and measurement of simulation realism for applications including virtual humans.

Modulation of voice related to tremor and vibrato

NASA Astrophysics Data System (ADS)

Lester, Rosemary Anne

Modulation of voice is a result of physiologic oscillation within one or more components of the vocal system including the breathing apparatus (i.e., pressure supply), the larynx (i.e. sound source), and the vocal tract (i.e., sound filter). These oscillations may be caused by pathological tremor associated with neurological disorders like essential tremor or by volitional production of vibrato in singers. Because the acoustical characteristics of voice modulation specific to each component of the vocal system and the effect of these characteristics on perception are not well-understood, it is difficult to assess individuals with vocal tremor and to determine the most effective interventions for reducing the perceptual severity of the disorder. The purpose of the present studies was to determine how the acoustical characteristics associated with laryngeal-based vocal tremor affect the perception of the magnitude of voice modulation, and to determine if adjustments could be made to the voice source and vocal tract filter to alter the acoustic output and reduce the perception of modulation. This research was carried out using both a computational model of speech production and trained singers producing vibrato to simulate laryngeal-based vocal tremor with different voice source characteristics (i.e., vocal fold length and degree of vocal fold adduction) and different vocal tract filter characteristics (i.e., vowel shapes). It was expected that, by making adjustments to the voice source and vocal tract filter that reduce the amplitude of the higher harmonics, the perception of magnitude of voice modulation would be reduced. The results of this study revealed that listeners' perception of the magnitude of modulation of voice was affected by the degree of vocal fold adduction and the vocal tract shape with the computational model, but only by the vocal quality (corresponding to the degree of vocal fold adduction) with the female singer. Based on regression analyses, listeners' judgments were predicted by modulation information in both low and high frequency bands. The findings from these studies indicate that production of a breathy vocal quality might be a useful compensatory strategy for reducing the perceptual severity of modulation of voice for individuals with tremor affecting the larynx.

Ectogenesis: a reply to Singer and Wells.

PubMed

James, David N

1987-01-01

The possibility of achieving ectogenesis, or the growing of a human fetus to term in an artificial womb, is approaching reality as a result of advances in treatment of premature newborns and in in vitro fertilization techniques. In their 1984 book, The Reproductive Revolution, issued in North America as Making Babies, Peter Singer and Deane Wells offered several arguments for ectogenesis. James examines their arguments and rejects two of them, that ectogenesis offers a less problematic alternative to surrogate motherhood, and that ectogenesis could make it possible to reconcile fetal rights with the right to abortion on demand. He grants Singer and Wells' argument that the childless have a claim to state support of their desire to nurture, but contends that government-supported ectogenesis should still be rejected because the adoption of unwanted children is a preferable alternative to the use of an exotic, expensive, and still unproven technology.

[The singing voice].

PubMed

García-López, Isabel; Gavilán Bouzas, Javier

2010-01-01

Singing voice is a special subgroup within the field of voice. In addition to the differences in physiology between singing and speaking voice, singer patients are often regarded as a challenge for the otolaryngologist. The reason for this is probably that the field of voice has not received as much attention as others in our speciality. Moreover, in the case of singers, empathy is vital in the doctor-patient relationship, and, as in many other cases, it forms part of the therapeutic effect. In order to achieve this, the physician has to know what singers are and which are the main pathologies they suffer, how they are formed and how they are expressed. This review offers an overlook of the pathological-physiology of singing voice from a double point of view, scientific and artistic, which in the case of singing are inevitably linked. Copyright © 2009 Elsevier España, S.L. All rights reserved.

Atiyah-Patodi-Singer index theorem for domain-wall fermion Dirac operator

NASA Astrophysics Data System (ADS)

Fukaya, Hidenori; Onogi, Tetsuya; Yamaguchi, Satoshi

2018-03-01

Recently, the Atiyah-Patodi-Singer(APS) index theorem attracts attention for understanding physics on the surface of materials in topological phases. Although it is widely applied to physics, the mathematical set-up in the original APS index theorem is too abstract and general (allowing non-trivial metric and so on) and also the connection between the APS boundary condition and the physical boundary condition on the surface of topological material is unclear. For this reason, in contrast to the Atiyah-Singer index theorem, derivation of the APS index theorem in physics language is still missing. In this talk, we attempt to reformulate the APS index in a "physicist-friendly" way, similar to the Fujikawa method on closed manifolds, for our familiar domain-wall fermion Dirac operator in a flat Euclidean space. We find that the APS index is naturally embedded in the determinant of domain-wall fermions, representing the so-called anomaly descent equations.

Self processing in the brain: a paradigmatic fMRI case study with a professional singer.

PubMed

Zaytseva, Yuliya; Gutyrchik, Evgeny; Bao, Yan; Pöppel, Ernst; Han, Shihui; Northoff, Georg; Welker, Lorenz; Meindl, Thomas; Blautzik, Janusch

2014-06-01

Understanding the mechanisms involved in perception and conception of oneself is a fundamental psychological topic with high relevance for psychiatric and neurological issues, and it is one of the great challenges in neuroscientific research. The paradigmatic single-case study presented here aimed to investigate different components of self- and other-processes and to elucidate corresponding neurobiological underpinnings. An eminent professional opera singer with profound performance experience has undergone functional magnetic resonance imaging and was exposed to excerpts of Mozart arias, sung by herself or another singer. The results indicate a distinction between self- and other conditions in cortical midline structures, differentially involved in self-related and self-referential processing. This lends further support to the assumption of cortical midline structures being involved in the neural processing of self-specific stimuli and also confirms the power of single case studies as a research tool. Copyright © 2014 Elsevier Inc. All rights reserved.

Voice classification and vocal tract of singers: a study of x-ray images and morphology.

PubMed

Roers, Friederike; Mürbe, Dirk; Sundberg, Johan

2009-01-01

This investigation compares vocal tract dimensions and the classification of singer voices by examining an x-ray material assembled between 1959 and 1991 of students admitted to the solo singing education at the University of Music, Dresden, Germany. A total of 132 images were available to analysis. Different classifications' values of the lengths of the total vocal tract, the pharynx, and mouth cavities as well as of the relative position of the larynx, the height of the palatal arch, and the estimated vocal fold length were analyzed statistically, and some significant differences were found. The length of the pharynx cavity seemed particularly influential on the total vocal tract length, which varied systematically with classification. Also studied were the relationships between voice classification and the body height and weight and the body mass index. The data support the hypothesis that there are consistent morphological vocal tract differences between singers of different voice classifications.

Minke whale song, spacing, and acoustic communication on the Great Barrier Reef, Australia

NASA Astrophysics Data System (ADS)

Gedamke, Jason

An inquisitive population of minke whale (Balaenoptera acutorostrata ) that concentrates on the Great Barrier Reef during its suspected breeding season offered a unique opportunity to conduct a multi-faceted study of a little-known Balaenopteran species' acoustic behavior. Chapter one investigates whether the minke whale is the source of an unusual, complex, and stereotyped sound recorded, the "star-wars" vocalization. A hydrophone array was towed from a vessel to record sounds from circling whales for subsequent localization of sound sources. These acoustic locations were matched with shipboard and in-water observations of the minke whale, demonstrating the minke whale was the source of this unusual sound. Spectral and temporal features of this sound and the source levels at which it is produced are described. The repetitive "star-wars" vocalization appears similar to the songs of other whale species and has characteristics consistent with reproductive advertisement displays. Chapter two investigates whether song (i.e. the "star-wars" vocalization) has a spacing function through passive monitoring of singer spatial patterns with a moored five-sonobuoy array. Active song playback experiments to singers were also conducted to further test song function. This study demonstrated that singers naturally maintain spatial separations between them through a nearest-neighbor analysis and animated tracks of singer movements. In response to active song playbacks, singers generally moved away and repeated song more quickly suggesting that song repetition interval may help regulate spatial interaction and singer separation. These results further indicate the Great Barrier Reef may be an important reproductive habitat for this species. Chapter three investigates whether song is part of a potentially graded repertoire of acoustic signals. Utilizing both vessel-based recordings and remote recordings from the sonobuoy array, temporal and spectral features, source levels, and associated contextual data of recorded sounds were analyzed. Two categories of sound are described here: (1) patterned song, which was regularly repeated in one of three patterns: slow, fast, and rapid-clustered repetition, and (2) non-patterned "social" sounds recorded from gregarious assemblages of whales. These discrete acoustic signals may comprise a graded system of communication (Slow/fast song → Rapid-clustered song → Social sounds) that is related to the spacing between whales.

Information Processing Capabilities in Performers Differing in Levels of Motor Skill

DTIC Science & Technology

1979-01-01

F. I. 1. , ’ Lockhart , R. S. Levels of* processing : A framework for memory research. Journal of Verbal Learning and Verbal Behavior, 1972, 11, 671-684...ARI TECHNICAL REPORT LEVEr.79iA4 Information Processing Capabilities in Performers Differing In Levels of 00 Motor Skill ,4 by Robert N. Singer... PROCESSING CAPABILITIES IN PERFORMERS DIFFERING IN LEVELS OF MOTOR SKILL INTRODUCTION In the human behaving systems model developed by Singer, Gerson, and

Cricothyroid muscle and thyroarytenoid muscle dominance in vocal register control: preliminary results.

PubMed

Kochis-Jennings, Karen Ann; Finnegan, Eileen M; Hoffman, Henry T; Jaiswal, Sanyukta; Hull, Darcey

2014-09-01

Headmix and head registers use cricothyroid (CT) muscle dominant voicing, whereas chest and chestmix registers use thyroarytenoid (TA) muscle dominant voicing. Cross-sectional study. CT and TA electromyographic data obtained from five untrained singers and two trained singers were analyzed to determine CT and TA muscle dominance as a function of register. Simultaneous recordings of TA and CT muscle activity and audio were obtained during production of pitch glides and a variety of midrange and upper pitches in chest, chestmix, headmix, and head registers. TA dominant phonation was only observed for chest productions and headmix/head register productions below 300 Hz. All phonation above 300 Hz, regardless of register, showed CT:TA muscle activity ratios that were CT dominant or close to 1, indicating nearly equal CT and TA muscle activity. This was true for all subjects on all vocal tasks. For the subjects sampled in this study, pitch level appeared to have a greater effect on TA and CT muscle dominance than vocal register. Preliminary findings regarding CT and TA dominance and register control do not support the assumption that all chest and chestmix production has greater TA muscle activity than CT muscle activity or that all headmix and head production require greater CT muscle activity than TA muscle activity. The data indicate that pitch level may play a greater role in determining TA and CT dominance than register. Copyright © 2014 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Layman versus Professional Musician: Who Makes the Better Judge?

PubMed Central

Larrouy-Maestri, Pauline; Magis, David; Grabenhorst, Matthias; Morsomme, Dominique

2015-01-01

The increasing number of casting shows and talent contests in the media over the past years suggests a public interest in rating the quality of vocal performances. In many of these formats, laymen alongside music experts act as judges. Whereas experts' judgments are considered objective and reliable when it comes to evaluating singing voice, little is known about laymen’s ability to evaluate peers. On the one hand, layman listeners–who by definition did not have any formal training or regular musical practice–are known to have internalized the musical rules on which singing accuracy is based. On the other hand, layman listeners’ judgment of their own vocal skills is highly inaccurate. Also, when compared with that of music experts, their level of competence in pitch perception has proven limited. The present study investigates laypersons' ability to objectively evaluate melodies performed by untrained singers. For this purpose, laymen listeners were asked to judge sung melodies. The results were compared with those of music experts who had performed the same task in a previous study. Interestingly, the findings show a high objectivity and reliability in layman listeners. Whereas both the laymen's and experts' definition of pitch accuracy overlap, differences regarding the musical criteria employed in the rating task were evident. The findings suggest that the effect of expertise is circumscribed and limited and supports the view that laypersons make trustworthy judges when evaluating the pitch accuracy of untrained singers. PMID:26308213

The Rat Model in Microsurgery Education: Classical Exercises and New Horizons

PubMed Central

Shurey, Sandra; Akelina, Yelena; Legagneux, Josette; Malzone, Gerardo; Jiga, Lucian

2014-01-01

Microsurgery is a precise surgical skill that requires an extensive training period and the supervision of expert instructors. The classical training schemes in microsurgery have started with multiday experimental courses on the rat model. These courses have offered a low threat supervised high fidelity laboratory setting in which students can steadily and rapidly progress. This simulated environment allows students to make and recognise mistakes in microsurgery techniques and thus shifts any related risks of the early training period from the operating room to the lab. To achieve a high level of skill acquisition before beginning clinical practice, students are trained on a comprehensive set of exercises the rat model can uniquely provide, with progressive complexity as competency improves. This paper presents the utility of the classical rat model in three of the earliest microsurgery training centres and the new prospects that this versatile and expansive training model offers. PMID:24883268

The Relationship Between Personality Traits, Flow-Experience, and Different Aspects of Practice Behavior of Amateur Vocal Students

PubMed Central

Heller, Katharina; Bullerjahn, Claudia; von Georgi, Richard

2015-01-01

Most of the existing studies on musical practice are concerned with instrumentalists only. Since singers are seldom considered in research, the present study is based on an online-sample of amateur vocal students (N = 120; 92 female, 28 male). The study investigated the correlations between personality traits, flow-experience and several aspects of practice characteristics. Personality was represented by the three personality dimensions extraversion, neuroticism and psychoticism, assessed by Eysenck’s Personality Profiler as well as the trait form of the Positive and Negative Affect Schedule. ‘Flow-experience,’ ‘self-congruence’ and ‘fear of losing control over concentration,’ assessed by the Practice Flow Inventory, served as variables for flow-experience. The practice motivation was measured by the Practice Motivation Questionnaire in four categories (‘self,’ ‘group,’ ‘audience,’ ‘teacher’). In addition, the Practice Behavior Questionnaire was used to provide an insight into the practice situation and behavior of singing students. The results show significant correlations: participants with high extraversion-scores experience significantly more flow than less extraverted persons, whereas lesser flow-experience seems to be related to high neuroticism-scores. Nevertheless, there is no influence in flow-experience concerning singing style (‘classical’ or ‘popular’). The longer the practicing time, the more likely students are to achieve flow-experience. However, older singers tend to have less flow-experience. Consequently, singers seem to differ in their personality and practice behavior compared to other musicians. Most of the findings show that having control over one’s instrument is decisive for achieving a performance of high quality, especially for singers. On the other hand, certainty in handling an instrument is essential to arouse a flow-feeling. However, flow-experience seems to be common mainly with amateur singers. In conclusion, this offers a starting point for new research on the psychology of vocalists in greater depth. PMID:26733904

Thermal Relaxation Processes and Stability in Poled Electro-Optic Polymers

DTIC Science & Technology

1994-06-30

34, Gordon Research Conference on Dielectric Phenomena, Holderness School, NH July 31-August 5, 1994. 2. K.D. Singer, R. Dureiko, J. Khaydarov , and R...Fuerst, "Relaxation in Poled Electro- optic Polymers", 4th Iketani Conference, Hawaii, May 17-20, 1994. 3. J.H. Andrews, J.D.V. Khaydarov , and K.D. Singer...Dureiko, J. Khaydarov , and R. Fuerst, "Relaxation Phenomena in Poled Electro-Optic Polymers", Proc. Mat. Res. Soc. 328, 499 (1994). 5. R.A. Fuerst, "Thermal

SINGER: A Computer Code for General Analysis of Two-Dimensional Reinforced Concrete Structures. Volume 1. Solution Process

DTIC Science & Technology

1975-05-01

Conference on Earthquake Engineering, Santiago de Chile, 13-18 January 1969, Vol. I , Session B2, Chilean Association oil Seismology and Earth- quake...Nuclear Agency May 1975 DISTRIBUTED BY: KJ National Technical Information Service U. S. DEPARTMENT OF COMMERCE ^804J AFWL-TR-74-228, Vol. I ...CM o / i ’•fu.r ) V V AFWL-TR- 74-228 Vol. I SINGER: A COMPUTER CODE FOR GENERAL ANALYSIS OF TWO-DIMENSIONAL CONCRETE STRUCTURES Volum« I

The fiftieth anniversary of the first public announcement of the successful test of fission: Proceedings

DOE Office of Scientific and Technical Information (OSTI.GOV)

Not Available

This report contains comments and discussions on the history of fission. The following people comments and lectures are discussed in this report: Remarks and introduction of Maxine F. Singer; president's message, Maxine F. Singer; introduction of Stephen Joel Trachtenberg; President's message, Stephen Joel Trachtenberg; introduction of Frederick Seitz; lecture: Nuclear Science: Promises and Perceptions, '' Frederick Seitz; introduction of K. Alex Mueller; lecture: High Temperature Ferroelectricity and Superconductivity,'' introduction of Edward Teller; and lecture: Toward a More Secure World,'' Edward Teller.

Acquired and congenital disorders of sung performance: A review.

PubMed Central

Berkowska, Magdalena; Dalla Bella, Simone

2009-01-01

Many believe that the majority of people are unable to carry a tune. Yet, this widespread idea underestimates the singing abilities of the layman. Most occasional singers can sing in tune and in time, provided that they perform at a slow tempo. Here we characterize proficient singing in the general population and identify its neuronal underpinnings by reviewing behavioral and neuroimaging studies. In addition, poor singing resulting from a brain injury or neurogenetic disorder (i.e., tone deafness or congenital amusia) is examined. Different lines of evidence converge in indicating that poor singing is not a monolithic deficit. A variety of poor-singing "phenotypes" are described, with or without concurrent perceptual deficits. In addition, particular attention is paid to the dissociations between specific abilities in poor singers (e.g., production of absolute vs. relative pitch, pitch vs. time accuracy). Such diversity of impairments in poor singers can be traced to different faulty mechanisms within the vocal sensorimotor loop, such as pitch perception and sensorimotor integration. PMID:20523851

Conservative treatment vs phonosurgery.

PubMed

Vukasinović, M; Stanković, P D; Nikolić, Lj; Stojanović, M; Ajduković, M; Djukić, V; Janosević, Lj

2008-01-01

In Phoniatric Dpt. everyday practice we try to keep specific multidisciplinary approach to the communication disorders, that includes an expert team using modern technology. Over the last six years we have treated 110 singers (3% of all new cases) and the results of their diagnostic and therapeutic management are presented here. There were 67 women and 43 men, 41 were smokers and 69 nonsmokers. The singing genres included 24 pop, 41 folk, 8 ethnic, 29 choral and 8 opera singers. The therapy success was compared with the demographic parameters, level of education and music genres across the subjects. A precise history, clinical examination, endovideolaryngostroboscopy and multidimensional computer analysis of voice and speech was carried out by two phoniatricians, two logopeds, two nurses and one clinical psychologist. Additional consultations were carried out by audiologists, allergists, endocrinologists, chest physicians, gastroenterologists and neurologists where necessary. We suggest that the gold standard is conservative therapy, with phonosurgery if conservative measures fail. We also suggest that an annual systematic examination is optimal in preventing disease in professional singers.

The effect of music video clips on adolescent boys' body image, mood, and schema activation.

PubMed

Mulgrew, Kate E; Volcevski-Kostas, Diana; Rendell, Peter G

2014-01-01

There is limited research that has examined experimentally the effects of muscular images on adolescent boys' body image, with no research specifically examining the effects of music television. The aim of the current study was to examine the effects of viewing muscular and attractive singers in music video clips on early, mid, and late adolescent boys' body image, mood, and schema activation. Participants were 180 boys in grade 7 (mean age = 12.73 years), grade 9 (mean age = 14.40 years) or grade 11 (mean age = 16.15 years) who completed pre- and post-test measures of mood and body satisfaction after viewing music videos containing male singers of muscular or average appearance. They also completed measures of schema activation and social comparison after viewing the clips. The results showed that the boys who viewed the muscular clips reported poorer upper body satisfaction, lower appearance satisfaction, lower happiness, and more depressive feelings compared to boys who viewed the clips depicting singers of average appearance. There was no evidence of increased appearance schema activation but the boys who viewed the muscular clips did report higher levels of social comparison to the singers. The results suggest that music video clips are a powerful form of media in conveying information about the male ideal body shape and that negative effects are found in boys as young as 12 years.

The use of classical and operant conditioning in training Aldabra tortoises (Geochelone gigantea), for venipuncture and other, husbandry issues.

PubMed

Weiss, Emily; Wilson, Sandra

2003-01-01

A variety of nonhuman animals in zoo and research settings have been the subjects of classical and operant conditioning techniques. Much of the published work has focused on mammals, husbandry training, and veterinary issues. However, several zoos are training reptiles and birds for similar procedures, but there has been little of this work published. Using positive reinforcement techniques enabled the training of 2 male and 2 female Aldabra tortoises (Geochelone gigantea) to approach a target, hold steady on target, and stretch and hold for venipuncture. This article discusses training techniques, venipuncture sight, and future training.

In-Service Training of Teachers as Behavior Modifiers: Review and Analysis.

ERIC Educational Resources Information Center

Eachus, Herbert Todd

The basic principles of operant and classical conditioning are presented, and their applications for the in-service training of teachers are discussed. Certain classroom behaviors are analyzed and applied to the classic stimulus-response paradigm. Activities are generically classified as positive or negative reinforcers and these reinforcers, in…

Stage fright in singers: three reaction types.

PubMed

Berghs, Geert

2008-01-01

Drawing on both my own personal experience and that of many colleagues and pupils, I shall describe three kinds of reactions to stage fright. The first is the primarily mental reaction of derealization, which involves feeling cut off from fear and decreasing body awareness. The second and third reactions to stage fright involve (a) increased and (b) decreased muscle tonus and their associated breathing patterns. Furthermore, I shall indicate how singers manage to pull themselves together through the very act of producing their first tones. Copyright 2008 S. Karger AG, Basel.

Density in a Planetary Exosphere

NASA Technical Reports Server (NTRS)

Herring, Jackson; Kyle, Herbert L.

1961-01-01

A discussion of the Opik-Singer theory of the density of a planetary exosphere is presented. Their density formula permits the calculation of the depth of the exosphere. Since the correctness of their derivation of the basic formula for the density distribution has been questioned, an alternate method based directly on Liouville's theorem is given. It is concluded that the Opik-Singer formula seems valid for the ballistic component of the exosphere; but for a complete description of the planetary exosphere, the ionized and bound-orbit components must also be included.

The fiftieth anniversary of the first public announcement of the successful test of fission: Proceedings

DOE Office of Scientific and Technical Information (OSTI.GOV)

Not Available

This report contains comments and discussions on the history of fission. The following people comments and lectures are discussed in this report: Remarks and introduction of Maxine F. Singer; president`s message, Maxine F. Singer; introduction of Stephen Joel Trachtenberg; President`s message, Stephen Joel Trachtenberg; introduction of Frederick Seitz; lecture: ``Nuclear Science: Promises and Perceptions, `` Frederick Seitz; introduction of K. Alex Mueller; lecture: ``High Temperature Ferroelectricity and Superconductivity,`` introduction of Edward Teller; and lecture: ``Toward a More Secure World,`` Edward Teller.

The multiple functions of male song within the humpback whale (Megaptera novaeangliae) mating system: review, evaluation, and synthesis.

PubMed

Herman, Louis M

2017-08-01

Humpback whales (Megaptera novaeangliae) are seasonal breeders, annually migrating from high-latitude summer feeding grounds to low-latitude winter breeding grounds. The social matrix on the winter grounds is a loose network of interacting individuals and groups and notably includes lone males that produce long bouts of complex song that collectively yield an asynchronous chorus. Occasionally, a male will sing while accompanying other whales. Despite a wealth of knowledge about the social matrix, the full characterization of the mating system remains unresolved, without any firm consensus, as does the function of song within that system. Here, I consider and critically analyse three proposed functions of song that have received the most attention in the literature: female attraction to individual singers, determining or facilitating male-male interactions, and attracting females to a male aggregation within the context of a lekking system. Female attraction suggests that humpback song is an advertisement and invitation to females, but field observations and song playback studies reveal that female visits to individual singers are virtually absent. Other observations suggest instead that females might convey their presence to singers (or to other males) through the percussive sounds of flipper or tail slapping or possibly through vocalizations. There is some evidence for male-male interactions, both dominance and affiliative: visits to singers are almost always other lone males not singing at that time. The joiner may be seeking a coalition with the singer to engage cooperatively in attempts to obtain females, or may be seeking to disrupt the song or to affirm his dominance. Some observations support one or the other intent. However, other observations, in part based on the brevity of most pairings, suggest that the joiner is prospecting, seeking to determine whether the singer is accompanying a female, and if not soon departs. In the lekking hypothesis, the aggregation of vocalizing males on a winter ground and the visits there by non-maternal females apparently for mating meet the fundamental definition of a lekking system and its role though communal display in attracting females to the aggregation, although not to an individual singer. Communal singing is viewed as a form of by-product mutualism in which individuals benefit one another as incidental consequences of their own selfish actions. Possibly, communal singing may also act to stimulate female receptivity. Thus, there are both limitations and merit in all three proposals. Full consideration of song as serving multiple functions is therefore necessary to understand its role in the mating system and the forces acting on the evolution of song. I suggest that song may be the prime vector recruiting colonists to new winter grounds pioneered by vagrant males as population pressures increase or as former winter grounds become unavailable or undesirable, with such instances documented relatively recently. Speculatively, song may have evolved historically as an aggregating call during the dynamic ocean conditions and resulting habitat uncertainties in the late Miocene-early Pliocene epochs when Megaptera began to proliferate. Early song may have been comprised of simpler precursor sounds that through natural selection and ritualization evolved into complex song. © 2016 Cambridge Philosophical Society.

Singers' phonation threshold pressure and ratings of self-perceived effort on vocal tasks.

PubMed

McHenry, Monica; Evans, Joseph; Powitzky, Eric

2013-05-01

This study was designed to determine if singers' self-ratings of vocal effort could predict phonation threshold pressure (PTP). It was hypothesized that effort ratings on the more complex task of singing "Happy Birthday" would best predict PTP. A multiple regression analysis was performed with PTP as the predicted variable and self-ratings on four phonatory tasks as the predictor variables. Participants were 48 undergraduate and graduate students majoring in vocal performance. They produced /pi/ syllable trains as softly as possible for the measurement of PTP. They then rated their self-perceived vocal effort while softly producing the following: (1) sustained "ah" (comfortable, midrange pitch); (2) "ah" glide (chest to head voice); (3) Staccato "ah" in head voice (not falsetto); and (4) Happy Birthday in head voice (not falsetto). No ratings of vocal effort predicted PTP. The lack of correlation between PTP and ratings of Happy Birthday remained when separately evaluating graduate versus undergraduate students or males versus females. Informal evaluation of repeated ratings over time suggested the potential for effective self-monitoring. Students' ratings of self-perceived vocal effort were poor predictors of PTP. This may be because of the use of "effortless" imagery during singing instruction or consistent positive feedback regarding vocal performance. It is possible that self-rating could become an effective tool to predict vocal health if task elicitation instructions were more precise, and the student and voice teacher worked collaboratively to improve self-evaluation. Copyright © 2013 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

Ethics and experts.

PubMed

Noble, C N

1982-06-01

Cheryl Noble discusses the emergence of applied ethics as a subdiscipline and expresses skepticism about the role of the philosopher as a technical "expert" on social problems. Peter Singer applauds the renewed interest of philosophers in social issues and points out the special advantages they may contribute to discussions of such issues. Jerry Avorn, a physician, sees a useful role for ethicists as teachers and resources for medical practitioners trained as generalists responsible for a patient's care. Daniel Wikler accepts Noble's contention that ethicists are in danger of becoming defenders of conventional morality but argues that applied analytic philosophy has contributed logical precision and vigor of argument on a number of pressing social issues. Tom Beauchamp also acknowledges validity in some of Noble's criticisms while analyzing a variety of weaknesses in her arguments.

Hearing the Sound in the Brain: Influences of Different EEG References.

PubMed

Wu, Dan

2018-01-01

If the scalp potential signals, the electroencephalogram (EEG), are due to neural "singers" in the brain, how could we listen to them with less distortion? One crucial point is that the data recording on the scalp should be faithful and accurate, thus the choice of reference electrode is a vital factor determining the faithfulness of the data. In this study, music on the scalp derived from data in the brain using three different reference electrodes were compared, including approximate zero reference-reference electrode standardization technique (REST), average reference (AR), and linked mastoids reference (LM). The classic music pieces in waveform format were used as simulated sources inside a head model, and they were forward calculated to scalp as standard potential recordings, i.e., waveform format music from the brain with true zero reference. Then these scalp music was re-referenced into REST, AR, and LM based data, and compared with the original forward data (true zero reference). For real data, the EEG recorded in an orthodontic pain control experiment were utilized for music generation with the three references, and the scale free index (SFI) of these music pieces were compared. The results showed that in the simulation for only one source, different references do not change the music/waveform; for two sources or more, REST provide the most faithful music/waveform to the original ones inside the brain, and the distortions caused by AR and LM were spatial locations of both source and scalp electrode dependent. The brainwave music from the real EEG data showed that REST and AR make the differences of SFI between two states more recognized and found the frontal is the main region that producing the music. In conclusion, REST can reconstruct the true signals approximately, and it can be used to help to listen to the true voice of the neural singers in the brain.

Vocal and neural responses to unexpected changes in voice pitch auditory feedback during register transitions

PubMed Central

Patel, Sona; Lodhavia, Anjli; Frankford, Saul; Korzyukov, Oleg; Larson, Charles R.

2016-01-01

Objective/Hypothesis It is known that singers are able to control their voice to maintain a relatively constant vocal quality while transitioning between vocal registers; however, the neural mechanisms underlying this effect are not understood. It was hypothesized that greater attention to the acoustical feedback of the voice and increased control of the vocal musculature during register transitions compared to singing within a register would be represented as neurological differences in event-related potentials (ERPs). Study Design/Methods Nine singers sang musical notes at the high end of the modal register (the boundary between the modal and head/falsetto registers) and at the low end (the boundary between the modal and fry/pulse registers). While singing, the pitch of the voice auditory feedback was unexpectedly shifted either into the adjacent register (“toward” the register boundary) or within the modal register (“away from” the boundary). Singers were instructed to maintain a constant pitch and ignore any changes to their voice feedback. Results Vocal response latencies and magnitude of the accompanying N1 and P2 ERPs were greatest at the lower (modal-fry) boundary when the pitch shift carried the subjects’ voices into the fry register as opposed to remaining within the modal register. Conclusions These findings suggest that when a singer lowers the pitch of their voice such that it enters the fry register from the modal register, there is increased sensory-motor control of the voice, reflected as increased magnitude of the neural potentials to help minimize qualitative changes in the voice. PMID:26739860

The Effects of Phonation Into Glass, Plastic, and LaxVox Tubes in Singers: A Systematic Review.

PubMed

Mendes, Amanda Louize Félix; Dornelas do Carmo, Rodrigo; Dias de Araújo, Aline Menezes Guedes; Paranhos, Luiz Renato; da Mota, Camila Silva Oliveira; Dias, Sheila Schneiberg Valença; Reis, Francisco Prado; Aragão, José Aderval

2018-05-03

The present study aimed to perform a systematic literature review to assess the effects of phonation therapy on voice quality and function in singers. The systematic search was performed in February and updated in October 2017. No restriction of year, language, or publication status was applied. The primary electronic databases searched were LILACS, SciELO, PubMed, and Cochrane. Kappa coefficient was used to assess the agreement between examiners in judging article eligibility. The eligible articles were analyzed based on their risk of bias using the tools proposed by the Joanna Briggs Institute. Mendeley Desktop 1.13.3 software package (Mendeley Ltd, London, UK) was used to standardize the references of identified articles. The general sample consisted of 1965 articles screened out of the electronic databases. Two examiners analyzed the sample in the search for eligible articles. The agreement between examiners reached excellent outcomes (kappa coefficient = 0.88). After the selection, phase 6 articles remained eligible. Together, the eligible studies accounted 141 subjects (65 men and 76 women) aged between 18 and 72 years old. Electroglottography was considered as the most common method (83.33%) of assessment of the effects of phonation therapy in singers. The most prevalent exercises within the therapies were phonation into straws and phonation into glass tubes. The phonation into glass tubes immersed in water, straws, and LaxVox tubes promoted positive effects on the voice quality in singers, such as more comfortable phonation, better voice projection, and economy in voice emission. Copyright © 2018 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

The Effects of Three Physical and Vocal Warm-Up Procedures on Acoustic and Perceptual Measures of Choral Sound.

PubMed

Cook-Cunningham, Sheri L; Grady, Melissa L

2018-03-01

The purpose of this investigation was to assess the effects of three warm-up procedures (vocal-only, physical-only, physical/vocal combination) on acoustic and perceptual measures of choir sound. The researchers tested three videotaped, 5-minute, choral warm-up procedures on three university choirs. After participating in a warm-up procedure, each choir was recorded singing a folk song for long-term average spectra and pitch analysis. Singer participants responded to a questionnaire about preferences after each warm-up procedure. Warm-up procedures and recording sessions occurred during each choir's regular rehearsal time and in each choir's regular rehearsal space during three consecutive rehearsals. Long-term average spectra results demonstrated more resonant singing after the physical/vocal warm-up for two of the three choirs. Pitch analysis results indicate that all three choirs sang "in-tune" or with the least pitch deviation after participating in the physical/vocal warm-up. Singer questionnaire responses showed general preference for the physical/vocal combination warm-up, and singer ranking of the three procedures indicated the physical/vocal warm-up as the most favored for readiness to sing. In the context of this study with these three university choir participants, it seems that a combination choral warm-up that includes physical and vocal aspects is preferred by singers, enables more resonant singing, and more in-tune singing. Findings from this study could provide teachers and choral directors with important information as they structure and experiment with their choral warm-up procedures. Copyright © 2018 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Nebulized Isotonic Saline versus Water following a Laryngeal Desiccation Challenge in Classically Trained Sopranos

ERIC Educational Resources Information Center

Tanner, Kristine; Roy, Nelson; Merrill, Ray M.; Muntz, Faye; Houtz, Daniel R.; Sauder, Cara; Elstad, Mark; Wright-Costa, Julie

2010-01-01

Purpose: To examine the effects of nebulized isotonic saline (IS) versus sterile water (SW) on self-perceived phonatory effort (PPE) and phonation threshold pressure (PTP) following a surface laryngeal dehydration challenge in classically trained sopranos. Method: In a double-blind, within-subject crossover design, 34 sopranos breathed dry air…

Teacher Self-Efficacy in a Classical Christian Environment versus a Traditional Christian Environment

ERIC Educational Resources Information Center

Anderson, Emily Rose

2016-01-01

Teachers in a classical Christian environment oftentimes are not taught in the classic manner themselves, requiring different training from that in teacher-education programs. This study compared teacher self-efficacy between traditional Christian-education environments and classical Christian-education environments. The purpose of this…

Evidence-based Frameworks for Teaching and Learning in Classical Singing Training: A Systematic Review.

PubMed

Crocco, Laura; Madill, Catherine J; McCabe, Patricia

2017-01-01

The study systematically reviews evidence-based frameworks for teaching and learning of classical singing training. This is a systematic review. A systematic literature search of 15 electronic databases following the Preferred Reporting Items for Systematic Reviews (PRISMA) guidelines was conducted. Eligibility criteria included type of publication, participant characteristics, intervention, and report of outcomes. Quality rating scales were applied to support assessment of the included literature. Data analysis was conducted using meta-aggregation. Nine papers met the inclusion criteria. No complete evidence-based teaching and learning framework was found. Thematic content analysis showed that studies either (1) identified teaching practices in one-to-one lessons, (2) identified student learning strategies in one-to-one lessons or personal practice sessions, and (3) implemented a tool to enhance one specific area of teaching and learning in lessons. The included studies showed that research in music education is not always specific to musical genre or instrumental group, with four of the nine studies including participant teachers and students of classical voice training only. The overall methodological quality ratings were low. Research in classical singing training has not yet developed an evidence-based framework for classical singing training. This review has found that introductory information on teaching and learning practices has been provided, and tools have been suggested for use in the evaluation of the teaching-learning process. High-quality methodological research designs are needed. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Singers' interest and knowledge levels of vocal function and dysfunction: survey findings.

PubMed

Braun-Janzen, Colleen; Zeine, Lina

2009-07-01

A questionnaire investigating the levels of interest in and knowledge of vocal function and dysfunction was completed by 129 singers. Those with professional singing experience indicated significantly greater interest and higher perceived knowledge levels than amateurs in areas of vocal anatomy and physiology, vocal hygiene, and functional vocal pathologies. Greater interest levels, but not higher perceived knowledge levels were reported by professional singers (PSs) in the area of the role of the speech-language pathologist (SLP) and the voice. Professionals answered significantly more knowledge-based questions correctly than amateurs in all areas except the role of the SLP and the voice. However, findings indicated wide variability in knowledge levels of both groups. Singing teachers (STs) within the group significantly outperformed the remainder of the group in areas of vocal anatomy and physiology, vocal hygiene, and functional vocal pathologies. Scores of the choir directors (CDs) within the group were not significantly superior to the remainder of the group except in the area of functional vocal pathologies. Implications for a preventative approach to vocal health are discussed.

Stimulus- and response-reinforcer contingencies in autoshaping, operant, classical, and omission training procedures in rats.

PubMed

Atnip, G W

1977-07-01

Separate groups of rats received 500 trials of lever-press training under autoshaping (food delivery followed 10-second lever presentations, or occurred immediately following a response); operant conditioning (responding was necessary for food delivery); and classical conditioning (food followed lever presentations regardless of responding). Each group then received 500 trials on an omission procedure in which food was omitted on trials with a response. Another group received 1000 trials on the omission procedure, and a fifth group, random control, received 1000 uncorrelated presentations of lever and food. The autoshaping, operant, and classical groups reached high response levels by the end of initial training. Acquisition was fastest in the autoshaping group. Responding remained consistently low in the control group. The omission group responded at a level between the control group and the other three groups. During omission training, responding in these three groups declined to the omission-group level. During omission training, the rats continued contacting the lever frequently after lever pressing had declined. Response maintenance under omission training seems not to require topographic similarity between the response and reinforcer-elicited consummatory behaviors.

Stimulus- and response-reinforcer contingencies in autoshaping, operant, classical, and omission training procedures in rats

PubMed Central

Atnip, Gilbert W.

1977-01-01

Separate groups of rats received 500 trials of lever-press training under autoshaping (food delivery followed 10-second lever presentations, or occurred immediately following a response); operant conditioning (responding was necessary for food delivery); and classical conditioning (food followed lever presentations regardless of responding). Each group then received 500 trials on an omission procedure in which food was omitted on trials with a response. Another group received 1000 trials on the omission procedure, and a fifth group, random control, received 1000 uncorrelated presentations of lever and food. The autoshaping, operant, and classical groups reached high response levels by the end of initial training. Acquisition was fastest in the autoshaping group. Responding remained consistently low in the control group. The omission group responded at a level between the control group and the other three groups. During omission training, responding in these three groups declined to the omission-group level. During omission training, the rats continued contacting the lever frequently after lever pressing had declined. Response maintenance under omission training seems not to require topographic similarity between the response and reinforcer-elicited consummatory behaviors. PMID:16812014

Exercise Science Principles and the Vocal Warm-up: Implications for Singing Voice Pedagogy.

PubMed

Hoch, Matthew; Sandage, Mary J

2018-01-01

Principles from exercise science literature were applied to singing warm-up pedagogy as a method for examining parallels between athletic and voice training. Analysis of the use of exercise principles in vocal warm-up should illuminate aspects of voice training that may be further developed in the future. A selected canon of standard voice pedagogy texts and well-regarded warm-up methods were evaluated for use of exercise science principles for skill acquisition and fatigue resistance. Exercises were then categorized according to whether they were used for the purpose of skill acquisition (specificity), training up to tasks (overload), or detraining (reversibility). A preliminary review of well-established voice pedagogy programs reveals a strong bias toward the skill acquisition aspects of vocal warm-up, with little commentary on the fatigue management aspects. Further, the small number of vocalises examined that are not skill-acquisition oriented fall into a third "habilitative" category that likewise does not relate to overload but may play a role in offsetting reversibility. Although a systematic pedagogy for skill acquisition has emerged in the literature and practice of voice pedagogy, a parallel pedagogy for fatigue management has yet to be established. Identification of a systematic pedagogy for training up to specific singing genres and development of a singing maintenance program to avoid detraining may help the singer avoid injury. Copyright © 2018 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Hot Talk, Cold Science

NASA Astrophysics Data System (ADS)

Oglesby, Robert J.

One of the hottest topics in climate science is understanding and evaluating the impacts of possible global warming caused by anthropogenic emissions of greenhouse gases. In Hot Talk, Cold Science, S. Fred Singer does not accept global warming. Singer says in his preface, “The purpose of this book is to demonstrate that the evidence [for global warming] is neither settled, nor compelling, nor even convincing. On the contrary, scientists continue to discover new mechanisms for climate change and to put forth new theories to try to account for the fact that global temperature is not rising, even though greenhouse theory says it should”.

The Relationship Between Fidelity and Learning in Aviation Training and Assessment

NASA Technical Reports Server (NTRS)

Noble, Cliff

2002-01-01

Flight simulators can be designed to train pilots or assess their flight performance. Low-Fidelity simulators maximize the initial learning rate of novice pilots and minimize initial costs; whereas, expensive, high-fidelity simulators predict the realworld in-flight performance of expert pilots (Fink & Shriver, 1978 Hays & Singer 1989; Kinkade & Wheaton. 1972). Although intuitively appealing and intellectually convenient to generalize concepts of learning and assessment, what holds true for the role of fidelity in assessment may not always hold true for learning, and vice versa. To bring clarity to this issue, the author distinguishes the role of fidelity in learning from its role in assessment as a function of skill level by applying the hypothesis of Alessi (1988) and reviewing the Laughery, Ditzian, and Houtman (1982) study on simulator validity. Alessi hypothesized that there is it point beyond which one additional unit of flight-simulator fidelity results in a diminished rate of learning. The author of this current paper also suggests the existence of an optimal point beyond which one additional unit of flight-simulator fidelity results in a diminished rate of practical assessment of nonexpert pilot performance.

When Work Starts in Childhood: The Anticipatory Socialization Process of Classical Musicians

ERIC Educational Resources Information Center

Gabor, Elena

2009-01-01

Classical music is distinguished among professions in several ways: work has to start in childhood in order to achieve proficiency; the training takes an average of 16 years in order to become a professional musician (Manturzewska, 1990); the cost of training is high; a high level of discipline is required to develop performance abilities…

Effects of Quercetin Supplementation on Lipid and Protein Metabolism after Classic Boxing Training

ERIC Educational Resources Information Center

Demirci, Nevzat

2017-01-01

The metabolic fitness (MF) is a component of athletes' physical conditioning. This study aims to investigate the effects of quercetin supplementation on Turkish Junior athletes' lipid and protein metabolism relating to MF after one month classic boxing training. Totally 20 voluntary junior male athletes were separated into two equal groups as the…

Song and speech: examining the link between singing talent and speech imitation ability.

PubMed

Christiner, Markus; Reiterer, Susanne M

2013-01-01

In previous research on speech imitation, musicality, and an ability to sing were isolated as the strongest indicators of good pronunciation skills in foreign languages. We, therefore, wanted to take a closer look at the nature of the ability to sing, which shares a common ground with the ability to imitate speech. This study focuses on whether good singing performance predicts good speech imitation. Forty-one singers of different levels of proficiency were selected for the study and their ability to sing, to imitate speech, their musical talent and working memory were tested. Results indicated that singing performance is a better indicator of the ability to imitate speech than the playing of a musical instrument. A multiple regression revealed that 64% of the speech imitation score variance could be explained by working memory together with educational background and singing performance. A second multiple regression showed that 66% of the speech imitation variance of completely unintelligible and unfamiliar language stimuli (Hindi) could be explained by working memory together with a singer's sense of rhythm and quality of voice. This supports the idea that both vocal behaviors have a common grounding in terms of vocal and motor flexibility, ontogenetic and phylogenetic development, neural orchestration and auditory memory with singing fitting better into the category of "speech" on the productive level and "music" on the acoustic level. As a result, good singers benefit from vocal and motor flexibility, productively and cognitively, in three ways. (1) Motor flexibility and the ability to sing improve language and musical function. (2) Good singers retain a certain plasticity and are open to new and unusual sound combinations during adulthood both perceptually and productively. (3) The ability to sing improves the memory span of the auditory working memory.

Song and speech: examining the link between singing talent and speech imitation ability

PubMed Central

Christiner, Markus; Reiterer, Susanne M.

2013-01-01

In previous research on speech imitation, musicality, and an ability to sing were isolated as the strongest indicators of good pronunciation skills in foreign languages. We, therefore, wanted to take a closer look at the nature of the ability to sing, which shares a common ground with the ability to imitate speech. This study focuses on whether good singing performance predicts good speech imitation. Forty-one singers of different levels of proficiency were selected for the study and their ability to sing, to imitate speech, their musical talent and working memory were tested. Results indicated that singing performance is a better indicator of the ability to imitate speech than the playing of a musical instrument. A multiple regression revealed that 64% of the speech imitation score variance could be explained by working memory together with educational background and singing performance. A second multiple regression showed that 66% of the speech imitation variance of completely unintelligible and unfamiliar language stimuli (Hindi) could be explained by working memory together with a singer's sense of rhythm and quality of voice. This supports the idea that both vocal behaviors have a common grounding in terms of vocal and motor flexibility, ontogenetic and phylogenetic development, neural orchestration and auditory memory with singing fitting better into the category of “speech” on the productive level and “music” on the acoustic level. As a result, good singers benefit from vocal and motor flexibility, productively and cognitively, in three ways. (1) Motor flexibility and the ability to sing improve language and musical function. (2) Good singers retain a certain plasticity and are open to new and unusual sound combinations during adulthood both perceptually and productively. (3) The ability to sing improves the memory span of the auditory working memory. PMID:24319438

Passive acoustic tracking of singing humpback whales (Megaptera novaeangliae) on a northwest Atlantic feeding ground.

PubMed

Stanistreet, Joy E; Risch, Denise; Van Parijs, Sofie M

2013-01-01

Passive acoustic tracking provides an unobtrusive method of studying the movement of sound-producing animals in the marine environment where traditional tracking methods may be costly or infeasible. We used passive acoustic tracking to characterize the fine-scale movements of singing humpback whales (Megaptera novaeangliae) on a northwest Atlantic feeding ground. Male humpback whales produce complex songs, a phenomenon that is well documented in tropical regions during the winter breeding season, but also occurs at higher latitudes during other times of year. Acoustic recordings were made throughout 2009 using an array of autonomous recording units deployed in the Stellwagen Bank National Marine Sanctuary. Song was recorded during spring and fall, and individual singing whales were localized and tracked throughout the array using a correlation sum estimation method on the time-synchronized recordings. Tracks were constructed for forty-three song sessions, revealing a high level of variation in movement patterns in both the spring and fall seasons, ranging from slow meandering to faster directional movement. Tracks were 30 min to 8 h in duration, and singers traveled distances ranging from 0.9 to 20.1 km. Mean swimming speed was 2.06 km/h (SD 0.95). Patterns and rates of movement indicated that most singers were actively swimming. In one case, two singers were tracked simultaneously, revealing a potential acoustic interaction. Our results provide a first description of the movements of singers on a northwest Atlantic feeding ground, and demonstrate the utility of passive acoustic tracking for studying the fine-scale movements of cetaceans within the behavioral context of their calls. These methods have further applications for conservation and management purposes, particularly by enhancing our ability to estimate cetacean densities using passive acoustic monitoring.

Passive Acoustic Tracking of Singing Humpback Whales (Megaptera novaeangliae) on a Northwest Atlantic Feeding Ground

PubMed Central

Stanistreet, Joy E.; Risch, Denise; Van Parijs, Sofie M.

2013-01-01

Passive acoustic tracking provides an unobtrusive method of studying the movement of sound-producing animals in the marine environment where traditional tracking methods may be costly or infeasible. We used passive acoustic tracking to characterize the fine-scale movements of singing humpback whales (Megaptera novaeangliae) on a northwest Atlantic feeding ground. Male humpback whales produce complex songs, a phenomenon that is well documented in tropical regions during the winter breeding season, but also occurs at higher latitudes during other times of year. Acoustic recordings were made throughout 2009 using an array of autonomous recording units deployed in the Stellwagen Bank National Marine Sanctuary. Song was recorded during spring and fall, and individual singing whales were localized and tracked throughout the array using a correlation sum estimation method on the time-synchronized recordings. Tracks were constructed for forty-three song sessions, revealing a high level of variation in movement patterns in both the spring and fall seasons, ranging from slow meandering to faster directional movement. Tracks were 30 min to 8 h in duration, and singers traveled distances ranging from 0.9 to 20.1 km. Mean swimming speed was 2.06 km/h (SD 0.95). Patterns and rates of movement indicated that most singers were actively swimming. In one case, two singers were tracked simultaneously, revealing a potential acoustic interaction. Our results provide a first description of the movements of singers on a northwest Atlantic feeding ground, and demonstrate the utility of passive acoustic tracking for studying the fine-scale movements of cetaceans within the behavioral context of their calls. These methods have further applications for conservation and management purposes, particularly by enhancing our ability to estimate cetacean densities using passive acoustic monitoring. PMID:23593447

Exploring the perceived health benefits of singing in a choir: an international cross-sectional mixed-methods study.

PubMed

Moss, Hilary; Lynch, Julie; O'Donoghue, Jessica

2018-05-01

This mixed-methods exploratory study investigates the perceived health benefits of singing in a choir from an international sample of choristers. An online questionnaire including demographic information, 28 quantitative statements and two qualitative questions relating to the perceived health benefits of singing in a choir was distributed via email and social media over a period of 4 months to a sample of 1,779 choristers. Basic descriptives and comparisons between subgroups of the sample are presented along with thematic analysis of qualitative comments. Basic descriptives suggest an overwhelmingly positive response. Females scored significantly higher than males on physical benefits, social benefits and emotional benefits. Professional singers reported significantly more physical, social and spiritual benefits than amateur singers. Bias may be present in these findings as the results were entirely self-reported by people who already sing in choirs. Qualitative thematic analysis identified six key themes which may counter this bias by providing deeper understanding of the perceived benefits for choir singers. These include social connection, physical and physiological benefits (specifically respiratory health), cognitive stimulation, mental health, enjoyment and transcendence. Choral singing elicits a positive response in the chorister across a plethora of domains. This research confirms previous findings on the health benefits of singing but offers evidence from the largest sample of singers to date. However, results are based on self-perceptions of choristers, and findings are, therefore, limited. Results may be used as a base on which to develop further research in this area. It also provides confirmatory evidence to support choral singing as a means of improving wellbeing in many populations, including but not limited to workplaces, schools, nursing homes, communities and churches.

Castrati singers--all for fame.

PubMed

Hatzinger, Martin; Vöge, Dominick; Stastny, Matthias; Moll, Friedrich; Sohn, Michael

2012-09-01

The phenomenon of castration is very closely associated with the baroque era. In a period that placed emphasis on pure sensual pleasure, castrati singers, with their angelic voices, were a perverted outcome of this ambition. It was the intention that these castrato voices with their supernatural sound would mesmerize audiences. At that time, it could be said that within certain society circles, an addiction to these voices existed. Equally, they were oblivious to the spiritual side of the lives of the castrati. Farinelli, Caffarelli, and Senesino, three of the most famous castrati, were the first musical superstars of the 18th century. Their voices moved decadent audiences to tears and standing ovations. The price for this fame was, however, high. The aim of this review is to provide an overview of castrati singers, especially in the baroque era, their sexuality and the effects of castration on their physical development. A literature search of relevant databases, books, and articles in journals was performed and compared with current data concerning androgen suppression and endocrine aspects of male sexual dysfunction. The effects of castration on physical development were notoriously erratic. Much depended on the timing of the operation: boys pruned before the age of 10 or so very often grew up with feminine features; smooth, hairless bodies, incipient breasts, infantile penis, and often a complete lack of sex drive. The peak success of the castrati ended with the end of the 18th century. The last castrato was Alessandro Moreschi, a solo singer in the choir of the Sistine Chapel of the Vatican. Following the ban on castration, Pope Pius X sent him into retirement in 1912, thus putting an end to a very impressive part of the history of music. © 2012 International Society for Sexual Medicine.

Singing emotionally: a study of pre-production, production, and post-production facial expressions

PubMed Central

Quinto, Lena R.; Thompson, William F.; Kroos, Christian; Palmer, Caroline

2014-01-01

Singing involves vocal production accompanied by a dynamic and meaningful use of facial expressions, which may serve as ancillary gestures that complement, disambiguate, or reinforce the acoustic signal. In this investigation, we examined the use of facial movements to communicate emotion, focusing on movements arising in three epochs: before vocalization (pre-production), during vocalization (production), and immediately after vocalization (post-production). The stimuli were recordings of seven vocalists' facial movements as they sang short (14 syllable) melodic phrases with the intention of communicating happiness, sadness, irritation, or no emotion. Facial movements were presented as point-light displays to 16 observers who judged the emotion conveyed. Experiment 1 revealed that the accuracy of emotional judgment varied with singer, emotion, and epoch. Accuracy was highest in the production epoch, however, happiness was well communicated in the pre-production epoch. In Experiment 2, observers judged point-light displays of exaggerated movements. The ratings suggested that the extent of facial and head movements was largely perceived as a gauge of emotional arousal. In Experiment 3, observers rated point-light displays of scrambled movements. Configural information was removed in these stimuli but velocity and acceleration were retained. Exaggerated scrambled movements were likely to be associated with happiness or irritation whereas unexaggerated scrambled movements were more likely to be identified as “neutral.” An analysis of singers' facial movements revealed systematic changes as a function of the emotional intentions of singers. The findings confirm the central role of facial expressions in vocal emotional communication, and highlight individual differences between singers in the amount and intelligibility of facial movements made before, during, and after vocalization. PMID:24808868

A Pitch Extraction Method with High Frequency Resolution for Singing Evaluation

NASA Astrophysics Data System (ADS)

Takeuchi, Hideyo; Hoguro, Masahiro; Umezaki, Taizo

This paper proposes a pitch estimation method suitable for singing evaluation incorporable in KARAOKE machines. Professional singers and musicians have sharp hearing for music and singing voice. They recognize that singer's voice pitch is “a little off key” or “be in tune”. In the same way, the pitch estimation method that has high frequency resolution is necessary in order to evaluate singing. This paper proposes a pitch estimation method with high frequency resolution utilizing harmonic characteristic of autocorrelation function. The proposed method can estimate a fundamental frequency in the range 50 ∼ 1700[Hz] with resolution less than 3.6 cents in light processing.

[A comparative acoustic study of the speaking and singing voice during the adolescent's break of the voice].

PubMed

Amy de la Bretèque, B; Sanchez, S

2000-01-01

The observation of the vocal evolution of adolescent singers has shown it takes place in two stages, the singing voice changing after the speaking voice. The same pattern has been encountered and made more explicit with a study of 50 non-singer adolescents. It thus appears that the average pitch of the speaking voice deepening by one octave is not by itself the sign that the break of the voice has ended. This study also shows the individual nature of adolescent vocal evolution and its length (up to two years in one out of four cases).

Variation of psilocybin and psilocin levels with repeated flushes (harvests) of mature sporocarps of Psilocybe cubensis (Earle) Singer.

PubMed

Bigwood, J; Beug, M W

1982-05-01

Analysis of Psilocybe cubensis (Earle) Singer grown in controlled culture showed that the level of psilocin was generally zero in the first (or sometimes even the second) fruiting of the mushroom from a given culture and that the level reached a maximum by the fourth flush. The level of psilocybin, which was nearly always at least twice the level of psilocin, showed no upward or downward trend as fruiting progressed, but was variable over a factor of four. Samples obtained from outside sources had psilocybin levels varying by over a factor of ten from one collection to the next.

Bioconversion of low quality lignocellulosic agricultural waste into edible protein by Pleurotus sajor-caju (Fr.) Singer

PubMed Central

Mane, Vijay Panjabrao; Patil, Shyam Sopanrao; Syed, Abrar Ahmed; Baig, Mirza Mushtaq Vaseem

2007-01-01

Pleurotus sajor-caju (Fr.) Singer was cultivated on selected agro wastes viz. cotton stalks, groundnut haulms, soybean straw, pigeon pea stalks and leaves and wheat straw, alone or in combinations. Cotton stalks, pigeon pea stalks and wheat straw alone or in combination were found to be more suitable than groundnut haulms and soybean straw for the cultivation. Organic supplements such as groundnut oilseed cake, gram powder and rice bran not only affected growth parameters but also increased yields. Thus bioconversion of lignocellulosic biomass by P. sajor-caju offers a promising way to convert low quality biomass into an improved human food. PMID:17910118

Evolution and Impartiality*

PubMed Central

Kahane, Guy

2014-01-01

Lazari-Radek and Singer argue that evolutionary considerations can resolve Sidgwick’s dualism of practical reason, because such considerations debunk moral views that give weight to self-interested or partial considerations, but cannot threaten the principle Universal Benevolence. I argue that even if we grant these claims, this appeal to evolution is ultimately self-defeating. Lazari-Radek and Singer face a dilemma. Either their evolutionary argument against partial morality succeeds, but then we need to also give up our conviction that suffering is bad; or there is a way to defend this conviction, but then their argument against partiality fails. Utilitarians, I suggest, should resist the temptation to appeal to evolutionary debunking arguments. PMID:24711673

Deriving opera from operation.

PubMed

Magee, R

1999-09-01

Male castration has been practised for centuries in many parts of the world. In Italy in the 16th to the 19th centuries it was performed for the purpose of preserving the soprano voice of boys. The castrati performed in the church choirs, but in the field of opera they achieved the popularity and status of the modern day rock singers. An outline of the operative procedure is given with its physiological consequences, and mention is made of some of the singers who achieved fame at that time. Recently an attempt has been made to reproduce the sound of the castrato voice using the facilities of modern electronic technology.

Diel and spatial patterns in the singing behavior of humpback whales off Oahu, Hawaii

NASA Astrophysics Data System (ADS)

Lammers, Marc O.; Stimpert, Alison K.; Au, Whitlow W. L.; Mooney, T. Aran

2005-09-01

The singing behavior of male humpback whales on the winter breeding grounds is still a poorly understood phenomenon. Previous work indicates that the chorusing levels of singing whales off west Maui are higher at night than during the day. However, the cause of this variation is not known. To investigate whether more whales sing at night or whether the same number simply move closer to near-shore recorders following sunset, the abundance and location of singing whales off Kaena Point, Oahu was examined. A bottom-moored recording system was used to establish that the same diel pattern observed off Maui also occurs off Oahu. The location of singing whales was determined by localizing singers along a preset transect track using a towed hydrophone array. More whales were found singing along the coastline examined at night than during the day. There was no indication of a shoreward migration. These results suggest that, at night, singing displays may be a more effective behavioral tactic than direct competition in a pod. Also, more singers were found along the northern part of the coastline, which is dominated by a shallow bank, indicating that singers were selective with respect to where they chose to sing.

The song of the Brazilian population of Humpback Whale Megaptera novaeangliae, in the year 2000: individual song variations and possible implications.

PubMed

Arraut, Eduardo M; Vielliard, Jacques M E

2004-06-01

The song of the Brazilian population of the Humpback Whale Megaptera novaeangliae was studied in its breeding and calving ground, the Abrolhos Bank, Bahia, Brazil, from July to November 2000. Aural and spectral analyses of digital recordings were completed for approximately 20 song cycles, totaling 5 hours of song from 10 different recording events. We identified 24 note types, organized in five themes. All songs presented the same themes and the order in which they were sung did not vary. We registered the appearance of a note type and the disappearance of a phrase ending, which indicate that the song changed as the season progressed. Moreover, we detected individual variation in the way singers performed certain complex note types. As songs are transmitted culturally, it is likely that singers have different abilities to compose and/or learn new notes. If, as it has been previously suggested, 'new' songs are preferred to 'old' ones, these more able singers will be sending out information about their learning abilities that could be used by other whales to decide whether or not to interact with them.

The acoustic field of singing humpback whales in the vertical plane

NASA Astrophysics Data System (ADS)

Au, Whitlow W. L.; Pack, Adam A.; Lammers, Marc O.; Herman, Louis; Andrews, Kimberly; Deakos, Mark

2003-04-01

A vertical array of five hydrophones was used to measure the acoustic field of singing humpback whales. Once a singer was located, two swimmers with snorkel gear were deployed to determine the orientation of the whale and to position the boat so that the array could be deployed in front of the whale at a minimum standoff distance of 10 m. The spacing of the hydrophones was 7 m with the deepest hydrophone deployed at depth of 35 m. An 8-channel TASCAM recorder having a bandwidth of 24 kHz was used to record the hydrophone signals. The location of the singer was determined by computing the time of arrival differences between the hydrophone signals. The maximum source level varied between individual units in a song, with values between 180 and 190 dB. The acoustic field determined by considering the relative intensity of higher frequency harmonics in the signals indicate that the sounds are projected in the horizontal direction with the singer's head canted downward 45 to 60°. High-frequency harmonics extended beyond 24 kHz, suggesting that humpback whales may have an upper frequency limit of hearing as high as 24 kHz.

Detecting vocal fatigue in student singers using acoustic measures of mean fundamental frequency, jitter, shimmer, and harmonics-to-noise ratio

NASA Astrophysics Data System (ADS)

Sisakun, Siphan

2000-12-01

The purpose of this study is to explore the ability of four acoustic parameters, mean fundamental frequency, jitter, shimmer, and harmonics-to-noise ratio, to detect vocal fatigue in student singers. The participants are 15 voice students, who perform two distinct tasks, data collection task and vocal fatiguing task. The data collection task includes the sustained vowel /a/, reading a standard passage, and self-rate on a vocal fatigue form. The vocal fatiguing task is the vocal practice of musical scores for a total of 45 minutes. The four acoustic parameters are extracted using the software EZVoicePlus. The data analyses are performed to answer eight research questions. The first four questions relate to correlations of the self-rating scale and each of the four parameters. The next four research questions relate to differences in the parameters over time using one-factor repeated measures analysis of variance (ANOVA). The result yields a proposed acoustic profile of vocal fatigue in student singers. This profile is characterized by increased fundamental frequency; slightly decreased jitter; slightly decreased shimmer; and slightly increased harmonics-to-noise ratio. The proposed profile requires further investigation.

MSFC Director Todd May and Deputy Director Jody Singer address M

NASA Image and Video Library

2017-09-26

At a Sept. 26 all-hands meeting, NASA Marshall Space Flight Center Director Todd May highlights some of the key moments from Vice President Mike Pence's visit to Marshall Sept. 25. "I'd like to thank all the people that prepared for the vice president's visit. I think it was a great day for the center," said May. "We were able to talk to him about NASA's Space Launch System as well as some other projects. As the chairman of the U.S. Space Council, he is going to be very influential in space policy and I think this was a great opportunity for us." May also commented on the nomination of U.S. Rep. Jim Bridenstine, President Donald Trump's selection for NASA Administrator, and spoke about continuing to advance Marshall's Plan to Thrive – a strategic management agenda that focuses on human capital, organizational efficiency and bi-modal operations. Marshall Deputy Director Jody Singer updated the workforce on the results of the recent employee viewpoint survey. Singer also provided an overview of NASA's outreach during the Aug. 21 total solar eclipse, mentoring opportunities and the activities associated with the ongoing Safety Week 2017.

Tuning Features of Chinese Folk Song Singing: A Case Study of Hua'er Music.

PubMed

Yang, Yang; Welch, Graham; Sundberg, Johan; Himonides, Evangelos

2015-07-01

The learning and teaching of different singing styles, such as operatic and Chinese folk singing, was often found to be very challenging in professional music education because of the complexity of varied musical properties and vocalizations. By studying the acoustical and musical parameters of the singing voice, this study identified distinctive tuning characteristics of a particular folk music in China-Hua'er music-to inform the ineffective folk singing practices, which were hampered by the neglect of inherent tuning issues in music. Thirteen unaccompanied folk song examples from four folk singers were digitally audio recorded in a sound studio. Using an analyzing toolkit consisting of Praat, PeakFit, and MS Excel, the fundamental frequencies (F0) of these song examples were extracted into sets of "anchor pitches" mostly used, which were further divided into 253 F0 clusters. The interval structures of anchor pitches within each song were analyzed and then compared across 13 examples providing parameters that indicate the tuning preference of this particular singing style. The data analyses demonstrated that all singers used a tuning pattern consisting of five major anchor pitches suggesting a nonequal-tempered bias in singing. This partly verified the pentatonic scale proposed in previous empirical research but also argued a potential misunderstanding of the studied folk music scale that failed to take intrinsic tuning issues into consideration. This study suggests that, in professional music training, any tuning strategy should be considered in terms of the reference pitch and likely tuning systems. Any accompanying instruments would need to be tuned to match the underlying tuning bias. Copyright © 2015 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Modern versus Tradition: Are There Two Different Approaches to Reading of the Confucian Classics?

ERIC Educational Resources Information Center

Cheng, Chung-yi

2016-01-01

How to read the Confucian Classics today? Scholars with philosophical training usually emphasize that the philosophical approach, in comparison with the classicist and historical ones, is the best way to read the Confucian Classics, for it can dig out as much intellectual resources as possible from the classical texts in order to show their modern…

Estimating perceived phonatory pressedness in singing from flow glottograms.

PubMed

Sundberg, Johan; Thalén, Margareta; Alku, Paavo; Vilkman, Erkki

2004-03-01

The normalized amplitude quotient (NAQ), defined as the ratio between the peak-to-peak amplitude of the flow pulse and the negative peak amplitude of the differentiated flow glottogram and normalized with respect to period time, has been shown to be related to glottal adduction. Glottal adduction, in turn, affects mode of phonation and hence perceived phonatory pressedness. The relationship between NAQ and perceived phonatory pressedness was analyzed in a material collected from a professional female singer and singing teacher who sang a triad pattern in breathy, flow, neutral, and pressed phonation in three different loudness conditions (soft, middle, loud). In addition, she also sang the same triad pattern in four different styles of singing, classical, pop, jazz, and blues, in the same three loudness conditions. A panel of experts rated the degree of perceived phonatory press along visual analogue scales. Comparing the obtained mean rated pressedness ratings with the mean NAQ values for the various triads showed that about 73% of the variation in perceived pressedness could be accounted for by variations of NAQ.

Auditory Profiles of Classical, Jazz, and Rock Musicians: Genre-Specific Sensitivity to Musical Sound Features.

PubMed

Tervaniemi, Mari; Janhunen, Lauri; Kruck, Stefanie; Putkinen, Vesa; Huotilainen, Minna

2015-01-01

When compared with individuals without explicit training in music, adult musicians have facilitated neural functions in several modalities. They also display structural changes in various brain areas, these changes corresponding to the intensity and duration of their musical training. Previous studies have focused on investigating musicians with training in Western classical music. However, musicians involved in different musical genres may display highly differentiated auditory profiles according to the demands set by their genre, i.e., varying importance of different musical sound features. This hypothesis was tested in a novel melody paradigm including deviants in tuning, timbre, rhythm, melody transpositions, and melody contour. Using this paradigm while the participants were watching a silent video and instructed to ignore the sounds, we compared classical, jazz, and rock musicians' and non-musicians' accuracy of neural encoding of the melody. In all groups of participants, all deviants elicited an MMN response, which is a cortical index of deviance discrimination. The strength of the MMN and the subsequent attentional P3a responses reflected the importance of various sound features in each music genre: these automatic brain responses were selectively enhanced to deviants in tuning (classical musicians), timing (classical and jazz musicians), transposition (jazz musicians), and melody contour (jazz and rock musicians). Taken together, these results indicate that musicians with different training history have highly specialized cortical reactivity to sounds which violate the neural template for melody content.

Auditory Profiles of Classical, Jazz, and Rock Musicians: Genre-Specific Sensitivity to Musical Sound Features

PubMed Central

Tervaniemi, Mari; Janhunen, Lauri; Kruck, Stefanie; Putkinen, Vesa; Huotilainen, Minna

2016-01-01

When compared with individuals without explicit training in music, adult musicians have facilitated neural functions in several modalities. They also display structural changes in various brain areas, these changes corresponding to the intensity and duration of their musical training. Previous studies have focused on investigating musicians with training in Western classical music. However, musicians involved in different musical genres may display highly differentiated auditory profiles according to the demands set by their genre, i.e., varying importance of different musical sound features. This hypothesis was tested in a novel melody paradigm including deviants in tuning, timbre, rhythm, melody transpositions, and melody contour. Using this paradigm while the participants were watching a silent video and instructed to ignore the sounds, we compared classical, jazz, and rock musicians' and non-musicians' accuracy of neural encoding of the melody. In all groups of participants, all deviants elicited an MMN response, which is a cortical index of deviance discrimination. The strength of the MMN and the subsequent attentional P3a responses reflected the importance of various sound features in each music genre: these automatic brain responses were selectively enhanced to deviants in tuning (classical musicians), timing (classical and jazz musicians), transposition (jazz musicians), and melody contour (jazz and rock musicians). Taken together, these results indicate that musicians with different training history have highly specialized cortical reactivity to sounds which violate the neural template for melody content. PMID:26779055

Velopharyngeal Port Status during Classical Singing

ERIC Educational Resources Information Center

Tanner, Kristine; Roy, Nelson; Merrill, Ray M.; Power, David

2005-01-01

Purpose: This investigation was undertaken to examine the status of the velopharyngeal (VP) port during classical singing. Method: Using aeromechanical instrumentation, nasal airflow (mL/s), oral pressure (cm H[subscript 2]O), and VP orifice area estimates (cm[squared]) were studied in 10 classically trained sopranos during singing and speaking.…

North Indian Classical Vocal Music for the Classroom

ERIC Educational Resources Information Center

Arya, Divya D.

2015-01-01

This article offers information that will allow music educators to incorporate North Indian classical vocal music into a multicultural music education curriculum. Obstacles to teaching North Indian classical vocal music are acknowledged, including lack of familiarity with the cultural/structural elements and challenges in teaching ear training and…

Tomography and generative training with quantum Boltzmann machines

NASA Astrophysics Data System (ADS)

Kieferová, Mária; Wiebe, Nathan

2017-12-01

The promise of quantum neural nets, which utilize quantum effects to model complex data sets, has made their development an aspirational goal for quantum machine learning and quantum computing in general. Here we provide methods of training quantum Boltzmann machines. Our work generalizes existing methods and provides additional approaches for training quantum neural networks that compare favorably to existing methods. We further demonstrate that quantum Boltzmann machines enable a form of partial quantum state tomography that further provides a generative model for the input quantum state. Classical Boltzmann machines are incapable of this. This verifies the long-conjectured connection between tomography and quantum machine learning. Finally, we prove that classical computers cannot simulate our training process in general unless BQP=BPP , provide lower bounds on the complexity of the training procedures and numerically investigate training for small nonstoquastic Hamiltonians.

An Annotated Bibliography of the Manned Systems Measurement Literature

DTIC Science & Technology

1985-02-01

designs that are considered applicable to assessment of training effectiveness include the classic Solomon four - group design; iterative adaptation to...element (analogue computer) were used for this study . *».U Operators were taken from 3 groups : (1) persons with both licensed flying and driving...conclusions are that the classic four - group design is impractical for most training evaluation; that "adaptive research for big effects" is apt to be

Immediate effects of Alpha/theta and Sensory-Motor Rhythm feedback on music performance.

PubMed

Gruzelier, J H; Hirst, L; Holmes, P; Leach, J

2014-07-01

This is one of a series of investigations comparing two EEG-neurofeedback protocols - Alpha/theta (A/T) and Sensory-Motor Rhythm (SMR) - for performance enhancement in the Arts, here with the focus on music. The original report (Egner and Gruzelier, 2003) established a beneficial outcome for elite conservatoire musicians following A/T training in two investigations. Subsequently this A/T advantage was replicated for both advanced instrumental and novice singing abilities, including improvisation, while SMR training benefited novice performance only (Gruzelier, Holmes et al., 2014). Here we report a replication of the latter study in university instrumentalists who as before were novice singers with one design change - post-training performances were conducted within the tenth final session instead of on a subsequent occasion. As before expert judges rated the domains of Creativity/Musicality, Communication/Presentation and Technique. The proximity to training of the music performances within the last session likely compromised gains from A/T learning, but perhaps reinforced the impact of SMR training efficacy. In support of validation there was evidence of strong within- and across-session A/T learning and positive linear trends for across-session SMR/theta and SMR/beta-2 ratio learning. In support of mediation learning correlated with music performance. The A/T outcome was markedly discrepant from previous studies and should dispel any impression that the hypnogogic state itself is transferred to the performance context. The effects of SMR ratio training are consistent with an impact on lower-order abilities required in novice performance such as sustained attention and memory, and benefiting all three domains of music assessment. Copyright © 2014 Elsevier B.V. All rights reserved.

What happens during vocal warm-up?

PubMed

Elliot, N; Sundberg, J; Gramming, P

1995-03-01

Most singers prefer to warm up their voices before performing. Although the subjective effect is often considerable, the underlying physiological effects are largely unknown. Because warm-up tends to increase blood flow in muscles, it seems likely that vocal warm-up might induce decreased viscosity in the vocal folds. According to the theory of vocal-fold vibration, such a decrease should lead to a lower phonation threshold pressure. In this investigation the effect of vocal warm-up on the phonation threshold pressure was examined in a group of male and female singers. The effect varied considerably between subjects, presumably because the vocal-fold viscosity was not a dominating factor for the phonation-threshold pressure.

Music performance anxiety in opera singers.

PubMed

Spahn, Claudia; Echternach, Matthias; Zander, Mark F; Voltmer, Edgar; Richter, Bernhard

2010-12-01

Music performance anxiety (MPA) represents a high challenge every vocal performer has to meet. MPA can be defined on a continuum going from a low to a high level. MPA and its phenomena can be considered in terms of four levels: affect, cognition, behaviour, and physiology. A study carried out on seven opera singers and two instrumentalists during performance situations showed highly elevated values for the performers' heart rate and blood pressure. This study, as several others, yielded no clear evidence pointing to a correspondence between the level of anxiety and of physiological arousal. At the end of the article a multimodal approach to the treatment of MPA is illustrated consisting of different psychotherapeutic and body-oriented methods.

Tuvan throat singing and harmonics

NASA Astrophysics Data System (ADS)

Ruiz, Michael J.; Wilken, David

2018-05-01

Tuvan throat singing, also called overtone singing, provides for an exotic demonstration of the physics of harmonics as well as introducing an Asian musical aesthetic. A low fundamental is sung and the singer skillfully alters the resonances of the vocal system to enhance an overtone (harmonic above the fundamental). The result is that the listener hears two pitches simultaneously. Harmonics such as H8, H9, H10, and H12 form part of a pentatonic scale and are commonly selected for melody tones by Tuvan singers. A real-time spectrogram is provided in a video (Ruiz M J 2018 Video: Tuvan Throat Singing and Harmonics http://mjtruiz.com/ped/tuva/) so that Tuvan harmonics can be visualized as they are heard.

Do increases in selected fitness parameters affect the aesthetic aspects of classical ballet performance?

PubMed

Twitchett, Emily A; Angioi, Manuela; Koutedakis, Yiannis; Wyon, Matthew

2011-03-01

Research has indicated that classical ballet dancers tend to have lower fitness levels and increased injury rates compared to other athletes with similar workloads. The aim of the current study was to examine the effects of a specifically tailored fitness training programme on the incidence of injury and the aesthetic quality of performance of classical ballet dancers compared to a control group. Proficiency in performance was evaluated at the beginning and end of the intervention period for both groups through a 4-min dance sequence using previously ratified marking criteria. The intervention group (n = 8) partook in a weekly 1-hr training session that included aerobic interval training, circuit training, and whole body vibration. All dancers' performance proficiency scores increased from pre-intervention testing to post-intervention. The intervention group's overall performance scores demonstrated a significantly greater increase (p = 0.03) than the equivalent for the control group. It was concluded that supplementary fitness training has a positive effect on aspects related to aesthetic dance performance as studied herein; further research is recommended on a larger and more varied sample. Practical applications from this study suggest that supplemental training should be part of a ballet dancer's regime, and minimal intervention time is required to have observable effects.

Friedrich Nietzsche in Basel: An Apology for Classical Studies

ERIC Educational Resources Information Center

Santini, Carlotta

2018-01-01

Alongside his work as a professor of Greek Language and Literature at the University of Basel, Friedrich Nietzsche reflected on the value of classical studies in contemporary nineteenth-century society, starting with a self-analysis of his own classical training and position as a philologist and teacher. Contrary to his well-known aversion to…

Classics. Essay on Teaching Able Students.

ERIC Educational Resources Information Center

Coffin, David D.

In a field as varied and as technical as the classical languages, the professional training of the teacher is of paramount importance. An undergraduate major and graduate school work in the field of classical languages give a general view of the field and show which writings are interesting or important and how difficult they are. A graduate…

Highballing with flimsies : working under train orders on the Espee's coast line

DOT National Transportation Integrated Search

1990-01-01

In classic timetable and train-order territory, the study focuses on several dimensions of train : dispatchers' work, viewed through the other end of the telescope, i.e., from the perspective of the : dispatched train crewmembers and others in the fi...

Formant characteristics of human laughter.

PubMed

Szameitat, Diana P; Darwin, Chris J; Szameitat, André J; Wildgruber, Dirk; Alter, Kai

2011-01-01

Although laughter is an important aspect of nonverbal vocalization, its acoustic properties are still not fully understood. Extreme articulation during laughter production, such as wide jaw opening, suggests that laughter can have very high first formant (F(1)) frequencies. We measured fundamental frequency and formant frequencies of the vowels produced in the vocalic segments of laughter. Vocalic segments showed higher average F(1) frequencies than those previously reported and individual values could be as high as 1100 Hz for male speakers and 1500 Hz for female speakers. To our knowledge, these are the highest F(1) frequencies reported to date for human vocalizations, exceeding even the F(1) frequencies reported for trained soprano singers. These exceptionally high F(1) values are likely to be based on the extreme positions adopted by the vocal tract during laughter in combination with physiological constraints accompanying the production of a "pressed" voice. Copyright © 2011 The Voice Foundation. All rights reserved.

Quantum autoencoders for efficient compression of quantum data

NASA Astrophysics Data System (ADS)

Romero, Jonathan; Olson, Jonathan P.; Aspuru-Guzik, Alan

2017-12-01

Classical autoencoders are neural networks that can learn efficient low-dimensional representations of data in higher-dimensional space. The task of an autoencoder is, given an input x, to map x to a lower dimensional point y such that x can likely be recovered from y. The structure of the underlying autoencoder network can be chosen to represent the data on a smaller dimension, effectively compressing the input. Inspired by this idea, we introduce the model of a quantum autoencoder to perform similar tasks on quantum data. The quantum autoencoder is trained to compress a particular data set of quantum states, where a classical compression algorithm cannot be employed. The parameters of the quantum autoencoder are trained using classical optimization algorithms. We show an example of a simple programmable circuit that can be trained as an efficient autoencoder. We apply our model in the context of quantum simulation to compress ground states of the Hubbard model and molecular Hamiltonians.

Four-part choral synthesis system for investigating intonation in a cappella choral singing.

PubMed

Howard, David M; Daffern, Helena; Brereton, Jude

2013-10-01

Accurate tuning is an important aspect of singing in harmony in the context of a choir or vocal ensemble. Tuning and 'pitch drift' are concerning factors in performance for even the most accomplished professional choirs when singing a cappella (unaccompanied). In less experienced choirs tuning often lacks precision, typically because individual singers have not developed appropriate listening skills. In order to investigate accuracy of tuning in ensemble singing situations, a chorally appropriate reference is required against which frequency measurements can be made. Since most basic choral singing involves chords in four parts, a four-part reference template is used in which the fundamental frequencies of the notes in each chord can be accurately set. This template can now be used in experiments where three of the reference parts are tuned in any musical temperament (tuning system), in this case equal and just temperaments, and played over headphones to a singer to allow her/his tuning strategy to be investigated. This paper describes a practical implementation of a four-part choral synthesis system in Pure Data (Pd) and its use in an investigation of tuning of notes by individual singers using an exercise originally written to explore pitch drift in a cappella choral singing.

Comparing closed quotient in children singers' voices as measured by high-speed-imaging, electroglottography, and inverse filtering.

PubMed

Mecke, Ann-Christine; Sundberg, Johan; Granqvist, Svante; Echternach, Matthias

2012-01-01

The closed quotient, i.e., the ratio between the closed phase and the period, is commonly studied in voice research. However, the term may refer to measures derived from different methods, such as inverse filtering, electroglottography or high-speed digital imaging (HSDI). This investigation compares closed quotient data measured by these three methods in two boy singers. Each singer produced sustained tones on two different pitches and a glissando. Audio, electroglottographic signal (EGG), and HSDI were recorded simultaneously. The audio signal was inverse filtered by means of the decap program; the closed phase was defined as the flat minimum portion of the flow glottogram. Glottal area was automatically measured in the high speed images by the built-in camera software, and the closed phase was defined as the flat minimum portion of the area-signal. The EGG-signal was analyzed in four different ways using the matlab open quotient interface. The closed quotient data taken from the EGG were found to be considerably higher than those obtained from inverse filtering. Also, substantial differences were found between the closed quotient derived from HSDI and those derived from inverse filtering. The findings illustrate the importance of distinguishing between these quotients. © 2012 Acoustical Society of America.

The Effect of Menstrual Cycle on Singing Voice: A Systematic Review.

PubMed

Gunjawate, Dhanshree R; Aithal, Venkataraja U; Ravi, Rohit; Venkatesh, Bhumika T

2017-03-01

Research has reported the difference in a woman's voice across the different stages of the menstrual cycle. A review of the studies in singers on the influence of menstruation on the singing voice will enable a better understanding of these changes. A systematic literature search was carried out on PubMed, CINAHL, Scopus, Cochrane, and regional electronic databases. The keywords "menstrual cycle," "voice change," and "singer" were used in different combinations. Only those articles that discussed the effect of menstrual cycle on the singing voice were included in the final review. Six studies in the English language were identified and included in the review. Hormonal variations occur to a great extent during menstrual cycle, and these variations can influence the voice of singers. A great variability was found in the included studies. There are limited studies that have been carried out exploring the relationship between menstrual cycle and the singing voice. Even though the studies included in the review point out toward the changes in the singing voice associated with menstrual cycle, there is a need for more studies to be carried out in diverse singing populations and in different outcome measures. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Normal-hearing listener preferences of music as a function of signal-to-noise-ratio

NASA Astrophysics Data System (ADS)

Barrett, Jillian G.

2005-04-01

Optimal signal-to-noise ratios (SNR) for speech discrimination are well-known, well-documented phenomena. Discrimination preferences and functions have been studied for both normal-hearing and hard-of-hearing populations, and information from these studies has provided clearer indices on additional factors affecting speech discrimination ability and SNR preferences. This knowledge lends itself to improvements in hearing aids and amplification devices, telephones, television and radio transmissions, and a wide arena of recorded media such as movies and music. This investigation was designed to identify the preferred signal-to-background ratio (SBR) of normal-hearing listeners in a musical setting. The signal was the singer's voice, and music was considered the background. Subjects listened to an unfamiliar ballad with a female singer, and rated seven different SBR treatments. When listening to melodic motifs with linguistic content, results indicated subjects preferred SBRs similar to those in conventional speech discrimination applications. However, unlike traditional speech discrimination studies, subjects did not prefer increased levels of SBR. Additionally, subjects had a much larger acceptable range of SBR in melodic motifs where the singer's voice was not intended to communicate via linguistic means, but by the pseudo-paralinguistic means of vocal timbre and harmonic arrangements. Results indicate further studies investigating perception of singing are warranted.

Understanding auditory distance estimation by humpback whales: a computational approach.

PubMed

Mercado, E; Green, S R; Schneider, J N

2008-02-01

Ranging, the ability to judge the distance to a sound source, depends on the presence of predictable patterns of attenuation. We measured long-range sound propagation in coastal waters to assess whether humpback whales might use frequency degradation cues to range singing whales. Two types of neural networks, a multi-layer and a single-layer perceptron, were trained to classify recorded sounds by distance traveled based on their frequency content. The multi-layer network successfully classified received sounds, demonstrating that the distorting effects of underwater propagation on frequency content provide sufficient cues to estimate source distance. Normalizing received sounds with respect to ambient noise levels increased the accuracy of distance estimates by single-layer perceptrons, indicating that familiarity with background noise can potentially improve a listening whale's ability to range. To assess whether frequency patterns predictive of source distance were likely to be perceived by whales, recordings were pre-processed using a computational model of the humpback whale's peripheral auditory system. Although signals processed with this model contained less information than the original recordings, neural networks trained with these physiologically based representations estimated source distance more accurately, suggesting that listening whales should be able to range singers using distance-dependent changes in frequency content.

Physiological fitness and professional classical ballet performance: a brief review.

PubMed

Twitchett, Emily A; Koutedakis, Yiannis; Wyon, Matthew A

2009-12-01

Although classical ballet is an artistic expression through the use of the body, there is a real opportunity to improve and extend the dancer's career by simply applying sports science principles to dance training and performance. Dance training is a long process of physical, intellectual, and psychological preparation, through physical exercise, often beginning in childhood and continuing until retirement. Fitness programs, supplementary to traditional dance classes, have only recently been considered as a part of this process; it may be suggested that this cross-training has generally been avoided thus far because of tradition and a reluctance to follow principles associated with sport. Classical ballet training, rehearsal, and performance do not elicit significant stimulus to result in increased aerobic fitness levels. Therefore, dancers often demonstrate low levels of aerobic fitness even though a strong aerobic foundation is necessary to meet the required workload. Dancers have greater than average range of motion and strength at the hip joint but weaknesses in the upper body, torso, hamstrings, and quadriceps. In the past, dancers have been wary of strength training because they perceive this leads to aesthetically undesirable hypertrophy. Dancers also have low body weights and low percentage body fat. Given that training does not provide the opportunity to expend enough energy to maintain these aesthetic demands, this aesthetic demand may be met by caloric restriction, which may lead to subsequent increased injury risk. It has been hypothesized that a "fit for purpose" body can help improve performance, reduce the risk of injury, and ensure prolonged dance careers. This review aims to explore the extent to which physical fitness components relate to dance performance, in particular classical ballet.

Overall voice and strain level analysis in rock singers.

PubMed

Gonsalves, Aline; Amin, Elisabeth; Behlau, Mara

2010-01-01

overall voice and strain level analysis in rock singers. to analyze the voice o rock singers according to two specific parameters: overall level of vocal deviation (OLVD) and strain level (SL); to compare these parameters in three different music samples. participants were 26 male rock singers, ranging in age from 17 to 46 years (mean = 29.8 years). All of the participants answered a questionnaire for sample characterization and were submitted to the recording of three voice samples: Brazilian National Anthem (BNA), Satisfaction and self-selected repertoire song (RS). Voice samples were analyzed by five speech-language pathologists according to OLVD and SL. Statistical analysis was done using the software SPSS, version 13.0. statistically significant differences were observed for the mean values of OLVD and SL during the performance of Satisfaction (OLVD = 32.8 and SL = 0.024 / p=0.024) and during the RS performance (OLVD = 38.4 and SL = 55.8 / p=0.010). The values of OLVD and SL are directly proportional to the samples of the BNA* and RS**, i.e. the higher the strain the higher the OLVD (p,0.001*; p=0.010**). When individually analyzing the three song samples, it is observed that the OLVD does not vary significantly among them. However, the mean values present a trend to increase from non-rock to rock performances (24.0 BNA / 32.8 Satisfaction / 38.4 RS). The level of strain found during the BNA performance presents statistically significant difference when compared to the rock performances (Satisfaction and RS, p=0.008 and p=0.001). the obtained data suggest that rock style is related to the greater use of vocal strain and that this strain does not necessarily impose a negative impression to the voice, but corresponds to a common interpretative factor related to this style of music.

Late Alpine to recent thick-skinned tectonics of the central Swiss Molasse Basin, Canton of Bern, Switzerland

NASA Astrophysics Data System (ADS)

Mock, Samuel; Allenbach, Robin; Wehrens, Philip; Reynolds, Lance; Kurmann-Matzenauer, Eva; Michael, Salomè; Herwegh, Marco

2017-04-01

The Swiss Molasse Basin (SMB) forms part of the North Alpine Foreland Basin. It is a typical peripheral foreland basin, which developed in Paleogene and Neogene times in response to flexural bending of the European lithosphere induced by the orogenic loading of the advancing Alpine thrust wedge. The tectonics of the SMB and the role of Paleozoic and Mesozoic structures are still poorly understood. It is widely accepted that during the main deformation phase of the Jura fold-and-thrust belt, the SMB was riding piggy-back above a major detachment horizon situated within Triassic evaporites. In recent years it has been observed that the Jura fold-and-thrust belt is today deforming in a thick-skinned tectonic style. As for the western and central SMB, most authors still argue in favor of a classical foreland type, thin-skinned style of deformation. Based on the geological 3D modeling of seismic interpretations, we present new insights into the structural configuration of the central SMB. Revised and new interpretations of 2D reflection seismic data from the 1960s to the 1980s reveal a major strike-slip fault zone affecting not only the Mesozoic and Cenozoic cover, but also the crystalline basement beneath. The fault zone reactivated late Paleozoic synsedimentary normal faults bounding a Permo-Carboniferous trough. Basement-involved thrusting observed in the southern part of the SMB seems to be controlled by the presence of slightly inverted Permo-Carboniferous troughs as well. These observations, combined with a compiled structural map and the distribution of recent earthquake hypocenters suggest a late stage, NNW-SSE directed, compressional thick-skinned and strike-slip dominated tectonic activity of the central SMB, post-dating the main deformation phase of the Jura fold-and-thrust belt. This still ongoing deformation might be related to the slab rollback of the European plate and the associated lower crustal delamination as recently suggested by Singer et al. (2014). References: Singer, J., Diehl, T., Husen, S., Kissling, E., Duretz, T., 2014. Alpine lithosphere slab rollback causing lower crustal seismicity in northern foreland. Earth Planet. Sci. Lett. 397, 42-56. doi:10.1016/j.epsl.2014.04.002

Acoustic, respiratory kinematic and electromyographic effects of vocal training

NASA Astrophysics Data System (ADS)

Mendes, Ana Paula De Brito Garcia

The longitudinal effects of vocal training on the respiratory, phonatory and articulatory systems were investigated in this study. During four semesters, fourteen voice major students were recorded while speaking and singing. Acoustic, temporal, respiratory kinematic and electromyographic parameters were measured to determine changes in the three systems as a function of vocal training. Acoustic measures of the speaking voice included fundamental frequency, sound pressure level (SPL), percent jitter and shimmer, and harmonic-to-noise ratio. Temporal measures included duration of sentences, diphthongs and the closure durations of stop consonants. Acoustic measures of the singing voice included fundamental frequency and sound pressure level of the phonational range, vibrato pulses per second, vibrato amplitude variation and the presence of the singer's formant. Analysis of the data revealed that vocal training had a significant effect on the singing voice. Fundamental frequency and SPL of the 90% level and 90--10% of the phonational range increased significantly during four semesters of vocal training. Physiological data was collected from four subjects during three semesters of vocal training. Respiratory kinematic measures included lung volume, rib cage and abdominal excursions extracted from spoken sung samples. Descriptive statistics revealed that rib cage and abdominal excursions increased from the 1st to the 2nd semester and decrease from the 2nd to the 3rd semester of vocal training. Electromyographic measures of the pectoralis major, rectus abdominis and external obliques muscles revealed that burst duration means decreased from the 1st to the 2nd semester and increased from the 2nd to the 3rd semester. Peak amplitude means increased from the 1st to the 2nd and decreased from the 2nd to the 3rd semester of vocal training. Chest wall excursions and muscle force generation of the three muscles increased as the demanding level and the length of the phonatory tasks increased.

Acoustical measurements of sound fields between the stage and the orchestra pit inside an historical opera house

NASA Astrophysics Data System (ADS)

Sato, Shin-Ichi; Prodi, Nicola; Sakai, Hiroyuki

2004-05-01

To clarify the relationship of the sound fields between the stage and the orchestra pit, we conducted acoustical measurements in a typical historical opera house, the Teatro Comunale of Ferrara, Italy. Orthogonal factors based on the theory of subjective preference and other related factors were analyzed. First, the sound fields for a singer on the stage in relation to the musicians in the pit were analyzed. And then, the sound fields for performers in the pit in relation to the singers on the stage were considered. Because physical factors vary depending on the location of the sound source, performers can move on the stage or in the pit to find the preferred sound field.

A Quantum Multi-Proxy Weak Blind Signature Scheme Based on Entanglement Swapping

NASA Astrophysics Data System (ADS)

Yan, LiLi; Chang, Yan; Zhang, ShiBin; Han, GuiHua; Sheng, ZhiWei

2017-02-01

In this paper, we present a multi-proxy weak blind signature scheme based on quantum entanglement swapping of Bell states. In the scheme, proxy signers can finish the signature instead of original singer with his/her authority. It can be applied to the electronic voting system, electronic paying system, etc. The scheme uses the physical characteristics of quantum mechanics to implement delegation, signature and verification. It could guarantee not only the unconditionally security but also the anonymity of the message owner. The security analysis shows the scheme satisfies the security features of multi-proxy weak signature, singers cannot disavowal his/her signature while the signature cannot be forged by others, and the message owner can be traced.

The Impact of Protein Structure and Sequence Similarity on the Accuracy of Machine-Learning Scoring Functions for Binding Affinity Prediction

PubMed Central

Peng, Jiangjun; Leung, Yee; Leung, Kwong-Sak; Wong, Man-Hon; Lu, Gang; Ballester, Pedro J.

2018-01-01

It has recently been claimed that the outstanding performance of machine-learning scoring functions (SFs) is exclusively due to the presence of training complexes with highly similar proteins to those in the test set. Here, we revisit this question using 24 similarity-based training sets, a widely used test set, and four SFs. Three of these SFs employ machine learning instead of the classical linear regression approach of the fourth SF (X-Score which has the best test set performance out of 16 classical SFs). We have found that random forest (RF)-based RF-Score-v3 outperforms X-Score even when 68% of the most similar proteins are removed from the training set. In addition, unlike X-Score, RF-Score-v3 is able to keep learning with an increasing training set size, becoming substantially more predictive than X-Score when the full 1105 complexes are used for training. These results show that machine-learning SFs owe a substantial part of their performance to training on complexes with dissimilar proteins to those in the test set, against what has been previously concluded using the same data. Given that a growing amount of structural and interaction data will be available from academic and industrial sources, this performance gap between machine-learning SFs and classical SFs is expected to enlarge in the future. PMID:29538331

The Impact of Protein Structure and Sequence Similarity on the Accuracy of Machine-Learning Scoring Functions for Binding Affinity Prediction.

PubMed

Li, Hongjian; Peng, Jiangjun; Leung, Yee; Leung, Kwong-Sak; Wong, Man-Hon; Lu, Gang; Ballester, Pedro J

2018-03-14

It has recently been claimed that the outstanding performance of machine-learning scoring functions (SFs) is exclusively due to the presence of training complexes with highly similar proteins to those in the test set. Here, we revisit this question using 24 similarity-based training sets, a widely used test set, and four SFs. Three of these SFs employ machine learning instead of the classical linear regression approach of the fourth SF (X-Score which has the best test set performance out of 16 classical SFs). We have found that random forest (RF)-based RF-Score-v3 outperforms X-Score even when 68% of the most similar proteins are removed from the training set. In addition, unlike X-Score, RF-Score-v3 is able to keep learning with an increasing training set size, becoming substantially more predictive than X-Score when the full 1105 complexes are used for training. These results show that machine-learning SFs owe a substantial part of their performance to training on complexes with dissimilar proteins to those in the test set, against what has been previously concluded using the same data. Given that a growing amount of structural and interaction data will be available from academic and industrial sources, this performance gap between machine-learning SFs and classical SFs is expected to enlarge in the future.

A Study Comparing the Pedagogical Effectiveness of Virtual Worlds and of Classical Methods

DTIC Science & Technology

2014-08-01

Approved for public release; distribution is unlimited. A Study Comparing the Pedagogical Effectiveness of Virtual Worlds and of Classical Methods...ABSTRACT A Study Comparing the Pedagogical Effectiveness of Virtual Worlds and of Classical Methods Report Title This experiment tests whether a virtual... PEDAGOGICAL EFFECTIVENESS OF VIRTUAL WORLDS AND OF TRADITIONAL TRAINING METHODS A Thesis by BENJAMIN PETERS

Dance training intensity at 11-14 years is associated with femoral torsion in classical ballet dancers.

PubMed

Hamilton, D; Aronsen, P; Løken, J H; Berg, I M; Skotheim, R; Hopper, D; Clarke, A; Briffa, N K

2006-04-01

To examine in a cross sectional study the influence of femoral torsion (FT) and passive hip external rotation (PER) on turnout (TO). Starting age, years of classical ballet training, and current and past dance training intensity were assessed to determine their influence on FT, PER, and TO in pre-professional female dancers. Sixty four dancers (mean (SD) age 18.16 (1.80) years) were recruited from four different dance training programmes. They completed a dance history questionnaire. FT was measured using a clinical method. PER was measured with the subjects prone, and TO was measured with the subjects standing. Mean TO was 136 degrees, mean unilateral PER was 49.4 degrees, and mean FT was 18.4 degrees. A positive correlation was observed between PER combined (PERC) and TO (r = 0.443, p < 0.001). A negative association was found between FT combined (FTC) and PERC (r = -0.402, p = 0.001). No association was found between starting age or years of classical ballet training and FTC, PERC, or TO. Dancers who trained for six hours a week or more during the 11-14 year age range had less FT than those who trained less (mean difference 6 degrees, 95% confidence interval 1.4 to 10.3). Students currently training for longer had higher levels of TO (p < 0.001) but comparable PERC and FTC. FT is significantly associated with PERC. Dancers who trained for six hours a week or more at 11-14 years of age had significantly less FT. FTC had a significant influence on PERC, but no influence on the execution of TO.

Dance training intensity at 11–14 years is associated with femoral torsion in classical ballet dancers

PubMed Central

Hamilton, D; Aronsen, P; Løken, J H; Berg, I M; Skotheim, R; Hopper, D; Clarke, A; Briffa, N K

2006-01-01

Objective To examine in a cross sectional study the influence of femoral torsion (FT) and passive hip external rotation (PER) on turnout (TO). Starting age, years of classical ballet training, and current and past dance training intensity were assessed to determine their influence on FT, PER, and TO in pre‐professional female dancers. Methods Sixty four dancers (mean (SD) age 18.16 (1.80) years) were recruited from four different dance training programmes. They completed a dance history questionnaire. FT was measured using a clinical method. PER was measured with the subjects prone, and TO was measured with the subjects standing. Results Mean TO was 136°, mean unilateral PER was 49.4°, and mean FT was 18.4°. A positive correlation was observed between PER combined (PERC) and TO (r  =  0.443, p<0.001). A negative association was found between FT combined (FTC) and PERC (r  =  −0.402, p  =  0.001). No association was found between starting age or years of classical ballet training and FTC, PERC, or TO. Dancers who trained for six hours a week or more during the 11–14 year age range had less FT than those who trained less (mean difference 6°, 95% confidence interval 1.4 to 10.3). Students currently training for longer had higher levels of TO (p<0.001) but comparable PERC and FTC. Conclusion FT is significantly associated with PERC. Dancers who trained for six hours a week or more at 11–14 years of age had significantly less FT. FTC had a significant influence on PERC, but no influence on the execution of TO. PMID:16556782

Acoustic properties of humpback whale songs.

PubMed

Au, Whitlow W L; Pack, Adam A; Lammers, Marc O; Herman, Louis M; Deakos, Mark H; Andrews, Kim

2006-08-01

A vertical array of five hydrophones was used to measure the acoustic field in the vertical plane of singing humpback whales. Once a singer was located, two swimmers with snorkel gear were deployed to determine the orientation of the whale and position the boat so that the array could be deployed in front of the whale at a minimum standoff distance of at least 10 m. The spacing of the hydrophones was 7 m with the deepest hydrophone deployed at a depth of 35 m. An eight-channel TASCAM recorder with a bandwidth of 24 kHz was used to record the hydrophone signals. The location (distance and depth) of the singer was determined by computing the time of arrival differences between the hydrophone signals. The maximum source level varied between individual units in a song, with values between 151 and 173 dB re 1 microPa. One of the purposes of this study was to estimate potential sound exposure of nearby conspecifics. The acoustic field determined by considering the relative intensity of higher frequency harmonics in the signals indicated that the sounds are projected in the horizontal direction despite the singer being canted head downward anywhere from about 25 degrees to 90 degrees. High-frequency harmonics extended beyond 24 kHz, suggesting that humpback whales may have an upper frequency limit of hearing as high as 24 kHz.

Measurements of the Acoustic Speaking Voice After Vocal Warm-up and Cooldown in Choir Singers.

PubMed

Onofre, Fernanda; Prado, Yuka de Almeida; Rojas, Gleidy Vannesa E; Garcia, Denny Marco; Aguiar-Ricz, Lílian

2017-01-01

The aim of this study was to evaluate the acoustic measurements of the vowel /a/ in modal recording before and after a singing voice resistance test and after 30 minutes of absolute rest in female choir singers. This is a prospective cohort study. A total of 13 soprano choir singers with experience in choir singing were evaluated through analysis of acoustic voice parameters at three points in time: before continuous use of the voice, after vocal warm-up and a singing test 60 minutes in duration respecting the pauses for breathing, and after vocal cooldown and an absolute voice rest for 30 minutes. The fundamental frequency increased after the voice resistance test (P = 0.012) and remained elevated after the 30 minutes of voice rest (P = 0.01). The jitter decreased after the voice resistance test (P = 0.02) and after the 30 minutes of voice rest. A significant difference was detected for the acoustic voice parameters relative average perturbation (RAP), (P = 0.05), and pitch perturbation quotient (PPQ), (P = 0.04), compared with the initial time point. The fundamental frequency increased after 60 minutes of singing and remained elevated after vocal cooldown and absolute rest for 30 minutes, proving an efficient parameter for identifying the changes inherent to voice demand during singing. Copyright © 2017. Published by Elsevier Inc.

Acoustic Signaling by Singing Humpback Whales (Megaptera novaeangliae): What Role Does Reverberation Play?

PubMed

Mercado, Eduardo

2016-01-01

When humpback whales (Megaptera novaeangliae) sing in coastal waters, the units they produce can generate reverberation. Traditionally, such reverberant acoustic energy has been viewed as an incidental side-effect of high-amplitude, long-distance, sound transmission in the ocean. An alternative possibility, however, is that reverberation actually contributes to the structure and function of songs. In the current study, this possibility was assessed by analyzing reverberation generated by humpback whale song units, as well as the spectral structure of unit sequences, produced by singers from different regions. Acoustical analyses revealed that: (1) a subset of units within songs generated narrowband reverberant energy that in some cases persisted for periods longer than the interval between units; (2) these highly reverberant units were regularly repeated throughout the production of songs; and (3) units occurring before and after these units often contained spectral energy peaks at non-overlapping, adjacent frequencies that were systematically related to the bands of reverberant energy generated by the units. These findings strongly suggest that some singing humpback whales not only produce sounds conducive to long-duration reverberation, but also may sequentially structure songs to avoid spectral overlap between units and ongoing reverberation. Singer-generated reverberant energy that is received simultaneously with directly transmitted song units can potentially provide listening whales with spatial cues that may enable them to more accurately determine a singer's position.

Quality of life (QOL) of older adult community choral singers in Finland

PubMed Central

Johnson, Julene K; Louhivuori, Jukka; Stewart, Anita L; Tolvanen, Asko; Ross, Leslie; Era, Pertti

2013-01-01

Background Enhancing quality of life (QOL) of older adults is an international area of focus. Identifying factors and experiences that contribute to QOL of older adults helps promote optimal levels of functioning. This study examines the relationship between perceived benefits associated with choral singing and quality of life (QOL) among community-dwelling older adults. Methods One hundred and seventeen older adults who sing in community choirs in Jyväskylä, Finland completed self-report measures of QOL (WHOQOL-Bref), depressive symptoms, and a questionnaire about the benefits of singing in choir. Correlational analyses and linear regression models were used to examine the association between the benefits of singing in choir and QOL. Results Both correlation and regression analyses found significant relationships between the benefits of choral singing and three QOL domains: psychological, social relationships, and environment but not physical. These associations remained significant after adjusting for age and depressive symptoms. As hypothesized, older choral singers who reported greater benefits of choir singing had higher QOL in multiple domains. The older choral singers in the study also reported few symptoms of depression and high overall QOL and satisfaction with health. Conclusion Results suggest that singing in a community choir as an older adult may positively influence several aspects of QOL. These results suggest that community choral singing may one potential avenue for promoting quality of life in older adults. PMID:23574947

The Structure of Musical Preferences: A Five-Factor Model

PubMed Central

Rentfrow, Peter J.; Goldberg, Lewis R.; Levitin, Daniel J.

2011-01-01

Music is a cross-cultural universal, a ubiquitous activity found in every known human culture. Individuals demonstrate manifestly different preferences in music, and yet relatively little is known about the underlying structure of those preferences. Here, we introduce a model of musical preferences based on listeners’ affective reactions to excerpts of music from a wide variety of musical genres. The findings from three independent studies converged to suggest that there exists a latent five-factor structure underlying music preferences that is genre-free, and reflects primarily emotional/affective responses to music. We have interpreted and labeled these factors as: 1) a Mellow factor comprising smooth and relaxing styles; 2) an Urban factor defined largely by rhythmic and percussive music, such as is found in rap, funk, and acid jazz; 3) a Sophisticated factor that includes classical, operatic, world, and jazz; 4) an Intense factor defined by loud, forceful, and energetic music; and 5) a Campestral factor comprising a variety of different styles of direct, and rootsy music such as is often found in country and singer-songwriter genres. The findings from a fourth study suggest that preferences for the MUSIC factors are affected by both the social and auditory characteristics of the music. PMID:21299309

Revisiting the argument from fetal potential

PubMed Central

Manninen, Bertha Alvarez

2007-01-01

One of the most famous, and most derided, arguments against the morality of abortion is the argument from potential, which maintains that the fetus' potential to become a person and enjoy the valuable life common to persons, entails that its destruction is prima facie morally impermissible. In this paper, I will revisit and offer a defense of the argument from potential. First, I will criticize the classical arguments proffered against the importance of fetal potential, specifically the arguments put forth by philosophers Peter Singer and David Boonin, by carefully unpacking the claims made in these arguments and illustrating why they are flawed. Secondly, I will maintain that fetal potential is morally relevant when it comes to the morality of abortion, but that it must be accorded a proper place in the argument. This proper place, however, cannot be found until we first answer a very important and complex question: we must first address the issue of personal identity, and when the fetus becomes the type of being who is relevantly identical to a future person. I will illustrate why the question of fetal potential can only be meaningfully addressed after we have first answered the question of personal identity and how it relates to the human fetus. PMID:17509146

Influence of musical training on sensitivity to temporal fine structure.

PubMed

Mishra, Srikanta K; Panda, Manasa R; Raj, Swapna

2015-04-01

The objective of this study was to extend the findings that temporal fine structure encoding is altered in musicians by examining sensitivity to temporal fine structure (TFS) in an alternative (non-Western) musician model that is rarely adopted--Indian classical music. The sensitivity to TFS was measured by the ability to discriminate two complex tones that differed in TFS but not in envelope repetition rate. Sixteen South Indian classical (Carnatic) musicians and 28 non-musicians with normal hearing participated in this study. Musicians have significantly lower relative frequency shift at threshold in the TFS task compared to non-musicians. A significant negative correlation was observed between years of musical experience and relative frequency shift at threshold in the TFS task. Test-retest repeatability of thresholds in the TFS tasks was similar for both musicians and non-musicians. The enhanced performance of the Carnatic-trained musicians suggests that the musician advantage for frequency and harmonicity discrimination is not restricted to training in Western classical music, on which much of the previous research on musical training has narrowly focused. The perceptual judgments obtained from non-musicians were as reliable as those of musicians.

In memoriam: Arthur Bernard Singer, 1917-1990

USGS Publications Warehouse

Robbins, Chandler S.

1993-01-01

Arthur Bernard Singer was born 4 December 1917, and died 6 April 1990. Although brought up in New York City, Arthur developed an early fascination with birds. His favorite haunts were the Bronx Zoo and the American Museum of Natural History, where Robert Cushman Murphy encouraged his efforts and where Arthur acquired a worldwide perspective. After graduating from Cooper Union Art School in New York City in 1939, he began his career as an art teacher, art director, and designer, His real interest, however, was in depicting the postures and plumages of birds and mammals. As early as 1941 his wildlife art was exhibited at the Bronx Zoo. While he was in the army, his wife Edith (“Judy”) helped mount this first exhibit; Arthur never saw the show.

The effects of choir spacing and choir formation on the tuning accuracy and intonation tendencies of a mixed choir

NASA Astrophysics Data System (ADS)

Daugherty, James F.

2005-09-01

The tuning accuracy and intonation tendencies of a high school mixed choir (N=46) were measured from digital recordings obtained as the ensemble performed an a cappella motet under concert conditions in N=3 singer spacing configurations (close, lateral, circumambient) and N=2 choir formations (sectional and mixed). Methods of analysis were modeled on Howard's (2004) pitch-based measurements of the tuning accuracy of crowds of football fans. Results were discussed in terms of (a) previous studies on choir spacing (Daugherty, 1999, 2003) and self-to-other singer ratios (Ternstrm, 1995, 1999); (b) contributions of choir spacing to vocal/choral pedagogy; and (c) potential ramifications for the design and use of auditoria and portable standing risers for choral performances.

The noncommutative family Atiyah-Patodi-Singer index theorem

NASA Astrophysics Data System (ADS)

Wang, Yong

2016-12-01

In this paper, we define the eta cochain form and prove its regularity when the kernel of a family of Dirac operators is a vector bundle. We decompose the eta form as a pairing of the eta cochain form with the Chern character of an idempotent matrix and we also decompose the Chern character of the index bundle for a fibration with boundary as a pairing of the family Chern-Connes character for a manifold with boundary with the Chern character of an idempotent matrix. We define the family b-Chern-Connes character and then we prove that it is entire and give its variation formula. By this variation formula, we prove another noncommutative family Atiyah-Patodi-Singer index theorem. Thus, we extend the results of Getzler and Wu to the family case.

Comparison of effects of training programs for final year nursing students in Turkey: differences in self-efficacy with regard to information literacy.

PubMed

Özbıçakçı, Şeyda; Gezer, Nurdan; Bilik, Özlem

2015-02-01

Information literate person are aware of where and how they can obtain the information they need. Little is known about student nurses information literacy skills in different education programs. To find out how final year nursing students rated their own abilities to acquire new information. This study used comparative and descriptive cross-sectional surveys. Participants were final year students in two different programs, in two different universities in Turkey. The study sample consisted of final year nursing students who received training in Classic Learning (N: 61) and Problem-Based Learning (N: 96). As an evaluation instrument for the perceptions of the students their own information literacy, a scale consisting of 28 questions with 7 Likert ratings for each was used (min: 28, max: 196). The return rates of the surveys were 96.7% in the school with classic training and 81.2% in the school with PBL. It was found that the average scores of the students were high, with a mean of 137±29 in the school where the classic training program was carried out, and 163±21 in the school where the training was PBL. A statistically significant difference was found by comparing the average scores of the two independent groups (t : -6.0; p<0.05). Students in both of the training programs rated themselves as high. However, PBL training had a stronger influence on the development of their self-perceptions regarding information literacy. We conclude that training programs should be reviewed, and new methods should be developed based on these concepts. Copyright © 2014 Elsevier Ltd. All rights reserved.

Changes in singing performance and fMRI activation following right temporal lobe surgery.

PubMed

Wilson, Sarah J; Abbott, David F; Tailby, Chris; Gentle, Ellen C; Merrett, Dawn L; Jackson, Graeme D

2013-10-01

This study arose in the context of having to estimate risk to the musical abilities of a trained singer (patient A.M.) recommended for right anterior temporal lobectomy (RATL) to ameliorate medically intractable seizures. To date there has been no systematic investigation of reorganisation of musical functions in the presence of epileptogenic lesions, although it is well established that RATL can impair pitch processing in nonmusicians. Using fMRI, we compared the network activated by covert singing with lyrics in A.M. before and after surgery, while taking language activation and singing expertise into consideration. Before surgery, A.M. showed lower pitch accuracy of singing relative to individuals of similar experience (experts), thus we compared her to 12 healthy controls matched for singing pitch accuracy. We found atypical organisation of A.M.'s singing network before surgery in the presence of a malformation of cortical development, including partial activation of the singing network of pitch-matched controls, and diffuse activation along the midline spreading laterally into association cortex, typical of generalised cortical hyperexcitability in intractable epilepsy. After tailored RATL, A.M. showed striking behavioural and neuroimaging changes, including significant improvement in pitch accuracy of singing relative to controls (p = .026) and the subjective experience of being a more technically proficient singer. This was accompanied by a significant reduction in cortical activation (p < .05, corrected), with a more focal, expert-like pattern of singing activation emerging, including decreased involvement of frontal language regions. These changes were largely specific to singing, with A.M. showing language activation and performance similar to controls. This case provides evidence for selective disruption of the singing network that reorganised after successful resection of an epileptogenic lesion and likely occurred through decoupling of the singing and language networks. Crown Copyright © 2013. Published by Elsevier Ltd. All rights reserved.

Porphyry Copper Deposits of the World: Database and Grade and Tonnage Models, 2008

USGS Publications Warehouse

Singer, Donald A.; Berger, Vladimir I.; Moring, Barry C.

2008-01-01

This report is an update of earlier publications about porphyry copper deposits (Singer, Berger, and Moring, 2002; Singer, D.A., Berger, V.I., and Moring, B.C., 2005). The update was necessary because of new information about substantial increases in resources in some deposits and because we revised locations of some deposits so that they are consistent with images in GoogleEarth. In this report we have added new porphyry copper deposits and removed a few incorrectly classed deposits. In addition, some errors have been corrected and a number of deposits have had some information, such as grades, tonnages, locations, or ages revised. Colleagues have helped identify places where improvements were needed. Mineral deposit models are important in exploration planning and quantitative resource assessments for a number of reasons including: (1) grades and tonnages among deposit types are significantly different, and (2) many types occur in different geologic settings that can be identified from geologic maps. Mineral deposit models are the keystone in combining the diverse geoscience information on geology, mineral occurrences, geophysics, and geochemistry used in resource assessments and mineral exploration. Too few thoroughly explored mineral deposits are available in most local areas for reliable identification of the important geoscience variables or for robust estimation of undiscovered deposits?thus we need mineral-deposit models. Globally based deposit models allow recognition of important features because the global models demonstrate how common different features are. Well-designed and -constructed deposit models allow geologists to know from observed geologic environments the possible mineral deposit types that might exist, and allow economists to determine the possible economic viability of these resources in the region. Thus, mineral deposit models play the central role in transforming geoscience information to a form useful to policy makers. The foundation of mineral deposit models is information about known deposits. The purpose of this publication is to make this kind of information available in digital form for porphyry copper deposits. The consistently defined deposits in this file provide the foundation for grade and tonnage models included here and for mineral deposit density models (Singer and others, 2005: Singer, 2008).

Morell Mackenzie's The Hygiene of the Vocal Organs: a study in longevity or durability.

PubMed

Ruben, Robert J

2014-02-01

Morell Mackenzie's The Hygiene of the Vocal Organs: A Practical Handbook for Singers and Speakers (1886), is his only work that has been continually published into the 20th century. Why is this? The bibliographic history and details of all the editions from the first in 1886 until the ninth and last in 1928 were examined. Reviews and all other commentary about the book were ascertained though literature and library document searches. The book is still in use as the first edition is available online from the Cornell University library, and that hard copy was last taken out from that library on December 19, 1986, and returned with the fine paid on January 8, 1987. It was translated and published in Swedish, French, German, and Spanish. All of the editions are small, inexpensively bound, and printed on inexpensive paper so the cost was minimal in contradistinction to other works on the voice which are larger and expensive. To make it accessible for performers and practitioners, the contents of the earlier editions were modified by placing the technical, anatomical, and physiological information as an appendix. The book was in part criticized by Manuel Garcia in Felix Semon's German journal, Internationales Centralblatt fur Laryngologie, Rhinologie und verwandte Wissenchaften, McKenzie answered these critiques in the seventh edition and noted that Garcia did not know German and that the translator, Semon, was an antagonist. Mackenzie is emphatic in his advice to avoid singing when there's any sign of vocal difficulty. The medical advice was, on the whole, good common sense and provided substantial authority for a person to decline a performance-how grateful the singers must have been for that! The Hygiene of the Vocal Organs: A Practical Handbook for Singers and Speakers was, for the professional voice users-singers, actors, speakers, and for their teachers and physicians, a useful, concise, small, inexpensive, and authoritative book. With these virtues noted, we can well understand why it remained in circulation and use for a century. In terms of the dissemination of ideas, this heretofore neglected work may be Mackenzie's most long-lasting contribution to laryngology. © 2013 The American Laryngological, Rhinological and Otological Society, Inc.

Shall I Train Your Apprentice: an Empirical Investigation of Outsourcing of Apprenticeship Training in Switzerland

ERIC Educational Resources Information Center

Walther, Belinda; Schweri, Jurg; Wolter, Stefan C.

2005-01-01

Purpose - The classical form of dual vocational training in Switzerland is on-the-job training combined with theoretical education in a school. In order to be an attractive educational choice for both enterprises and pupils, the apprenticeship model has to be constantly adapted to the demands of the labour market. As a potential model for future…

Hyperventilation complaints in music performance anxiety among classical music students.

PubMed

Studer, Regina; Danuser, Brigitta; Hildebrandt, Horst; Arial, Marc; Gomez, Patrick

2011-06-01

Despite the importance of respiration and hyperventilation in anxiety disorders, research on breathing disturbances associated with hyperventilation is rare in the field of music performance anxiety (MPA, also known as stage fright). The only comparable study in this area reported a positive correlation between negative feelings of MPA and hyperventilation complaints during performance. The goals of this study were (a) to extend these previous findings to the period before performance, (b) to test whether a positive correlation also exists between hyperventilation complaints and the experience of stage fright as a problem, (c) to investigate instrument-specific symptom reporting, and (d) to confirm gender differences in negative feelings of MPA and hyperventilation complaints reported in other studies. We assessed 169 university students of classical music with a questionnaire comprising: the State-Trait Anxiety Inventory for negative feelings of MPA, the Nijmegen Questionnaire for hyperventilation complaints, and a single item for the experience of stage fright as a problem. We found a significant positive correlation between hyperventilation complaints and negative feelings of MPA before performance and a significant positive correlation between hyperventilation complaints and the experience of stage fright as a problem. Wind musicians/singers reported a significantly higher frequency of respiratory symptoms than other musicians. Furthermore, women scored significantly higher on hyperventilation complaints and negative feelings of MPA. These results further the findings of previous reports by suggesting that breathing disturbances associated with hyperventilation may play a role in MPA prior to going on stage. Experimental studies are needed to confirm whether hyperventilation complaints associated with negative feelings of MPA manifest themselves at the physiological level. Copyright © 2010 Elsevier Inc. All rights reserved.

Bariatric Surgery

MedlinePlus

... Weight Loss Featured Resource Find an Endocrinologist Search Bariatric Surgery Download PDFs English Espanol Editors Durga Singer, MD, ... for Metabolic and Bariatric Surgery MedlinePlus What is bariatric surgery? Bariatric surgery helps people who are very obese ...

Transfer of training for aerospace operations: How to measure, validate, and improve it

NASA Technical Reports Server (NTRS)

Cohen, Malcolm M.

1993-01-01

It has been a commonly accepted practice to train pilots and astronauts in expensive, extremely sophisticated, high fidelity simulators, with as much of the real-world feel and response as possible. High fidelity and high validity have often been assumed to be inextricably interwoven, although this assumption may not be warranted. The Project Mercury rate-damping task on the Naval Air Warfare Center's Human Centrifuge Dynamic Flight Simulator, the shuttle landing task on the NASA-ARC Vertical Motion Simulator, and the almost complete acceptance by the airline industry of full-up Boeing 767 flight simulators, are just a few examples of this approach. For obvious reasons, the classical models of transfer of training have never been adequately evaluated in aerospace operations, and there have been few, if any, scientifically valid replacements for the classical models. This paper reviews some of the earlier work involving transfer of training in aerospace operations, and discusses some of the methods by which appropriate criteria for assessing the validity of training may be established.

Teaching Singers to Sight-Read.

ERIC Educational Resources Information Center

Phillips, Kenneth H.

1996-01-01

Advocates making sight-reading an integral part of choral music instruction and rehearsals. Recommends the Kodaly method for teaching tonic and dominant tonal patterns. Describes several instructional exercises designed to motivate and engage students. (MJP)

Sally Ride Tribute

NASA Image and Video Library

2013-05-20

Singer Patti Austin performs Tena Clark's "Way Up There" during the National Tribute to Sally Ride at the John F. Kennedy Center for the Performing Arts, Monday, May 20, 2013 in Washington. Photo Credit: (NASA/Bill Ingalls)

Detection of high-frequency energy changes in sustained vowels produced by singers

PubMed Central

Monson, Brian B.; Lotto, Andrew J.; Ternström, Sten

2011-01-01

The human voice spectrum above 5 kHz receives little attention. However, there are reasons to believe that this high-frequency energy (HFE) may play a role in perceived quality of voice in singing and speech. To fulfill this role, differences in HFE must first be detectable. To determine human ability to detect differences in HFE, the levels of the 8- and 16-kHz center-frequency octave bands were individually attenuated in sustained vowel sounds produced by singers and presented to listeners. Relatively small changes in HFE were in fact detectable, suggesting that this frequency range potentially contributes to the perception of especially the singing voice. Detection ability was greater in the 8-kHz octave than in the 16-kHz octave and varied with band energy level. PMID:21476681

Notable Expressions: Transcriptional Regulation from Biochemistry to Immunology | Center for Cancer Research

Cancer.gov

Dinah Singer, Ph.D., came to NCI in 1975 as a Postdoctoral Fellow in the Laboratory of Biochemistry, but soon created a career for herself in the Experimental Immunology Branch. Her interest in how genes are regulated to control biological function led her to focus on major histocompatibility complex class I genes (MHC Class I)—molecules critical to immune system function—as a model system for complex regulation of ubiquitously expressed genes across cell types and molecular contexts. Using this system to study the sequence elements and factors that control transcription, her laboratory continues to uncover fundamental principles of gene regulation. In addition to her active research career, Singer has served since 1999 as Director of NCI’s Division of Cancer Biology, which manages a portfolio of over 2,200 grants to extramural investigators.

World petroleum supplies

NASA Astrophysics Data System (ADS)

Bell, Peter M.

A number of conclusions by political conservatives about the fate of world petroleum supplies have been emerging lately. Among the most recent of them arose from discussions, held at the 1983 spring meeting of the American Association for the Advancement of Science (AAAS), which focused on the environment and resource study entitled “The Global 2000 Report” (New Scientist, June 9, 1983). Fred Singer, representing the Heritage Foundation of Washington, D.C., criticized the report, which predicted shortages in the near future, saying that the current world-wide oil glut will continue beyond the year 2000. Alternatives to the use of petroleum are a part of the cause. Singer argued that conservation, nuclear energy, and other petroleum substitutes will continue to suppress the demand for petroleum. In addition, according to other evaluations, exploration for petroleum and natural gas has not really begun.

Comparison of Two Cognitive Training Programs With Effects on Functional Activities and Quality of Life.

PubMed

Hagovská, Magdaléna; Dzvoník, Oliver; Olekszyová, Zuzana

2017-07-01

The aim of the current study was to compare the effectiveness of two types of cognitive training in 60 older adults with mild cognitive impairment by assessing the impact on functional activities, quality of life (QOL), and various cognitive functions. The primary outcomes were functional activity level and QOL. The secondary outcome was cognitive examination. Group assignment was random. Group A (n = 30) underwent CogniPlus, a computer-based, cognitive training. Group B (n = 30) underwent classical group-based cognitive training. Both programs comprised two 30-minute sessions per week for 10 weeks. After training, group A had better QOL (p < 0.001, effect size [ES] = 0.69) and better attention (increased load score, p < 0.05, ES = -0.23; errors, p < 0.001, ES = -0.47); however, there were no group differences in functional activity level. Group A demonstrated larger improvements in QOL and attention than group B (i.e., classical cognitive training), but the transfer to functional activities was the same between groups. [Res Gerontol Nurs. 2017; 10(4):172-180.]. Copyright 2017, SLACK Incorporated.

Quantitative evaluation of phonetograms in the case of functional dysphonia.

PubMed

Airainer, R; Klingholz, F

1993-06-01

According to the laryngeal clinical findings, figures making up a scale were assigned to vocally trained and vocally untrained persons suffering from different types of functional dysphonia. The different types of dysphonia--from the manifested hypofunctional to the extreme hyperfunctional dysphonia--were classified by means of this scale. Besides, the subjects' phonetograms were measured and approximated by three ellipses, what rendered possible the definition of phonetogram parameters. The combining of selected phonetogram parameters to linear combinations served the purpose of a phonetographic evaluation. The linear combinations were to bring phonetographic and clinical evaluations into correspondence as accurately as possible. It was necessary to use different kinds of linear combinations for male and female singers and nonsingers. As a result of the reclassification of 71 and the new classification of 89 patients, it was possible to graduate the types of functional dysphonia by means of computer-aided phonetogram evaluation with a clinically acceptable error rate. This method proved to be an important supplement to the conventional diagnostics of functional dysphonia.

Replication of elite music performance enhancement following alpha/theta neurofeedback and application to novice performance and improvisation with SMR benefits.

PubMed

Gruzelier, J H; Holmes, P; Hirst, L; Bulpin, K; Rahman, S; van Run, C; Leach, J

2014-01-01

Alpha/theta (A/T) and sensory-motor rhythm (SMR) neurofeedback were compared in university instrumentalists who were novice singers with regard to prepared and improvised instrumental and vocal performance in three music domains: creativity/musicality, technique and communication/presentation. Only A/T training enhanced advanced playing seen in all three domains by expert assessors and validated by correlations with learning indices, strongest with Creativity/Musicality as shown by Egner and Gruzelier (2003). Here A/T gains extended to novice performance - prepared vocal, improvised vocal and instrumental - and were recognised by a lay audience who judged the prepared folk songs. SMR learning correlated positively with Technical Competence and Communication in novice performance, in keeping with SMR neurofeedback's known impact on lower-order processes such as attention, working memory and psychomotor skills. The importance of validation through learning indices was emphasised in the interpretation of neurofeedback outcome. Copyright © 2013 Elsevier B.V. All rights reserved.

[Significance of auditory and kinesthetic feedback in vocal training of young professional singers (students)].

PubMed

Ciochină, Al D; Ciochină, Paula; Cobzeanu, M D; Burlui, Ada; Zaharia, D

2004-01-01

The study was to estimate the significance of auditory and kinesthetic feedback to an accurate control of fundamental frequency (F0) in 18 students beginning a professional singing education. The students sing an ascending and descending triad pattern covering their entire pitch range with and without making noise in legato and staccato and in a slow and fast tempo. F0 was measured by a computer program. The interval sizes between adjacent tones were determined and their departures from equally tempered tuning were calculated, the deviation from this tuning were used as a measure of the accuracy of intonation. Intonation accuracy was reduced by masking noise, by staccato as opposed to legato singing, and by fast as opposed to slow performance. The contribution of the auditory feedback to pitch control was not significantly improved after education, whereas the kinesthetic feedback circuit was improved in slow legato and slow staccato tasks. The results support the assumption that the kinesthetic feedback contributes substantially to intonation accuracy.

Analysis of high-frequency energy in long-term average spectra of singing, speech, and voiceless fricatives.

PubMed

Monson, Brian B; Lotto, Andrew J; Story, Brad H

2012-09-01

The human singing and speech spectrum includes energy above 5 kHz. To begin an in-depth exploration of this high-frequency energy (HFE), a database of anechoic high-fidelity recordings of singers and talkers was created and analyzed. Third-octave band analysis from the long-term average spectra showed that production level (soft vs normal vs loud), production mode (singing vs speech), and phoneme (for voiceless fricatives) all significantly affected HFE characteristics. Specifically, increased production level caused an increase in absolute HFE level, but a decrease in relative HFE level. Singing exhibited higher levels of HFE than speech in the soft and normal conditions, but not in the loud condition. Third-octave band levels distinguished phoneme class of voiceless fricatives. Female HFE levels were significantly greater than male levels only above 11 kHz. This information is pertinent to various areas of acoustics, including vocal tract modeling, voice synthesis, augmentative hearing technology (hearing aids and cochlear implants), and training/therapy for singing and speech.

Computerized Cognitive Training with Older Adults: A Systematic Review

PubMed Central

Kueider, Alexandra M.; Parisi, Jeanine M.; Gross, Alden L.; Rebok, George W.

2012-01-01

A systematic review to examine the efficacy of computer-based cognitive interventions for cognitively healthy older adults was conducted. Studies were included if they met the following criteria: average sample age of at least 55 years at time of training; participants did not have Alzheimer’s disease or mild cognitive impairment; and the study measured cognitive outcomes as a result of training. Theoretical articles, review articles, and book chapters that did not include original data were excluded. We identified 151 studies published between 1984 and 2011, of which 38 met inclusion criteria and were further classified into three groups by the type of computerized program used: classic cognitive training tasks, neuropsychological software, and video games. Reported pre-post training effect sizes for intervention groups ranged from 0.06 to 6.32 for classic cognitive training interventions, 0.19 to 7.14 for neuropsychological software interventions, and 0.09 to 1.70 for video game interventions. Most studies reported older adults did not need to be technologically savvy in order to successfully complete or benefit from training. Overall, findings are comparable or better than those from reviews of more traditional, paper-and-pencil cognitive training approaches suggesting that computerized training is an effective, less labor intensive alternative. PMID:22792378

Repeated Acquisitions and Extinctions in Classical Conditioning of the Rabbit Nictitating Membrane Response

ERIC Educational Resources Information Center

Kehoe, E. James

2006-01-01

The rabbit nictitating membrane (NM) response underwent successive stages of acquisition and extinction training in both delay (Experiment 1) and trace (Experiment 2) classical conditioning. In both cases, successive acquisitions became progressively faster, although the largest, most reliable acceleration occurred between the first and second…

Laban Movement Analysis Approach to Classical Ballet Pedagogy

ERIC Educational Resources Information Center

Whittier, Cadence

2006-01-01

As a Certified Laban Movement Analyst and a classically trained ballet dancer, I consistently weave the Laban Movement Analysis/Bartenieff Fundamentals (LMA/BF) theories and philosophies into the ballet class. This integration assists in: (1) Identifying the qualitative movement elements both in the art of ballet and in the students' dancing…

The Reach and Limits of Legal Education.

ERIC Educational Resources Information Center

Schwartz, Murray L.

1982-01-01

Recent studies of the state of legal education and the practice of law are criticized, and legal education is found to be healthy. Practical and professional responsibility training is recommended for post-law school training rather than in the classical curriculum. (MSE)

Effects of 8-Week Training on Aerobic Capacity and Swimming Performance of Boys Aged 12 Years

ERIC Educational Resources Information Center

Zarzeczny, Ryszard; Kuberski, Mariusz; Deska, Agnieszka; Zarzeczna, Dorota; Rydz, Katarzyna; Lewandowska, Anna; Balchanowski, Tomasz; Bosiacki, Janusz

2011-01-01

Study aim: To assess the effects of 8-week endurance training in swimming on work capacity of boys aged 12 years. Material and methods: The following groups of schoolboys aged 12 years were studied: untrained control (UC; n = 14) and those training swimming for two years. The latter ones were subjected to 8-week training in classical style (CS; n…

Accidence and Acronyms: Deploying Electronic Assessment in Support of Classical Language Teaching in a University Context

ERIC Educational Resources Information Center

Ashdowne, Richard

2009-01-01

This article describes the process of design and implementation of GALACTICA ("Greek And Latin Accidence Consolidation Training, Internet-Centred Assessment") in support of the University of Oxford's Classics Faculty language consolidation classes. The context and aims of the previous paper-based "assessment" system are…

Popular Music and Classical Musicians: Strategies and Perspectives

ERIC Educational Resources Information Center

Allsup, Randall Everett

2011-01-01

In recent years, popular music has become a growing area of music study and is increasingly accepted in schools and universities around the world. Despite this general enthusiasm, classically trained music teachers bring a certain hesitation to this art form, perhaps because too few have had formal hands-on experience with it. This article…

Insights and Opinions of College Students on Classical Piano Instrumental Music

ERIC Educational Resources Information Center

Pelayo, Jose Maria G., III

2013-01-01

Classical Piano Instrumental Music has been used for meditation hitherto. This study tried to discover the insights and opinions of individuals with no formal musical training and how it may affect their mood, emotions, feelings, imagination, attitude, perception in life, and personality. The researcher conducted this study in order to determine…

Feeding Behavior of Aplysia: A Model System for Comparing Cellular Mechanisms of Classical and Operant Conditioning

ERIC Educational Resources Information Center

Baxter, Douglas A.; Byrne, John H.

2006-01-01

Feeding behavior of Aplysia provides an excellent model system for analyzing and comparing mechanisms underlying appetitive classical conditioning and reward operant conditioning. Behavioral protocols have been developed for both forms of associative learning, both of which increase the occurrence of biting following training. Because the neural…

Heart Health: The Heart Truth Campaign 2009

MedlinePlus

... Bar Home Current Issue Past Issues Cover Story Heart Health The Heart Truth Campaign 2009 Past Issues / Winter 2009 Table ... one of the celebrities supporting this year's The Heart Truth campaign. Both R&B singer Ashanti (center) ...

Occupational markers and pathology of the castrato singer Gaspare Pacchierotti (1740-1821).

PubMed

Zanatta, Alberto; Zampieri, Fabio; Scattolin, Giuliano; Rippa Bonati, Maurizio

2016-06-28

Following the birth of modern opera in Italy in 1600, the demand for soprano voices grew up and the prepuberal castration was carried out to preserve the young male voice into adult life. Among the castrati, Gaspare Pacchierotti was probably one of the most famous. The remains of Pacchierotti were exhumed for the first time in 2013, for a research in the reconstruction of his biological profile, to understand the secrets behind his sublime voice and how the castration influenced the body. All the findings discovered, through anthropological and Computed Tomography analyses, are consistent both with the occupational markers of a singer and with the hormonal effects of castration. The erosion of cervical vertebrae, the insertion of respiratory muscles and muscles of the arms can be an effect of the bodily position and exercise during singing. The hormonal effect of castration were related to osteoporosis and to the disorders of spine.

Occupational markers and pathology of the castrato singer Gaspare Pacchierotti (1740–1821)

PubMed Central

Zanatta, Alberto; Zampieri, Fabio; Scattolin, Giuliano; Rippa Bonati, Maurizio

2016-01-01

Following the birth of modern opera in Italy in 1600, the demand for soprano voices grew up and the prepuberal castration was carried out to preserve the young male voice into adult life. Among the castrati, Gaspare Pacchierotti was probably one of the most famous. The remains of Pacchierotti were exhumed for the first time in 2013, for a research in the reconstruction of his biological profile, to understand the secrets behind his sublime voice and how the castration influenced the body. All the findings discovered, through anthropological and Computed Tomography analyses, are consistent both with the occupational markers of a singer and with the hormonal effects of castration. The erosion of cervical vertebrae, the insertion of respiratory muscles and muscles of the arms can be an effect of the bodily position and exercise during singing. The hormonal effect of castration were related to osteoporosis and to the disorders of spine. PMID:27350433

Disorders of Pitch Production in Tone Deafness

PubMed Central

Bella, Simone Dalla; Berkowska, Magdalena; Sowiński, Jakub

2011-01-01

Singing is as natural as speaking for the majority of people. Yet some individuals (i.e., 10–15%) are poor singers, typically performing or imitating pitches and melodies inaccurately. This condition, commonly referred to as “tone deafness,” has been observed both in the presence and absence of deficient pitch perception. In this article we review the existing literature concerning normal singing, poor-pitch singing, and, briefly, the sources of this condition. Considering that pitch plays a prominent role in the structure of both music and speech we also focus on the possibility that speech production (or imitation) is similarly impaired in poor-pitch singers. Preliminary evidence from our laboratory suggests that pitch imitation may be selectively inaccurate in the music domain without being affected in speech. This finding points to separability of mechanisms subserving pitch production in music and language. PMID:21811479

Path integrals, supersymmetric quantum mechanics, and the Atiyah-Singer index theorem for twisted Dirac

NASA Astrophysics Data System (ADS)

Fine, Dana S.; Sawin, Stephen

2017-01-01

Feynman's time-slicing construction approximates the path integral by a product, determined by a partition of a finite time interval, of approximate propagators. This paper formulates general conditions to impose on a short-time approximation to the propagator in a general class of imaginary-time quantum mechanics on a Riemannian manifold which ensure that these products converge. The limit defines a path integral which agrees pointwise with the heat kernel for a generalized Laplacian. The result is a rigorous construction of the propagator for supersymmetric quantum mechanics, with potential, as a path integral. Further, the class of Laplacians includes the square of the twisted Dirac operator, which corresponds to an extension of N = 1/2 supersymmetric quantum mechanics. General results on the rate of convergence of the approximate path integrals suffice in this case to derive the local version of the Atiyah-Singer index theorem.

Nutritional and Biochemical Profiling of Leucopaxillus candidus (Bres.) Singer Wild Mushroom.

PubMed

Vieira, Vanessa; Barros, Lillian; Martins, Anabela; Ferreira, Isabel C F R

2016-01-15

The wild mushroom Leucopaxillus candidus (Bres.) Singer was studied for the first time to obtain information about its chemical composition, nutritional value and bioactivity. Free sugars, fatty acids, tocopherols, organic and phenolic acids were analysed by chromatographic techniques coupled to different detectors. L. candidus methanolic extract was tested regarding antioxidant potential (reducing power, radical scavenging activity and lipid peroxidation inhibition). L. candidus was shown to be an interesting species in terms of nutritional value, with high content in proteins and carbohydrates, but low fat levels, with the prevalence of polyunsaturated fatty acids. Mannitol was the most abundant free sugar and β-tocopherol was the main tocopherol isoform. Other compounds detected were oxalic and fumaric acids, p-hydroxybenzoic and cinnamic acids. The methanolic extract revealed antioxidant activity and did not show hepatoxicity in porcine liver primary cells. The present study provides new information about L. candidus.

The Rigors of Training Evaluation: A Discussion and Field Demonstration

ERIC Educational Resources Information Center

Bunker, Kerry A.; Cohen, Stephen L.

1977-01-01

The objectives of this research are to report an application of a complex evaluation design, the classic Solomon 4-group, to an organizational training program and to demonstrate the necessity and feasibility of conducting research of this type. (Author/RK)

Acoustic evolution of old Italian violins from Amati to Stradivari.

PubMed

Tai, Hwan-Ching; Shen, Yen-Ping; Lin, Jer-Horng; Chung, Dai-Ting

2018-06-05

The shape and design of the modern violin are largely influenced by two makers from Cremona, Italy: The instrument was invented by Andrea Amati and then improved by Antonio Stradivari. Although the construction methods of Amati and Stradivari have been carefully examined, the underlying acoustic qualities which contribute to their popularity are little understood. According to Geminiani, a Baroque violinist, the ideal violin tone should "rival the most perfect human voice." To investigate whether Amati and Stradivari violins produce voice-like features, we recorded the scales of 15 antique Italian violins as well as male and female singers. The frequency response curves are similar between the Andrea Amati violin and human singers, up to ∼4.2 kHz. By linear predictive coding analyses, the first two formants of the Amati exhibit vowel-like qualities (F1/F2 = 503/1,583 Hz), mapping to the central region on the vowel diagram. Its third and fourth formants (F3/F4 = 2,602/3,731 Hz) resemble those produced by male singers. Using F1 to F4 values to estimate the corresponding vocal tract length, we observed that antique Italian violins generally resemble basses/baritones, but Stradivari violins are closer to tenors/altos. Furthermore, the vowel qualities of Stradivari violins show reduced backness and height. The unique formant properties displayed by Stradivari violins may represent the acoustic correlate of their distinctive brilliance perceived by musicians. Our data demonstrate that the pioneering designs of Cremonese violins exhibit voice-like qualities in their acoustic output. Copyright © 2018 the Author(s). Published by PNAS.

Comparison of several maneuvering target tracking models

NASA Astrophysics Data System (ADS)

McIntyre, Gregory A.; Hintz, Kenneth J.

1998-07-01

The tracking of maneuvering targets is complicated by the fact that acceleration is not directly observable or measurable. Additionally, acceleration can be induced by a variety of sources including human input, autonomous guidance, or atmospheric disturbances. The approaches to tracking maneuvering targets can be divided into two categories both of which assume that the maneuver input command is unknown. One approach is to model the maneuver as a random process. The other approach assumes that the maneuver is not random and that it is either detected or estimated in real time. The random process models generally assume one of two statistical properties, either white noise or an autocorrelated noise. The multiple-model approach is generally used with the white noise model while a zero-mean, exponentially correlated acceleration approach is used with the autocorrelated noise model. The nonrandom approach uses maneuver detection to correct the state estimate or a variable dimension filter to augment the state estimate with an extra state component during a detected maneuver. Another issue with the tracking of maneuvering target is whether to perform the Kalman filter in Polar or Cartesian coordinates. This paper will examine and compare several exponentially correlated acceleration approaches in both Polar and Cartesian coordinates for accuracy and computational complexity. They include the Singer model in both Polar and Cartesian coordinates, the Singer model in Polar coordinates converted to Cartesian coordinates, Helferty's third order rational approximation of the Singer model and the Bar-Shalom and Fortmann model. This paper shows that these models all provide very accurate position estimates with only minor differences in velocity estimates and compares the computational complexity of the models.

A Computerized Tomography Study of Vocal Tract Setting in Hyperfunctional Dysphonia and in Belting.

PubMed

Saldias, Marcelo; Guzman, Marco; Miranda, Gonzalo; Laukkanen, Anne-Maria

2018-04-03

Vocal tract setting in hyperfunctional patients is characterized by a high larynx and narrowing of the epilaryngeal and pharyngeal region. Similar observations have been made for various singing styles, eg, belting. The voice quality in belting has been described to be loud, speech like, and high pitched. It is also often described as sounding "pressed" or "tense". The above mentioned has led to the hypothesis that belting may be strenuous to the vocal folds. However, singers and teachers of belting do not regard belting as particularly strenuous. This study investigates possible similarities and differences between hyperfunctional voice production and belting. This study concerns vocal tract setting. Four male patients with hyperfunctional dysphonia and one male contemporary commercial music singer were registered with computerized tomography while phonating on [a:] in their habitual speaking pitch. Additionally, the singer used the pitch G4 in belting. The scannings were studied in sagittal and transversal dimensions by measuring lengths, widths, and areas. Various similarities were found between belting and hyperfunction: high vertical larynx position, small hypopharyngeal width, and epilaryngeal outlet. On the other hand, belting differed from dysphonia (in addition to higher pitch) by a wider lip and jaw opening, and larger volumes of the oral cavity. Belting takes advantage of "megaphone shape" of the vocal tract. Future studies should focus on modeling and simulation to address sound energy transfer. Also, they should consider aerodynamic variables and vocal fold vibration to evaluate the "price of decibels" in these phonation types. Copyright © 2018. Published by Elsevier Inc.

The Moderating Effect of Frequent Singing on Voice Aging.

PubMed

Lortie, Catherine L; Rivard, Julie; Thibeault, Mélanie; Tremblay, Pascale

2017-01-01

The effects of aging on voice production are well documented, including changes in loudness, pitch, and voice quality. However, one important and clinically relevant question that remains concerns the possibility that the aging of voice can be prevented or at least delayed through noninvasive methods. Indeed, discovering natural means to preserve the integrity of the human voice throughout aging could have a major impact on the quality of life of elderly adults. The objective of this study was therefore to examine the potentially positive effect of singing on voice production. To this aim, a group of 72 healthy nonsmoking adults (20-93 years old) was recruited and separated into three groups based on their singing habits. Several voice parameters were assessed (fundamental frequency [f0] mean, f0 standard deviation [SD], f0 minimum and f0 maximum, mean amplitude and amplitude SD, jitter, shimmer, and harmonic-to-noise ratio) during the sustained production of vowel /a/. Other parameters were assessed during standardized reading passage (speaking f0, speaking f0 SD). As was expected, age effects were found on most acoustic parameters with significant sex differences. Importantly, moderation analyses revealed that frequent singing moderates the effect of aging on most acoustic parameters. Specifically, in frequent singers, there was no decrease in the stability of pitch and amplitude with age, suggesting that the voice of frequent singers remains more stable in aging than the voice of non-singers, and more generally, providing empirical evidence for a positive effect of singing on voice in aging. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

West Nile virus infection in American singer canaries: An experimental model in a highly susceptible avian species

USGS Publications Warehouse

Hofmeister, Erik K.; Lund, Melissa; Shearn-Bochsler, Valerie I.

2018-01-01

This study investigated the susceptibility of American singer canaries (Serinus canaria) to West Nile virus (WNV) infection. Adult canaries were inoculated with 105, 102, and 101plaque forming units (PFU) of WNV. All birds became infected and mortality occurred by 5 days postinoculation. The load of viral RNA as determined by RT-qPCR was dose dependent, and was higher at all doses than the level of viral RNA detected in American crows (Corvus brachyrhynchos) challenged with 105 PFU of WNV. In a subset of birds, viremia was detected by virus isolation; canaries inoculated with 101 PFU of WNV developed viremia exceeding 1010 PFU/mL serum, a log higher than American crows inoculated with 105 PFU of virus. In canaries euthanized at 3 days postinoculation, WNV was isolated at >107 PFU of virus/100 mg of lung, liver, heart, spleen, and kidney tissues. Pallor of the liver and splenomegaly were the most common macroscopic observations and histologic lesions were most severe in liver, spleen, and kidney, particularly in canaries challenged with 102 and 101 PFU. Immunoreactivity to WNV was pronounced in the liver and spleen. IgG antibodies to WNV were detected in serum by enzyme immunoassay in 11 of 21 (52%) challenged canaries and, in 4 of 5 (20%) of these sera, neutralization antibodies were detected at a titer ≥ 1:20. American singer canaries provide a useful model as this bird species is highly susceptible to WNV infection.

Roger Hayward and the Invention of the Two-Mirror Schmidt

NASA Astrophysics Data System (ADS)

Bell, T. E.

2005-12-01

Roger Hayward (1899-1979), now virtually unknown, was a multitalented architect, scientific illustrator, and optical inventor. Remembered primarily for illustrating Scientific American magazine's Amateur Scientist column between 1949 and 1974, he also illustrated more than a dozen textbooks in optics, physics, geology, oceanography, and chemistry, several of which became classics in their fields. He designed façades with astronomical themes for major buildings in Los Angeles, California, and sculpted mammoth, realistic models of the moon for Griffith Observatory, Adler Planetarium, and Disneyland. Throughout his life, he recreationally painted watercolors and oils that at least one critic likened to the work of John Singer Sargent. Hayward is least known as an optical designer, yet he made significant contributions to the DU spectrophotometer that established the multimillion-dollar company Beckman Instruments. During the pre-radar days of World War II at Mount Wilson Observatory, Hayward invented a classified Cassegrain version of the Schmidt telescope especially adapted for nighttime infrared aerial photography, plus extraordinarily simple machines that allowed inexperienced soldiers to grind, polish, and test accurate aspheric Schmidt correcting plates at speeds compatible with mass production - and later received U.S. patents for them all. This paper, drawn in part from unpublished letters between Hayward and Albert G. Ingalls, will feature little-known images of Hayward's work.

Effects of melody and technique on acoustical and musical features of western operatic singing voices.

PubMed

Larrouy-Maestri, Pauline; Magis, David; Morsomme, Dominique

2014-05-01

The operatic singing technique is frequently used in classical music. Several acoustical parameters of this specific technique have been studied but how these parameters combine remains unclear. This study aims to further characterize the Western operatic singing technique by observing the effects of melody and technique on acoustical and musical parameters of the singing voice. Fifty professional singers performed two contrasting melodies (popular song and romantic melody) with two vocal techniques (with and without operatic singing technique). The common quality parameters (energy distribution, vibrato rate, and extent), perturbation parameters (standard deviation of the fundamental frequency, signal-to-noise ratio, jitter, and shimmer), and musical features (fundamental frequency of the starting note, average tempo, and sound pressure level) of the 200 sung performances were analyzed. The results regarding the effect of melody and technique on the acoustical and musical parameters show that the choice of melody had a limited impact on the parameters observed, whereas a particular vocal profile appeared depending on the vocal technique used. This study confirms that vocal technique affects most of the parameters examined. In addition, the observation of quality, perturbation, and musical parameters contributes to a better understanding of the Western operatic singing technique. Copyright © 2014 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

The structure of musical preferences: a five-factor model.

PubMed

Rentfrow, Peter J; Goldberg, Lewis R; Levitin, Daniel J

2011-06-01

Music is a cross-cultural universal, a ubiquitous activity found in every known human culture. Individuals demonstrate manifestly different preferences in music, and yet relatively little is known about the underlying structure of those preferences. Here, we introduce a model of musical preferences based on listeners' affective reactions to excerpts of music from a wide variety of musical genres. The findings from 3 independent studies converged to suggest that there exists a latent 5-factor structure underlying music preferences that is genre free and reflects primarily emotional/affective responses to music. We have interpreted and labeled these factors as (a) a Mellow factor comprising smooth and relaxing styles; (b) an Unpretentious factor comprising a variety of different styles of sincere and rootsy music such as is often found in country and singer-songwriter genres; (c) a Sophisticated factor that includes classical, operatic, world, and jazz; (d) an Intense factor defined by loud, forceful, and energetic music; and (e) a Contemporary factor defined largely by rhythmic and percussive music, such as is found in rap, funk, and acid jazz. The findings from a fourth study suggest that preferences for the MUSIC factors are affected by both the social and the auditory characteristics of the music. 2011 APA, all rights reserved

University of Alabama Huntsville communications professor Kristi

NASA Image and Video Library

2018-03-15

The NASA Educator Resource Center hosted the 2018 "Leading Within a Multigenerational Workforce" mentoring event. Opening remarks were by MSFC Deputy Director, Jody Singer, with a mentoring presentation from Mat Park. The key note presenter was UAH professor Kristin Scroggin.

Nick Jonas on Type 1 Diabetes | NIH MedlinePlus the Magazine

MedlinePlus

... Talks Life On Stage and Off with Type 1 Diabetes Entertainment superstar Nick Jonas is a hit singer, ... Would you share the circumstances of your type 1 diabetes diagnosis? What were your initial thoughts? My thoughts ...

B(H) has a pure state that is not multiplicative on any masa.

PubMed

Akemann, Charles; Weaver, Nik

2008-04-08

Assuming the continuum hypothesis, we prove that Bernoulli function(H) has a pure state whose restriction to any masa is not pure. This resolves negatively old conjectures of Kadison and Singer and of Anderson.

Quantum generalisation of feedforward neural networks

NASA Astrophysics Data System (ADS)

Wan, Kwok Ho; Dahlsten, Oscar; Kristjánsson, Hlér; Gardner, Robert; Kim, M. S.

2017-09-01

We propose a quantum generalisation of a classical neural network. The classical neurons are firstly rendered reversible by adding ancillary bits. Then they are generalised to being quantum reversible, i.e., unitary (the classical networks we generalise are called feedforward, and have step-function activation functions). The quantum network can be trained efficiently using gradient descent on a cost function to perform quantum generalisations of classical tasks. We demonstrate numerically that it can: (i) compress quantum states onto a minimal number of qubits, creating a quantum autoencoder, and (ii) discover quantum communication protocols such as teleportation. Our general recipe is theoretical and implementation-independent. The quantum neuron module can naturally be implemented photonically.

Pre-attentive auditory discrimination skill in Indian classical vocal musicians and non-musicians.

PubMed

Sanju, Himanshu Kumar; Kumar, Prawin

2016-09-01

To test for pre-attentive auditory discrimination skills in Indian classical vocal musicians and non-musicians. Mismatch negativity (MMN) was recorded to test for pre-attentive auditory discrimination skills with a pair of stimuli of /1000 Hz/ and /1100 Hz/, with /1000 Hz/ as the frequent stimulus and /1100 Hz/ as the infrequent stimulus. Onset, offset and peak latencies were the considered latency parameters, whereas peak amplitude and area under the curve were considered for amplitude analysis. Exactly 50 participants, out of which the experimental group had 25 adult Indian classical vocal musicians and 25 age-matched non-musicians served as the control group, were included in the study. Experimental group participants had a minimum professional music experience in Indian classic vocal music of 10 years. However, control group participants did not have any formal training in music. Descriptive statistics showed better waveform morphology in the experimental group as compared to the control. MANOVA showed significantly better onset latency, peak amplitude and area under the curve in the experimental group but no significant difference in the offset and peak latencies between the two groups. The present study probably points towards the enhancement of pre-attentive auditory discrimination skills in Indian classical vocal musicians compared to non-musicians. It indicates that Indian classical musical training enhances pre-attentive auditory discrimination skills in musicians, leading to higher peak amplitude and a greater area under the curve compared to non-musicians.

TRAINING IN INDUSTRY--THE MANAGEMENT OF LEARNING.

ERIC Educational Resources Information Center

BASS, BERNARD M.; VAUGHAN, JAMES A.

THE PRINCIPLES OF LEARNING BEHAVIOR DERIVED THROUGH LABORATORY STUDY CAN BE EXTENDED TO EXPLAIN MUCH OF THE COMPLEX LEARNING REQUIRED IN INDUSTRIAL TRAINING PROGRAMS. A REVIEW OF THE BASIC PRINCIPLES OF HUMAN LEARNING INTRODUCES FOUR BASIC CONCEPTS--DRIVE, STIMULUS, RESPONSE, AND REINFORCER--AND DISCUSSES CLASSICAL AND INSTRUMENTAL CONDITIONING…

A revision of Boletellus sect. Ixocephali

Treesearch

Roy E. Halling; Beatriz Ortiz-Santana

2009-01-01

Taxa included in Boletellus section Ixocephali sensu Singer are re-evaluated and species limits are clarified in a morphological context. In this revision, we recognize four distinct morphological species: B. jalapensis, B. elatus, B. longicollis, and B. singerii. Among these, we have...

Kennedy Center Salute To Apollo

NASA Image and Video Library

2009-07-17

Singer Chaka Khan performs during the "Salute to Apollo" ceremony at the Kennedy Center for the Performing Arts, Saturday, July 18, 2009 in Washington. The event was part of NASA's week long celebration of the Apollo 40th Anniversary. Photo Credit: (NASA/Bill Ingalls)

The Examination of the Effects of Functional Training Program Applied on Instable Ground on Anaerobic Capacities of Elite Martial Arts Athletes

ERIC Educational Resources Information Center

Caglayan, Atakan; Ozbar, Nurper

2017-01-01

The aim of this study is to measure both dynamic balance of elite martial arts athletes doing functional strength exercises on instable ground and the effects of circuit training program on their anaerobic capacities, and compare them with those following classical training program. Students studying in Faculty of Sport Sciences at Duzce…

Enhanced auditory temporal gap detection in listeners with musical training.

PubMed

Mishra, Srikanta K; Panda, Manas R; Herbert, Carolyn

2014-08-01

Many features of auditory perception are positively altered in musicians. Traditionally auditory mechanisms in musicians are investigated using the Western-classical musician model. The objective of the present study was to adopt an alternative model-Indian-classical music-to further investigate auditory temporal processing in musicians. This study presents that musicians have significantly lower across-channel gap detection thresholds compared to nonmusicians. Use of the South Indian musician model provides an increased external validity for the prediction, from studies on Western-classical musicians, that auditory temporal coding is enhanced in musicians.

[Surgeons training: today as always?].

PubMed

Jesus, Lisieux Eyer de

2009-12-01

This paper proposes to discuss the training methodologies for young surgeons, considering the modern needs, by discussing their expectations and the reality of the surgeons' job market nowadays. Scientific and technological novelties, the huge amount of information imposed daily, managerial interventions and cost issues modified radically the activities of the surgeons, especially if compared to classical conceptions. Recent re-readings of the classical ethical postulates demand a new behavior of the doctors concerning the patients and the society per se. Contemporaneous social culture bring about individual expectations concerning quality of life and professional perspective issues. It becomes necessary to modify the training methods for surgeons to make them adequate to the need of continuous learning and adaptation to new technological instruments. They also should adapt to social interactions with the patients and the other health professionals that fit nowadays expectations. Those structural adaptations are fundamental to maintain the interest of the new professionals in the area of surgery.

Eyeblink conditioning in the developing rabbit

PubMed Central

Brown, Kevin L.; Woodruff-Pak, Diana S.

2011-01-01

Eyeblink classical conditioning in pre-weanling rabbits was examined in the present study. Using a custom lightweight headpiece and restrainer, New Zealand white littermates were trained once daily in 400 ms delay eyeblink classical conditioning from postnatal days (PD) 17–21 or PD 24–28. These ages were chosen because eyeblink conditioning emerges gradually over PD 17–24 in rats (Stanton, Freeman, & Skelton, 1992), another altricial species with neurodevelopmental features similar to those of rabbits. Consistent with well-established findings in rats, rabbits trained from PD 24–28 showed greater conditioning relative to littermates trained from PD 17–21. Both age groups displayed poor retention of eyeblink conditioning at retraining one month after acquisition. These findings are the first to demonstrate eyeblink conditioning in the developing rabbit. With further characterization of optimal conditioning parameters, this preparation may have applications to neurodevelopmental disease models as well as research exploring the ontogeny of memory. PMID:21953433

Workplace Education Guide, 1999.

ERIC Educational Resources Information Center

Massachusetts State Dept. of Education, Boston.

These eight chapters share diverse experiences, lessons, and tips gleaned by the Massachusetts Workplace Literacy Consortium. "Workplace Needs Analysis (WNA)" (Harneen Chernow, Emily Singer, Jenny Lee Utech) focuses on the Worker Education Program's (WEP's) strategy, including tools, access, interviews and focus groups, presenting findings to the…

Profiling the Jazz Singer

ERIC Educational Resources Information Center

Hargreaves, Wendy

2013-01-01

This paper presents new data extracted from the National Survey of Jazz Instrumentalists and Vocalists. The survey was administered to 209 professional jazz musicians who resided and performed in Australia during 2009-2010. Presented here are five statistically significant characteristics which differentiate vocalists' experiences from other jazz…

Special 14 juillet (July 14th Special).

ERIC Educational Resources Information Center

Dubreuilh, Jean-Luc; And Others

1989-01-01

A series of articles on France's Bastille Day and its significance to the French over the two centuries of its celebration presents the viewpoints of the historian, writer, painter, film industry, and singer and provides materials and instructional ideas for classroom use. (MSE)

Kennedy Center Salute To Apollo

NASA Image and Video Library

2009-07-17

Opera singer Denyce Graves sings during the "Salute to Apollo" ceremony at the Kennedy Center for the Performing Arts, Saturday, July 18, 2009 in Washington. The event was part of NASA's week long celebration of the Apollo 40th Anniversary. Photo Credit: (NASA/Bill Ingalls)

100. COBBLER SHOP AFT LOOKING FORWARD VISIBLE ARE ...

Library of Congress Historic Buildings Survey, Historic Engineering Record, Historic Landscapes Survey

100. COBBLER SHOP - AFT LOOKING FORWARD - VISIBLE ARE THE FINISHING MACHINE, DAVIS STITCHING MACHINE, SINGER SEWING MACHINE FROM TAILOR SHOP, STORAGE SHELVES, WORK BENCH AND SHOE TREE STAND. - U.S.S. HORNET, Puget Sound Naval Shipyard, Sinclair Inlet, Bremerton, Kitsap County, WA

The Effect of Traditional Singing Warm-Up Versus Semioccluded Vocal Tract Exercises on the Acoustic Parameters of Singing Voice.

PubMed

Duke, Emily; Plexico, Laura W; Sandage, Mary J; Hoch, Matthew

2015-11-01

This study investigated the effect of traditional vocal warm-up versus semioccluded vocal tract exercises on the acoustic parameters of voice through three questions: does vocal warm-up condition significantly alter the singing power ratio of the singing voice? Is singing power ratio dependent upon vowel? Is perceived phonatory effort affected by warm-up condition? Hypotheses were that vocal warm-up would alter the singing power ratio, and that semioccluded vocal tract warm-up would affect the singing power ratio more than no warm-up or traditional warm-up, that singing power ratio would vary across vowel, and that perceived phonatory effort would vary with warm-up condition. This study was a within-participant repeated measures design with counterbalanced conditions. Thirteen male singers were recorded under three different conditions: no warm-up, traditional warm-up, and semioccluded vocal tract exercise warm-up. Recordings were made of these singers performing the Star Spangled Banner, and singing power ratio (SPR) was calculated from four vowels. Singers rated their perceived phonatory effort (PPE) singing the Star Spangled Banner after each warm-up condition. Warm-up condition did not significantly affect SPR. SPR was significantly different for /i/ and /e/. PPE was not significantly different between warm-up conditions. The present study did not find significant differences in SPR between warm-up conditions. SPR differences for /i/, support previous findings. PPE did not differ significantly across warm-up condition despite the expectation that traditional or semioccluded warm-up would cause a decrease. Copyright © 2015 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

The Impact of a Teaching or Singing Career on the Female Vocal Quality at the Mean Age of 67 Years: A Pilot Study.

PubMed

D'haeseleer, Evelien; Claeys, Sofie; Bettens, Kim; Leemans, Laura; Van Calster, Ann-Sophie; Van Damme, Nina; Thijs, Zoë; Daelman, Julie; Leyns, Clara; Van Lierde, Kristiane

2017-07-01

The purpose of this study was to measure the objective and subjective vocal quality in women aged between 60 and 75 years. Secondly, the impact of a teaching or singing career on the vocal quality was investigated by comparing the vocal quality of retired women with different careers. This is a case-control study. Seventy-three retired women between 60 and 75 years (mean age: 67 years, standard deviation: 4.49) participated in the study and were divided into three groups: women with a teaching career (n = 21), choir singers with a singing career (n = 12), and women with a non-vocal career (n = 40). All subjects underwent the same assessment protocol consisting of objective (aerodynamic, maximum performance, vocal range, acoustic measurements, and the Dysphonia Severity Index) and subjective (the Voice Handicap Index, auditory-perceptual evaluations by three listeners) voice measurements. In all three groups, objective and perceptual voice analysis showed a mild dysphonia. No differences in the Dysphonia Severity Index were found between the three groups. The voices of choir singers with a singing career were perceived significantly less rough than voices of the women with a non-vocal career. Additionally, the lowest frequency of the frequency range was significantly lower in the retired teachers and choir singers than in the controls. The results of this study prudently suggest that a singing or a teaching career compared with a non-vocal career has a positive impact on the vocal frequency range, and that singing has a positive impact on the perceptual vocal quality of the older female voice. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Factors associated with singers' perceptions of choral singing well-being.

PubMed

Kirsh, Elliana R; van Leer, Eva; Phero, Heidi J; Xie, Changchun; Khosla, Sid

2013-11-01

Choral singing is a popular vocational pastime across cultures. The potential health benefits associated with choral singing, including positive effect on well-being, are a topic of interest in health research. However, anecdotal reports from voice professionals suggest that the unique demands of choral singing may enforce unhealthy singing habits. This study explores suboptimal vocal behaviors that are sometimes associated with choral singing, which include singing outside comfortable pitch range, singing too loudly, and singing too softly for blend. The relationships between suboptimal choral singing habits, vocal warm-ups (WUs), vocal fatigue, and singing-related well-being were assessed via a 14-item Likert-based response format questionnaire. Participants consisted of 196 attendees of the international World Choir Games. The final study group consisted of 53 male and 143 female international amateur singers aged 10-70. Results indicated a positive correlation between vocal fatigue and suboptimal singing behaviors (r = 0.34, P < 0.0001). Participants who did not engage in suboptimal singing behavior experienced increased singing-related well-being (r = -0.32, P < 0.0001, N = 141). Vocal WUs were not related to vocal fatigue or singing well-being. Substantially, more participants from this demographic preferred choir over solo singing (X²[1, N = 196] = 22.93, P < 0.0001). Suboptimal choral singing behaviors may result in vocal fatigue and reduction of choral singing well-being and should therefore be considered when examining the effect of choral singing on singing-related well-being and health. Future research will compare the amateurs' perceptions of choral singing with perceptions from professional singers and will look at determinants of choral singing well-being. Copyright © 2013 The Voice Foundation. Published by Mosby, Inc. All rights reserved.

The Effect of Hydration on the Voice Quality of Future Professional Vocal Performers.

PubMed

van Wyk, Liezl; Cloete, Mariaan; Hattingh, Danel; van der Linde, Jeannie; Geertsema, Salome

2017-01-01

The application of systemic hydration as an instrument for optimal voice quality has been a common practice by several professional voice users over the years. Although the physiological action has been determined, the benefits on acoustic and perceptual characteristics are relatively unknown. The present study aimed to determine whether systemic hydration has beneficial outcomes on the voice quality of future professional voice users. A within-subject, pretest posttest design is applied to determine quantitative research results of female singing students between 18 and 32 years of age without a history of voice pathology. Acoustic and perceptual data were collected before and after a 2-hour singing rehearsal. The difference between the hypohydrated condition (controlled) and the hydrated condition (experimental) and the relationship between adequate hydration and acoustic and perceptual parameters of voice was then investigated. A statistical significant (P = 0.041) increase in jitter values were obtained for the hypohydrated condition. Increased maximum phonation time (MPT/z/) and higher maximum frequency for hydration indicated further statistical significant changes in voice quality (P = 0.028 and P = 0.015, respectively). Systemic hydration has positive outcomes on perceptual and acoustic parameters of voice quality for future professional singers. The singer's ability to sustain notes for longer and reach higher frequencies may reflect well in performances. Any positive change in voice quality may benefit the singer's occupational success and subsequently their social, emotional, and vocational well-being. More research evidence is needed to determine the parameters for implementing adequate hydration in vocal hygiene programs. Copyright © 2017 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

Applicability of the Arabic version of Vocal Tract Discomfort Scale (VTDS) with student singers as professional voice users.

PubMed

Darawsheh, Wesam B; Natour, Yaser S; Sada, Eve G

2018-07-01

This pilot study aimed to evaluate the internal consistency, convergent construct validity and criterion validity of Arabic version of the Vocal Tract Discomfort Scale (VTDS), and to investigate the correlation between the scores of the VTDS, the VHI and the acoustic measures of fundamental frequency (F0), shimmer, jitter and signal-to-noise ratio (SNR). A cross-sectional study where 97 participants participated (47 males and 50 females) (mean age 20.5 ± 2.1 years) (31 student singers and 66 other non-professional voice user students). Participants were without self-perceived voice disorders who completed the VTDS-Arab scale and the Voice Handicap Index (VHI-Arab), and recorded a vocal sample of/a:/at a comfortable level. A positive internal consistency that signifies reliability was confirmed by Cronbach's α = .884 and 0.874 for the VTDS-Arab frequency and severity subscales, respectively. A moderate positive correlation was found between the VTDS-Arab (frequency, severity, total) and the VHI-Arab total where values of Pearson's correlation coefficient were r= 0.459, 0.430 and 0.451, respectively. Weak correlations were found between all of the acoustic measures and the scores of the VTDS-Arab and VHI-Arab (total and subscales). The area under curve for the VTDS was AUC= 0.824, 0.804 and 0.817 for the VTDS frequency, VTDS severity and VTDS total, respectively. The VTDS-Arab is a valid and reliable tool in measuring vocal tract sensations and predicting the perception of vocal handicap in student singers and can be used to predict the vocal load among professional voice users.

Outcomes of neurofeedback training in childhood obesity management: a pilot study.

PubMed

Chirita-Emandi, Adela; Puiu, Maria

2014-11-01

This pilot study sought to evaluate the neurofeedback training outcomes in childhood obesity management. The study involved 34 overweight and obese children, age 6-18 years (12 patients in the intervention group, 22 in the control group). Complete assessment of children was done before the intervention and 3 and 6 months after the intervention; eating behavior and quality-of-life questionnaires were assessed at study start and 6 months after. All children received classic lifestyle recommendations for weight management, while the intervention group also had 20 neurofeedback sessions (infra-low-frequency training). The neurofeedback intervention was associated with less weight loss compared with classic weight management. The mean change in body-mass index standard deviation score at 3 months was -0.29 for the intervention group and -0.36 for the control group (p=0.337); after 6 months, the changes were -0.30 and -0.56, respectively (p=0.035). Quality of life improved similarly for both groups. Subjective outcomes reported by patients in the intervention were less snacking, improved satiety, enhanced attention capacity, ameliorated hyperactivity, and better sleep patterns. Larger studies, with training methods involving both the left and right cortices, should further clarify the role of neurofeedback training in obesity management.

Semi-classical approach to compute RABBITT traces in multi-dimensional complex field distributions.

PubMed

Lucchini, M; Ludwig, A; Kasmi, L; Gallmann, L; Keller, U

2015-04-06

We present a semi-classical model to calculate RABBITT (Reconstruction of Attosecond Beating By Interference of Two-photon Transitions) traces in the presence of a reference infrared field with a complex two-dimensional (2D) spatial distribution. The evolution of the electron spectra as a function of the pump-probe delay is evaluated starting from the solution of the classical equation of motion and incorporating the quantum phase acquired by the electron during the interaction with the infrared field. The total response to an attosecond pulse train is then evaluated by a coherent sum of the contributions generated by each individual attosecond pulse in the train. The flexibility of this model makes it possible to calculate spectrograms from non-trivial 2D field distributions. After confirming the validity of the model in a simple 1D case, we extend the discussion to describe the probe-induced phase in photo-emission experiments on an ideal metallic surface.

Effects of combined and classic training on different isometric rate of force development parameters of leg extensors in female volleyball players: Discriminative analysis approach

PubMed Central

Branislav, Rajić; Milivoj, Dopsaj; Abella, Carlos Pablos; Deval, Vicente Caratalla; Siniša, Karišik

2013-01-01

Background: The aim of this study is to verify the effects of the combined and classic training of different isometric rates of force development (RFD) parameters of legs. Materials and Methods: Three groups of female athletes was tested: Experimental group (N = 12), classically trained group (N = 11), and control group (N = 20) of athletes. The isometric “standing leg extension” and “Rise on Toes” tests were conducted to evaluate the maximal force, time necessary time to reach it and the RFD analyzed at 100 ms, 180 ms, 250 ms from the onset, and 50-100% of its maximal result. Results: The maximal RFD of legs and calves are dominant explosive parameters. Special training enhanced the RFD of calves of GROUPSPEC at 100 ms (P = 0.05), at 180 ms (P = 0.039), at 250 ms (P = 0.039), at 50% of the Fmax (P = 0.031) and the Fmax (P = 0.05). Domination of GROUPSPEC toward GROUPCLASS and GROUPCONTROL is in case of legs at 100 ms (P = 0.04); at 180 ms (P = 0.04); at 250 ms (P = 0.00); at 50% of the Fmax (P = 0.01) and at the Fmax (P = 0.00); in case of calves at 100 ms (P = 0.07); 180 ms (P = 0.001); at 250 ms (P = 0.00); at 50% of the Fmax (P = 0.00) and at Fmax (P = 0.000). Conclusion: Dominant explosive factors are maximal RFD of leg extensors and calves, and legs at 250ms. Specific training enhanced explosiveness of calves of GROUPSPEC general and partial domination of GROUPSPEC by 87% over GROUPCLASS, and 35% over GROUPCONTROL. PMID:24497853

A Fully Automated Drosophila Olfactory Classical Conditioning and Testing System for Behavioral Learning and Memory Assessment

PubMed Central

Jiang, Hui; Hanna, Eriny; Gatto, Cheryl L.; Page, Terry L.; Bhuva, Bharat; Broadie, Kendal

2016-01-01

Background Aversive olfactory classical conditioning has been the standard method to assess Drosophila learning and memory behavior for decades, yet training and testing are conducted manually under exceedingly labor-intensive conditions. To overcome this severe limitation, a fully automated, inexpensive system has been developed, which allows accurate and efficient Pavlovian associative learning/memory analyses for high-throughput pharmacological and genetic studies. New Method The automated system employs a linear actuator coupled to an odorant T-maze with airflow-mediated transfer of animals between training and testing stages. Odorant, airflow and electrical shock delivery are automatically administered and monitored during training trials. Control software allows operator-input variables to define parameters of Drosophila learning, short-term memory and long-term memory assays. Results The approach allows accurate learning/memory determinations with operational fail-safes. Automated learning indices (immediately post-training) and memory indices (after 24 hours) are comparable to traditional manual experiments, while minimizing experimenter involvement. Comparison with Existing Methods The automated system provides vast improvements over labor-intensive manual approaches with no experimenter involvement required during either training or testing phases. It provides quality control tracking of airflow rates, odorant delivery and electrical shock treatments, and an expanded platform for high-throughput studies of combinational drug tests and genetic screens. The design uses inexpensive hardware and software for a total cost of ~$500US, making it affordable to a wide range of investigators. Conclusions This study demonstrates the design, construction and testing of a fully automated Drosophila olfactory classical association apparatus to provide low-labor, high-fidelity, quality-monitored, high-throughput and inexpensive learning and memory behavioral assays. PMID:26703418

A fully automated Drosophila olfactory classical conditioning and testing system for behavioral learning and memory assessment.

PubMed

Jiang, Hui; Hanna, Eriny; Gatto, Cheryl L; Page, Terry L; Bhuva, Bharat; Broadie, Kendal

2016-03-01

Aversive olfactory classical conditioning has been the standard method to assess Drosophila learning and memory behavior for decades, yet training and testing are conducted manually under exceedingly labor-intensive conditions. To overcome this severe limitation, a fully automated, inexpensive system has been developed, which allows accurate and efficient Pavlovian associative learning/memory analyses for high-throughput pharmacological and genetic studies. The automated system employs a linear actuator coupled to an odorant T-maze with airflow-mediated transfer of animals between training and testing stages. Odorant, airflow and electrical shock delivery are automatically administered and monitored during training trials. Control software allows operator-input variables to define parameters of Drosophila learning, short-term memory and long-term memory assays. The approach allows accurate learning/memory determinations with operational fail-safes. Automated learning indices (immediately post-training) and memory indices (after 24h) are comparable to traditional manual experiments, while minimizing experimenter involvement. The automated system provides vast improvements over labor-intensive manual approaches with no experimenter involvement required during either training or testing phases. It provides quality control tracking of airflow rates, odorant delivery and electrical shock treatments, and an expanded platform for high-throughput studies of combinational drug tests and genetic screens. The design uses inexpensive hardware and software for a total cost of ∼$500US, making it affordable to a wide range of investigators. This study demonstrates the design, construction and testing of a fully automated Drosophila olfactory classical association apparatus to provide low-labor, high-fidelity, quality-monitored, high-throughput and inexpensive learning and memory behavioral assays. Copyright © 2015 Elsevier B.V. All rights reserved.

The intuitive use of laryngeal airway tools by first year medical students.

PubMed

Bickenbach, Johannes; Schälte, Gereon; Beckers, Stefan; Fries, Michael; Derwall, Matthias; Rossaint, Rolf

2009-09-22

Providing a secured airway is of paramount importance in cardiopulmonary resuscitation. Although intubating the trachea is yet seen as gold standard, this technique is still reserved to experienced healthcare professionals. Compared to bag-valve facemask ventilation, however, the insertion of a laryngeal mask airway offers the opportunity to ventilate the patient effectively and can also be placed easily by lay responders. Obviously, it might be inserted without detailed background knowledge.The purpose of the study was to investigate the intuitive use of airway devices by first-year medical students as well as the effect of a simple, but well-directed training programme. Retention of skills was re-evaluated six months thereafter. The insertion of a LMA-Classic and a LMA-Fastrach performed by inexperienced medical students was compared in an airway model. The improvement on their performance after a training programme of overall two hours was examined afterwards. Prior to any instruction, mean time to correct placement was 55.5 +/- 29.6 s for the LMA-Classic and 38.1 +/- 24.9 s for the LMA-Fastrach. Following training, time to correct placement decreased significantly with 22.9 +/- 13.5 s for the LMA-Classic and 22.9 +/- 19.0 s for the LMA-Fastrach, respectively (p < 0.05). After six months, the results are comparable prior (55.6 +/- 29.9 vs 43.1 +/- 34.7 s) and after a further training period (23.5 +/- 13.2 vs 26.6 +/- 21.6, p < 0.05). Untrained laypersons are able to use different airway devices in a manikin and may therefore provide a secured airway even without having any detailed background knowledge about the tool. Minimal theoretical instruction and practical skill training can improve their performance significantly. However, refreshment of knowledge seems justified after six months.

Perception of music performance on historical and modern commercial recordings.

PubMed

Timmers, Renee

2007-11-01

Performing styles as well as recording styles have changed considerably within the 20th century. To what extent do the age of a recording, the unfamiliarity with performing style, and the quality of a reproduction of a recording systematically influence how we perceive performances on record? Four exploratory experiments were run to formulate an answer to this question. Each experiment examined a different aspect of the perception of performance, including judgments of quality, perceived emotion, and dynamics. Fragments from Die junge Nonne sung by famous singers from the start, middle, and second half of the 20th century were presented in a noisy and clean version to musically trained participants. The results show independence of perception of emotional activity from recording date, strong dependence of perceived quality and emotional impact on recording date, and only limited effects of reproduction quality. Standards have clearly changed, which influence judgments of quality and age. Additionally, changes restrict the communication between early recorded performers and modern listeners to some extent as shown by systematically smaller variations in communicated dynamics and emotional valence for older recordings.

The recognition of female voice based on voice registers in singing techniques in real-time using hankel transform method and macdonald function

NASA Astrophysics Data System (ADS)

Meiyanti, R.; Subandi, A.; Fuqara, N.; Budiman, M. A.; Siahaan, A. P. U.

2018-03-01

A singer doesn’t just recite the lyrics of a song, but also with the use of particular sound techniques to make it more beautiful. In the singing technique, more female have a diverse sound registers than male. There are so many registers of the human voice, but the voice registers used while singing, among others, Chest Voice, Head Voice, Falsetto, and Vocal fry. Research of speech recognition based on the female’s voice registers in singing technique is built using Borland Delphi 7.0. Speech recognition process performed by the input recorded voice samples and also in real time. Voice input will result in weight energy values based on calculations using Hankel Transformation method and Macdonald Functions. The results showed that the accuracy of the system depends on the accuracy of sound engineering that trained and tested, and obtained an average percentage of the successful introduction of the voice registers record reached 48.75 percent, while the average percentage of the successful introduction of the voice registers in real time to reach 57 percent.

Analysis of high-frequency energy in long-term average spectra of singing, speech, and voiceless fricatives

PubMed Central

Monson, Brian B.; Lotto, Andrew J.; Story, Brad H.

2012-01-01

The human singing and speech spectrum includes energy above 5 kHz. To begin an in-depth exploration of this high-frequency energy (HFE), a database of anechoic high-fidelity recordings of singers and talkers was created and analyzed. Third-octave band analysis from the long-term average spectra showed that production level (soft vs normal vs loud), production mode (singing vs speech), and phoneme (for voiceless fricatives) all significantly affected HFE characteristics. Specifically, increased production level caused an increase in absolute HFE level, but a decrease in relative HFE level. Singing exhibited higher levels of HFE than speech in the soft and normal conditions, but not in the loud condition. Third-octave band levels distinguished phoneme class of voiceless fricatives. Female HFE levels were significantly greater than male levels only above 11 kHz. This information is pertinent to various areas of acoustics, including vocal tract modeling, voice synthesis, augmentative hearing technology (hearing aids and cochlear implants), and training/therapy for singing and speech. PMID:22978902

Musical genre-dependent behavioural and EEG signatures of action planning. A comparison between classical and jazz pianists.

PubMed

Bianco, R; Novembre, G; Keller, P E; Villringer, A; Sammler, D

2018-04-01

It is well established that musical training induces sensorimotor plasticity. However, there are remarkable differences in how musicians train for proficient stage performance. The present EEG study outlines for the first time clear-cut neurobiological differences between classical and jazz musicians at high and low levels of action planning, revealing genre-specific cognitive strategies adopted in production. Pianists imitated chord progressions without sound that were manipulated in terms of harmony and context length to assess high-level planning of sequence-structure, and in terms of the manner of playing to assess low-level parameter specification of single acts. Jazz pianists revised incongruent harmonies faster as revealed by an earlier reprogramming negativity and beta power decrease, hence neutralising response costs, albeit at the expense of a higher number of manner errors. Classical pianists in turn experienced more conflict during incongruent harmony, as shown by theta power increase, but were more ready to implement the required manner of playing, as indicated by higher accuracy and beta power decrease. These findings demonstrate that specific demands and action focus of training lead to differential weighting of hierarchical action planning. This suggests different enduring markers impressed in the brain when a musician practices one or the other style. Copyright © 2018 Elsevier Inc. All rights reserved.

Nebulized isotonic saline versus water following a laryngeal desiccation challenge in classically trained sopranos.

PubMed

Tanner, Kristine; Roy, Nelson; Merrill, Ray M; Muntz, Faye; Houtz, Daniel R; Sauder, Cara; Elstad, Mark; Wright-Costa, Julie

2010-12-01

To examine the effects of nebulized isotonic saline (IS) versus sterile water (SW) on self-perceived phonatory effort (PPE) and phonation threshold pressure (PTP) following a surface laryngeal dehydration challenge in classically trained sopranos. In a double-blind, within-subject crossover design, 34 sopranos breathed dry air (relative humidity < 1%) transorally for 15 min and then nebulized 3 mL of IS or SW, or experienced a no-treatment control condition over 3 consecutive weeks. PPE and PTP were measured every 15 min from baseline through 2 hr postdesiccation. PPE increased significantly following the laryngeal desiccation challenge in all 3 treatment conditions (p < .01). After nebulization, PPE returned to baseline for the IS condition only. For the SW and control conditions, PPE remained above baseline during the 2 hr after desiccation. No statistically significant changes in PTP following laryngeal desiccation were observed, although values for the IS condition remained below baseline for nearly 2 hr after nebulization. PPE and PTP were not significantly correlated. Following a laryngeal surface dehydration challenge, classically trained sopranos reported increased vocal effort that persisted for at least 2 hr. Compared with SW, nebulized IS showed promise as an effective way to remediate the adverse, self-perceived effects of laryngeal desiccation.

The President as Bard.

ERIC Educational Resources Information Center

Kingsley, J. Gordon

1987-01-01

The role of the college president is described as that of "the solitary singer galvanizing a people to noble, even heroic action by the power of Their Story." The president spends his or her life trying to embody and fulfill the dreams, hopes, and aspirations of the college. (MLW)

Kennedy Center Salute To Apollo

NASA Image and Video Library

2009-07-17

12 year old singer Jamia Nash performs during the "Salute to Apollo" ceremony at the Kennedy Center for the Performing Arts, Saturday, July 18, 2009 in Washington. The event was part of NASA's week long celebration of the Apollo 40th Anniversary. Photo Credit: (NASA/Bill Ingalls)

Teaching Local History.

ERIC Educational Resources Information Center

Singer, Alan, Ed.

2003-01-01

This Social Science Docket theme issue focuses on teaching local history and included theme and non-themed articles, lesson plans, learning activities, and book, movie, and museum reviews designed for K-12 social studies teachers. Articles and materials in this issue are: "Editing Is Not Censorship" (Alan Singer); "Teachers Respond…

Issues for the 21st Century.

ERIC Educational Resources Information Center

Singer, Alan, Ed.

2002-01-01

This publication is dedicated to social studies education at all levels. Articles and teaching ideas in this issue are: "Defending Multicultural Education, Academic Freedom, and Democracy in the Wake of 9/11/01" (A. Singer); "Teachers Respond to 'Defending Multicultural Education'"; "'Any Other Day': Dealing with the…

The Holocaust and History.

ERIC Educational Resources Information Center

Singer, Alan, Ed.

2003-01-01

This theme based journal issue consists of articles and teaching ideas focusing on the Holocaust and history. This publication contains the following materials: (1) "Multiple Perspectives on the Holocaust?" (Alan Singer); (2) "Responses to 'Multiple Perspectives on the Holocaust'"; (3) "Escape to Cuba: Story of Laura Kahn,…

Optimal and Adaptive Control of Flow in a Thermal Convection Loop

NASA Astrophysics Data System (ADS)

Yuen, Po Ki; Bau, Haim

1998-11-01

In theory and experiment, we use nonlinear and linear optimal and adaptive controllers to suppress the naturally occurring chaotic convection in a thermal convection loop. The thermal convection loop is a simple experimental analog of the Lorenz equations, and it provides a convenient platform for testing and comparing the performance of various control strategies in a fluid mechanical setting. The performance of the optimal and adaptive controllers is compared with that of a previously developed simple feedback controller (Singer, J., Wang, Y., & Bau, H., H., 1991, Physical Review Letters, 66,123-1125.)(Wang, Y., Singer, J., & Bau, H., H., 1992, J. Fluid Mechanics, 237, 479-498.), a nonlinear controller with a cubic nonlinearity(Yuen, P., & Bau, H., H., 1996, J. Fluid Mechanics, 317, 91-109.), and a neural net controller(Yuen, P., & Bau, H., H., 1998, Neural Networks, 11, 557 - 569, 1998.). It is demonstrated that an adaptive controller can perform successfully even when the system's model is not known.

Cardiac and respiratory patterns synchronize between persons during choir singing.

PubMed

Müller, Viktor; Lindenberger, Ulman

2011-01-01

Dyadic and collective activities requiring temporally coordinated action are likely to be associated with cardiac and respiratory patterns that synchronize within and between people. However, the extent and functional significance of cardiac and respiratory between-person couplings have not been investigated thus far. Here, we report interpersonal oscillatory couplings among eleven singers and one conductor engaged in choir singing. We find that: (a) phase synchronization both in respiration and heart rate variability increase significantly during singing relative to a rest condition; (b) phase synchronization is higher when singing in unison than when singing pieces with multiple voice parts; (c) directed coupling measures are consistent with the presence of causal effects of the conductor on the singers at high modulation frequencies; (d) the different voices of the choir are reflected in network analyses of cardiac and respiratory activity based on graph theory. Our results suggest that oscillatory coupling of cardiac and respiratory patterns provide a physiological basis for interpersonal action coordination.

Cardiac and Respiratory Patterns Synchronize between Persons during Choir Singing

PubMed Central

Müller, Viktor; Lindenberger, Ulman

2011-01-01

Dyadic and collective activities requiring temporally coordinated action are likely to be associated with cardiac and respiratory patterns that synchronize within and between people. However, the extent and functional significance of cardiac and respiratory between-person couplings have not been investigated thus far. Here, we report interpersonal oscillatory couplings among eleven singers and one conductor engaged in choir singing. We find that: (a) phase synchronization both in respiration and heart rate variability increase significantly during singing relative to a rest condition; (b) phase synchronization is higher when singing in unison than when singing pieces with multiple voice parts; (c) directed coupling measures are consistent with the presence of causal effects of the conductor on the singers at high modulation frequencies; (d) the different voices of the choir are reflected in network analyses of cardiac and respiratory activity based on graph theory. Our results suggest that oscillatory coupling of cardiac and respiratory patterns provide a physiological basis for interpersonal action coordination. PMID:21957466

Stereotype or grammar? The representation of gender when two-year-old and three-year-old French-speaking toddlers listen to role nouns.

PubMed

Lévy, Arik; Gygax, Pascal; Gabriel, Ute; Zesiger, Pascal

2016-11-01

Using a preferential looking paradigm, the current study examined the role that grammatical gender plays when preschool French-speaking toddlers process role nouns in the masculine form (e.g., chanteurs masculine 'singers'). While being auditorily prompted with "Look at the 'a role noun'!", two- and three-year-olds were presented with two pictures of two characters ('boy-boy' versus 'girl-boy') with attributes of the given role noun (e.g., singers with microphone and music notes). All role nouns were presented in the masculine plural form, which, despite its use to refer to mixed-gender groups, can be interpreted as referring to men. We expected toddlers to be biased by stereotypes, yet when non-stereotypical role nouns were presented, toddlers were not influenced by grammatical gender, but by their own sex (even more so for three-year-old toddlers). The absence of sensitivity to grammatical cues for either age group is discussed in terms of the developmental awareness of grammatical gender.

Short term exposure to attractive and muscular singers in music video clips negatively affects men's body image and mood.

PubMed

Mulgrew, K E; Volcevski-Kostas, D

2012-09-01

Viewing idealized images has been shown to reduce men's body satisfaction; however no research has examined the impact of music video clips. This was the first study to examine the effects of exposure to muscular images in music clips on men's body image, mood and cognitions. Ninety men viewed 5 min of clips containing scenery, muscular or average-looking singers, and completed pre- and posttest measures of mood and body image. Appearance schema activation was also measured. Men exposed to the muscular clips showed poorer posttest levels of anger, body and muscle tone satisfaction compared to men exposed to the scenery or average clips. No evidence of schema activation was found, although potential problems with the measure are noted. These preliminary findings suggest that even short term exposure to music clips can produce negative effects on men's body image and mood. Copyright © 2012 Elsevier Ltd. All rights reserved.

Audience gaze while appreciating a multipart musical performance.

PubMed

Kawase, Satoshi; Obata, Satoshi

2016-11-01

Visual information has been observed to be crucial for audience members during musical performances. The present study used an eye tracker to investigate audience members' gazes while appreciating an audiovisual musical ensemble performance, based on evidence of the dominance of musical part in auditory attention when listening to multipart music that contains different melody lines and the joint-attention theory of gaze. We presented singing performances, by a female duo. The main findings were as follows: (1) the melody part (soprano) attracted more visual attention than the accompaniment part (alto) throughout the piece, (2) joint attention emerged when the singers shifted their gazes toward their co-performer, suggesting that inter-performer gazing interactions that play a spotlight role mediated performer-audience visual interaction, and (3) musical part (melody or accompaniment) strongly influenced the total duration of gazes among audiences, while the spotlight effect of gaze was limited to just after the singers' gaze shifts. Copyright © 2016. Published by Elsevier Inc.

Atiyah-Patodi-Singer index from the domain-wall fermion Dirac operator

NASA Astrophysics Data System (ADS)

Fukaya, Hidenori; Onogi, Tetsuya; Yamaguchi, Satoshi

2017-12-01

The Atiyah-Patodi-Singer (APS) index theorem attracts attention for understanding physics on the surface of materials in topological phases. The mathematical setup for this theorem is, however, not directly related to the physical fermion system, as it imposes on the fermion fields a nonlocal boundary condition known as the "APS boundary condition" by hand, which is unlikely to be realized in the materials. In this work, we attempt to reformulate the APS index in a "physicist-friendly" way for a simple setup with U (1 ) or S U (N ) gauge group on a flat four-dimensional Euclidean space. We find that the same index as APS is obtained from the domain-wall fermion Dirac operator with a local boundary condition, which is naturally given by the kink structure in the mass term. As the boundary condition does not depend on the gauge fields, our new definition of the index is easy to compute with the standard Fujikawa method.

How to Explain Receptivity to Conjunction-Fallacy Inhibition Training: Evidence from the Iowa Gambling Task

ERIC Educational Resources Information Center

Cassotti, Mathieu; Moutier, Sylvain

2010-01-01

Intuitive predictions and judgments under conditions of uncertainty are often mediated by judgment heuristics that sometimes lead to biases. Using the classical conjunction bias example, the present study examines the relationship between receptivity to metacognitive executive training and emotion-based learning ability indexed by Iowa Gambling…

Connecting to create: expertise in musical improvisation is associated with increased functional connectivity between premotor and prefrontal areas.

PubMed

Pinho, Ana Luísa; de Manzano, Örjan; Fransson, Peter; Eriksson, Helene; Ullén, Fredrik

2014-04-30

Musicians have been used extensively to study neural correlates of long-term practice, but no studies have investigated the specific effects of training musical creativity. Here, we used human functional MRI to measure brain activity during improvisation in a sample of 39 professional pianists with varying backgrounds in classical and jazz piano playing. We found total hours of improvisation experience to be negatively associated with activity in frontoparietal executive cortical areas. In contrast, improvisation training was positively associated with functional connectivity of the bilateral dorsolateral prefrontal cortices, dorsal premotor cortices, and presupplementary areas. The effects were significant when controlling for hours of classical piano practice and age. These results indicate that even neural mechanisms involved in creative behaviors, which require a flexible online generation of novel and meaningful output, can be automated by training. Second, improvisational musical training can influence functional brain properties at a network level. We show that the greater functional connectivity seen in experienced improvisers may reflect a more efficient exchange of information within associative networks of importance for musical creativity.