FN Clarivate Analytics Web of Science
VR 1.0
PT J
AU Xu, YF
AF Xu, Yifei
TI Systematic Study on Expression of Vocal Music and Science of Human Body
Noise Based on Wireless Sensor Node
SO MOBILE INFORMATION SYSTEMS
LA English
DT Article
AB In this paper, we use a wireless sensor node to investigate the relationship between vocal art composition and human body noise. For the vocal music, the suggested predictor created a wireless sensor node convergence link model and the HART graph routing model is used to systematically design the human noise science. The wireless sensor node optimizes the acquisition of information on vocal art and analyzes the acoustic signal characteristics. The optimally balanced scheduling model has been used to scientifically and distributedly regulate vocal art performance and human body noise. The proposed model enhances the signal detection ability and raises the performance level of vocal art, music art, and human body noise signal. The results of the simulation demonstrate that the proposed model enhances the signal acquisition capability of vocal music and the analysis of human noise. It has a powerful ability to generate vocal signal characteristics and a stronger ability to handle interference with noise.
C1 [Xu, Yifei] Yulin Univ, Sch Art, Yulin 719000, Shaanxi, Peoples R China.
C3 Yulin University
RP Xu, YF (corresponding author), Yulin Univ, Sch Art, Yulin 719000, Shaanxi, Peoples R China.
EM xuyifei@yulinu.edu.cn
NR 22
TC 7
Z9 8
U1 0
U2 10
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1574-017X
EI 1875-905X
J9 MOB INF SYST
JI Mob. Inf. Syst.
PD APR 29
PY 2021
VL 2021
AR 9993019
DI 10.1155/2021/9993019
PG 9
WC Computer Science, Information Systems; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Telecommunications
GA SX0ZW
UT WOS:000664942400001
OA gold
DA 2025-03-18
ER
PT J
AU Qiu, ZW
AF Qiu Zhaowei
TI History of Chinese academic vocal art
SO VOPROSY ISTORII
LA Russian
DT Article
DE vocal art; China; works; history; problems
AB Pluralism as an attribute feature of the cultural space of the beginning of the 21st century, within the framework of scientific reflection is reflected in the intensification of research on the mutual influence of national artistic cultures and the modification of traditional attitudes in the context of globalization influences, in particular to the issues of the phenomenology of the Chinese vocal school as an independent phenomenon of national art, which absorbed the traditions of the European style bel canto. The relevance and importance of highlighting this issue is due to the active integration of Chinese vocal art into the world art space, as well as the need to comprehend the features of the correlation of traditional and innovative principles in it, the disclosure of performing stylistics and the like.
C1 [Qiu Zhaowei] Shandong Normal Univ, Coll Mus, Jinan, Shandong, Peoples R China.
C3 Shandong Normal University
RP Qiu, ZW (corresponding author), Shandong Normal Univ, Coll Mus, Jinan, Shandong, Peoples R China.
EM 1127341705@qq.com
NR 10
TC 0
Z9 0
U1 15
U2 60
PU VOPROSY ISTORII
PI MOSCOW
PA VOPROSY ISTORII, MOSCOW, 00000, RUSSIA
SN 0042-8779
EI 1938-2561
J9 VOP ISTORII
JI Vopr. Istor.
PY 2022
VL 11
IS 1
BP 184
EP 193
DI 10.31166/VoprosyIstorii202211Statyi28
PG 10
WC History
WE Arts & Humanities Citation Index (A&HCI)
SC History
GA 6I0QR
UT WOS:000885833200016
DA 2025-03-18
ER
PT J
AU Xu, FM
Xia, Y
AF Xu, Fumei
Xia, Yu
TI Development of speech recognition system for remote vocal music teaching
based on Markov model
SO SOFT COMPUTING
LA English
DT Article
DE Sensor network; Speech recognition system; Remote vocal music; Teaching
system
AB With the popularization of smart homes, car audio systems and various speech recognition software, speech recognition systems have gradually entered people's sights and are favored by most users because of their practicability and accuracy. Cognition is an important interface for human-computer interaction. It will become a research focus in the field of artificial intelligence. It plays an important role in cultivating the basic characteristics of music and cultivating students' interest in music, and vocal music teaching. Teaching traditional vocal music education to students is in the form of classrooms, such as vocal music, arrangement, and bel canto. The disadvantage is the lack of communication between the classroom and teachers and students. On the other hand, the development of Internet technology provides a new teaching method for traditional vocal music teaching and provides a network infrastructure for building a vocal teaching system platform. Therefore, this article provides a preliminary construction of a remote vocal music education platform by combining vocal music education with Internet technology. The remote audio and video training system is a complex and relatively large project with multiple functions and is to introduce important functions in this system. At the same time, register and log in to the remote voice and video implementation requirements and system functions, respectively, to realize functions such as video training and video-on-demand training.
C1 [Xu, Fumei] Jiangxi Normal Univ, Nanchang 330022, Jiangxi, Peoples R China.
[Xia, Yu] Nanchang Hangkong Univ, Nanchang 330063, Jiangxi, Peoples R China.
C3 Jiangxi Normal University; Nanchang Hangkong University
RP Xia, Y (corresponding author), Nanchang Hangkong Univ, Nanchang 330063, Jiangxi, Peoples R China.
EM 47056@nchu.edu.cn
OI Xu, Fumei/0000-0002-3320-4830; Xia, Yu/0000-0002-1062-1439
FU Humanities and Social Science Research Planning Fund Project of the
Ministry of Education in China 2020: Research on "Environmental
Music"Cultural Mission
FX This paper was supported by The Humanities and Social Science Research
Planning Fund Project of the Ministry of Education in China 2020:
Research on "Environmental Music"Cultural Mission.
NR 16
TC 3
Z9 3
U1 3
U2 12
PU SPRINGER
PI NEW YORK
PA ONE NEW YORK PLAZA, SUITE 4600, NEW YORK, NY, UNITED STATES
SN 1432-7643
EI 1433-7479
J9 SOFT COMPUT
JI Soft Comput.
PD JUL
PY 2023
VL 27
IS 14
BP 10237
EP 10248
DI 10.1007/s00500-023-08277-8
EA MAY 2023
PG 12
WC Computer Science, Artificial Intelligence; Computer Science,
Interdisciplinary Applications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA I3HP5
UT WOS:000986478400004
OA Green Submitted
DA 2025-03-18
ER
PT J
AU Zhu, YZ
Luo, CZ
Zou, YP
Chen, DP
Wu, KS
AF Zhu, Yuzheng
Luo, Chengzhe
Zou, Yongpan
Chen, Dongping
Wu, Kaishun
TI TimbreSense: Timbre Abnormality Detection for Bel Canto with Smart
Devices
SO ACM TRANSACTIONS ON SENSOR NETWORKS
LA English
DT Article
ID SINGING VOICE; CLASSIFICATION
AB With the rise of mobile devices, bel canto practitioners increasingly utilize smart devices as auxiliary tools for improving their singing skills. However, they frequently encounter timbre abnormalities during practice, which, if left unaddressed, can potentially harm their vocal organs. Existing singing assessment systems primarily focus on pitch and melody and lack real-time detection of bel canto timbre abnormalities. Moreover, the diverse vocal habits and timbre compositions among individuals present significant challenges in cross-user recognition of such abnormalities. To address these limitations, we propose TimbreSense, a novel bel canto timbre abnormality detection system. TimbreSense enables real-time detection of the five major timbre abnormalities commonly observed in bel canto singing. We introduce an effective feature extraction pipeline that captures the acoustic characteristics of bel canto singing. By applying temporal average pooling to the Short-Time Fourier Transform spectrogram, we reduce redundancy while preserving essential frequency-domain information. Our system leverages a transformer model with self-attention mechanisms to extract correlation and semantic features of overtones in the frequency domain. Additionally,
C1 [Zhu, Yuzheng; Luo, Chengzhe; Zou, Yongpan; Chen, Dongping] Shenzhen Univ, Coll Comp Sci & Software Engn, Shenzhen, Guangdong, Peoples R China.
[Wu, Kaishun] Hong Kong Univ Sci & Technol, Informat Hub, Guangzhou Campus, Guangzhou, Guangdong, Peoples R China.
C3 Shenzhen University; Hong Kong University of Science & Technology
RP Zou, YP (corresponding author), Shenzhen Univ, Coll Comp Sci & Software Engn, Shenzhen, Guangdong, Peoples R China.
EM zhuyuzheng2022@email.szu.edu.cn; luochengzhe2020@email.szu.edu.cn;
yongpan@szu.edu.cn; 3265637790@163.com; wuks@hkust-gz.edu.cn
RI Chen, Dongping/LSL-8606-2024
OI Wu, Kaishun/0000-0003-2216-0737
FU National Natural Science Foundation of China (NSFC) [62172286,
U2001207]; Guangdong Basic and Applied Basic Research Foundation
[2022A1515011509]; Guangdong Provincial Key Laboratory of Integrated
Communication, Sensing, and Computation for Ubiquitous Internet of
Things [2023B1212010007]; Project of the DEGP [2023KCXTD042]; Tencent's
"Rhinoceros Birds" Scientific Research Fund for Young Researchers of
Shenzhen University
FX This work was supported in part by the National Natural Science
Foundation of China (NSFC) under Grants 62172286 and U2001207, in part
by the Guangdong Basic and Applied Basic Research Foundation under Grant
2022A1515011509, in part by the Guangdong Provincial Key Laboratory of
Integrated Communication, Sensing, and Computation for Ubiquitous
Internet of Things under Grant 2023B1212010007, in part by the Project
of the DEGP under Grant 2023KCXTD042, and by Tencent's "Rhinoceros
Birds" Scientific Research Fund for Young Researchers of Shenzhen
University.
NR 46
TC 0
Z9 0
U1 1
U2 1
PU ASSOC COMPUTING MACHINERY
PI NEW YORK
PA 1601 Broadway, 10th Floor, NEW YORK, NY USA
SN 1550-4859
EI 1550-4867
J9 ACM T SENSOR NETWORK
JI ACM Trans. Sens. Netw.
PD JAN
PY 2025
VL 21
IS 1
AR 7
DI 10.1145/3708545
PG 20
WC Computer Science, Information Systems; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Telecommunications
GA W1D9R
UT WOS:001416077000002
DA 2025-03-18
ER
PT J
AU Reid, RL
AF Reid, Robert L.
TI Bel Canto
SO CIVIL ENGINEERING
LA English
DT Article
NR 0
TC 0
Z9 0
U1 0
U2 2
PU ASCE-AMER SOC CIVIL ENGINEERS
PI RESTON
PA 1801 ALEXANDER BELL DR, RESTON, VA 20191-4400 USA
SN 0885-7024
J9 CIVIL ENG
JI Civil Eng.
PD DEC
PY 2009
VL 79
IS 12
BP 46
EP 55
PG 10
WC Engineering, Civil
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Engineering
GA 531GU
UT WOS:000272653100015
DA 2025-03-18
ER
PT J
AU Hongtao, W
Li, G
AF Hongtao, Wang
Li, Gong
TI A Method for Evaluating the Accuracy of Vocal Art Performance of
Singers' Voices Based on Sensor Space Localization Algorithm
SO MOBILE INFORMATION SYSTEMS
LA English
DT Article
ID SYSTEM
AB Recently, research on singing assessment has focused on analyzing singer characteristics rather than building an automated evaluating approach. Hence, there are many methods for evaluating the accuracy of singer's singing performance. Traditional methods mostly use quantitative analysis approach for the accuracy analysis of vocal artistic performance, and the results have obvious ambiguity and correlation. Therefore, this paper proposes a method for evaluating the accuracy of vocal art expression of singers' voices based on a sensor spatial localization algorithm. The adaptive cascade retrieval control approach is used to find and mine the singers' performance based on their voice characteristics. The sensor spatial location algorithm and huge vocal music resources with high precision are utilized to locate the vocal music sources in the mining results. The vocal music of the singers is received through the vocal music preprocessing platform, which sends and controls musical compositions. The adaptive frequency's shift filter and the wavelet transform method are used to filter out any noise in the music. Finally, the accurate evaluation of singer vocal artistic performance is realized from the aspects of music beat detection, note boundary accuracy analysis, and voiced segment accuracy detection. The experimental results show that our proposed method can reduce the error of the sound source's localization and can effectively filter out the noise in the music signal.
C1 [Hongtao, Wang; Li, Gong] Dance Guangzhou Univ, Coll Mus, Guangzhou 510006, Peoples R China.
RP Li, G (corresponding author), Dance Guangzhou Univ, Coll Mus, Guangzhou 510006, Peoples R China.
EM wanghongtao@mail.ccnu.edu.cn; luejiu07youhao1@163.com
FU Youth Fund Project of Humanities and Social Sciences Research of the
Ministry of Education [21YJC760077]
FX This work was supported by the Youth Fund Project of Humanities and
Social Sciences Research of the Ministry of Education in 2021, "A Study
of Chinese Classical Poetry and Songs from the Perspective of Language
Musicology (1912-2012)" (project approval number: 21YJC760077).
NR 29
TC 1
Z9 1
U1 0
U2 7
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1574-017X
EI 1875-905X
J9 MOB INF SYST
JI Mob. Inf. Syst.
PD JUL 9
PY 2022
VL 2022
AR 5248639
DI 10.1155/2022/5248639
PG 12
WC Computer Science, Information Systems; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Telecommunications
GA 3F6MQ
UT WOS:000830781400003
OA hybrid
DA 2025-03-18
ER
PT J
AU Zhou, M
Deng, SS
AF Zhou, Meng
Deng, Shushan
TI ECHOES OF THE SACRED: PHILOSOPHICAL AND SPIRITUAL DIMENSIONS OF
PRESERVING AND DIGITALLY TRANSMITTING AMERICAN MUSICAL HERITAGE
SO EUROPEAN JOURNAL FOR PHILOSOPHY OF RELIGION
LA English
DT Article
DE Cultural Heritage; Music Beautiful Voice Singing; Auxiliary Teaching;
Coverage; Digital Inheritance
ID BEL CANTO
AB In the contemporary world, the safeguarding and transmission of cultural heritage have garnered increasing attention, emphasizing the need for comprehensive strategies to preserve such legacies. American vocal music, with its rich spiritual and cultural connotations, represents a critical element of this heritage. This paper explores the unique characteristics and historical significance of American singing styles, particularly focusing on how these forms embody broader philosophical and spiritual narratives. Employing digital technologies, this study not only seeks to preserve the authentic essence of these musical expressions but also to enhance their accessibility and educational value. The implementation of digital tools has facilitated an extensive reach, with coverage of American vocal music's historical context achieving a 95% rate. Updates are frequent, occurring approximately 85 times, ensuring the material remains relevant and engaging. The application of digital strategies has significantly impacted educational outcomes, with student feedback scoring between 9.2 and 9.5 on a scale of 10, and a 95% acceptance rate of digital content on American vocal music. These findings underscore the effectiveness of digital media in promoting and preserving musical heritage, thereby increasing awareness and appreciation among newer generations. More importantly, this approach allows for a deeper engagement with the philosophical and spiritual dimensions of American singing, ensuring that the transmission of this cultural form remains not only intact but vibrant and meaningful. Through the digital preservation and educational dissemination of American vocal music, this study contributes to the ongoing development of music education and the broader understanding of its cultural and spiritual impact.
C1 [Zhou, Meng] Hechi Univ, Fac Mus & Dance, Hechi 546300, Guangxi, Peoples R China.
C3 Hechi University
RP Zhou, M (corresponding author), Hechi Univ, Fac Mus & Dance, Hechi 546300, Guangxi, Peoples R China.
EM mAs804963871@163.com; 804963871@qq.com
NR 23
TC 0
Z9 0
U1 3
U2 3
PU EUROPEAN JOURNAL PHILOSOPHY RELIGION
PI INNSBRUCK
PA C/O UNIV INNSBRUCK, INST CHRISTLICHE PHILOSOPHIE, KARL-RAHNER-PLATZ 1,
INNSBRUCK, A-6020, AUSTRIA
SN 1689-8311
J9 EUR J PHILOS RELIG
JI Eur. J. Philos. Relig.
PY 2024
VL 16
IS 2
BP 156
EP 173
DI 10.24204/EJPR.2024.4377
PG 18
WC Philosophy; Religion
WE Arts & Humanities Citation Index (A&HCI)
SC Philosophy; Religion
GA G7R7N
UT WOS:001318570300010
DA 2025-03-18
ER
PT J
AU Guinther, LT
AF Guinther, Louise T.
TI JESSICA PRATT IS AN UNINHIBITED BEL CANTO PRIMA DONNA
SO OPERA NEWS
LA English
DT Article
NR 0
TC 0
Z9 0
U1 0
U2 0
PU METROPOLITAN OPERA GUILD INC
PI NEW YORK
PA 70 LINCOLN CENTER PLAZA, FL 6, NEW YORK, NY 10023 USA
SN 0030-3607
EI 1938-1506
J9 OPERA NEWS
JI Opera News
PD NOV
PY 2021
VL 86
IS 5
BP 29
EP 34
PG 6
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA WN2HW
UT WOS:000711595800009
DA 2025-03-18
ER
PT J
AU Tang, ZC
AF Tang, Zhangcheng
TI Music Sense Analysis of Bel Canto Audio and Bel Canto Teaching Based on
LSTM Mixed Model
SO MOBILE INFORMATION SYSTEMS
LA English
DT Article
AB As we all know, as the soul of music artists, the cultivation of music sense is an indispensable and important part of Bel Canto teaching. Traditional music classroom education lags behind the development of the information age. According to the educational method of Bel Canto teaching, the recognition experiment of Bel Canto audio is carried out, which helps students analyze the content of music sense contained in music works, and teachers cultivate students' music sense and music theory knowledge according to effective results. In order to better let students appreciate the true meaning of music, it is necessary to add online tools to assist Bel Canto teaching. Traditional methods neither teach students in accordance with their aptitude from the actual situation, but use the rapidly developing computer technology to match resources, nor does it seriously cultivate students' ability to appreciate music and perceive emotions. Based on the above problems, this paper starts from the field of deep learning and plans to build a hybrid model related to LSTM. The results of this paper are as follows: (1) The CNN-LSTM model has the highest recognition rate curve, and the recognition rate of some emotions is over 90%; the loss rate tends to be stable at 200 iterations, and the convergence speed is rapid. (2) After preprocessing, the emotion recognition rate is higher, and the average accuracy of audio features extracted based on spectrogram + LLDs in emotion is about 0.7. (3) According to the actual scene application, the best effect of music sense cultivation is to use the model to assist classroom teaching, and the highest score can reach 8.8 points. In addition, the error between the emotional expression identified by the model and the original work is between 0 and 0.5 points, and the emotional expression effect is excellent. (4) The model can also recognize different kinds and times of emotion in 5-minute Bel Canto works. The above experimental results show that the model basically meets the requirements of the subject, and its performance is excellent, but the details need to be optimized.
C1 [Tang, Zhangcheng] Hunan First Normal Univ, Changsha 410205, Peoples R China.
C3 Hunan First Normal University
RP Tang, ZC (corresponding author), Hunan First Normal Univ, Changsha 410205, Peoples R China.
EM tzc8573@hnfnu.edu.cn
NR 25
TC 3
Z9 3
U1 1
U2 19
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1574-017X
EI 1875-905X
J9 MOB INF SYST
JI Mob. Inf. Syst.
PD JUN 22
PY 2022
VL 2022
AR 1875815
DI 10.1155/2022/1875815
PG 8
WC Computer Science, Information Systems; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Telecommunications
GA 2S5MX
UT WOS:000821837300005
OA gold
DA 2025-03-18
ER
PT J
AU Ju, LS
AF Ju, Luansheng
TI Systematic research on vocal art performance and human voice science
based on wireless sensors
SO JOURNAL OF INTELLIGENT & FUZZY SYSTEMS
LA English
DT Article
DE Vocal art; human body noise; wireless sensor; noise location
ID NOISE
AB In the performance of vocal music, the human body noise science is a problem that cannot be ignored. The wrong pronunciation often causes noise diseases. It is necessary to analyze the localization of vocal noise. Based on this article, the research of vocal art performance and human noise science based on wireless sensor system is studied. At first, this article briefly describes the relationship between vocal art performance and human noise, and then puts forward the importance of noise localization. Aiming at the problem of noise localization, several target localization algorithms are proposed. At the same time, these algorithms are weighted to reduce the complexity and improve the calculation accuracy. The simulation results test confirmed the effectiveness of the target location weighting algorithm without increasing the computational complexity, and the calculation accuracy was significantly improved.
C1 [Ju, Luansheng] Shandong Coll Arts, Jinan 250014, Shandong, Peoples R China.
C3 Shandong University of Arts
RP Ju, LS (corresponding author), Shandong Coll Arts, Jinan 250014, Shandong, Peoples R China.
EM JLS@163.com
NR 20
TC 0
Z9 0
U1 0
U2 1
PU IOS PRESS
PI AMSTERDAM
PA NIEUWE HEMWEG 6B, 1013 BG AMSTERDAM, NETHERLANDS
SN 1064-1246
EI 1875-8967
J9 J INTELL FUZZY SYST
JI J. Intell. Fuzzy Syst.
PY 2019
VL 37
IS 5
BP 6047
EP 6054
DI 10.3233/JIFS-179187
PG 8
WC Computer Science, Artificial Intelligence
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA JQ3FN
UT WOS:000498834900028
DA 2025-03-18
ER
PT J
AU Wang, XP
Li, Y
AF Wang, Xianpeng
Li, Yuan
TI ANALYSIS OF THE EFFECT OF MUSIC BEL CANTO TEACHING INNOVATION ON COLLEGE
STUDENTS' PHOBIA
SO PSYCHIATRIA DANUBINA
LA English
DT Article
DE music bel canto teaching; phobia; positive psychology; anxious
ID ANXIETY; INTERVENTIONS; DEPRESSION
AB Background: In universities, students are exposed to more and more new things and face more and more contradictions and problems. However, the high expectations and pressures from society, families, schools and students themselves can easily lead to various psychological problems and psychological anxiety, such as learning anxiety and employment anxiety. When anxiety exists for a long time, and the degree is too heavy, it will lead to students suffering from phobia, such as learning phobia, social phobia, etc., which greatly affects students' normal study and life. College music bel canto teaching is an effective means to relieve students' anxiety and then treat students' phobia. However, the current college music bel canto teaching has many defects, the teaching quality is low, and the easing effect on students' anxiety is not obvious. Therefore, based on the positive psychology, the research innovates and improves the college music bel canto teaching mode in order to alleviate students' anxiety and treat students' phobia.
Subjects and methods: In a university in a city, volunteers were recruited through the school's official account, the notice of class counselors, and the distribution of leaflets on campus. Before the experiment, inform the students of the experiment method and purpose, and allow the students to quit. After screening, a total of 61 students were left as experimental subjects. The students were divided into two classes, the research group and the control group. For the students in the research group, the innovative college music bel canto teaching mode is adopted for teaching. For the control group, the traditional college music bel canto teaching mode was used. After the same teaching time, the scale survey tool was used to investigate the remission of phobia in two classes.
Results: Before the teaching experiment, the students in the two classes had the same degree of psychological problems, and the difference was very small. After the teaching experiment, the psychological problems of the students in the research group were effectively solved, and the psychological pressure was effectively relieved. The relief of psychological stress in the control group was inferior to that in the study group.
Conclusions: Anxiety refers to a negative emotional state that occurs when human beings encounter difficulties, setbacks or blows, including tension, anxiety, fear and anxiety caused by impaired self-esteem, loss of self-confidence, frustration and guilt. The long-term excessive anxiety will lead to the students' phobia, make the students have a fear of learning and school, and the students' learning activities will be affected. The research is based on positive psychology to innovate and improve the college music bel canto teaching mode, so as to relieve students' anxiety and psychological pressure, and treat students' phobia.
C1 [Wang, Xianpeng] Guangdong Ocean Univ, Zhanjiang 524088, Peoples R China.
[Li, Yuan] Lingnan Normal Univ, Zhanjiang 524088, Peoples R China.
C3 Guangdong Ocean University; LingNan Normal University
RP Wang, XP (corresponding author), Guangdong Ocean Univ, Zhanjiang 524088, Peoples R China.
EM Wang_xianpeng1985@163.com
NR 15
TC 0
Z9 0
U1 1
U2 9
PU MEDICINSKA NAKLADA
PI ZAGREB
PA VLASKA 69, HR-10000 ZAGREB, CROATIA
SN 0353-5053
EI 1849-0867
J9 PSYCHIAT DANUB
JI Psychiatr. Danub.
PY 2022
VL 34
SU 4
BP S1070
EP S1074
PG 5
WC Psychiatry
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Psychiatry
GA 3F7FH
UT WOS:000830830000661
DA 2025-03-18
ER
PT J
AU SENGUPTA, R
AF SENGUPTA, R
TI STUDY ON SOME ASPECTS OF THE SINGERS FORMANT IN NORTH INDIAN CLASSICAL
SINGING
SO JOURNAL OF VOICE
LA English
DT Article
AB This article deals with a spectrographic analysis of the singer''s formant as occurred during singing of the vowels /a/,/i/, and /o/ in North Indian classical vocal music. The resonance balance, center frequency, and bandwidth are shown as a function of fundamental frequency for eight singers. Two new parameters have been defined viz. asymmetry parameter (A) and spectral energy balance (W). Their variation with fundamental frequency is shown.
RP SANGEE RES ACAD, SCI RES DEPT, 1 NSC BOSE RD, Kolkata 700040, INDIA.
NR 0
TC 5
Z9 6
U1 1
U2 3
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JUN
PY 1990
VL 4
IS 2
BP 129
EP 134
DI 10.1016/S0892-1997(05)80137-7
PG 6
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA DF095
UT WOS:A1990DF09500004
DA 2025-03-18
ER
PT J
AU Feng, DL
AF Feng Dalei
TI Thinking of Chinese music academies to promote the development of
national vocal music
SO VOPROSY ISTORII
LA English
DT Article
DE China; music; national vocal development; traditional culture; education
reform
AB Over the past half century, China's music academies have achieved some success in national vocal education, but they have also exposed many problems, and the root cause of these problems lies in the lack of cultural foundation. The characteristics of vocal performance determine that the establishment of vocal singing methods and teaching systems originate from stage practice, so for a long time, the stage practice of Chinese national vocal music has been far ahead of theory.
C1 [Feng Dalei] Zhaoqing Univ, Mus Coll, Zhaoqing, Peoples R China.
C3 Zhaoqing University
RP Feng, DL (corresponding author), Zhaoqing Univ, Mus Coll, Zhaoqing, Peoples R China.
EM fengdalei147@163.com
NR 11
TC 0
Z9 0
U1 1
U2 5
PU VOPROSY ISTORII
PI MOSCOW
PA VOPROSY ISTORII, MOSCOW, 00000, RUSSIA
SN 0042-8779
EI 1938-2561
J9 VOP ISTORII
JI Vopr. Istor.
PY 2023
VL 2
IS 2
BP 218
EP 225
DI 10.31166/VoprosyIstorii202302Statyi55
PG 8
WC History
WE Arts & Humanities Citation Index (A&HCI)
SC History
GA C8WQ3
UT WOS:000964662300022
DA 2025-03-18
ER
PT J
AU Zheng, J
AF Zheng, Jie
TI Using Internet of Things (IoT) Devices for an Interactive Learning
Environment in Music Classes for Studying Bel Canto Technique
SO MUSICA HODIE
LA English
DT Article
DE & Iukcy;& ocy;& Tcy;-devices; phonetic differences; performance style;
virtuosity of performance; workmanship
ID EDUCATION
AB Regarding the context of creating an interactive learning environment, the impact of bel canto vocal pedagogy on the development of performance abilities among Chinese vocal students was studied. Based on the analysis method, the authors identified the advantages of using IoT devices for studying the Bel Canto technique by calculating the significance coefficient. The use of IoT devices for studying the Bel Canto technique contributes to training in breath control (2.557), standardization of musical sounds (2.518), development of vocal power (2.493), expansion of phonetic resonance (2.397), and vibrant expressiveness (2.009). The implementation of voice sensors facilitates detailed monitoring and analysis of students' vocal techniques. These technologies enable instructors to provide more precise and timely recommendations, enhance students' technical skills, and accelerate their progress. It is crucial to investigate the pedagogical and social aspects of IoT integration in music classes and the economic efficiency of these solutions. Standardized methods for assessing the effectiveness of IoT systems in music education need to be developed, and optimal approaches for their integration into traditional teaching methods must be determined.
C1 [Zheng, Jie] Sichuan Normal Univ, Coll Music, Chengdu, Peoples R China.
C3 Sichuan Normal University
RP Zheng, J (corresponding author), Sichuan Normal Univ, Coll Music, Chengdu, Peoples R China.
EM jiezheng@gmx.com
NR 37
TC 0
Z9 0
U1 3
U2 3
PU UNIV FEDERAL GOIAS
PI GOIANIA
PA Av. Esperanca, s/n - Chacaras de Recreio Samambaia, GOIANIA, GOIAS,
BRAZIL
SN 1676-3939
EI 2317-6776
J9 MUSICA HODIE
JI Musica Hodie
PY 2025
VL 25
AR e80289
DI 10.5216/mh.v25.80289
PG 27
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA W6M1Z
UT WOS:001419683400001
OA gold
DA 2025-03-18
ER
PT J
AU Quintana, H
AF Quintana, Hugo
TI Origins of the teaching of bel canto in Caracas. In regard to the study
of the first two singing methods printed in Venezuela
SO REVISTA MUSICAL CHILENA
LA English
DT Article
DE Bel canto; 19th century; teaching; Caracas; opera
AB Through the contextualization, description, analysis and interrelation of the first two singing books published in Caracas, the article reveals very particular details about the first practices of systematic bel canto teaching in Venezuela. The study, based on first-hand eighteenth and nineteenth-century sources, is part of a broader research project aimed at analyzing the bibliographic sources of Venezuelan musical thought. The analysis of the primary sources was complemented with specialized studies of very recent date, all with links available here so that the subject can be deepened. At the end, some additional considerations are added, in order to estimate the value of these texts as part of an editorial and civilizing project designed by the political elite in the origins of Venezuelan republican life, in order to modernize the nation in cultural terms.
C1 [Quintana, Hugo] Univ Cent Venezuela, Caracas, Venezuela.
C3 University of Central Venezuela
RP Quintana, H (corresponding author), Univ Cent Venezuela, Caracas, Venezuela.
EM quintana.hugo@gmail.com
NR 33
TC 1
Z9 1
U1 0
U2 2
PU UNIV CHILE, FACULTY ARTS
PI SANTIAGO
PA CASILLA 2100, SANTIAGO, 1264, CHILE
SN 0716-2790
EI 0717-6252
J9 REV MUSIC CHIL
JI Rev. Music. Chil.
PD JAN-JUN
PY 2022
VL 76
IS 237
BP 172
EP 196
PG 25
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA 3S1CJ
UT WOS:000839340200001
DA 2025-03-18
ER
PT J
AU Erfurth, A
Hoff, P
AF Erfurth, A
Hoff, P
TI Mad scenes in early 19th-century opera
SO ACTA PSYCHIATRICA SCANDINAVICA
LA English
DT Article
DE mental disorders; music; history
ID PSYCHOSES
AB Objective: It is our objective to examine the phenomenon of mad scents in bel canto opera from a modern perspective.
Method: The development of psychiatry and music at the beginning of the 19th century is described. Common elements of romantic music and mental disorders are discussed. It is shown how bel canto composers represent psychiatric illness by musical means. The psychopathology depicted in a prototypical mad scene is evaluated.
Results: Early romantic music is characterized by imagination, illusion and loss of structure; characteristics which can be well expressed in mad scenes. While madness (Withdrawal into a utopian world) gained a certain attraction in society, clinical psychiatry increasingly focused on emotional causes of illness and on drug-induction of mental disorders.
Conclusion: Mad scenes in bel canto opera can be understood as expression of an increasing interest in emotional aspects in music and society as well as in clinical psychiatry.
C1 Univ Munster, Dept Psychiat & Psychotherapy, D-48129 Munster, Germany.
Rhein Westfal TH Aachen, Dept Psychiat & Psychotherapy, Aachen, Germany.
C3 University of Munster; RWTH Aachen University
RP Erfurth, A (corresponding author), Univ Munster, Klin Psychiat & Psychotherapie, Albert Schweitzer Str 11, D-48129 Munster, Germany.
RI Erfurth, Andreas/ABA-5740-2021; Hoff, Paul/A-1636-2008
OI Erfurth, Andreas/0000-0003-3870-3521; Hoff, Paul/0000-0002-9854-414X
NR 32
TC 8
Z9 16
U1 0
U2 6
PU MUNKSGAARD INT PUBL LTD
PI COPENHAGEN
PA 35 NORRE SOGADE, PO BOX 2148, DK-1016 COPENHAGEN, DENMARK
SN 0001-690X
J9 ACTA PSYCHIAT SCAND
JI Acta Psychiatr. Scand.
PD OCT
PY 2000
VL 102
IS 4
BP 310
EP 313
DI 10.1034/j.1600-0447.2000.102004310.x
PG 4
WC Psychiatry
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Psychiatry
GA 361PF
UT WOS:000089730900012
PM 11089733
DA 2025-03-18
ER
PT J
AU Wan, MX
AF Wan, Mingxia
TI Designing an online vocal learning based on ZigBee-enabled wireless
platform
SO WIRELESS NETWORKS
LA English
DT Article
DE Vocal music singing; Online learning platform; Hadoop; Spectrum
characteristics; Emotion; Music score; ZigBee network; Cloud platform;
Wireless network
ID RESOURCE-ALLOCATION; INTERNET; NOMA
AB Vocal learning has found its proliferation in recent years due to the advancement in wireless networking. Vocal art encompasses profound cultural values and aesthetic preferences, making wireless platforms, e.g. Wi-Fi and ZigBee, essential for the enhancement of online vocal learning. ZigBee, as a wireless platform, has more recently been used quite frequently for online vocal learning and music. This paper aims to design an efficient wireless-enabled platform by using the lightweight features of ZigBee to support online vocal learning and expressions. The platform enables data transmission, storage, analysis, and playback of vocal learning sounds through the ZigBee network. It is built on a cloud platform, utilizing Docker virtualization technology to deploy a Hadoop distributed cluster, effectively simulating a distributed environment. The platform incorporates a model for recognizing musical sound and noise signals, empowering the online learning control platform to detect various characteristics of vocal music tones. Vocal music learning is enhanced by extracting endpoint fusion spectrum features and employing a tone adjustment and dynamic detection model. The proposed method improves anti-interference capability, online learning control, vocal tone recognition, and emotional expression accuracy. Simulation results demonstrate its effectiveness in vocal music, online learning control, and tone recognition, leading to more precise vocal music pronunciation and intonation registration.
C1 [Wan, Mingxia] Nanjing Normal Univ, Taizhou Coll, Taizhou, Jiangsu, Peoples R China.
C3 Nanjing Normal University
RP Wan, MX (corresponding author), Nanjing Normal Univ, Taizhou Coll, Taizhou, Jiangsu, Peoples R China.
EM 2015021221@mailc.qjnu.edu.cn
NR 34
TC 0
Z9 0
U1 0
U2 10
PU SPRINGER
PI DORDRECHT
PA VAN GODEWIJCKSTRAAT 30, 3311 GZ DORDRECHT, NETHERLANDS
SN 1022-0038
EI 1572-8196
J9 WIREL NETW
JI Wirel. Netw.
PD JAN
PY 2024
VL 30
IS 1
BP 179
EP 192
DI 10.1007/s11276-023-03443-0
EA AUG 2023
PG 14
WC Computer Science, Information Systems; Engineering, Electrical &
Electronic; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering; Telecommunications
GA FK6I7
UT WOS:001049159600002
DA 2025-03-18
ER
PT J
AU Gong, XH
AF Gong, Xiaohui
TI Research on Discrete Dynamic System Modeling of Vocal Performance
Teaching Platform Based on Big Data Environment
SO DISCRETE DYNAMICS IN NATURE AND SOCIETY
LA English
DT Article
ID NEURAL-NETWORKS
AB The traditional teaching model of national vocal music in colleges and universities has some problems, such as low quality of teaching, poor diversity of teaching, and low interest of students. Based on this, this study studies the innovation of the teaching model of national vocal music in colleges and universities based on the deep recurrent neural network algorithm and designs the teaching quality evaluation model based on the deep recurrent neural network algorithm. The collection of data and information is realized from the aspects of students' class state, vocal music examination results, classroom interaction, etc., and the comprehensive analysis is carried out using the deep recursive neural network algorithm, to realize the multiple analysis and objective evaluation of the whole process of different teaching modes of national vocal music in music colleges and universities, according to the different characteristics and teaching objectives of the teaching process of national vocal music in music colleges and universities The standard requires accurate analysis and evaluation. The results show that the optimization model based on the deep recurrent neural network algorithm has the advantages of high feasibility, high intelligence, and wide range of applications. The experiments show that the deep recurrent neural network algorithm can analyze the effectiveness of the innovation model, and the fuzzy evaluation method can realize the comprehensive evaluation of the innovation mode, which is conducive to the improvement of students' vocal music learning ability.
C1 [Gong, Xiaohui] Yantai Univ, Sch Mus & Dance, Yantai 264003, Shandong, Peoples R China.
C3 Yantai University
RP Gong, XH (corresponding author), Yantai Univ, Sch Mus & Dance, Yantai 264003, Shandong, Peoples R China.
EM gongxiaohui@ytu.edu.cn
NR 17
TC 4
Z9 4
U1 4
U2 8
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 1026-0226
EI 1607-887X
J9 DISCRETE DYN NAT SOC
JI Discrete Dyn. Nat. Soc.
PD FEB 24
PY 2022
VL 2022
AR 5111896
DI 10.1155/2022/5111896
PG 10
WC Mathematics, Interdisciplinary Applications; Multidisciplinary Sciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Mathematics; Science & Technology - Other Topics
GA 0B0VH
UT WOS:000774361000001
OA gold
DA 2025-03-18
ER
PT J
AU McHenry, MA
Evans, J
Powitzky, E
AF McHenry, Monica A.
Evans, Joseph
Powitzky, Eric
TI Effects of Bel Canto Training on Acoustic and Aerodynamic
Characteristics of the Singing Voice
SO JOURNAL OF VOICE
LA English
DT Article
DE Singing training; Professional voice; Classical singing; Aerodynamics;
Respiration
ID VOCAL INTENSITY; SINGERS; EDUCATION
AB Objectives. This study was designed to assess the impact of 2 years of operatic training on acoustic and aerodynamic characteristics of the singing voice.
Study Design. This is a longitudinal study.
Methods. Participants were 21 graduate students and 16 undergraduate students. They completed a variety of tasks, including laryngeal videostroboscopy, audio recording of pitch range, and singing of syllable trains at full voice in chest, passaggio, and head registers. Inspiration, intraoral pressure, airflow, and sound pressure level (SPL) were captured during the syllable productions.
Results. Both graduate and undergraduate students significantly increased semitone range and SPL. The contributions to increased SPL were typically increased inspiration, increased airflow, and reduced laryngeal resistance, although there were individual differences. Two graduate students increased SPL without increased airflow and likely used supraglottal strategies to do so.
Conclusions. Students demonstrated improvements in both acoustic and aerodynamic components of singing. Increasing SPL primarily through respiratory drive is a healthy strategy and results from intensive training.
C1 [McHenry, Monica A.] New York Med Coll, Dept Speech Language Pathol, Valhalla, NY 10595 USA.
[Evans, Joseph] Univ Houston, Moores Sch Mus, Houston, TX USA.
[Powitzky, Eric] Ctr ENT, Houston, TX USA.
C3 New York Medical College; University of Houston System; University of
Houston
RP McHenry, MA (corresponding author), New York Med Coll, Dept Speech Language Pathol, Valhalla, NY 10595 USA.
EM monica_mchenry@nymc.edu
NR 16
TC 3
Z9 8
U1 0
U2 11
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAR
PY 2016
VL 30
IS 2
BP 198
EP 204
DI 10.1016/j.jvoice.2014.11.009
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA DI4EI
UT WOS:000373452800010
PM 26559334
DA 2025-03-18
ER
PT J
AU McHenry, MA
Evans, J
AF McHenry, Monica A.
Evans, Joseph
TI Aerobic Exercise as a Warm-up for Singing: Acoustic Impacts
SO JOURNAL OF VOICE
LA English
DT Article
DE Vibrato; Singing power ratio; Pitch accuracy; Workout; Bel canto
AB Objectives. In a previous work, it was found that a 30-minute aerobic workout significantly increased singers' sound pressure level and airflow during voicing, suggesting a shift to flow phonation. This companion study was designed to assess the impact of the same workout on pitch accuracy, vibrato rate, extent and regularity, and the singing power ratio.
Study Design. This study is a cohort experimental study.
Methods. Twenty-two students in an academic vocal performance program participated. They performed an aerobic workout for 30 minutes. Before and after the workout, they sang the first seven notes of the "Star-Spangled Banner" on /pa/, producing seven /pa/s on the last note. The students then sang an ascending and descending scale to the ninth on "ah." The following measures were obtained from the "Star-Spangled Banner": pitch accuracy calculated on the seventh note ("by"); and vibrato rate, regularity, and extent, calculated on the most sustained sixth note ("see"). For the scale, the following measures were calculated from each note: pitch accuracy; vibrato rate, regularity, and extent; and the singing power ratio.
Results. There were no significant differences from pre- to postworkout across any measures.
Conclusions. It appears that an aerobic workout positively impacts the respiratory driving force for voice production but does little for phonation. Critical for performance is the fine tuning and balancing across the respiratory, laryngeal, and resonance systems. It appears that this can only be achieved with vocalization exercises, facilitating coordination within and across the physiological systems involved in the complex art of bel canto.
C1 [McHenry, Monica A.] New York Med Coll, Valhalla, NY 10595 USA.
[Evans, Joseph] Univ Houston, Sch Mus, Houston, TX USA.
C3 New York Medical College; University of Houston System; University of
Houston
RP McHenry, MA (corresponding author), New York Med Coll, Dept Speech Language Pathol, 30 Plaza West,Ste 214, Valhalla, NY 10595 USA.
EM monica_mchenry@nymc.edu
NR 21
TC 3
Z9 3
U1 1
U2 11
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JUL
PY 2017
VL 31
IS 4
BP 438
EP 441
DI 10.1016/j.jvoice.2016.10.023
PG 4
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA FB4YC
UT WOS:000406147000007
PM 27939120
DA 2025-03-18
ER
PT J
AU Ekholm, E
Papagiannis, GC
Chagnon, FP
AF Ekholm, E
Papagiannis, GC
Chagnon, FP
TI Relating objective measurements to expert evaluation of voice quality in
western classical singing: Critical perceptual parameters
SO JOURNAL OF VOICE
LA English
DT Article; Proceedings Paper
CT Voice Foundation 25th Annual Symposium on Care of the Professional Voice
/ International-Association-of-Phonosurgeons IVth International
Symposium on Phonosurgery
CY JUN 03-09, 1996
CL PHILADELPHIA, PA
SP Voice Fdn, Int Assoc Phonosurgeons
DE acoustics; voice perception; vocal performance; voice quality; voice
evaluation; classical singing
ID SPECTRAL-ANALYSIS; VIBRATO
AB Communication between voice pedagogues and voice scientists is often impeded by reliance on colorful and sometimes seemingly contradictory descriptions of vocal production and voice quality. A recent study identified perceptual criteria which are generally used by voice experts for the assessment of voice quality in classical singing. In the present study, performances by singers of various voice types and levels of accomplishment were rated by panels of expert voice teachers according to four perceptual criteria: "resonance/ring:" "color/warmth:" "clarity/focus," and "appropriate vibrato." Subjective ratings were related to objective measurements taken from acoustic analysis of the voice signal. Possible acoustic correlates of critical perceptual parameters influencing judgments of voice quality were thus identified. Results could help bridge the terminology gap between vocal artists and scientists, and help to promote understanding of the way in which acoustic stimuli influence perception of voice quality.
C1 McGill Univ, Fac Mus, Montreal, PQ, Canada.
McGill Univ, Montreal Gen Hosp, Dept Otolaryngol, Montreal, PQ, Canada.
C3 McGill University; McGill University Affiliates
RP Ekholm, E (corresponding author), 799 Louis Hebert, Longueuil, PQ J4J 4P9, Canada.
NR 29
TC 59
Z9 79
U1 1
U2 11
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD JUN
PY 1998
VL 12
IS 2
BP 182
EP 196
DI 10.1016/S0892-1997(98)80038-6
PG 15
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Conference Proceedings Citation Index - Science (CPCI-S)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA ZV112
UT WOS:000074270300008
PM 9649074
DA 2025-03-18
ER
PT J
AU Nekouei, P
AF Nekouei, Pouya
TI Gender and Singing in Pahlavi Soundscape: Modern Feminine Culture and
Masculine Politics in the Age of Popular Culture, Vision, and Rumors; A
Discussion of Sensory History in Modern Iran
SO IRANIAN STUDIES
LA English
DT Article
DE Vocal Music; Gender and Sexuality; Body; Senses; Modern woman; Pahlavi
Iran
ID SENSES
AB Focusing on the cultural history of vocal music in Pahlavi Iran, this article examines the senses in modern Iranian history. As the article shows, the performance of Iranian vocal music became subject to a gendered male and female dichotomy. While this dichotomy did not exist in early Pahlavi Iran, in the early 1950s, a gendered consciousness and language emerged among male musicophilias, eventually separating genres of vocal performance across gender lines. Hence, vocal music known as & amacr;v & amacr;z became increasingly associated with male performers, while tar & amacr;neh and tasnif were increasingly associated with female performers. As the article attempts to show, this gender dichotomy should be contextualized in the broader tension between the sense of vision and sight and disciplined notions of aurality and the body. While the "modern woman's" body permeated the visual domain in the public sphere, the cultural ideals of disciplined aurality and body docility informed the male musicophilias countercultural claims in Pahlavi Iran. Eventually, the latter attempted to challenge the female agency in the public music sphere.
C1 [Nekouei, Pouya] Univ Texas Austin, Dept Middle Eastern Studies, Middle Eastern Hist, Austin, TX 78712 USA.
C3 University of Texas System; University of Texas Austin
RP Nekouei, P (corresponding author), Univ Texas Austin, Dept Middle Eastern Studies, Middle Eastern Hist, Austin, TX 78712 USA.
EM pnr357@my.utexas.edu
NR 105
TC 0
Z9 0
U1 0
U2 0
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 0021-0862
EI 1475-4819
J9 IRAN STUD-UK
JI Iran. Stud.
PD OCT
PY 2024
VL 57
IS 4
BP 560
EP 597
DI 10.1017/irn.2024.17
EA JAN 2025
PG 38
WC Area Studies; Asian Studies
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Area Studies; Asian Studies
GA Z2M7O
UT WOS:001395698900001
DA 2025-03-18
ER
PT J
AU Tian, CY
AF Tian, Chunyu
TI VOCAL MUSIC AS A MEDIUM FOR EMOTIONAL TRANSMISSION: THE APPLICATION OF
EMOTION PHILOSOPHY IN VOCAL MUSIC TEACHING
SO EUROPEAN JOURNAL FOR PHILOSOPHY OF RELIGION
LA English
DT Article
DE Vocal Music; Emotions; Philosophy; Technical Skills; Timbre.
AB Our study explored the application of emotion philosophy in vocal music teaching. We utilized surveys, semi-structured interviews, and focus group discussions to gather data from a group of 18 students. The survey results revealed an average familiarity with emotion philosophy concepts but a strong agreement on the importance of understanding a song's emotions for effective singing. Students perceived their current vocal training to be somewhat helpful in understanding emotional background but felt it focused more on technical skills than fostering emotional connection. Thematic analysis of interview data highlighted several key themes. Students emphasized the importance of imagination and storytelling techniques to connect with a song's emotions. Additionally, they valued understanding the historical context of a work and viewed developing emotional intelligence as beneficial. Integrating philosophical frameworks on emotional expression was seen as a way to gain a deeper understanding of vocal performance. In terms of vocal techniques, timbre variations were seen as a powerful tool for emotional expression. Nuances in dynamics and phrasing were viewed as ways to create specific emotions, and clear articulation was considered important for ensuring listeners grasped the lyrical message and connected with the song's emotional core. Overall, this study suggests that incorporating emotion philosophy concepts and techniques into vocal training has the potential to enhance students' understanding and expression of emotions in their singing.
C1 [Tian, Chunyu] QLU Univ Technol, Sch Phys Educ & Mus, Jinan, Shandong, Peoples R China.
RP Tian, CY (corresponding author), QLU Univ Technol, Sch Phys Educ & Mus, Jinan, Shandong, Peoples R China.
EM 17864188870@163.COM
NR 18
TC 0
Z9 0
U1 6
U2 6
PU EUROPEAN JOURNAL PHILOSOPHY RELIGION
PI INNSBRUCK
PA C/O UNIV INNSBRUCK, INST CHRISTLICHE PHILOSOPHIE, KARL-RAHNER-PLATZ 1,
INNSBRUCK, A-6020, AUSTRIA
SN 1689-8311
J9 EUR J PHILOS RELIG
JI Eur. J. Philos. Relig.
PY 2025
VL 17
IS 1
BP 66
EP 80
DI 10.24204/EJPR.2025.4310
PG 15
WC Philosophy; Religion
WE Arts & Humanities Citation Index (A&HCI)
SC Philosophy; Religion
GA S3U0W
UT WOS:001397503400005
DA 2025-03-18
ER
PT J
AU Zhu, Y
AF Zhu, Yan
TI A Study on the Relationship between Vocal Music Works and Vocal Music
Singing
SO AGRO FOOD INDUSTRY HI-TECH
LA English
DT Article
DE vocal music art; vocal music singing; vocal music works; basic
characteristics; dialectical relationship
AB Two important components of the vocal music art are vocal music works and vocal music singing, which can enhance the connotation of vocal music art and achieve a higher artistic realm through mutual promotion and positive influence. Therefore, this paper first analyzes the basic characteristics of vocal music works and vocal music singing, and then discusses the dialectical relationship between the two. And the dialectical relationship between vocal music works and vocal music singing is mainly composed of three aspects: they are the foundation of artistic creation, knowledge transfer and mutual promotion between each other. The analysis of their relationship can provide a reference for promoting the coordinated development of vocal music works and vocal music singing and improving vocal music creation and singing effect.
C1 [Zhu, Yan] TaiZhou Univ, Mus Coll, Taizhou, Jiangsu, Peoples R China.
C3 Taizhou University - Jiangsu
RP Zhu, Y (corresponding author), TaiZhou Univ, Mus Coll, Taizhou, Jiangsu, Peoples R China.
NR 7
TC 0
Z9 0
U1 7
U2 19
PU TEKNOSCIENZE PUBL
PI MILANO
PA VIALE BRIANZA 22, 20127 MILANO, ITALY
SN 1722-6996
EI 2035-4606
J9 AGRO FOOD IND HI TEC
JI Agro Food Ind. Hi-Tech
PD MAY-JUN
PY 2017
VL 28
IS 3
BP 3385
EP 3387
PG 3
WC Biotechnology & Applied Microbiology; Food Science & Technology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Biotechnology & Applied Microbiology; Food Science & Technology
GA FB2SJ
UT WOS:000405993200355
DA 2025-03-18
ER
PT J
AU Zhang, Y
Xing, J
AF Zhang, Yang
Xing, Jie
TI Study on the Application of Pronunciation Training in Vocal Music
Teaching in Colleges and Universities
SO EDUCATIONAL SCIENCES-THEORY & PRACTICE
LA English
DT Article
DE Pronunciation Training; Vocal Music Education; Colleges and Universities
AB Many researches show that college students are not keen in learning vocal music, and their satisfaction with vocal music teaching is low. How to improve the teaching effect of vocal music teaching in colleges and universities has become a popular concern. Under this background, this study introduces pronunciation training into the vocal music teaching in colleges and universities, and probes into the promoting effect of pronunciation training on the teaching effect of vocal music in colleges and universities. The results show that pronunciation training can increase students' basic knowledge of music theory, enhance their basic understanding of vocal music, improve their interest in learning vocal music, and finally improve the practical effect of vocal music teaching in colleges and universities. This study is of practical guiding significance to the development of vocal music teaching in colleges and universities, especially non-art colleges and universities.
C1 [Zhang, Yang; Xing, Jie] Hebei Agr Univ, Baoding 071001, Peoples R China.
C3 Hebei Agricultural University
RP Zhang, Y (corresponding author), Hebei Agr Univ, Baoding 071001, Peoples R China.
EM yangaijie851128@126.com; 420349976@qq.com
NR 11
TC 0
Z9 0
U1 5
U2 21
PU EDAM
PI ISTANBUL
PA KISIKLI MH ALEMDAG CD YAN YOL SK, SBK IS MERKEZI NO 5, KAT 1 USKUDAR,
ISTANBUL, 81190, TURKEY
SN 2630-5984
EI 2148-7561
J9 EDUC SCI-THEOR PRACT
JI Educ. Sci.-Theory Pract.
PD OCT
PY 2018
VL 18
IS 5
BP 2054
EP 2061
DI 10.12738/estp.2018.5.104
PG 8
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA HF5JP
UT WOS:000454268900103
OA Bronze
DA 2025-03-18
ER
PT J
AU Sun, XY
AF Sun, Xinyue
TI Research on the evolution and development of the singing style of China
national vocal music
SO VOPROSY ISTORII
LA English
DT Article
DE China; national vocal music; singing style; cultural blending;
diversification
AB This article briefly describes the development of China's national vocal music, and studies its style characteristics, so as to improve the understanding and grasp of the development of modern national vocal music by national vocal music workers, improve the development level of national vocal music, and provide ideas for the better development of national vocal music.
C1 [Sun, Xinyue] Shenyang Conservatory Mus, Sch Mus Educ, Shenyang, Peoples R China.
C3 Shenyang Conservatory of Music
RP Sun, XY (corresponding author), Shenyang Conservatory Mus, Sch Mus Educ, Shenyang, Peoples R China.
EM baobaoaimeili@hotmail.com
NR 16
TC 0
Z9 0
U1 2
U2 6
PU VOPROSY ISTORII
PI MOSCOW
PA VOPROSY ISTORII, MOSCOW, 00000, RUSSIA
SN 0042-8779
EI 1938-2561
J9 VOP ISTORII
JI Vopr. Istor.
PY 2023
VL 5
IS 1
BP 212
EP 221
DI 10.31166/VoprosyIstorii202305Statyi16
PG 10
WC History
WE Arts & Humanities Citation Index (A&HCI)
SC History
GA H2SB9
UT WOS:000994506200023
DA 2025-03-18
ER
PT J
AU Xia, WT
AF Xia, Weitao
TI Peculiarities of Singing in Chinese Popular and Traditional Music:
Influence of Musical Genres on Vocals
SO MUSICA HODIE
LA English
DT Article
DE Bel canto Chinese vocal art; Multiculturalism; Music; Traditional
vocal singing; Vocal
AB Under the conditions of multiculturalism, Chinese vocal art has formed its own unique theoretical system based on the characteristics of vocalization, articulation, diction, and breathing. The aims of the study are to identify singing features in Chinese popular and traditional music, as well as to determine the ways in which musical genres influence vocals. Two teachers of modern vocal, two teachers of traditional vocal, 30 students of the Vocal Arts Department of Beijing University, art historians from the Central Conservatory of Music and Lishui University took part in the study. According to the study purpose, it was found that in traditional Chinese vocal arts, the main technique is falsetto (58%), mixed techniques (21.2%), vibrato (13.2%), overtone singing (6.1%), and glissando (1.5%) are also used. In popular singing the key technique is splitting (33.6%), also used: subtone (20.2%), vibrato (17.7%), drive (12.1%), glissando (11.1%), vocal fry register (9.2%), falsetto (3.3%), overtone singing (2%). As a result of the correlation analysis the dependence of popular singing techniques on traditional singing was determined. The coefficient of determination was 33.5%. It was also determined that when performing pop music, vibrato is controlled; noises and growling tones are used in rock music; uncontrolled vibrato, falsetto, and mixed techniques are used in opera; nasal sounds and minimal vibrato are in folk/country music; clear diction, articulation, slides, and scatting in blues/jazz; rhythmic and nasal sounds in hip-hop. The experiment results can be used in pedagogy for teaching vocals in China and abroad, as part of cultural activities related to the organization of events such as festivals, concerts, tourist programs, theatrical performances, etc.
C1 [Xia, Weitao] Lishui Univ, Ethnol Coll, Lishui, Peoples R China.
C3 Lishui University
RP Xia, WT (corresponding author), Lishui Univ, Ethnol Coll, Lishui, Peoples R China.
EM 9011655@qq.com
NR 38
TC 1
Z9 1
U1 8
U2 28
PU UNIV FEDERAL GOIAS
PI GOIANIA
PA ESCOLA DE AGRONOMIA, CAMPUS SAMAMBAIA, GOIANIA, GO, BRAZIL
SN 1676-3939
J9 MUSICA HODIE
JI Musica Hodie
PY 2022
VL 22
AR e73226
DI 10.5216/mh.v22.73226
PG 22
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA 4G2UZ
UT WOS:000849059600001
OA gold
DA 2025-03-18
ER
PT J
AU Jing, Y
Guo, SS
Wu, XF
AF Jing, Yun
Guo, Shanshan
Wu, Xuefei
TI Vocal music teaching mode based on a computer platform
SO AGRO FOOD INDUSTRY HI-TECH
LA English
DT Article
DE Teaching mode; vocal music; computer platform; spectrogram analysis
AB The purpose of this study is to study the teaching mode of vocal music based on a computer platform. Spectrogram analysis in traditional vocal music teaching and multimedia animation vocal music teaching are used as the key technologies in the platform. The vocal music teaching method and reforms made to improve the method can enhance the quality of vocal music teaching, cultivate students' innovative spirit and practice ability, as well as improve their ability to learn effective measures. A new means of teaching method for reformation can maximize the initiatives of both teachers and students, heighten their enthusiasm and creativity, create the "teaching" and "learning'' interactive atmosphere, help create an abstract visualization of the vocal music teaching and visualization, as well as promote the students' singing ability, practical skills, and innovativeness. Analysis and validation of the vocal music teaching method are both conducted to ensure the achievement of optimal skills.
C1 [Jing, Yun; Guo, Shanshan; Wu, Xuefei] Xingtai Univ, Xingtai 054001, Hebei, Peoples R China.
C3 Xingtai University
RP Jing, Y (corresponding author), Xingtai Univ, Xingtai 054001, Hebei, Peoples R China.
NR 10
TC 4
Z9 4
U1 0
U2 8
PU TEKNOSCIENZE PUBL
PI MILANO
PA VIALE BRIANZA 22, 20127 MILANO, ITALY
SN 1722-6996
EI 2035-4606
J9 AGRO FOOD IND HI TEC
JI Agro Food Ind. Hi-Tech
PD JAN-FEB
PY 2017
VL 28
IS 1
BP 2200
EP 2204
PG 5
WC Biotechnology & Applied Microbiology; Food Science & Technology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Biotechnology & Applied Microbiology; Food Science & Technology
GA FB2SA
UT WOS:000405992300075
DA 2025-03-18
ER
PT J
AU Nan, W
AF Nan, Wang
TI The characteristics of Russian vocal music teaching in the
20th century from the perspective of music history
SO VOPROSY ISTORII
LA English
DT Article
DE music history; Russia; 20(th) century; vocal music teaching
AB Russian vocal music teaching in the 20(th) century is full of characteristics, which can provide inspiration for vocal music teaching in other countries from teaching methods. The characteristics of Russian vocal music teaching are inseparable from its own strong music culture. This article aims to explore Russian national specific music features and the characteristics of Russian vocal music teaching in the 20(th) century from the perspective of music history.
C1 [Nan, Wang] Shenyang Conservatory Mus, Mus Educ Coll, Shenyang, Peoples R China.
C3 Shenyang Conservatory of Music
RP Nan, W (corresponding author), Shenyang Conservatory Mus, Mus Educ Coll, Shenyang, Peoples R China.
EM wangnan811113@126.com
NR 10
TC 0
Z9 0
U1 2
U2 8
PU VOPROSY ISTORII
PI MOSCOW
PA VOPROSY ISTORII, MOSCOW, 00000, RUSSIA
SN 0042-8779
EI 1938-2561
J9 VOP ISTORII
JI Vopr. Istor.
PY 2023
VL 3
IS 2
BP 158
EP 165
DI 10.31166/VoprosyIstorii202303Statyi44
PG 8
WC History
WE Arts & Humanities Citation Index (A&HCI)
SC History
GA A5OZ9
UT WOS:000955626500016
DA 2025-03-18
ER
PT J
AU Zhou, YY
AF Zhou Yuanyuan
TI The history of the development of Chinese vocal music art before and
after the founding of the New China: reforms and innovations
SO VOPROSY ISTORII
LA English
DT Article
DE China; vocal music; art education; modern educational technologies
AB This article reviews the development history of Chinese vocal music art before and after the founding of New China, and introducing modern educational technology and other innovations. It is of great significance for the future development of Chinese vocal music art education to promote the integration of vocal music art education and Chinese excellent traditional culture.
C1 [Zhou Yuanyuan] South Korea Sangmyung Univ, Seoul, South Korea.
[Zhou Yuanyuan] Huaqiao Univ, Coll Mus & Dance, Xiamen, Fujian, Peoples R China.
C3 Huaqiao University
RP Zhou, YY (corresponding author), South Korea Sangmyung Univ, Seoul, South Korea.; Zhou, YY (corresponding author), Huaqiao Univ, Coll Mus & Dance, Xiamen, Fujian, Peoples R China.
EM ywzyy@hqu.edu.cn
NR 15
TC 0
Z9 0
U1 4
U2 22
PU VOPROSY ISTORII
PI MOSCOW
PA VOPROSY ISTORII, MOSCOW, 00000, RUSSIA
SN 0042-8779
EI 1938-2561
J9 VOP ISTORII
JI Vopr. Istor.
PY 2023
VL 1
IS 1
BP 254
EP 261
DI 10.31166/VoprosyIstorii202301Statyi07
PG 8
WC History
WE Arts & Humanities Citation Index (A&HCI)
SC History
GA 7W6OJ
UT WOS:000913630600027
DA 2025-03-18
ER
PT J
AU La, FMB
Ledger, WL
Davidson, JW
Howard, DM
Jones, GL
AF La, Filipa M. B.
Ledger, William L.
Davidson, Jane W.
Howard, David M.
Jones, Georgina L.
TI The effects of a third generation combined oral contraceptive pill on
the classical singing voice
SO JOURNAL OF VOICE
LA English
DT Article
DE third generation combined oral contraceptive pill; sexual hormones;
singing vocal performance; Electrolaryngograph
ID VOCAL-FOLD; FEMALE VOICE; LARYNGOGRAPH; WOMEN; DROSPIRENONE;
PROGESTOGEN; HORMONES; QUALITY
AB The success of professional operatic singers depends upon the quality of their vocal mechanism. This is known to be sensitive to changes in the endocrine environment. Despite a widespread belief among singers that vocal quality changes according to the stage of the menstrual cycle, this has received little attention. In particular, the possibility that use of the Contraceptive pill might stabilize vocal quality by "dampening" hormonal fluctuations has not previously been studied systematically. Here, we show that drospirenone containing oral contraceptive pill (Yasmin, Schering AG, West Sussex, UK) with antiandrogenic and anti mineralocorticoid properties demonstrates a significant reduction in the irregularity of the pattern of vibration of the vocal folds during the performance of highly trained classical singers. This study constitutes the first double blind, randomized placebo controlled trial to assess the effects of the contraceptive pill on the patterns of vibration of the vocal folds during the performance of Western classical singing repertoire.
C1 Univ Sheffield, Dept Mus, Sheffield S10 5BR, S Yorkshire, England.
Univ Sheffield, Acad Unit Reprod & Dev Med, Sheffield, S Yorkshire, England.
Univ York, Dept Elec, York YO10 5DD, N Yorkshire, England.
Univ Sheffield, Sch Hlth & Related Res, Sheffield, S Yorkshire, England.
C3 University of Sheffield; University of Sheffield; University of York -
UK; University of Sheffield
RP La, FMB (corresponding author), Univ Sheffield, Dept Mus, 38 Taptonville Rd, Sheffield S10 5BR, S Yorkshire, England.
EM filipasoprano@gmail.com; w.ledger@sheffield.ac.uk;
j.w.davidson@sheffield.ac; dh@ohm.york.ac.uk; g.l.jones@sheffield.ac.uk
RI ; La, Filipa M.B./M-7767-2013; Ledger, William/L-9089-2017
OI Howard, david/0000-0001-9516-9551; Davidson, Jane/0000-0003-4941-9518;
Jones, Georgina/0000-0002-5267-1776; La, Filipa
M.B./0000-0001-5560-7406; Ledger, William/0000-0001-6465-4343
NR 43
TC 17
Z9 21
U1 1
U2 8
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD NOV
PY 2007
VL 21
IS 6
BP 754
EP 761
DI 10.1016/j.jvoice.2006.05.009
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 235FI
UT WOS:000251218500013
PM 16887327
OA Green Accepted
DA 2025-03-18
ER
PT J
AU Dinh, JP
Peters, S
Nowicki, S
AF Dinh, Jason P.
Peters, Susan
Nowicki, Stephen
TI Song performance improves with continued singing across the morning in a
songbird
SO ANIMAL BEHAVIOUR
LA English
DT Article
DE motor performance; songbird; swamp sparrow; vocal performance
ID VOCAL PERFORMANCE; PHYSICAL PERFORMANCE; SPECIES RECOGNITION; FEMALE
RESPONSE; WARMING-UP; EVOLUTION; BIRDSONG; SPARROW; PLAY
AB Vocal performance an animal's ability to produce physically challenging vocalizations can reflect a signaller's overall condition and can be a reliable signal of quality. It has been suggested recently that songbirds improve vocal performance through recent practice during intense dawn singing. We tested whether recent practice improves vocal performance in swamp sparrows, Melospiza georgiana, a species for which the biomechanical constraints and biological implications of vocal performance are well established. We measured vocal deviation - a measure of performance - in 1527 songs recorded from 11 captive swamp sparrows, four of which were developmentally stressed as juveniles. Vocal performance improved across the morning as a function of both the cumulative number of songs previously performed and the time of day. Song types with introductory syllables showed greater improvement than more typical song types composed solely of trilled syllables, and across all song types, as song output increased, the average improvement in vocal performance also increased. However, males with high song output exhibited greater variability in vocal performance, suggesting that some individuals might experience fatigue in song production. Furthermore, birds that had been developmentally stressed as juveniles showed greater improvement over the morning than birds that were not stressed. If con specifics attend to within-individual variation in vocal performance, then improvement in vocal performance over the course of a day may drive birds to sing early and often, although fatigue may limit the extent to which this advantage may be gained. (c) 2020 The Association for the Study of Animal Behaviour. Published by Elsevier Ltd. All rights reserved.
C1 [Dinh, Jason P.; Peters, Susan; Nowicki, Stephen] Duke Univ, Biol Dept, Campus Box 90338, Durham, NC 27708 USA.
[Nowicki, Stephen] Duke Univ, Med Sch, Neurobiol Dept, Durham, NC USA.
C3 Duke University; Duke University
RP Dinh, JP (corresponding author), Duke Univ, Biol Dept, Campus Box 90338, Durham, NC 27708 USA.
EM jpd29@duke.edu
OI Dinh, Jason/0000-0001-6471-9047
FU National Science Foundation [IBN-0315377]
FX We thank Rindy Anderson, Barb Ballentine, Monica Carlson, Laurel Cooper,
Melissa Hughes, Silke Kipper and William Searcy for assistance with
fieldwork and hand rearing, Pymatuning Laboratory of Ecology for
logistical support, the Pennsylvania Game Commission for access to field
sites where birds were collected, and Charlie Nunn and Doug Boyer for
assistance with statistical modelling. The comments from three anonymous
referees greatly improved our manuscript. This research received
financial support from the National Science Foundation to S.N.
(IBN-0315377).
NR 45
TC 5
Z9 7
U1 3
U2 14
PU ACADEMIC PRESS LTD- ELSEVIER SCIENCE LTD
PI LONDON
PA 24-28 OVAL RD, LONDON NW1 7DX, ENGLAND
SN 0003-3472
EI 1095-8282
J9 ANIM BEHAV
JI Anim. Behav.
PD SEP
PY 2020
VL 167
BP 127
EP 137
DI 10.1016/j.anbehav.2020.06.018
PG 11
WC Behavioral Sciences; Zoology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Behavioral Sciences; Zoology
GA NK1ZI
UT WOS:000566536800013
OA Bronze
DA 2025-03-18
ER
PT J
AU Huang, CY
AF Huang, Chunyuan
TI Vocal Music Teaching Pharyngeal Training Method Based on Audio
Extraction by Big Data Analysis
SO WIRELESS COMMUNICATIONS & MOBILE COMPUTING
LA English
DT Article
AB In the process of vocal music learning, incorrect vocalization methods and excessive use of voice have brought many problems to the voice and accumulated a lot of inflammation, so that the level of vocal music learning stagnated or even declined. How to find a way to improve yourself without damaging your voice has become a problem that we have been pursuing. Therefore, it is of great practical significance for vocal music teaching in normal universities to conduct in-depth research and discussion on "pharyngeal singing." Based on audio extraction, this paper studies the vocal music teaching pharyngeal training method. Different methods of vocal music teaching pharyngeal training have different times. When the recognition amount is 3, the average recognition time of vocal music teaching pharyngeal training based on data mining is 0.010 seconds, the average recognition time of vocal music teaching pharyngeal training based on Internet of Things is 0.011 seconds, and the average recognition time of vocal music teaching pharyngeal training based on audio extraction is 0.006 seconds. The recognition time of the audio extraction method is much shorter than that of the other two traditional methods, because the audio extraction method can perform segmented training according to the changing trend of physical characteristics of notes, effectively extract the characteristics of vocal music teaching pharyngeal training, and shorten the recognition time. The learning of "pharyngeal singing" in vocal music teaching based on audio extraction is different from general vocal music training. It has its unique theory, concept, law, and sound image. In order to "liberate your voice," it adopts large-capacity and large-scale training methods.
C1 [Huang, Chunyuan] Zhaoqing Univ, Mus Coll, Zhaoqing 526061, Guangdong, Peoples R China.
C3 Zhaoqing University
RP Huang, CY (corresponding author), Zhaoqing Univ, Mus Coll, Zhaoqing 526061, Guangdong, Peoples R China.
EM 2007020006@zqu.edu.cn
FU Project Name: Special Research Project of Philosophy and Social Sciences
in Colleges and Universities in the 13th Five-Year Plan of Guangdong
Province [2019GXJk179]
FX This work was supported by Project Name: Special Research Project of
Philosophy and Social Sciences in Colleges and Universities in the 13th
Five-Year Plan of Guangdong Province. The function construction and
Practice Research of pharyngeal technique in singing training system.
Approval No.: 2019GXJk179.
NR 25
TC 0
Z9 0
U1 2
U2 10
PU WILEY-HINDAWI
PI LONDON
PA ADAM HOUSE, 3RD FL, 1 FITZROY SQ, LONDON, WIT 5HE, ENGLAND
SN 1530-8669
EI 1530-8677
J9 WIREL COMMUN MOB COM
JI Wirel. Commun. Mob. Comput.
PD MAY 6
PY 2022
VL 2022
AR 4572904
DI 10.1155/2022/4572904
PG 11
WC Computer Science, Information Systems; Engineering, Electrical &
Electronic; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering; Telecommunications
GA 1I9GL
UT WOS:000797534900008
OA gold
DA 2025-03-18
ER
PT J
AU Xin, G
AF Xin, Guo
TI The teaching mode of vocal music in universities in China based on
heuristic teaching method Guo Xin
SO VOPROSY ISTORII
LA English
DT Article
DE China; vocal music teaching; heuristic teaching; reform in education.
AB Today vocal music teaching in universities in China still follows the traditional passive music teaching form. This article analyzes the significance of heuristic teaching in vocal music teaching, and puts forward the application of it. It is concluded that the use of the heuristic method makes it possible to improve the quality and level of higher music education.
C1 [Xin, Guo] Shenyang Conservatory Mus, Mus Educ Coll, Shenyang, Peoples R China.
C3 Shenyang Conservatory of Music
RP Xin, G (corresponding author), Shenyang Conservatory Mus, Mus Educ Coll, Shenyang, Peoples R China.
EM guoxin131425@163.com
NR 15
TC 0
Z9 0
U1 1
U2 9
PU VOPROSY ISTORII
PI MOSCOW
PA VOPROSY ISTORII, MOSCOW, 00000, RUSSIA
SN 0042-8779
EI 1938-2561
J9 VOP ISTORII
JI Vopr. Istor.
PY 2023
VL 3
IS 2
BP 278
EP 287
DI 10.31166/VoprosyIstorii202303Statyi48
PG 10
WC History
WE Arts & Humanities Citation Index (A&HCI)
SC History
GA A5OZ9
UT WOS:000955626500031
DA 2025-03-18
ER
PT J
AU Xiang, JJ
AF Xiang, Jinjing
TI AN ANALYSIS OF THE ESSENCE OF CHINESE OPERA AND VOCAL MUSIC FROM THE
PERSPECTIVE OF HERMENEUTICS AND RECEPTION AESTHETICS
SO TRANS-FORM-ACAO
LA English
DT Article
DE Hermeneutics; Reception aesthetics; Chinese opera; Vocal music art;
Subject-object relationship
AB The development of Chinese opera art, in modern times, has greatly changed with the times. Explaining the essence of Chinese opera and vocal music art from the Western modern hermeneutics and reception aesthetics theory is conducive to sorting out the development context and characteristics of Chinese opera in different times. At the same time, providing a systematic analysis method for modern opera and vocal music aesthetics promotes the aesthetic development of the art and contributes to the form innovation and technical refinement of domestic opera and vocal music art. The research starts with the theoretical analysis of hermeneutics and reception aesthetics and verifies and explores the development history of Chinese opera. The analysis of the artistic essence of opera and vocal music will be summarized mainly from the perspective of the object of the opera text and the subject of the aesthetic audience. The purpose of this research is to explain the essential characteristics of opera and vocal music art from the relationship between the subject and the object. Besides, it aims to examine the relationship between the understanding behavior of the masses and the creators and performers' summary behavior for opera and vocal music art.
C1 [Xiang, Jinjing] Sichuan Normal Univ, Mus Coll, Chengdu 610101, Peoples R China.
C3 Sichuan Normal University
RP Xiang, JJ (corresponding author), Sichuan Normal Univ, Mus Coll, Chengdu 610101, Peoples R China.
EM jinjing_xiang@163.com
NR 19
TC 3
Z9 3
U1 14
U2 28
PU UNESP-MARILIA
PI MARILIA
PA AV HYGINO MUZZI FILHO, 737, MARILIA, SP 17525-900, BRAZIL
SN 0101-3173
EI 1980-539X
J9 TRANS-FORM-ACAO
JI Trans-Form-Acao
PD JUL-SEP
PY 2024
VL 47
IS 3
AR e0240029
DI 10.1590/0101-3173.2024.v47.n3.e0240029
PG 15
WC Philosophy
WE Arts & Humanities Citation Index (A&HCI)
SC Philosophy
GA LQ1B3
UT WOS:001188165300006
OA gold
DA 2025-03-18
ER
PT J
AU Alley, TR
Greene, ME
AF Alley, Thomas R.
Greene, Marcie E.
TI The Relative and Perceived Impact of Irrelevant Speech, Vocal Music and
Non-vocal Music on Working Memory
SO CURRENT PSYCHOLOGY
LA English
DT Article
DE Working memory; Irrelevant sound; Interference
ID SHORT-TERM-MEMORY; PHONOLOGICAL SIMILARITY; NOISE; RECALL; TONES
AB The ability to retain and manipulate information for brief periods of time is crucial for proficient cognitive functioning but working memory (WM) is susceptible to disruption by irrelevant speech. Music may also be detrimental, but its impact on WM is not clear. This study assessed the effects of vocal music, equivalent instrumental music, and irrelevant speech on WM in order to clarify what aspect of music affects performance and the degree of impairment. To study this, 60 college students completed WM tests (digit span) in the presence of irrelevant speech, vocal music, instrumental (karaoke) versions of the vocal music, and silence. As expected, both speech and vocal music degraded performance. WM performance with instrumental music was better than with vocal music but not significantly different from either silence or speech. Familiarity with song lyrics had little effect on performance. People were poor judges of the degree of memory impairment resulting from various irrelevant sounds.
C1 [Alley, Thomas R.; Greene, Marcie E.] Clemson Univ, Dept Psychol, Clemson, SC 29634 USA.
C3 Clemson University
RP Alley, TR (corresponding author), Clemson Univ, Dept Psychol, 418 Brackett Hall, Clemson, SC 29634 USA.
EM Alley@Clemson.edu
RI Alley, Thomas/A-6899-2009
OI Alley, Thomas/0000-0003-0606-9810
NR 33
TC 34
Z9 41
U1 5
U2 108
PU SPRINGER
PI NEW YORK
PA ONE NEW YORK PLAZA, SUITE 4600, NEW YORK, NY, UNITED STATES
SN 1046-1310
EI 1936-4733
J9 CURR PSYCHOL
JI Curr. Psychol.
PD DEC
PY 2008
VL 27
IS 4
BP 277
EP 289
DI 10.1007/s12144-008-9040-z
PG 13
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA 370PP
UT WOS:000260774400005
DA 2025-03-18
ER
PT J
AU Zhang, GY
AF Zhang, Gengyuan
TI Environment-Friendly Vocal Music Ecological Education: Sustainable
Development of Vocal Music Education from the Perspective of Building
SO JOURNAL OF ENVIRONMENTAL AND PUBLIC HEALTH
LA English
DT Article
ID KNOWLEDGE; IMPACT
AB With the acceleration of the modernization of human society, natural ecology is continuously destroyed, which inevitably brings about the crisis of the human spirit, and human beings progressively lose the ability to draw power from nature. Similarly, music is losing its function of freeing people from secularity and becoming a carrier of pure utility. For a long time, there have been some disharmonious factors in the ecological environment of vocal music teaching. For example, some vocal music teaching facilities are out of date, vocal music course resources are single and scarce, vocal music courses are comparatively isolated and lack organic integration with other courses, and relevant art practices and scientific research activities of teachers and students are not carried out well after class, comprehensive quality of teachers cannot be effectively improved, and external communication of colleges and universities is not enough. This has affected the quality of vocal music teaching to a certain extent. Accordingly, an environment-friendly ecological vocal education emerged. In addition, both building and music are the supplement and creation of the human living environment by the material organization. Consequently, their performance has similar characteristics of origin. Thus, from the perspective of the building, we touch the music, listen to the building, and analyze the integration of ecological vocal music education and building. The empirical test verified the effect of ecological vocal music teaching under the building vision.
C1 [Zhang, Gengyuan] Xinxiang Univ, Xinxiang 453003, Peoples R China.
C3 Xinxiang University
RP Zhang, GY (corresponding author), Xinxiang Univ, Xinxiang 453003, Peoples R China.
EM zhanggengyuan99@xxu.edu.cn
NR 39
TC 3
Z9 3
U1 7
U2 23
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1687-9805
EI 1687-9813
J9 J ENVIRON PUBLIC HEA
JI J. Environ. Public Health
PD AUG 23
PY 2022
VL 2022
AR 5168389
DI 10.1155/2022/5168389
PG 8
WC Public, Environmental & Occupational Health
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Public, Environmental & Occupational Health
GA 5O6JW
UT WOS:000872578100003
PM 36052347
OA hybrid, Green Published
DA 2025-03-18
ER
PT J
AU Temperley, D
AF Temperley, David
TI RHYTHMIC VARIABILITY IN EUROPEAN VOCAL MUSIC
SO MUSIC PERCEPTION
LA English
DT Article
DE Vocal music; rhythm; nPVI; speech; musiclanguage connections
ID SPEECH RHYTHM; FRENCH; METER; LANGUAGE; PATTERNS; SUPPORT; GERMAN;
PATEL; SONG
AB RHYTHMIC VARIABILITY IN THE VOCAL MUSIC OF four European nations was examined, using the nPVI measure (normalized pairwise variability index). It was predicted that English and German songs would show higher nPVI than French and Italian ones, mirroring the differences between these nations in speech rhythm, and in accord with previous studies of instrumental music. Surprisingly, there was no evidence of this pattern, and some evidence of the opposite pattern: nPVI is higher in French and Italian vocal music than in English and German vocal music. This casts doubt on the theory that the differences in instrumental rhythm between these nations are due to differences in speech rhythm.
C1 [Temperley, David] Univ Rochester, Eastman Sch Mus, Rochester, NY 14627 USA.
C3 University of Rochester
RP Temperley, D (corresponding author), Eastman Sch Mus, 26 Gibbs St, Rochester, NY 14604 USA.
EM dtemperley@esm.rochester.edu
NR 19
TC 5
Z9 5
U1 1
U2 9
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0730-7829
J9 MUSIC PERCEPT
JI Music Percept.
PD DEC
PY 2017
VL 35
IS 2
BP 193
EP 199
DI 10.1525/MP.2017.35.2.193
PG 7
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA FW5CE
UT WOS:000425333000004
DA 2025-03-18
ER
PT J
AU Ding, J
AF Ding, Jun
TI Application of Big Data Mining Technology in the Digital Construction of
Vocal Music Teaching Resource Library
SO WIRELESS COMMUNICATIONS & MOBILE COMPUTING
LA English
DT Article
AB In recent years, vocal music is becoming more and more important to daily life, which can cultivate emotion and adjust pressure, but at present, vocal music teaching is faced with an increasingly serious shortage of teacher resources. Therefore, it is particularly important to develop a vocal music teaching system using the computer-aided teaching function. First, the algorithm flow of the system is designed in detail according to the principle of computer neural network technology, the performance characteristics of vocal music are extracted by using Fourier transform and its improved function, and the key modules of the system are designed according to the system frame structure and data processing flow and gave the key design code. Finally, taking piano performance as an example, players with different steel bar grades were selected to test the accuracy of the system evaluation. The test results show that the system can reflect the real level of the performers, which is beneficial to vocal music teaching. The improvement of the vocal music teaching system is of great practical significance to adjust the traditional music teaching mode and make the education system more reasonable.
C1 [Ding, Jun] Zhumadian Vocat & Tech Coll, Coll Teacher Educ, Zhumadian 463000, Peoples R China.
RP Ding, J (corresponding author), Zhumadian Vocat & Tech Coll, Coll Teacher Educ, Zhumadian 463000, Peoples R China.
EM budingzhun@163.com
FU subject of teacher education curriculum reform of Henan Provincial
Department of education [2022-jsjyzd-079]
FX The research is supported by the subject of teacher education curriculum
reform of Henan Provincial Department of education, the title of the
subject is "construction and practical exploration of aesthetic
education system for high-quality normal students under the background
of double reduction", subject project (no. 2022-jsjyzd-079).
NR 20
TC 2
Z9 2
U1 5
U2 14
PU WILEY-HINDAWI
PI LONDON
PA ADAM HOUSE, 3RD FL, 1 FITZROY SQ, LONDON, WIT 5HE, ENGLAND
SN 1530-8669
EI 1530-8677
J9 WIREL COMMUN MOB COM
JI Wirel. Commun. Mob. Comput.
PD JUL 29
PY 2022
VL 2022
AR 3197118
DI 10.1155/2022/3197118
PG 9
WC Computer Science, Information Systems; Engineering, Electrical &
Electronic; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering; Telecommunications
GA 4L8QL
UT WOS:000852894500007
OA gold
DA 2025-03-18
ER
PT J
AU Sun, J
AF Sun, Jie
TI ARIA OF THOUGHT: PHILOSOPHICAL EXPLORATION THROUGH THE EXPRESSION OF
VOCAL MUSIC
SO TRANS-FORM-ACAO
LA English
DT Article
DE Vocal Expression; Philosophical Thought; Emotional Resonance; The Human
Spiritual World; Musical Form
AB Philosophy significantly contributes to the inheritance of human thought and the humanistic spirit. Traditional explorations in philosophy, often rational and abstract, may struggle to engage deeply with human emotions and experiences. This article delves into the expression of philosophical ideas through vocal music, particularly during the Romantic era, to bridge this gap. By examining the integration of philosophical concepts into 19th-century vocal compositions, the study highlights how vocal music can serve as a potent medium for philosophical discourse. It explores the symbiotic relationship between vocal music and philosophy, analyzing how arias express and pursue philosophical inquiries. This research evaluates the role of vocal music in philosophical exploration through three dimensions: emotional expression, conceptual communication and inspirational impact. The findings aim to demonstrate the transformative power of music to convey philosophical thoughts, inspiring deeper contemplation of life, existence and values, and encouraging a reevaluation of the unique capacity of vocal music to communicate profound ideas.
C1 [Sun, Jie] Xuzhou Normal Univ, Conservatory Music, Xuzhou 221000, Jiangsu, Peoples R China.
C3 Jiangsu Normal University
RP Sun, J (corresponding author), Xuzhou Normal Univ, Conservatory Music, Xuzhou 221000, Jiangsu, Peoples R China.
EM jiesun2023@126.com
NR 27
TC 1
Z9 1
U1 2
U2 2
PU UNESP-MARILIA
PI MARILIA
PA AV HYGINO MUZZI FILHO, 737, MARILIA, SP 17525-900, BRAZIL
SN 0101-3173
EI 1980-539X
J9 TRANS-FORM-ACAO
JI Trans-Form-Acao
PY 2024
VL 47
IS 5
AR e02400250
DI 10.1590/0101-3173.2024.v47.n5.e02400250
PG 19
WC Philosophy
WE Arts & Humanities Citation Index (A&HCI)
SC Philosophy
GA D6C9X
UT WOS:001297049600015
OA gold
DA 2025-03-18
ER
PT J
AU Cao, WL
AF Cao, WanLing
TI Evaluating the Vocal Music Teaching Using Backpropagation Neural Network
SO MOBILE INFORMATION SYSTEMS
LA English
DT Article
ID MODEL
AB The vocal music teaching for evaluating performers is affected by multiple factors. Evaluators are greatly influenced by subjective factors in scoring outputs. The backpropagation (BP) neural network provides a novel technology that can theoretically simulate any nonlinear continuous function within a certain accuracy range. The backpropagation neural network is composed of adaptive feedforward learning network that is widely used in artificial intelligence (AI). In addition, the backpropagation neural network can simulate the nonlinear mapping composed of various factors. The novelty of the neural network is that it can model the nonlinear process without knowing the cause of the data, which can overcome the human subjective arbitrariness and make the evaluation outcomes. Furthermore, accurate and effective scoring systems can be designed using neural networks. In this paper, we establish a vocal music evaluation research system in order to objectivize each vocal music teaching evaluation index. To do so, we use the score vector as the input and obtain a reasonable and objective output score through the backpropagation neural network. Moreover, according to the characteristics of the backpropagation neural network, the factors of vocal music teaching evaluation are analyzed, and a backpropagation neural network model for vocal music teaching evaluation and evaluation is constructed. The experimental outcomes demonstrate that the trained backpropagation network can simulate a stable vocal music teaching evaluation research system. Furthermore, we observed that the backpropagation neural network can be well utilized for vocal music teaching evaluation research.
C1 [Cao, WanLing] Bengbu Univ, Sch Mus & Dance, Bengbu 233030, Anhui, Peoples R China.
C3 Bengbu University
RP Cao, WL (corresponding author), Bengbu Univ, Sch Mus & Dance, Bengbu 233030, Anhui, Peoples R China.
EM cwl@bbc.edu.cn
FU Anhui Quality Engineering (general) project: Practical research on the
integration of intangible cultural heritage folk songs into vocal music
in Colleges and Universities [20jyxm1157]
FX This study was supported by 2020 Anhui Quality Engineering (general)
project: Practical research on the integration of intangible cultural
heritage folk songs into vocal music in Colleges and Universities, under
Grant No. 20jyxm1157.
NR 23
TC 3
Z9 3
U1 2
U2 15
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1574-017X
EI 1875-905X
J9 MOB INF SYST
JI Mob. Inf. Syst.
PD JUN 24
PY 2022
VL 2022
AR 3843726
DI 10.1155/2022/3843726
PG 7
WC Computer Science, Information Systems; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Telecommunications
GA 2S5MQ
UT WOS:000821836600016
OA gold
DA 2025-03-18
ER
PT J
AU He, J
AF He, Jie
TI Design and implementation of an improved wavelet model for processing
sound production images in vocal music
SO MULTIMEDIA TOOLS AND APPLICATIONS
LA English
DT Article
DE Improved wavelet model; Sound production images; Vocal music; Image
segmentation
AB This paper aims to acquire the crack information from the sound production images in vocal music in an accurate and comprehensive manner. Firstly, the image processing technology based on partial differential equations was introduced, and the principle of wavelet model was expounded. Considering the defects of the wavelet model, an improved wavelet model was constructed based on image enhancement function. The improved model was applied to process the sound production images in vocal music, which contain single crack or multiple cracks, respectively, producing high-quality binary images on the cracks of sound production in vocal music. The binary images were quantified to obtain the characteristic parameters of the sound source in vocal music, laying the basis for further research into sound production in vocal music. To verify its effectiveness, the improved wavelet model was compared with the traditional wavelet model through simulation experiment. The results show that the improved wavelet model achieved better image segmentation effect and quantified the microstructure of the sound source more accurately than the traditional wavelet model. Finally, the authors proved that the proposed model can be used to compute the coefficients of sound production with cracks and the damage variables of microstructure.
C1 [He, Jie] Taiyuan Normal Univ, Mus Dept, Jinzhong 030619, Peoples R China.
C3 Taiyuan Normal University
RP He, J (corresponding author), Taiyuan Normal Univ, Mus Dept, Jinzhong 030619, Peoples R China.
EM 18103511507@163.com
NR 17
TC 0
Z9 0
U1 1
U2 7
PU SPRINGER
PI DORDRECHT
PA VAN GODEWIJCKSTRAAT 30, 3311 GZ DORDRECHT, NETHERLANDS
SN 1380-7501
EI 1573-7721
J9 MULTIMED TOOLS APPL
JI Multimed. Tools Appl.
PD JUN
PY 2023
VL 82
IS 14
BP 21925
EP 21939
DI 10.1007/s11042-020-10168-1
EA NOV 2020
PG 15
WC Computer Science, Information Systems; Computer Science, Software
Engineering; Computer Science, Theory & Methods; Engineering, Electrical
& Electronic
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering
GA H3YR2
UT WOS:000590967300003
DA 2025-03-18
ER
PT J
AU Vella, F
AF Vella, Francesca
TI Broadcasting the Italian voice's broadcasting: opera and Italy on the
air, 1920s-1930s
SO JOURNAL OF MODERN ITALIAN STUDIES
LA English
DT Article
DE radio; opera; sound reproduction; silence; intermediality;
multisensoriality
ID RADIO
AB Within the early twentieth-century Italian radiophonic imagination, opera occupied a complex position. The overriding 'voice' of Italy and its radio empire under Fascism, opera supported the new technology as a political and cultural tool, even as it challenged it as a geographical and perceptual fantasy. This article has two aims. First, drawing on materials from 1920s and '30s radio magazines, it sketches a history of early radio listening that restores vision and touch to a more central position than they have had in previous scholarly accounts. Second, it investigates radio and the Italian operatic voice as two mutually broadcasting technologies, ones whose critical co-construction was more than an accident of the fraught political moment. Contemporary definitions of radio as bel canto and of bel canto as radiophonic rested on a subtler, conceptual alignment between the two media, each of which foregrounded a tension between sound and meaning and implied the radial dissemination of voice 'out' in all directions. This article thus seeks to answer two questions. Did opera, a fundamentally audiovisual genre, become invariably 'sonified' through radiophonic transmission? And what happened when that old broadcasting technology, the Italian voice, met the new communications medium?
C1 [Vella, Francesca] Univ Cambridge, Mus, Cambridge, England.
C3 University of Cambridge
RP Vella, F (corresponding author), Univ Cambridge, Mus, Cambridge, England.
OI Vella, Francesca/0000-0002-4307-0928
FU Leverhulme Trust [IN-2015-045]
FX A first version of this paper was presented at the conference `Italian
Opera in Transnational Context: Adaptation, Transcription, Mediation,'
held at Brown University in 2017 and funded by the Leverhulme Trust
(IN-2015-045).
NR 51
TC 0
Z9 0
U1 3
U2 5
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1354-571X
EI 1469-9583
J9 J MOD ITAL STUD
JI J. Mod. Ital. Stud.
PD AUG 8
PY 2022
VL 27
IS 4
BP 504
EP 527
DI 10.1080/1354571X.2021.1999724
EA FEB 2022
PG 24
WC History
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC History
GA 3P4KV
UT WOS:000757700100001
OA Green Accepted, hybrid
DA 2025-03-18
ER
PT J
AU Rui, Y
AF Rui, Yu
TI Simulation of e-learning in vocal network teaching experience system
based on intelligent Internet of things technology
SO ENTERTAINMENT COMPUTING
LA English
DT Article
DE Intelligent technology; Internet of Things; E-learning; Vocal music
network; Teaching experience; System simulation
AB With the rapid development of smart Internet of Things technology, education is also starting to use this technology to improve the learning experience. As an art subject, vocal music teaching has many limitations in the traditional face-to-face teaching methods, and e -learning provides new possibilities for vocal music network teaching. We analyze the problems and challenges existing in the traditional face-to-face mode of vocal music teaching, and then based on the intelligent Internet of Things technology, we design a vocal music network teaching experience system. The system combines sound acquisition equipment, intelligent audio processing algorithm, virtual classroom and other technologies to realize the simulation experience of online vocal music teaching. We have developed an intelligent audio processing algorithm for analyzing and processing students ' singing sounds. This algorithm can detect problems in tone, timbre, rhythm, and more, and provide real-time feedback and advice. In this way, students can understand the shortcomings of their own singing skills, and make timely adjustments and improvements. This study shows that e -learning based on intelligent Internet of Things technology has important application value in vocal music network teaching. By simulating the classroom environment and providing real-time feedback, students can obtain a better learning experience and improve their vocal skills.
C1 [Rui, Yu] Hubei Engn Univ, Mus Sch, Xiaogan 432100, Hubei, Peoples R China.
C3 Hubei Engineering University
RP Rui, Y (corresponding author), Hubei Engn Univ, Mus Sch, Xiaogan 432100, Hubei, Peoples R China.
EM 13797120868@163.com
NR 15
TC 2
Z9 2
U1 6
U2 7
PU ELSEVIER SCI LTD
PI London
PA 125 London Wall, London, ENGLAND
SN 1875-9521
EI 1875-953X
J9 ENTERTAIN COMPUT
JI Entertain. Comput.
PD MAY
PY 2024
VL 50
AR 100711
DI 10.1016/j.entcom.2024.100711
EA MAY 2024
PG 8
WC Computer Science, Cybernetics; Computer Science, Interdisciplinary
Applications; Computer Science, Software Engineering
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA TJ0R5
UT WOS:001240784200001
DA 2025-03-18
ER
PT J
AU Gladfelder, H
AF Gladfelder, Hal
TI The Decay of Singing: Remembering the Castrato
SO MODERN LANGUAGE QUARTERLY
LA English
DT Article
DE Gasparo Pacchierotti; Stendhal; castrato; eighteenth-century opera;
Charles Burney
AB The advent of a new political regime in Italy in the 1790s led to decrees banning castrati from the stage and the closure of the singing academies where they taught. But seventy years later the composer Gioacchino Rossini looked back to the castrati as the last adepts of the art of bel canto: "As to the castrati, they vanished, and the usage disappeared in the creation of new customs. That was the cause of the irretrievable decay of the art of singing." This essay focuses on the eighteenth-century castrato Gasparo Pacchierotti-friend of Charles, Frances, and Susan Burney, idol of William Beckford-and on the efforts of the novelist and critic Stendhal to "remember" Pacchierotti's lost voice. Stendhal never heard Pacchierotti in his prime, but in his 1824 Vie de Rossini he declared that the art of bel canto had reached its apogee with Pacchierotti in 1778: five years before the writer's own birth. Stendhal sought to demonstrate that the lost voice could be remembered by way of both historical evidence and the textual and viva voce "recordings" of earlier listeners: Beckford, the Burneys, and the singer Gabriel Piozzi. In Stendhal's erotics or mnemonics of musical sensation, such textual and performative recordings allow us to remember the sensations elicited by an absent voice as vividly as the phonographic or digital recordings on which later listeners would rely.
C1 [Gladfelder, Hal] Univ Manchester, English & Comparat Literature, Manchester, Lancs, England.
C3 University of Manchester
RP Gladfelder, H (corresponding author), Univ Manchester, English & Comparat Literature, Manchester, Lancs, England.
NR 47
TC 1
Z9 1
U1 0
U2 2
PU DUKE UNIV PRESS
PI DURHAM
PA 905 W MAIN ST, STE 18-B, DURHAM, NC 27701 USA
SN 0026-7929
J9 MOD LANG QUART
JI Mod. Lang. Q.
PD SEP 1
PY 2022
VL 83
IS 3
BP 275
EP 302
DI 10.1215/00267929-9790990
PG 28
WC Literature
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA 8M2KD
UT WOS:000924299400002
DA 2025-03-18
ER
PT J
AU Sihvonen, AJ
Ripollés, P
Leo, V
Saunavaara, J
Parkkola, R
Rodríguez-Fornells, A
Soinila, S
Särkämö, T
AF Sihvonen, Aleksi J.
Ripolles, Pablo
Leo, Vera
Saunavaara, Jani
Parkkola, Riitta
Rodriguez-Fornells, Antoni
Soinila, Seppo
Sarkamo, Teppo
TI Vocal Music Listening Enhances Poststroke Language Network
Reorganization
SO ENEURO
LA English
DT Article
DE aphasia; DTI; fMRI; language; music; recovery
ID FRONTAL ASLANT TRACT; WHITE-MATTER TRACTS; NEURAL BASIS; SPATIAL
NORMALIZATION; ACQUIRED AMUSIA; STROKE PATIENTS; BRAIN NETWORKS;
APHASIA; SPEECH; RECOVERY
AB Listening to vocal music has been recently shown to improve language recovery in stroke survivors. The neuroplasticity mechanisms supporting this effect are, however, still unknown. Using data from a three-arm, single-blind, randomized controlled trial including acute stroke patients (N = 38) and a 3 month follow-up, we set out to compare the neuroplasticity effects of daily listening to self-selected vocal music, instrumental music, and audiobooks on both brain activity and structural connectivity of the language network. Using deterministic tractography, we show that the 3 month intervention induced an enhancement of the microstructural properties of the left frontal aslant tract (FAT) for the vocal music group compared with the audiobook group. Importantly, this increase in the strength of the structural connectivity of the left FAT correlated with improved language skills. Analyses of stimulus-specific activation changes showed that the vocal music group exhibited increased activations in the frontal termination points of the left FAT during vocal music listening compared with the audiobook group from acute to 3 month poststroke stage. The increased activity correlated with the structural neuroplasticity changes in the left FAT. These results suggest that the beneficial effects of vocal music listening on poststroke language recovery are underpinned by structural neuroplasticity changes within the language network and extend our understanding of music-based interventions in stroke rehabilitation.
C1 [Sihvonen, Aleksi J.; Leo, Vera; Sarkamo, Teppo] Univ Helsinki, Fac Med, Dept Psychol & Logoped, Cognit Brain Res Unit, FI-00014 Helsinki, Finland.
[Sihvonen, Aleksi J.] Univ Queensland, Ctr Clin Res, Herston, Qld 4029, Australia.
[Ripolles, Pablo] NYU, Dept Psychol, New York, NY 10003 USA.
[Ripolles, Pablo] NYU, Mus & Audio Res Lab, Brooklyn, NY 11201 USA.
[Ripolles, Pablo] NYU, Ctr Language Mus & Emot, New York, NY 10014 USA.
[Saunavaara, Jani] Turku Univ Hosp, Dept Med Phys, Turku 20521, Finland.
[Parkkola, Riitta] Turku Univ Hosp, Dept Radiol, FI-20520 Turku, Finland.
[Parkkola, Riitta] Univ Turku, FI-20520 Turku, Finland.
[Rodriguez-Fornells, Antoni] Bellvitge Biomed Res Inst, Cognit & Brain Plast Grp, Barcelona 08908, Spain.
[Rodriguez-Fornells, Antoni] Univ Barcelona, Dept Cognit Dev & Educ Psychol, Barcelona 08035, Spain.
[Rodriguez-Fornells, Antoni] Inst Catalana Recerca & Estudis Avancats, Barcelona 08037, Spain.
[Soinila, Seppo] Univ Turku, Turku Univ Hosp, Neuroctr, Turku 20521, Finland.
[Soinila, Seppo] Univ Turku, Div Clin Neurosci, Turku 20521, Finland.
C3 University of Helsinki; University of Queensland; New York University;
New York University; New York University; University of Turku;
University of Turku; University of Turku; Institut d'Investigacio
Biomedica de Bellvitge (IDIBELL); University of Barcelona; ICREA;
University of Turku; University of Turku
RP Sihvonen, AJ (corresponding author), Univ Helsinki, Fac Med, Dept Psychol & Logoped, Cognit Brain Res Unit, FI-00014 Helsinki, Finland.; Sihvonen, AJ (corresponding author), Univ Queensland, Ctr Clin Res, Herston, Qld 4029, Australia.
EM aleksi.sihvonen@helsinki.fi
RI Rodriguez-Fornells, Antoni/L-5878-2014; Ripollés, Pablo/C-4342-2012;
Saunavaara, Jani/P-3879-2017
OI Sarkamo, Teppo/0000-0002-1470-4530; Saunavaara,
Jani/0000-0002-0617-1105; Leo, Vera Vivienne/0000-0003-2638-9918;
Sihvonen, Aleksi/0000-0002-4501-7338
FU European Research Council [803466]; Academy of Finland [257077, 277693,
299044]; Finnish Brain Research and Rehabilitation Foundation; Finnish
Brain Foundation; Finnish Cultural Foundation [191230]; Orion Research
Foundation; Signe and Ane Gyllenberg Foundation; Tyks Research Funding
[13944]; European Research Council (ERC) [803466] Funding Source:
European Research Council (ERC)
FX This study was supported by the European Research Council (Grant
803466), the Academy of Finland (Grants 257077, 277693, 299044), Tyks
Research Funding (Grant 13944), the Finnish Brain Research and
Rehabilitation Foundation, the Finnish Brain Foundation, the Finnish
Cultural Foundation (Grant 191230), the Orion Research Foundation, and
the Signe and Ane Gyllenberg Foundation.
NR 96
TC 18
Z9 18
U1 3
U2 26
PU SOC NEUROSCIENCE
PI WASHINGTON
PA 11 DUPONT CIRCLE, NW, STE 500, WASHINGTON, DC 20036 USA
EI 2373-2822
J9 ENEURO
JI eNeuro
PD JUL-AUG
PY 2021
VL 8
IS 4
AR 0158-21.2021
DI 10.1523/ENEURO.0158-21.2021
PG 10
WC Neurosciences
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Neurosciences & Neurology
GA XL8MN
UT WOS:000728395700001
PM 34140351
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Sihvonen, AJ
Leo, V
Ripollés, P
Lehtovaara, T
Ylönen, A
Rajanaro, P
Laitinen, S
Forsblom, A
Saunavaara, J
Autti, T
Laine, M
Rodríguez-Fornells, A
Tervaniemi, M
Soinila, S
Särkämö, T
AF Sihvonen, Aleksi J.
Leo, Vera
Ripolles, Pablo
Lehtovaara, Terhi
Ylonen, Aki
Rajanaro, Pekka
Laitinen, Sari
Forsblom, Anita
Saunavaara, Jani
Autti, Taina
Laine, Matti
Rodriguez-Fornells, Antoni
Tervaniemi, Mari
Soinila, Seppo
Sarkamo, Teppo
TI Vocal music enhances memory and language recovery after stroke: pooled
results from two RCTs
SO ANNALS OF CLINICAL AND TRANSLATIONAL NEUROLOGY
LA English
DT Article
ID COGNITIVE RECOVERY; EPISODIC MEMORY; BRAIN; REHABILITATION;
CONNECTIVITY; RESPONSES; REGIONS; INFORMATION; PERCEPTION; PATTERNS
AB Objective: Previous studies suggest that daily music listening can aid stroke recovery, but little is known about the stimulus-dependent and neural mechanisms driving this effect. Building on neuroimaging evidence that vocal music engages extensive and bilateral networks in the brain, we sought to determine if it would be more effective for enhancing cognitive and language recovery and neuroplasticity than instrumental music or speech after stroke. Methods: Using data pooled from two single-blind randomized controlled trials in stroke patients (N = 83), we compared the effects of daily listening to self-selected vocal music, instrumental music, and audiobooks during the first 3 poststroke months. Outcome measures comprised neuropsychological tests of verbal memory (primary outcome), language, and attention and a mood questionnaire performed at acute, 3-month, and 6-month stages and structural and functional MRI at acute and 6-month stages. Results: Listening to vocal music enhanced verbal memory recovery more than instrumental music or audiobooks and language recovery more than audiobooks, especially in aphasic patients. Voxel-based morphometry and resting-state and task-based fMRI results showed that vocal music listening selectively increased gray matter volume in left temporal areas and functional connectivity in the default mode network. Interpretation: Vocal music listening is an effective and easily applicable tool to support cognitive recovery after stroke as well as to enhance early language recovery in aphasia. The rehabilitative effects of vocal music are driven by both structural and functional plasticity changes in temporoparietal networks crucial for emotional processing, language, and memory.
C1 [Sihvonen, Aleksi J.; Leo, Vera; Tervaniemi, Mari; Sarkamo, Teppo] Univ Helsinki, Dept Psychol & Logoped, Cognit Brain Res Unit, Fac Med, Helsinki, Finland.
[Sihvonen, Aleksi J.] Univ Helsinki, Dept Neurosci, Fac Med, Helsinki, Finland.
[Ripolles, Pablo] NYU, Dept Psychol, 6 Washington Pl, New York, NY 10003 USA.
[Saunavaara, Jani] Turku Univ Hosp, Dept Med Phys, Turku, Finland.
[Autti, Taina] Univ Helsinki, Helsinki Univ Cent Hosp, Dept Radiol, HUS Med Imaging Ctr, Helsinki, Finland.
[Laine, Matti] Abo Akad Univ, Dept Psychol, Turku, Finland.
[Rodriguez-Fornells, Antoni] Bellvitge Biomed Res Inst, Cognit & Brain Plast Grp, Barcelona, Spain.
[Rodriguez-Fornells, Antoni] Univ Barcelona, Dept Cognit Dev & Educ Psychol, Barcelona, Spain.
[Rodriguez-Fornells, Antoni] Inst Catalana Recerca & Estudis Avancats, Barcelona, Spain.
[Tervaniemi, Mari] Univ Helsinki, CICERO Learning, Helsinki, Finland.
[Soinila, Seppo] Turku Univ Hosp, Div Clin Neurosci, Dept Neurol, Turku, Finland.
[Soinila, Seppo] Univ Turku, Turku, Finland.
C3 University of Helsinki; University of Helsinki; New York University;
University of Turku; University of Helsinki; Helsinki University Central
Hospital; Hyvinkaan Sairaala; Abo Akademi University; Institut
d'Investigacio Biomedica de Bellvitge (IDIBELL); University of
Barcelona; ICREA; University of Helsinki; University of Turku;
University of Turku
RP Särkämö, T (corresponding author), Univ Helsinki, Cognit Brain Res Unit, Dept Psychol & Logoped, Haartmaninkatu 3,POB 21, FI-00014 Helsinki, Finland.
EM teppo.sarkamo@helsinki.fi
RI Rodriguez-Fornells, Antoni/L-5878-2014; Ripollés, Pablo/C-4342-2012;
Saunavaara, Jani/P-3879-2017
OI Leo, Vera Vivienne/0000-0003-2638-9918; Saunavaara,
Jani/0000-0002-0617-1105; Tervaniemi, Mari/0000-0002-9651-2929;
Sihvonen, Aleksi/0000-0002-4501-7338
FU Academy of Finland [257077, 277693, 299044]; Tyks Research Funding
[13944]; Finnish Brain Research and Rehabilitation Foundation; Finnish
Brain Foundation; Finnish Cultural Foundation; National Doctoral
Programme of Psychology; Ella and Georg Ehrnrooth Foundation; Signe and
Ane Gyllenberg Foundation; Maire Taponen Foundation; Jenny and Antti
Wihuri Foundation; Academy of Finland (AKA) [277693, 257077, 299044]
Funding Source: Academy of Finland (AKA)
FX Financial support for the work was provided by the Academy of Finland
(grants 257077, 277693, 299044), Tyks Research Funding (grant 13944),
Finnish Brain Research and Rehabilitation Foundation, Finnish Brain
Foundation, Finnish Cultural Foundation, National Doctoral Programme of
Psychology, Ella and Georg Ehrnrooth Foundation, Signe and Ane
Gyllenberg Foundation, Maire Taponen Foundation, and Jenny and Antti
Wihuri Foundation.
NR 50
TC 33
Z9 43
U1 1
U2 35
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 2328-9503
J9 ANN CLIN TRANSL NEUR
JI Ann. Clin. Transl. Neurol.
PD NOV
PY 2020
VL 7
IS 11
BP 2272
EP 2287
DI 10.1002/acn3.51217
EA OCT 2020
PG 16
WC Clinical Neurology; Neurosciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Neurosciences & Neurology
GA OQ4OA
UT WOS:000575294700001
PM 33022148
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Hu, M
AF Hu, Mu
TI Features of Singing in Chinese Pop and Traditional Music: the Influence
of the Music Genre on Vocal Music
SO MUSICA HODIE
LA English
DT Article
DE Emotionality of singing; Intonation; Rhythm stability; Sound techniques;
Vocal range
ID FOLK-MUSIC
AB Musical compositions require genre-specific sophisticated performance techniques. This paper focuses primarily on the features of Chinese pop and traditional music, based on the music genre's influence on the vocal music. To achieve this goal, the analysis methods and the Shapiro-Wilk test were used. The study involved 218 music major students from the Beijing International Art School, Shanghai Normal University, and Guangzhou College of Music. The audience and respondents gave less preference to pop music (47% and 39%) compared to the traditional music (53% and 61%). The Shapiro-Wilk test revealed that, when it comes to pop music, the strongest preference was attributed to music geographical spread (0.867), and in the case of traditional music the strongest preference was for higher education (0.927). The paper established the specific features of different genres of music. The most common elements pertaining to pop music include: the option to apply a variety of music elements and singing techniques; rhythm stability; a simple form of vocal performance; extreme sound techniques; preserving the emotionality of the singing; a combination of Western and Chinese elements. Traditional music is characterized by a harmony of music elements and voice timbres, maintenance of the high-pitched voice, natural sound, throat singing, performance quality, preservation the best thing for improving intonation (0.815), maintenance of sound quality (0.806), and development of vocal range (0.718). Pop music is known for a combination of various music elements (0.901), conveyance of the performance style (0.312). The paper's practical implications boil down to determining the characteristic features of pop and traditional music, as well as elements describing vocal music. Further studies might involve a comparative analysis between Chinese pop music, traditional music, and Western pop and traditional music.
C1 [Hu, Mu] Commun Univ Zhejiang, Hangzhou, Peoples R China.
C3 Communication University of Zhejiang
RP Hu, M (corresponding author), Commun Univ Zhejiang, Hangzhou, Peoples R China.
EM muhuzhejiang@yahoo.com
NR 39
TC 3
Z9 3
U1 4
U2 26
PU UNIV FEDERAL GOIAS
PI GOIANIA
PA ESCOLA DE AGRONOMIA, CAMPUS SAMAMBAIA, GOIANIA, GO, BRAZIL
SN 1676-3939
J9 MUSICA HODIE
JI Musica Hodie
PY 2022
VL 22
AR e73137
DI 10.5216/mh.v22.73137
PG 23
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA 6W9FH
UT WOS:000896031500001
OA gold
DA 2025-03-18
ER
PT J
AU Wu, R
AF Wu, Ran
TI A Hybrid Intelligence-Based Integrated Smart Evaluation Model for Vocal
Music Teaching
SO IEEE ACCESS
LA English
DT Article
DE Hybrid intelligence; smart evaluation; neural networks; intelligent
algorithms
AB The smart evaluation for teaching effect has received much attention, especially in field of vocal music. Currently, such evaluation mainly relies on expert rating, which costs much human labors. Fortunately, the machine learning and deep learning-based techniques have been applied to evaluation affairs in a number of areas. This work takes the vocal music teaching as the main object, and introduces several typical intelligent algorithms to construct a smart evaluation workflow. Thus in this paper, a hybrid intelligence-based integrated smart evaluation model for vocal music teaching is proposed. First of all, a comprehensive evaluation system is formulated from mechanism as the main feature space. Then, convolutional neural network, long short-term memory network and multi-layer perceptrons are employed to establish a novel integrated structure as the main evaluation model. To assess the proposed technical framework in this paper, a case study is conducted and some simulation experiments are carried out for this purpose. The experimental results show that the proposal can well realize automatic evaluation for vocal music teaching.
C1 [Wu, Ran] Shandong Univ Arts, Sch Music, Jinan 250012, Shandong, Peoples R China.
C3 Shandong University of Arts
RP Wu, R (corresponding author), Shandong Univ Arts, Sch Music, Jinan 250012, Shandong, Peoples R China.
EM 13791127952@163.com
NR 21
TC 1
Z9 1
U1 4
U2 14
PU IEEE-INST ELECTRICAL ELECTRONICS ENGINEERS INC
PI PISCATAWAY
PA 445 HOES LANE, PISCATAWAY, NJ 08855-4141 USA
SN 2169-3536
J9 IEEE ACCESS
JI IEEE Access
PY 2023
VL 11
BP 112547
EP 112553
DI 10.1109/ACCESS.2023.3323214
PG 7
WC Computer Science, Information Systems; Engineering, Electrical &
Electronic; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering; Telecommunications
GA W4YY6
UT WOS:001091710900001
OA gold
DA 2025-03-18
ER
PT J
AU Sihvonen, AJ
Pitkäniemi, A
Leo, V
Soinila, S
Särkämö, T
AF Sihvonen, Aleksi J.
Pitkaniemi, Anni
Leo, Vera
Soinila, Seppo
Sarkamo, Teppo
TI Resting-state language network neuroplasticity in post-stroke music
listening: A randomized controlled trial
SO EUROPEAN JOURNAL OF NEUROSCIENCE
LA English
DT Article
DE functional connectivity; language; music; resting state; stroke
ID SPATIAL NORMALIZATION; STROKE; PERCEPTION; PLASTICITY; RECOVERY;
APHASIA; SPEECH; COST; IMPAIRMENT; ACTIVATION
AB Recent evidence suggests that post-stroke vocal music listening can aid language recovery, but the network-level functional neuroplasticity mechanisms of this effect are unknown. Here, we sought to determine if improved language recovery observed after post-stroke listening to vocal music is driven by changes in longitudinal resting-state functional connectivity within the language network. Using data from a single-blind randomized controlled trial on stroke patients (N = 38), we compared the effects of daily listening to self-selected vocal music, instrumental music and audio books on changes of the resting-state functional connectivity within the language network and their correlation to improved language skills and verbal memory during the first 3 months post-stroke. From acute to 3-month stage, the vocal music and instrumental music groups increased functional connectivity between a cluster comprising the left inferior parietal areas and the language network more than the audio book group. However, the functional connectivity increase correlated with improved verbal memory only in the vocal music group cluster. This study shows that listening to vocal music post-stroke promotes recovery of verbal memory by inducing changes in longitudinal functional connectivity in the language network. Our results conform to the variable neurodisplacement theory underpinning aphasia recovery.
C1 [Sihvonen, Aleksi J.; Pitkaniemi, Anni; Leo, Vera; Sarkamo, Teppo] Univ Helsinki, Fac Med, Dept Psychol & Logoped, Cognit Brain Res Unit, Helsinki, Finland.
[Sihvonen, Aleksi J.] Univ Queensland, Ctr Clin Res, Brisbane, Qld, Australia.
[Soinila, Seppo] Univ Turku, Turku Univ Hosp, Neuroctr, Turku, Finland.
[Soinila, Seppo] Univ Turku, Div Clin Neurosci, Turku, Finland.
C3 University of Helsinki; University of Queensland; University of Turku;
University of Turku
RP Sihvonen, AJ (corresponding author), Univ Helsinki, Dept Psychol & Logoped, Cognit Brain Res Unit, Haartmaninkatu 3,POB 21, FI-00014 Helsinki, Finland.
EM aleksi.sihvonen@helsinki.fi
OI Sihvonen, Aleksi/0000-0002-4501-7338; Pitkaniemi,
Anni/0000-0002-3458-074X; Leo, Vera Vivienne/0000-0003-2638-9918
FU Signe ja Ane Gyllenbergin Saatio; Orionin Tutkimussaatio; Suomen
Kulttuurirahasto [191230]; Suomen Aivosaatio; Suomen Aivotutkimus-ja
Kuntoutussaatio; Turun Yliopistollisen Keskussairaalan Koulutusja
Tutkimussaatio [13944]; Academy of Finland [257077, 277693, 299044];
H2020 European Research Council [803466]; European Research Council
(ERC) [803466] Funding Source: European Research Council (ERC)
FX Signe ja Ane Gyllenbergin Saatio; Orionin Tutkimussaatio; Suomen
Kulttuurirahasto, Grant/Award Number: 191230; Suomen Aivosaatio; Suomen
Aivotutkimus- ja Kuntoutussaatio; Turun Yliopistollisen Keskussairaalan
Koulutusja Tutkimussaatio, Grant/Award Number: 13944; Academy of
Finland, Grant/Award Numbers: 257077, 277693, 299044; H2020 European
Research Council, Grant/ Award Number: 803466
NR 69
TC 9
Z9 10
U1 0
U2 17
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0953-816X
EI 1460-9568
J9 EUR J NEUROSCI
JI Eur. J. Neurosci.
PD DEC
PY 2021
VL 54
IS 11
BP 7886
EP 7898
DI 10.1111/ejn.15524
EA NOV 2021
PG 13
WC Neurosciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Neurosciences & Neurology
GA XR8NS
UT WOS:000719157600001
PM 34763370
DA 2025-03-18
ER
PT J
AU Poulin-Charronnat, B
Bigand, E
Madurell, F
Peereman, R
AF Poulin-Charronnat, B
Bigand, E
Madurell, F
Peereman, R
TI Musical structure modulates semantic priming in vocal music
SO COGNITION
LA English
DT Article
DE semantic and musical priming; musical expertise; vocal music; modularity
ID MEMORY; BRAIN; LANGUAGE; TEXT; TONALITY; MELODY; SONGS; DISSOCIATION;
INTEGRATION; APHASIA
AB It has been shown that harmonic structure may influence the processing of phonemes whatever the extent of participants' musical expertise [Bigand, E., Tillmann, B., Poulin, B., D'Adamo, D. A., & Madurell, F. (2001). The effect of harmonic context on phoneme monitoring in vocal music. Cognition, 81, B11-B20]. The present study goes a step further by investigating how musical harmony may potentially interfere with the processing of words in vocal music. Eight-chord sung sentences were presented, their last word being either semantically related (La girafe a un tres grand cou, The giraffe has a very long neck) or unrelated to the previous linguistic context (La girafe a un tres rand pied, The giraffe has a very long foot). The target word was sung on a chord that acted either as a referential tonic chord or as a congruent but less referential subdominant chord. Participants performed a lexical decision task on the target word. A significant interaction was observed between semantic and harmonic relatedness suggesting that music modulates semantic priming in vocal music. Following Jones' dynamic attention theory, we argue that music can modulate semantic priming in vocal music, by modifying the allocation of attentional resource necessary for linguistic computation. (C) 2004 Elsevier B.V. All rights reserved.
C1 Univ Bourgogne, CNRS, LEAD, F-21065 Dijon, France.
Univ Paris 04, UFR Musicol, F-75230 Paris 05, France.
C3 Centre National de la Recherche Scientifique (CNRS); Universite de
Bourgogne; Sorbonne Universite
RP Max Planck Inst Human Cognit & Brain Sci, Stephanstr 1A, D-04103 Leipzig, Germany.
EM poulin@cbs.mpg.de
RI Poulin-Charronnat, Bénédicte/K-7418-2015
NR 44
TC 67
Z9 83
U1 3
U2 19
PU ELSEVIER
PI AMSTERDAM
PA RADARWEG 29, 1043 NX AMSTERDAM, NETHERLANDS
SN 0010-0277
EI 1873-7838
J9 COGNITION
JI Cognition
PD JAN
PY 2005
VL 94
IS 3
BP B67
EP B78
DI 10.1016/j.cognition.2004.05.003
PG 12
WC Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Psychology
GA 888SE
UT WOS:000226393700005
PM 15617668
DA 2025-03-18
ER
PT J
AU Liu, CC
Wan, P
Tu, YF
Chen, K
Wang, YM
AF Liu, Chenchen
Wan, Ping
Tu, Yun-Fang
Chen, Kai
Wang, Youmei
TI A WSQ-based mobile peer assessment approach to enhancing university
students' vocal music skills and learning perceptions
SO AUSTRALASIAN JOURNAL OF EDUCATIONAL TECHNOLOGY
LA English
DT Article
DE watch-summary-question (WSQ) strategy; peer assessment; vocal music
education; mobile learning; reflective thinking
ID TEACHER-ASSESSMENT; SELF-ASSESSMENT; FEEDBACK; ACHIEVEMENT; MOTIVATION;
DESIGN
AB Peer assessment has been regarded as an effective learning strategy in art education, such as in music, dance and art design. For music education, technology-supported peer assessment makes it easier for learners to reflect on their learning performance. However, the process of reflection needs solid and systematic theoretical knowledge. In terms of vocal music, which develops students' singing skills, it is difficult for learners to compare their own works with those of others because of a lack of sufficient theoretical knowledge. Therefore, a WSQ (watch-summary-question)-based mobile peer assessment approach was used to help learners reflect based on their theoretical knowledge with the support of WSQ learning sheets. To investigate the effectiveness of the approach, an experiment was carried out in a Chinese university. The experimental group (N = 22) learned with the WSQ approach, whereas the control group (N = 22) adopted a mobile peer assessment approach without WSQ. Vocal music skills, learning attitude and learning motivation were assessed. The experimental results indicate that the approach effectively enhanced the students' vocal music skills but did not improve their learning motivation or attitude. In addition, a higher correlation between teacher scoring and peer scoring was found for the experimental group.
Implications for practice or policy:
center dot Technology has a great potential in supporting art education and integrating technology into vocal music education should follow the rules of music education.
center dot Developing students' reflective thinking skills in vocal music education is challenging, but attainable; it needs considered instructional design and sustained efforts from students.
C1 [Liu, Chenchen; Wan, Ping; Chen, Kai; Wang, Youmei] Wenzhou Univ, Wenzhou, Peoples R China.
[Tu, Yun-Fang] Fu Jen Catholic Univ, New Taipei, Taiwan.
C3 Wenzhou University; Fu Jen Catholic University
RP Wang, YM (corresponding author), Wenzhou Univ, Wenzhou, Peoples R China.
EM wangyoumei@126.com
RI Tu, Yun-Fang/M-5441-2018; Liu, Chenchen/ABB-4343-2021
FU Education Science Strategic Planning Office of Zhejiang Province in
China [RZ2007007P]
FX This study is supported in part by the Education Science Strategic
Planning Office of Zhejiang Province in China, under contract number
RZ2007007P.
NR 52
TC 13
Z9 13
U1 9
U2 58
PU AUSTRALASIAN SOC COMPUTERS LEARNING TERTIARY EDUCATION-ASCILITE
PI TUGUN
PA UNIT 5, 202 COODE ST, PO BOX 350, TUGUN, 4224, AUSTRALIA
SN 1449-3098
EI 1449-5554
J9 AUSTRALAS J EDUC TEC
JI Australas. J. Educ. Technol.
PY 2021
VL 37
IS 6
BP 1
EP 17
DI 10.14742/ajet.6832
PG 17
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA XU4TY
UT WOS:000734260500001
OA gold
DA 2025-03-18
ER
PT J
AU Song, CJ
AF Song, Congju
TI SACRED ECHOES IN SECULAR MELODIES: PHILOSOPHICAL AND RELIGIOUS
INTERPRETATIONS OF MODERN CHINESE VOCAL MUSIC
SO EUROPEAN JOURNAL FOR PHILOSOPHY OF RELIGION
LA English
DT Article
DE Music philosophy; Modern vocal music; Vocal features
AB The mid-19th century marked a pivotal transition in Chinese society from a predominantly feudal structure to a more complex semi-colonial and semi-feudal society. This transformation was paralleled by the introduction of Western musical philosophies, including concepts of self-discipline and heteronomy, which began to permeate the Chinese cultural landscape. As these Western ideas took root, they significantly influenced the development of China's traditional vocal music, leading to a distinctive dichotomy between the musical traditions of the North and the South-epitomized by the emergence of four renowned singers and four notable Xusheng in the North, and the Nantong Linggong Society and Qipai styles in the South. This paper delves into the impact of foreign musical philosophies on Chinese vocal traditions, exploring the profound synthesis of spirit and material in music philosophy. It posits that vocal music represents a unique amalgamation of human anatomical structure and the spiritual world. By examining how these philosophical influences merged with the social milieu of the time, the study reveals how modern Chinese vocal music not only encapsulated the characteristics of the era and national identity but also echoed the populace's aspirations. These interactions underscored the music's role in reflecting spiritual and philosophical undercurrents, thereby laying a foundational stone for the resurgence of national vocal music in contemporary times, imbued with both secular and sacred resonances.
C1 [Song, Congju] Fujian Normal Univ, Coll Mus Fjnu, Fuzhou 350108, Fujian, Peoples R China.
C3 Fujian Normal University
RP Song, CJ (corresponding author), Fujian Normal Univ, Coll Mus Fjnu, Fuzhou 350108, Fujian, Peoples R China.
EM smy202406@163.com
NR 23
TC 0
Z9 0
U1 4
U2 4
PU EUROPEAN JOURNAL PHILOSOPHY RELIGION
PI INNSBRUCK
PA C/O UNIV INNSBRUCK, INST CHRISTLICHE PHILOSOPHIE, KARL-RAHNER-PLATZ 1,
INNSBRUCK, A-6020, AUSTRIA
SN 1689-8311
J9 EUR J PHILOS RELIG
JI Eur. J. Philos. Relig.
PY 2024
VL 16
IS 2
BP 69
EP 86
DI 10.24204/EJPR.2024.4382
PG 18
WC Philosophy; Religion
WE Arts & Humanities Citation Index (A&HCI)
SC Philosophy; Religion
GA G7R7N
UT WOS:001318570300005
DA 2025-03-18
ER
PT J
AU Liu, CL
AF Liu, Cuilan
TI Reciting, Chanting, and Singing: The Codification of Vocal Music in
Buddhist Canon Law
SO JOURNAL OF INDIAN PHILOSOPHY
LA English
DT Article
DE Music; Vinaya; Vocal music; Recite; Chant; Sing
AB This article analyzes the treatment of music in Buddhist monastic life through the rules on music in Buddhist canon law (vinaya) within the six extant traditions, which are preserved in Chinese, Tibetan, Pali, and fragmentary Sanskrit manuscripts. These texts distinguish and differentiate instrumental and vocal music, presenting song, dance, and instrumental music as a triad and further subdividing vocal music into reciting, chanting, and singing. The performance and consumption of singing is strictly prohibited. Regulations on chanting and recitation are mutually exclusive and context dependent. Chanting is required on two occasions: when one praises the Buddha's virtues and when one performs the Tridandaka ritual. Chanting is prohibited on three other occasions: when one recites the Pratimokasntra and other ordinary Buddhist texts, and when one preaches Dharma. These regulations demonstrate that text and context are decisive in determining what forms of vocal music are appropriate in Buddhist practice. The use of embellished chanting is reserved for performing rituals whose primary goal is to please divine recipients but must be prohibited when clear articulation is expected for educating the audience. Given that making or consuming vocal music is not a criminal offense, yet is strictly regulated, I argue that the establishment of Buddhist canon law was compelled by a pressing demand to demarcate and maintain a social boundary between the Buddhist monastic order and the lay community of adherents.
C1 [Liu, Cuilan] Univ Toronto, Victoria Univ, Emmanuel Coll, 75 Queens Pk Crescent, Toronto, ON, Canada.
C3 University of Toronto; Victoria University Toronto; University of
Victoria
RP Liu, CL (corresponding author), Univ Toronto, Victoria Univ, Emmanuel Coll, 75 Queens Pk Crescent, Toronto, ON, Canada.
EM cuilan.liu@utoronto.ca
FU Fairbank Center, South Asia Institute, the Graduate School of Arts and
Sciences at Harvard University; Matsushita International Foundation;
China Times Cultural Foundation; Sheng Yen Education Foundation;
Emmanuel College
FX I thank the Fairbank Center, South Asia Institute, the Graduate School
of Arts and Sciences at Harvard University, as well as the Matsushita
International Foundation, China Times Cultural Foundation, and Sheng Yen
Education Foundation for supporting the development of this research at
Harvard University from 2006 to 2014. I thank Emmanuel College for
providing additional financial assistance to complete this article. I
thank Prof. Leonard W. J. van der Kuijp, Michael Witzel, James Robson,
and Janet Gyatso for comments on earlier drafts. An earlier version of
this article was presented on November 5, 2015 at the Symposium on
Buddhist Ritual Music held at the University of California, Berkeley. It
has benefitted substantially from the comments of participants at the
Symposium and two anonymous reviewers for this journal. I also thank
Jacob Dalton for sharing an important reference on the distinction
between reciting and chanting in the Dunhuang Tantric manual IOL TIb
466, and Lewis Doney for kindly sharing photos of this manual. All
errors are my own.
NR 68
TC 8
Z9 11
U1 2
U2 9
PU SPRINGER
PI DORDRECHT
PA VAN GODEWIJCKSTRAAT 30, 3311 GZ DORDRECHT, NETHERLANDS
SN 0022-1791
EI 1573-0395
J9 J INDIAN PHILOS
JI J. Indian Philos.
PD SEP
PY 2018
VL 46
IS 4
BP 713
EP 752
DI 10.1007/s10781-018-9360-8
PG 40
WC Asian Studies; Philosophy
WE Arts & Humanities Citation Index (A&HCI)
SC Asian Studies; Philosophy
GA GR6DO
UT WOS:000442735600004
DA 2025-03-18
ER
PT J
AU Steele, DC
AF Steele, Danielle Cozart
TI Speech-language pathologists with a vocal music background: exploring
impact on the training of the transgender voice
SO THEATRE DANCE AND PERFORMANCE TRAINING
LA English
DT Article
DE transgender; non-binary; voice; singing; speech-language pathology
ID GENDER
AB Speech-language pathology, vocal music, and music education literature reveal similar and complementary approaches to the transgender voice. The purpose of this qualitative pilot study was to explore what, if any, impact having a vocal music background has on how a speech-language pathologist (SLP) works with transgender and non-binary voice modification clients. Two SLPs were interviewed regarding their vocal music backgrounds, their work with transgender voice modification clients, and their thoughts on how music and voice modification training intersect. Results of the study indicate that a musical background may be beneficial to both the SLP and clients. Musical training provided the SLP with a broader range of tools for training clients in voice modification techniques, including the ability to model exercises, and manipulate timbre, resonance, and placement of the voice with great nuance. Both SLPs explicitly cite their vocal music background as being helpful in their practice. Further refinement of the interview protocol, as well as multiple interviews with a larger pool of subjects, will determine if the results of this study are generalisable.
C1 [Steele, Danielle Cozart] Columbia Univ, Teachers Coll, Mus Educ, New York, NY 10027 USA.
C3 Columbia University Teachers College; Columbia University
RP Steele, DC (corresponding author), Columbia Univ, Teachers Coll, Mus Educ, New York, NY 10027 USA.
OI Cozart Steele, Danielle/0000-0003-2486-0948
NR 53
TC 0
Z9 0
U1 3
U2 9
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1944-3927
EI 1944-3919
J9 THEATR DANCE PERFORM
JI Theatr. Dance Perform. Train.
PD SEP 2
PY 2019
VL 10
IS 3
BP 373
EP 391
DI 10.1080/19443927.2019.1640781
PG 19
WC Dance; Theater
WE Arts & Humanities Citation Index (A&HCI)
SC Dance; Theater
GA KF9DT
UT WOS:000509538600014
DA 2025-03-18
ER
PT J
AU Qin, W
Lin, QN
AF Qin, Wei
Lin, Qingna
TI Research on the Fusion Model of Professional Vocal Music Performance
Voice Care and Artificial Intelligence Technology in Intelligent Medical
Treatment
SO WIRELESS COMMUNICATIONS & MOBILE COMPUTING
LA English
DT Article
AB Intelligent medical treatment is an important research field in today's world. Artificial intelligence technology is the key factor to construct intelligent medical treatment. In the development of artificial intelligence technology, it is necessary to establish a scientific, systematic, and comprehensive system analysis model, inevitably with certain professional characteristics. At present, in the research of vocal health care in professional vocal music performance, the application of intelligent medical care and vocal health care in professional vocal music performance is studied. According to the DEMATEL-ISM research method, this paper constructs 4 internal and external factors and 16 influencing factors to build a comprehensive and systematic weight analysis model, which provides a theoretical and practical basis for the scientific construction of AI technology algorithms. The aim is to improve the value and research significance of intelligent medical artificial intelligence technology in professional vocal music performance sound care.
C1 [Qin, Wei; Lin, Qingna] Chongqing Univ Posts & Telecommun, Chongqing South Bank, Chongqing 400065, Peoples R China.
C3 Chongqing University of Posts & Telecommunications
RP Lin, QN (corresponding author), Chongqing Univ Posts & Telecommun, Chongqing South Bank, Chongqing 400065, Peoples R China.
EM qinwei@cqupt.edu.cn; linqn@cqupt.edu.cn
OI qin, wei/0000-0001-6598-327X
FU Chongqing Natural Science Foundation (Postdoctoral Fund) Project:
Development and Research of Interactive Accurate Evaluation Platform for
Professional Solfeggio Training Based on Reinforcement Learning
[cstc2021jcyj-bsh0202]
FX This work was financially supported by the Chongqing Natural Science
Foundation (Postdoctoral Fund) Project: Development and Research of
Interactive Accurate Evaluation Platform for Professional Solfeggio
Training Based on Reinforcement Learning (No. cstc2021jcyj-bsh0202,
host: Qin Wei).
NR 13
TC 1
Z9 1
U1 4
U2 21
PU WILEY-HINDAWI
PI LONDON
PA ADAM HOUSE, 3RD FL, 1 FITZROY SQ, LONDON, WIT 5HE, ENGLAND
SN 1530-8669
EI 1530-8677
J9 WIREL COMMUN MOB COM
JI Wirel. Commun. Mob. Comput.
PD MAY 9
PY 2022
VL 2022
AR 2947554
DI 10.1155/2022/2947554
PG 7
WC Computer Science, Information Systems; Engineering, Electrical &
Electronic; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering; Telecommunications
GA 1Q6SK
UT WOS:000802814700031
OA gold
DA 2025-03-18
ER
PT J
AU Opaev, A
AF Opaev, Alexey
TI Vocal performance and the usage of song types in Pale-legged
leaf-warbler Phylloscopus tenellipes: a contradictory study
SO ETHOLOGY ECOLOGY & EVOLUTION
LA English
DT Article
DE birdsong; performance trade-offs; trilled song; song performance;
Phylloscopus
ID BIRDSONG PERFORMANCE; CORRELATED EVOLUTION; MORPHOLOGY; CONSTRAINT;
SUPPORT
AB Performance of vocal signals, such as birdsong, may be a subject to trade-offs among acoustic traits that limit the signal outcomes. Trilled songs in which syllables are repeated in rapid succession present males with a performance challenge resulting in a trade-off between trill rate (rate of repetition) and frequency bandwidth (range of frequency). Individuals of a species might differ in ability to produce high-performance songs that are close to a performance limit. It was suggested that high-performance songs might honestly reveal a high-quality singer, and both males and females might use those songs to detect high-quality singers. To test further this performance hypothesis, I asked whether the usage of song types depended on their performance in the Pale-legged leaf-warbler (Phylloscopus tenellipes), a species with individual repertoires of up to 11 trilled song types. I analyzed 125 song types (n = 25 males) taken from both spontaneous singing and singing elicited by conspecific playback. Songs showed the same performance trade-off between trill rate and frequency bandwidth as found in other passerines. Individuals did not differ relative to one another in their average vocal performance. Males did not preferentially use either high- or low-performance song types in response to playback-simulated territorial intrusion. They also did not modulate the performance of the same song type to signal aggression. Besides, song performance did not differ between predominant song types and all other song types. Since the predominant song type of a given male usually the only one that used in spontaneous singing, a receiver presumably cannot obtain information about the male's performance ability from his spontaneous singing. Overall, my results did not confirm the role of vocal performance in male-male interaction.
C1 [Opaev, Alexey] Russian Acad Sci, Lab Comparat Ethol & Biocommun, AN Severtsov Inst Ecol & Evolut, Moscow 119071, Russia.
C3 Russian Academy of Sciences; Saratov Scientific Center of the Russian
Academy of Sciences; Severtsov Institute of Ecology & Evolution
RP Opaev, A (corresponding author), Russian Acad Sci, Lab Comparat Ethol & Biocommun, AN Severtsov Inst Ecol & Evolut, Moscow 119071, Russia.
EM aleksei.opaev@gmail.com
RI Опаев, Алексей/T-6811-2017
FU Russian Science Foundation [20-14-00058]; Russian Science Foundation
[20-14-00058] Funding Source: Russian Science Foundation
FX The study was supported by the Russian Science Foundation (grant number
20-14-00058).
NR 35
TC 3
Z9 4
U1 0
U2 4
PU TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OR14 4RN, OXON, ENGLAND
SN 0394-9370
EI 1828-7131
J9 ETHOL ECOL EVOL
JI Ethol. Ecol. Evol.
PD JUL 4
PY 2022
VL 34
IS 4
BP 434
EP 448
DI 10.1080/03949370.2021.1949752
EA AUG 2021
PG 15
WC Behavioral Sciences; Zoology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Behavioral Sciences; Zoology
GA 2L3ZI
UT WOS:000681236700001
DA 2025-03-18
ER
PT J
AU Guo, JJ
AF Guo Jingjing
TI A Study on the Perplexity and Development of Art Guiding Course in Vocal
Music Teaching
SO AGRO FOOD INDUSTRY HI-TECH
LA English
DT Article
DE Art direction; vocal music teaching; orientation
AB In view of the perplexity problem of the current art guiding course in vocal music teaching, the fundamental research on the problem was proposed in this paper. In this paper, the art direction and vocal music teaching were expounded, and the relationship between them was explained, and then through the method of questionnaire survey, the music major in a college was investigated and studied. The results show that the root cause of the problem is the incorrect understanding of the whole society to the arts guidance, and it leads to the problems as the lack of the teachers' guidance and the low will of the job. Therefore, this paper proposes to improve the art direction of the professor, and to encourage students and teachers to actively engage in the job as the art director.
C1 [Guo Jingjing] Tianjin Normal Univ, Sch Mus & Film, Tianjin 300387, Peoples R China.
C3 Tianjin Normal University
RP Guo, JJ (corresponding author), Tianjin Normal Univ, Sch Mus & Film, Tianjin 300387, Peoples R China.
FU Education Science Research Foundation of Tianjin Normal University
[52WT1614]
FX Research on the application of art direction in the stage practice
supported by Education Science Research Foundation of Tianjin Normal
University(52WT1614).
NR 14
TC 0
Z9 0
U1 3
U2 8
PU TEKNOSCIENZE PUBL
PI MILANO
PA VIALE BRIANZA 22, 20127 MILANO, ITALY
SN 1722-6996
EI 2035-4606
J9 AGRO FOOD IND HI TEC
JI Agro Food Ind. Hi-Tech
PD MAY-JUN
PY 2017
VL 28
IS 3
BP 2100
EP 2103
PG 4
WC Biotechnology & Applied Microbiology; Food Science & Technology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Biotechnology & Applied Microbiology; Food Science & Technology
GA FB2SJ
UT WOS:000405993200065
DA 2025-03-18
ER
PT J
AU Zhang, QR
AF Zhang, Qingru
TI ANALYSIS OF THE EFFECT OF INTERVENTION ON PERFORMANCE ANXIETY AMONG
STUDENTS MAJORING IN VOCAL MUSIC PERFORMANCE
SO PSYCHIATRIA DANUBINA
LA English
DT Article
DE music performance anxiety; mental health; vocal music performance;
psychology; psychological intervention
AB Background: Performance anxiety disorder is a social disorder that negatively affects a variety of activities, including musical performance. If a vocal music performance student has this disorder, his future will be greatly negatively affected. Therefore, it is worth studying whether the performance anxiety symptoms of vocal music performance students can be alleviated by psychological intervention.
Subjects and Methods: The study selects students with higher performance anxiety levels, and reduces their anxiety symptoms through psychological intervention based on psychological mechanisms of anxiety and self-emotional regulation. Psychological tests were conducted on the participants before and after the intervention to compare and study the effects of psychological intervention. The psychological test scales included the music performer's stage anxiety self-rating scale, SCL-90 test and Subjective Satisfaction Scale.
Results: After the psychological intervention, the anxiety scores of the music performers' Stage Anxiety Self-Rating Scale and SCL-90 test decreased significantly. The score reduction rate of the music performers' stage anxiety self-rating scale of the participants exceeded 40%, and no aggravation of performance anxiety symptoms was found in the follow-up three months after the intervention.
Conclusions: The experimental results show that psychological intervention has obvious therapeutic effect on performance anxiety of vocal music performance majors, and also has a good effect in preventing recurrence. To sum up, it can be concluded that the psychological intervention on performance anxiety of vocal music performance majors is effective and has the value of popularization and practicality.
C1 [Zhang, Qingru] Catholic Univ Korea, Dept Performing Arts & Culture, Fuchuan 14662, South Korea.
[Zhang, Qingru] Xiangxi Vocat & Tech Coll Nationalities, Dept Econ & Trade, Jishou 416000, Peoples R China.
C3 Catholic University of Korea
RP Zhang, QR (corresponding author), Catholic Univ Korea, Dept Performing Arts & Culture, Fuchuan 14662, South Korea.; Zhang, QR (corresponding author), Xiangxi Vocat & Tech Coll Nationalities, Dept Econ & Trade, Jishou 416000, Peoples R China.
EM zqr198841@126.com
NR 14
TC 0
Z9 0
U1 9
U2 24
PU MEDICINSKA NAKLADA
PI ZAGREB
PA VLASKA 69, HR-10000 ZAGREB, CROATIA
SN 0353-5053
EI 1849-0867
J9 PSYCHIAT DANUB
JI Psychiatr. Danub.
PY 2022
VL 34
SU 4
BP S903
EP S908
PG 6
WC Psychiatry
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Psychiatry
GA 3F7FH
UT WOS:000830830000632
DA 2025-03-18
ER
PT J
AU Liu, JY
Zhou, M
AF Liu, Jinyi
Zhou, Min
TI The role of innovative approaches in aesthetic vocal performance
SO MUSICA HODIE
LA English
DT Article
DE Choral singing; Beauty of music; Multi-voice singing; Breathing
exercises; Repertoire; Timbre coloring; Voice range
AB Vocal art is a means of conveying the artistic content of a musical work through voice, sounds, words, and intonation. The key objective of the research is to study the role of innovative approaches required for the aesthetic vocal performance. The method of a sociological survey and the SWOT analysis were used to achieve the goal of the study. The study involved 60 students from the Shenyang Conservatory of Music. The role of new technologies in teaching singing was determined with the help of two methods: the methodology by Strelnikova and the methodology developed in the course of the study. It was found that an integrated approach to teaching vocal performance is more effective and allows learners to achieve great results. This is evidenced by the results of a sociological survey. The use of the methodology developed allowed 89% of the participants to obtain high results two months after the beginning of training while only 77% of students improved their performance through the application of the methodology by Strelnikova. In addition, based on the SWOT analysis, strengths and weaknesses, as well as opportunities and threats were identified in the context of each method. The completeness of the data of the methodology developed has significant advantages for the aesthetic performance of songs. The results of the study will be useful for vocalists when building voices, as well as teachers when developing a curriculum.
C1 [Liu, Jinyi] Shenyang Conservatory Mus, Sch Mus Educ, Shenyang, Peoples R China.
[Zhou, Min] Zhejiang Normal Univ, Mus Acad, Jinhua, Zhejiang, Peoples R China.
C3 Shenyang Conservatory of Music; Zhejiang Normal University
RP Zhou, M (corresponding author), Zhejiang Normal Univ, Mus Acad, Jinhua, Zhejiang, Peoples R China.
EM 592904987@qq.com; 563383707@qq.com
NR 40
TC 8
Z9 8
U1 0
U2 10
PU UNIV FEDERAL GOIAS
PI GOIANIA GO
PA ESCOLA MUSICA ARTES CIENCIAS, PROG POT-GRAD MUSICA, CAIXA POSTAL 131,
CAMPUS II-SAMAMBAIA, GOIANIA GO, CEP74001-970, BRAZIL
SN 1676-3939
J9 MUSICA HODIE
JI Musica Hodie
PY 2021
VL 21
AR e69132
DI 10.5216/mh.v21.69132
PG 26
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA WH4MF
UT WOS:000707653300001
OA gold
DA 2025-03-18
ER
PT J
AU Planck, M
AF Planck, Max
TI The natural Atmosphere in the modern Vocal Music
SO NEUE ZEITSCHRIFT FUR MUSIK
LA German
DT Article
NR 3
TC 0
Z9 0
U1 0
U2 1
PU SCHOTT MUSIC GMBH & CO KG
PI MAINZ
PA WEIHERGARTEN 5, D-55116 MAINZ, GERMANY
SN 0945-6945
J9 NEUE Z MUSIK
JI Neue Z. Musik
PY 2018
IS 1
BP 30
EP 35
PG 6
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA GC2SP
UT WOS:000429633200008
DA 2025-03-18
ER
PT J
AU Kablova, T
Kadantseva, N
Liu, YY
AF Kablova, Tetiana
Kadantseva, Natalia
Liu, Yeyu
TI The genesis of opera singing in Ukrainian chamber vocal music
SO MUSICA HODIE
LA English
DT Article
DE Cantus; Romance; Chamber and vocal creativity; Ukrainian vocal music;
Solospiv
AB The article considers the specifics of chamber and vocal genres in Ukrainian music culture. Genre evolution of Ukrainian chamber and vocal music covers the XVIII-XX centuries. and consists of 3 stages: from Cantus and song-romance music of the XVIII-early XIX centuries, then romance (mid-XIX century) of strophic and three-part form, to pan-European parallels in the form of lyrical vocal miniature through type or recitative monologue, including touches of arioso expressiveness. The Ukrainian Cantus as a genesis for creation of chamber vocal culture is analyzed. It is determined that the Ukrainian Cantus becomes the basis of the national romance line in the chamber sphere, which extremely actively covered the lyrical array of singing and in the chamber variety, anticipating the aria in the Ukrainian urban-salon sphere. It is noted that the genesis and evolution of Ukrainian romance in the links with folklore and cult tradition, which determined the place of chamber vocal music in Ukrainian opera.
C1 [Kablova, Tetiana] Kyiv Municipal Acad Performing & Circus Arts, Kiev, Ukraine.
[Kadantseva, Natalia] Odessa Natl Mus Aad named A V Nezhdanova, Odessa, Ukraine.
[Liu, Yeyu] Suzhou Univ Sci & Technol, Suzhou, Peoples R China.
C3 Suzhou University of Science & Technology
RP Kablova, T (corresponding author), Kyiv Municipal Acad Performing & Circus Arts, Kiev, Ukraine.
EM tetianakablova@gmail.com; nauka17-18@ukr.net; bamssmit@gmail.com
RI Bulakh (Kablova), Tetiana/HHM-9342-2022
OI Liu, Yeyu/0000-0001-9182-8468; Kablova, Tetiana/0000-0002-0954-8422
NR 9
TC 0
Z9 0
U1 0
U2 1
PU UNIV FEDERAL GOIAS
PI GOIANIA
PA Av. Esperanca, s/n - Chacaras de Recreio Samambaia, GOIANIA, GOIAS,
BRAZIL
SN 1676-3939
EI 2317-6776
J9 MUSICA HODIE
JI Musica Hodie
PY 2023
VL 23
AR e73975
DI 10.5216/mh.v23.73975
PG 17
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA G3NM9
UT WOS:000988265100001
OA gold
DA 2025-03-18
ER
PT J
AU Barnes-Burroughs, K
Lan, WY
Edwards, E
Archambeault, N
AF Barnes-Burroughs, Kathryn
Lan, William Y.
Edwards, Elizabeth
Archambeault, Noel
TI Current attitudes toward voice studio teaching technology: A bicoastal
survey of classical singing pedagogues
SO JOURNAL OF VOICE
LA English
DT Article; Proceedings Paper
CT 35th Annual Symposium on Care of the Professional Voice
CY MAY 31-JUN 04, 2006
CL Philadelphia, PA
SP Voice Fdn
DE technology; survey; perceptions; vocal pedagogy; software; hardware;
teaching aids; singing; pitch-matching software; voice recognition
software; vocal methods and technique software; sound recording
software; music teaching software; visual aids; kinesthetic aids;
auditory aids
AB In recent years, the availability of studio teaching technology tools for the classical singing studio has developed experientially. Nevertheless, the integration of voice analysis technology and other computer-based technology into a traditional classical singing Studio can be a daunting task for many teachers, despite fine instructional texts such as those of Garyth Nair (1999) and Scott McCoy (2004). For this reason. The Texas Tech Voice Alliance developed and assessed a bicoastal online Survey of classical singing pedagogues in the United States about their perceptions of, and attitudes toward, the use of studio teaching technology. The purpose of this study was to investigate the current use of this technology and to assess the readiness of these teachers to explore further its possible benefits. Subjects were asked to rank relevant factors associated with voice Studio teaching technology in the classical singing studio and respond to questions using calibrated judgment scales. Discussion focuses on descriptive survey results and analyses, including agreement and disagreement between classical Singing pedagogues regarding real or perceived uses and future benefits of voice Studio teaching technology in their studio programs. Results of this Survey provide data on which to base future studies. Building oil the record of existing software and related literature, and through ongoing research, this team ultimately intends to expand the survey group and use the results to guide us in further development of user-friendly computer-based technology.
C1 [Barnes-Burroughs, Kathryn; Edwards, Elizabeth] Texas Tech Univ, Sch Mus, Lubbock, TX 79409 USA.
[Lan, William Y.] Texas Tech Univ, Dept Educ Psychol & Leadership, Lubbock, TX 79409 USA.
[Archambeault, Noel] Texas A&M Univ, Kingsville, TX USA.
C3 Texas Tech University System; Texas Tech University; Texas Tech
University System; Texas Tech University; Texas A&M University System;
Texas A&M University Kingsville
RP Barnes-Burroughs, K (corresponding author), Texas Tech Univ, Sch Mus, Box 42033, Lubbock, TX 79409 USA.
EM kathryn.barnes-burroughs@ttu.edu
NR 9
TC 6
Z9 12
U1 0
U2 8
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD SEP
PY 2008
VL 22
IS 5
BP 590
EP 602
DI 10.1016/j.jvoice.2006.12.004
PG 13
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 349WK
UT WOS:000259313800009
PM 17379479
DA 2025-03-18
ER
PT J
AU Zhang, J
Xu, ZM
Zhou, YY
Wang, PP
Fu, P
Xu, XJ
Zhang, DQ
AF Zhang, Jin
Xu, Ziming
Zhou, Yueying
Wang, Pengpai
Fu, Ping
Xu, Xijia
Zhang, Daoqiang
TI An Empirical Comparative Study on the Two Methods of Eliciting Singers'
Emotions in Singing: Self-Imagination and VR Training
SO FRONTIERS IN NEUROSCIENCE
LA English
DT Article
DE vocal music teaching; singing emotion; self-imagination; virtual
reality; electroencephalogram; emotion classification
ID CORTEX; CLASSIFICATION; NETWORKS; ACTIVATION; FRAMEWORK; CINGULATE;
REGIONS
AB Emotional singing can affect vocal performance and the audience's engagement. Chinese universities use traditional training techniques for teaching theoretical and applied knowledge. Self-imagination is the predominant training method for emotional singing. Recently, virtual reality (VR) technologies have been applied in several fields for training purposes. In this empirical comparative study, a VR training task was implemented to elicit emotions from singers and further assist them with improving their emotional singing performance. The VR training method was compared against the traditional self-imagination method. By conducting a two-stage experiment, the two methods were compared in terms of emotions' elicitation and emotional singing performance. In the first stage, electroencephalographic (EEG) data were collected from the subjects. In the second stage, self-rating reports and third-party teachers' evaluations were collected. The EEG data were analyzed by adopting the max-relevance and min-redundancy algorithm for feature selection and the support vector machine (SVM) for emotion recognition. Based on the results of EEG emotion classification and subjective scale, VR can better elicit the positive, neutral, and negative emotional states from the singers than not using this technology (i.e., self-imagination). Furthermore, due to the improvement of emotional activation, VR brings the improvement of singing performance. The VR hence appears to be an effective approach that may improve and complement the available vocal music teaching methods.
C1 [Zhang, Jin] Nanjing Univ Aeronaut & Astronaut, Coll Arts, Nanjing, Peoples R China.
[Xu, Ziming; Zhou, Yueying; Wang, Pengpai; Zhang, Daoqiang] Nanjing Univ Aeronaut & Astronaut, Coll Comp Sci & Technol, MIIT Key Lab Pattern Anal & Machine Intelligence, Nanjing, Peoples R China.
[Fu, Ping] Cent Washington Univ, Dept Lib Serv, Ellensburg, WA USA.
[Xu, Xijia] Nanjing Med Univ, Affiliated Nanjing Brain Hosp, Dept Psychiat, Nanjing, Peoples R China.
C3 Nanjing University of Aeronautics & Astronautics; Nanjing University of
Aeronautics & Astronautics; Central Washington University; Nanjing
Medical University
RP Zhang, DQ (corresponding author), Nanjing Univ Aeronaut & Astronaut, Coll Comp Sci & Technol, MIIT Key Lab Pattern Anal & Machine Intelligence, Nanjing, Peoples R China.
EM dqzhang@nuaa.edu.cn
RI Zhang, Daoqiang/D-3754-2011; Zhou, ying/HZJ-5073-2023; xu,
xijia/KHW-8950-2024; Fu, Ping/A-2692-2014
OI Zhou, Yueying/0000-0003-0971-9428; Fu, Ping/0000-0002-5386-748X
FU National Key Research and Development Program of China [2018YFC2001600,
2018YFC2001602]; National Natural Science Foundation of China [61876082,
61861130366]; Fundamental Research Funds for the Central Universities
FX This work was supported by the National Key Research and Development
Program of China (Nos. 2018YFC2001600 and 2018YFC2001602), the National
Natural Science Foundation of China (Nos. 61876082 and 61861130366), and
the Fundamental Research Funds for the Central Universities (No.
ND2021009).
NR 65
TC 3
Z9 3
U1 2
U2 38
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
EI 1662-453X
J9 FRONT NEUROSCI-SWITZ
JI Front. Neurosci.
PD AUG 12
PY 2021
VL 15
AR 693468
DI 10.3389/fnins.2021.693468
PG 12
WC Neurosciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Neurosciences & Neurology
GA UF3TJ
UT WOS:000688498600001
PM 34456670
OA gold, Green Published
DA 2025-03-18
ER
PT J
AU Xu, CS
Maddage, NC
Shao, X
AF Xu, CS
Maddage, NC
Shao, X
TI Automatic music classification and summarization
SO IEEE TRANSACTIONS ON SPEECH AND AUDIO PROCESSING
LA English
DT Article
DE clustering; music characterization; music classification; music
summarization; support vector machines
ID COMPRESSED DOMAIN
AB Automatic music classification and summarization are very useful to music indexing, content-based music retrieval and on-line music distribution, but it is a challenge to extract the most common and salient themes from unstructured raw music data. In this paper, we propose effective algorithms to automatically classify and summarize music content. Support vector machines are applied to classify music into pure music and vocal music by learning from training data. For pure music and vocal music, a number of features are extracted to characterize the music content, respectively. Based on calculated features, a clustering algorithm is applied to structure the music content. Finally, a music summary is created based on the clustering results and domain knowledge related to pure and vocal music. Support vector machine learning shows a better performance in music classification than traditional Euclidean distance methods and hidden Markov model methods. Listening tests are conducted to evaluate the quality of summarization. The experiments on different genres of pure and vocal music illustrate the results of summarization are significant and effective.
C1 Inst Infocomm Res, Singapore 119613, Singapore.
C3 Agency for Science Technology & Research (A*STAR); A*STAR - Institute
for Infocomm Research (I2R)
RP Inst Infocomm Res, Singapore 119613, Singapore.
EM xucs@i2r.a-star.edu.sg; maddage@i2r.a-star.edu.sg;
shaoxi@i2r.a-star.edu.sg
RI shao, xi/ABE-3263-2021
NR 29
TC 70
Z9 85
U1 2
U2 28
PU IEEE-INST ELECTRICAL ELECTRONICS ENGINEERS INC
PI PISCATAWAY
PA 445 HOES LANE, PISCATAWAY, NJ 08855-4141 USA
SN 1063-6676
J9 IEEE T SPEECH AUDI P
JI IEEE Trans. Speech Audio Process.
PD MAY
PY 2005
VL 13
IS 3
BP 441
EP 450
DI 10.1109/TSA.2004.840939
PG 10
WC Acoustics; Engineering, Electrical & Electronic
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Acoustics; Engineering
GA 916RQ
UT WOS:000228403900013
DA 2025-03-18
ER
PT J
AU Brödel, C
AF Broedel, Christfried
TI Maintaining the Tradition - Trying new things An Inventory of Vocal
Music Practice today
SO MUSIK UND KIRCHE
LA German
DT Article
C1 [Broedel, Christfried] Hsch Kirchenmus Dresden, Dresden, Germany.
[Broedel, Christfried] Neuen Bachgesell, Leipzig, Germany.
RP Brödel, C (corresponding author), Neuen Bachgesell, Leipzig, Germany.
NR 0
TC 0
Z9 0
U1 0
U2 0
PU BARENREITER-VERLAG
PI KASSEL
PA HEINRICH-SCHUTZ-ALLEE 35, W-3500 KASSEL, GERMANY
SN 0027-4771
EI 2568-3128
J9 MUSIK KIRCHE
JI Musik Kirche
PD SEP-OCT
PY 2021
VL 91
IS 5
BP 306
EP 311
PG 6
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA WF5VY
UT WOS:000706372700012
DA 2025-03-18
ER
PT J
AU Gentili, B
AF Gentili, Barbara
TI The Birth of 'Modern' Vocalism: The Paradigmatic Case of Enrico Caruso
SO JOURNAL OF THE ROYAL MUSICAL ASSOCIATION
LA English
DT Article
AB In the decades spanning the turn of the twentieth century Italian opera singing underwent a profound transformation and became 'modern'. I explore the formative elements of this modernity and its long-term effects on the way we sing today through the paradigmatic case of the tenor Enrico Caruso. I frame Caruso's vocal evolution within the rise of verismo opera, comparing selected recordings, reviews and the rules and aesthetic prescriptions contained in vocal treatises to show how his new vocalism differed from that of the old bel canto. To set Caruso's achievement in context I also analyse recordings of two other tenors of the era: Giovanni Zenatello and Alessandro Bonci.
C1 [Gentili, Barbara] Cardiff Univ, Cardiff, Wales.
C3 Cardiff University
RP Gentili, B (corresponding author), Cardiff Univ, Cardiff, Wales.
EM GentiliB@cardiff.ac.uk
OI Gentili, Barbara/0000-0002-6916-7410
NR 61
TC 1
Z9 1
U1 0
U2 1
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 0269-0403
EI 1471-6933
J9 J ROY MUSIC ASSN
JI J. Roy. Music. Assoc.
PD NOV
PY 2021
VL 146
IS 2
BP 425
EP 453
AR PII S0269040321000116
DI 10.1017/rma.2021.11
PG 29
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA XG9JG
UT WOS:000725061600009
OA Green Accepted
DA 2025-03-18
ER
PT J
AU He, Z
AF He, Zhuo
TI Vocal Music Recognition Based on Deep Convolution Neural Network
SO SCIENTIFIC PROGRAMMING
LA English
DT Article
AB In order to achieve fast and accurate music technique recognition and enhancement for vocal music teaching, the paper proposed a music recognition method based on a combination of migration learning and CNN (convolutional neural network). Firstly, the most standard timbre vocal music is preprocessed by panning, flipping, rotating, and scaling and then manually classified by vocal technique features such as breathing method, articulation method, pronunciation method, and pitch region training. Then, based on the migration learning method, the weight parameters obtained from the convolutional model trained on the sound dataset CNN are migrated to the sound recognition, and the convolutional and pooling layers of the convolutional model are used as feature extraction layers, while the top layer is redesigned as a global average pooling layer and a Softmax output layer, and some of the convolutional layers are frozen during training. The experimental results show that the average test accuracy of the model is 86%, the training time is about 1/2 of the original model, and the model size is only 74.2 M. The F-1 values of the model are 0.88, 0.80, 0.83, and 0.85 in four aspects, such as breathing method, exhaling method, articulation method, and phonetic region training, etc. The experimental results show that the method is efficient for voice and vocal music teaching recognition. The experimental results show that the method is efficient, effective, and transferable for voice and vocal music teaching research.
C1 [He, Zhuo] Zhengzhou Normal Univ, Zhengzhou 450044, Henan, Peoples R China.
C3 Zhengzhou Normal University
RP He, Z (corresponding author), Zhengzhou Normal Univ, Zhengzhou 450044, Henan, Peoples R China.
EM hezhuo@zznu.edu.cn
NR 30
TC 1
Z9 1
U1 0
U2 13
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1058-9244
EI 1875-919X
J9 SCI PROGRAMMING-NETH
JI Sci. Program.
PD FEB 2
PY 2022
VL 2022
AR 7905992
DI 10.1155/2022/7905992
PG 10
WC Computer Science, Software Engineering
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA 1J0OV
UT WOS:000797626300006
OA gold
DA 2025-03-18
ER
PT J
AU Sierro, J
de Kort, SR
Hartley, IR
AF Sierro, Javier
de Kort, Selvino R.
Hartley, Ian R.
TI A limit to sustained performance constrains trill length in birdsong
SO ISCIENCE
LA English
DT Article
ID TIT PARUS-CAERULEUS; FEMALE CHOICE; VOCAL PERFORMANCE; MALE QUALITY;
SONG LENGTH; EXTRAPAIR PATERNITY; MATE CHOICE; CONSISTENCY; FREQUENCY;
EVOLUTION
AB In birds, song performance determines the outcome of contests over crucial resources. We hypothesized that 1) sustained performance is limited within song, resulting in a performance decline towards the end and 2) the impact of song length is compromised if performance declines. To test these hypotheses, we analyzed the songs of 597 bird species (26 families) and conducted a playback experiment on blue tits (Cyanistes caeruleus). Our multi-species analysis showed that song performance declines after sustained singing, supporting our hypothesis. If the performance decline is determined by individual attributes (i.e., physical condition), our results explain how trill length can honestly signal quality. Our experiment showed that longer trills of high performance elicited a stronger response during territorial interactions. However, long trills that declined in performance elicited a weaker response than short, high-performance trills. A trade-off between the duration and performance quality of a motor display can be an important aspect in communication across taxa.
C1 [Sierro, Javier; Hartley, Ian R.] Univ Lancaster, Lancaster Environm Ctr, Lancaster LA1 4YQ, England.
[de Kort, Selvino R.] Manchester Metropolitan Univ, Ecol & Environm Res Ctr, Dept Nat Sci, Manchester M15 6BH, England.
C3 Lancaster University; Manchester Metropolitan University
RP Sierro, J (corresponding author), Univ Lancaster, Lancaster Environm Ctr, Lancaster LA1 4YQ, England.
EM sierro.2.8@gmail.com
RI de+Kort, Selvino/AAA-4151-2020
OI Sierro, Javier/0000-0003-4628-3117
NR 111
TC 2
Z9 2
U1 2
U2 4
PU CELL PRESS
PI CAMBRIDGE
PA 50 HAMPSHIRE ST, FLOOR 5, CAMBRIDGE, MA 02139 USA
EI 2589-0042
J9 ISCIENCE
JI iScience
PD NOV 17
PY 2023
VL 26
IS 11
AR 108206
DI 10.1016/j.isci.2023.108206
EA OCT 2023
PG 17
WC Multidisciplinary Sciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Science & Technology - Other Topics
GA X9MK4
UT WOS:001101607500001
PM 37953962
OA gold, Green Published, Green Accepted
DA 2025-03-18
ER
PT J
AU Avila, C
Furnham, A
McClelland, A
AF Avila, Christina
Furnham, Adrian
McClelland, Alastair
TI The influence of distracting familiar vocal music on cognitive
performance of introverts and extraverts
SO PSYCHOLOGY OF MUSIC
LA English
DT Article
DE distraction; music; performance; personality; thinking
ID BACKGROUND MUSIC; DIFFERENTIAL DISTRACTION; READING-COMPREHENSION;
NOISE; WORK
AB This study investigates the effect of familiar musical distractors on the cognitive performance of introverts and extraverts. Participants completed a verbal, numerical and logic test in three music conditions: vocal music, instrumental music and silence. It was predicted that introverts would perform worse with vocal music, better with instrumental music and even better in silence across all tests while for extraverts it would be the reverse. Results showed that during the verbal test, overall performance for all participants was significantly better in silence, supporting the idea that lyrics interfere with the processing of verbal information in the task. However, no significant music-personality interactions were found. Possible explanations for, and implications of, these results are discussed.
C1 [Furnham, Adrian] UCL, Dept Clin Educ & Hlth Psychol, Div Psychol & Language Sci, London WC1H 0AP, England.
C3 University of London; University College London
RP Furnham, A (corresponding author), UCL, Dept Clin Educ & Hlth Psychol, Div Psychol & Language Sci, 26 Bedford Way, London WC1H 0AP, England.
EM a.furnham@ucl.ac.uk
RI Furnham, Adrian/ABB-2072-2020
NR 35
TC 43
Z9 46
U1 3
U2 109
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0305-7356
EI 1741-3087
J9 PSYCHOL MUSIC
JI Psychol. Music
PD JAN
PY 2012
VL 40
IS 1
BP 84
EP 93
DI 10.1177/0305735611422672
PG 10
WC Psychology, Educational; Psychology, Applied; Music; Psychology,
Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Psychology; Music
GA 881LO
UT WOS:000299486900006
DA 2025-03-18
ER
PT J
AU LeBorgne, WD
Weinrich, TD
AF LeBorgne, WD
Weinrich, TD
TI Phonetogram changes for trained singers over a nine-month period of
vocal training
SO JOURNAL OF VOICE
LA English
DT Article
DE phonetogram; vocal range profile (VRP); fundamental frequency/sound
pressure level profile; vocal intensity; vocal training
ID VOICE
AB 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.
C1 Blaine Block Inst Voice Anal & Rehabil, Dayton, OH 45402 USA.
Univ Cincinnati, Cincinnati, OH 45267 USA.
Miami Univ, Dept Speech Pathol & Audiol, Oxford, OH 45056 USA.
C3 University System of Ohio; University of Cincinnati; University System
of Ohio; Miami University
RP Blaine Block Inst Voice Anal & Rehabil, 369 W 1st St,Suite 408, Dayton, OH 45402 USA.
EM wlivar@aol.com
NR 17
TC 37
Z9 47
U1 0
U2 6
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAR
PY 2002
VL 16
IS 1
BP 37
EP 43
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 651XB
UT WOS:000181346700006
PM 12002885
DA 2025-03-18
ER
PT J
AU Li, YY
AF Li, Yayun
TI The possibility of the application of modern vocal music technology in
vocal music education
SO CULTURE AND EDUCATION
LA English
DT Article
DE flexible learning; improvisational elements; music editors; sound
technology; virtual musical instruments
ID UNIVERSITY; SKILLS
AB Information technologies in the modern world cover many fields of activity, including education. This contributes to the transformation of the educational process and the development of students' independence. The main purpose of this paper is to assess the possibilities of using modern vocal music technologies in Chinese music education. To achieve the above purpose, the authors of the manuscript analysed the data obtained and divided the interactive technologies that can be used for vocal music education into the following four groups: software for studying theoretical frameworks, universal software, spectrogram software and audio editing software. The selected applications help learners acquire extensive vocal knowledge. Using the Likert scale, the researchers found that the applications of preference chosen by the respondents in each of the presented groups were Explain Everything (93%), Sing Sharp (87%), Sodaphonic (73%) and MAGIX Music Maker (82%). Sing Sharp provides vocal lessons in the form of a game. Sodaphonic eliminates low-quality performance elements in the process of creation of audio files. MAGIX Music Maker helps users create new songs using virtual musical instruments.
C1 [Li, Yayun] Shaanxi Normal Univ, Conservatory Mus, Xian, Shaanxi, Peoples R China.
C3 Shaanxi Normal University
RP Li, YY (corresponding author), Shaanxi Normal Univ, Conservatory Mus, Xian, Shaanxi, Peoples R China.
EM yayunli423@gmail.com
NR 49
TC 0
Z9 0
U1 7
U2 7
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 1135-6405
EI 1578-4118
J9 CULT EDUC-UK
JI Cult. Educ.
PD OCT
PY 2024
VL 36
IS 3
BP 660
EP 685
DI 10.1177/11356405241268984
EA AUG 2024
PG 26
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA I1Q2U
UT WOS:001299507800001
DA 2025-03-18
ER
PT J
AU He, XQ
Dong, F
AF He, Xiaoquan
Dong, Fang
TI Vocal music teaching method using fuzzy logic approach for musical
performance evaluation
SO JOURNAL OF INTELLIGENT & FUZZY SYSTEMS
LA English
DT Article
DE Fuzzy logic; performance analysis; teaching method; vocal music
AB Vocal music teaching through E-learning platforms and in-person classrooms requires intense attention and practice. The vocals and strings with/without instrument support are required for improving the voice, pitch presentation, and learning improvement. With digitalization, the assessments are performed using a computer and process-aided technologies for musical performance evaluation. This article introduces a Leveled-Fuzzy Logic Approach (LFLA) for evaluating the musical performance of the vocal teaching method. The evaluation improves the teaching mode by matching the actual learning guidelines. The vocal music teaching guidelines vary for different musical sessions and types. Such different aspects are analyzed using leveled fuzzy; the session flow is analyzed for maximum inference with the actual learning process. The number of learning levels forms the crisp input and the input is analyzed until the fuzzification extracts precise high matching for the guided and real-time teaching. The crisp inputs are induced for combinational inference during the fuzzification process using lagging features. The lagging features such as time, sessions, and evaluation per session are considered for fuzzification. The proposed approach is verified using the metrics assessment rate, lag detection, assessment time, and errors.
C1 [He, Xiaoquan; Dong, Fang] Shaoxing Univ, Arts Acad, Shaoxing 312000, Zhejiang, Peoples R China.
C3 Shaoxing University
RP Dong, F (corresponding author), Shaoxing Univ, Arts Acad, Shaoxing 312000, Zhejiang, Peoples R China.
EM dongfang_edu@outlook.com
NR 30
TC 1
Z9 1
U1 3
U2 8
PU IOS PRESS
PI AMSTERDAM
PA NIEUWE HEMWEG 6B, 1013 BG AMSTERDAM, NETHERLANDS
SN 1064-1246
EI 1875-8967
J9 J INTELL FUZZY SYST
JI J. Intell. Fuzzy Syst.
PY 2023
VL 45
IS 6
BP 9289
EP 9302
DI 10.3233/JIFS-233020
PG 14
WC Computer Science, Artificial Intelligence
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA AU3F3
UT WOS:001120921100007
DA 2025-03-18
ER
PT J
AU Crocco, L
McCabe, P
Madill, C
AF Crocco, Laura
McCabe, Patricia
Madill, Catherine
TI Principles of Motor Learning in Classical Singing Teaching
SO JOURNAL OF VOICE
LA English
DT Article
DE Motor learning; Singing; Teaching
ID TO-ONE TUITION; ENHANCED PERFORMANCE; SEQUENTIAL PATTERNS; SKILL;
FEEDBACK; INSTRUCTION; KNOWLEDGE; SPEECH; MUSIC; CONSERVATOIRE
AB Introduction. Classical singing is a complex and multifaceted skill that requires the amalgamation of multiple cognitive, perceptual and motor functions. The teaching of classical singing is consequently a unique skill that holds further complexity. The singer is required to achieve and maintain consistently high performance development of a specific motor activity, much like the sports athlete. This pilot study examines a method of using the principles of motor learning to more objectively and reliably investigate the teaching behaviors of classi- cal singing teachers. Such a method may establish a nexus between empirical research, teaching quality and learn- ing outcomes in music performance education. Method. A total of 12 participants were recruited from two Australian conservatoria of music. All participants were fluent in English at tertiary level. Participants included four classical singing teachers and eight classical singing students over the age of 18 years. Eight one-to-one singing lessons between the teacher and student were audio -visually recorded. Content analysis was conducted on the observational data. The principles of motor learning were used as a behavioral framework protocol to allow for the systematic identification of teaching behavior. Results. Results presented various findings regarding teaching behaviors in one-to-one classical singing lessons in higher music education. Key findings included (a) common use of instruction, feedback, modeling, and other behaviors (b) uncommon use of motivation, explanation, and perceptual training behaviors, (c) higher use of knowledge of results than knowledge of performance feedback behaviors, (d) high routine use of instruction, modeling, and feedback behaviors each time a student attempted a task, (e) common use of other suggested teach- ers use behaviors unidentifiable by the behavioral protocol, and (f) the principles of motor learning appear to be a reliable framework for the identification of teaching behaviors in this field. Conclusion. This study may have implications for how teachers administer and govern their behaviors in one- to-one classical singing lessons. The principles of motor learning may encourage a nexus between empirical research, teaching quality, and learning outcomes. Furthermore, this study provides recommendations for future research on systematically improving teaching and learning in this field.
C1 [Crocco, Laura; McCabe, Patricia; Madill, Catherine] Univ Sydney, Sydney, NSW, Australia.
C3 University of Sydney
RP Madill, C (corresponding author), Univ Sydney, Discipline Speech Pathol, Fac Hlth Sci, POB 170, Sydney, NSW 1825, Australia.
EM cate.madill@sydney.usyd.edu.au
RI McCabe, Patricia/E-9435-2010; Madill, Cate/J-6156-2017
OI McCabe, Patricia/0000-0002-5182-1007; Crocco, Laura/0000-0002-5689-5355
NR 114
TC 3
Z9 7
U1 5
U2 20
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JUL
PY 2020
VL 34
IS 4
BP 567
EP 581
DI 10.1016/j.jvoice.2018.12.019
PG 15
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA ME3JL
UT WOS:000544555300009
PM 30712882
DA 2025-03-18
ER
PT J
AU Sun, J
AF Sun, Jian
TI Research on vocal sounding based on spectrum image analysis
SO EURASIP JOURNAL ON IMAGE AND VIDEO PROCESSING
LA English
DT Article
DE Vocal music; Image analysis; Music spectrum; Singing; Image processing
ID TISSUE TEXTURE; QUANTIFICATION; CLASSIFICATION
AB The improvement of vocal singing technology involves many factors, and it is difficult to achieve the desired effect by human analysis alone. Based on this, this study based on spectrum image analysis uses the base-2 time-selection FFT algorithm as the research algorithm, uses the wavelet transform algorithm as the denoising algorithm, and combines comparative analysis to discuss the mechanism of vocal music, the state of vocalization, and the vocal quality of vocalists in vocal music teaching. Simultaneously, this study compares the singer's frequency, pitch, overtones, harmonics, singer formants, etc., and derives the characteristics of vocal vocalization under different conditions, and can be extended to all music vocal studies. Research shows that this research method has certain practicality and can provide theoretical reference for related research.
C1 [Sun, Jian] Mahasarakham Univ, Mus Coll, Maha Sarakham 44150, Thailand.
[Sun, Jian] Huayang High Sch, Chengdu 610213, Sichuan, Peoples R China.
C3 Mahasarakham University
RP Sun, J (corresponding author), Mahasarakham Univ, Mus Coll, Maha Sarakham 44150, Thailand.; Sun, J (corresponding author), Huayang High Sch, Chengdu 610213, Sichuan, Peoples R China.
EM sunjianchengdu@163.com
NR 16
TC 3
Z9 3
U1 0
U2 7
PU SPRINGEROPEN
PI LONDON
PA CAMPUS, 4 CRINAN ST, LONDON, N1 9XW, ENGLAND
SN 1687-5176
EI 1687-5281
J9 EURASIP J IMAGE VIDE
JI EURASIP J. Image Video Process.
PD JAN 7
PY 2019
AR 4
DI 10.1186/s13640-018-0397-0
PG 10
WC Engineering, Electrical & Electronic; Imaging Science & Photographic
Technology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Engineering; Imaging Science & Photographic Technology
GA HG8GG
UT WOS:000455237200004
OA gold
DA 2025-03-18
ER
PT J
AU Cruz, G
AF Cruz, Gabriela
TI Sr. Jose, the Worker melomane, or Opera and Democracy in Lisbon
ca. 1850
SO NINETEENTH CENTURY MUSIC
LA English
DT Article
DE Opera in Portugal; Verdi; opera parody; dissemblance
AB Sr. Jose do capote, a worker and an opera lover, is the monad contemplated in this article. He is a theatrical figure, the protagonist of the one-act burlesque parody Sr. Jose do capote assistindo a uma representacao do torrador (Sr. Jose of the Cloak attends a performance of The Roaster, 1855), but also an idea that expresses in abbreviated form the urban environment of nineteenth-century Lisbon, the theatrical and operatic sensibility of its citizens, and the politics of their engagement with the stage. This article is a history of Il trovatore and of bel canto claimed for a nascent culture of democracy in nineteenth-century Portugal.
C1 [Cruz, Gabriela] Univ Michigan, Mus Hist & Opera, Ann Arbor, MI 48109 USA.
C3 University of Michigan System; University of Michigan
RP Cruz, G (corresponding author), Univ Michigan, Mus Hist & Opera, Ann Arbor, MI 48109 USA.
OI Cruz, Gabriela/0000-0002-4880-9162
NR 36
TC 1
Z9 1
U1 0
U2 2
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0148-2076
J9 NINETEEN CENT MUSIC
JI Ninet. Century Music
PD FAL
PY 2016
VL 40
IS 2
BP 81
EP 105
DI 10.1525/ncm.2016.40.2.81
PG 25
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA EB3XC
UT WOS:000387301400001
DA 2025-03-18
ER
PT J
AU Zheng, XF
AF Zheng, XiaoFang
TI Research on the Whole Teaching of Vocal Music Course in University Music
Performance Major Based on Multimedia Technology
SO SCIENTIFIC PROGRAMMING
LA English
DT Article
AB MT (multimedia technology) music teaching has changed the rigid, unitary, and boring teaching form of traditional music teaching, which has made a comprehensive breakthrough and impact on traditional university music education and has shown a brand-new teaching form to contemporary college students, greatly increasing their strong interest in learning music. In this paper, an objective evaluation method of vocal music quality based on the comparison of sound parameter characteristics is proposed by using the technology of sound signal parameter analysis and extraction. Through confidence measure, reliable data are selected for online adaptive updating of Gaussian mixture model, and the recognition results are smoothed to further remove the instantaneous mutation error. The main melody of singing is discriminated by fundamental frequency discrimination model. Experiments show that the overall accuracy rate of the main melody of vocal music extracted by this algorithm is 86.24%.
C1 [Zheng, XiaoFang] Xiamen Univ, Xiamen 361000, Fujian, Peoples R China.
C3 Xiamen University
RP Zheng, XF (corresponding author), Xiamen Univ, Xiamen 361000, Fujian, Peoples R China.
EM dora3000@163.com
RI Zheng, Xiaofang/ABB-4402-2021
NR 24
TC 4
Z9 4
U1 1
U2 14
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1058-9244
EI 1875-919X
J9 SCI PROGRAMMING-NETH
JI Sci. Program.
PD FEB 2
PY 2022
VL 2022
AR 7599969
DI 10.1155/2022/7599969
PG 10
WC Computer Science, Software Engineering
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA 1J0OV
UT WOS:000797626300005
OA gold
DA 2025-03-18
ER
PT J
AU Achey, MA
He, MZ
Akst, LM
AF Achey, Meredith A.
He, Mike Z.
Akst, Lee M.
TI Vocal Hygiene Habits and Vocal Handicap Among Conservatory Students of
Classical Singing
SO JOURNAL OF VOICE
LA English
DT Article
DE Vocal hygiene; Vocal handicap; Voice handicap; Singer; Dysphonia
ID TRAINING-PROGRAM; VOICE; EDUCATION; HEALTH; MATTER
AB Objectives. 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.
Study Design. This is a cross-sectional, survey-based study.
Methods. 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.
Results. 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).
Conclusions. 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.
C1 [Achey, Meredith A.; He, Mike Z.] Johns Hopkins Univ, Baltimore, MD USA.
[Achey, Meredith A.] Univ Rochester, Ctr Human Expt Therapeut, Rochester, NY USA.
C3 Johns Hopkins University; University of Rochester
RP Akst, LM (corresponding author), Johns Hopkins Otolaryngol, Johns Hopkins Voice Ctr, 601 N Caroline St, Baltimore, MD 21287 USA.
EM lakst1@jhmi.edu
OI Achey, Meredith/0000-0003-4539-8422; He, Mike/0000-0003-2357-3883; Akst,
Lee/0000-0002-8925-0545
NR 16
TC 28
Z9 39
U1 2
U2 24
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAR
PY 2016
VL 30
IS 2
BP 192
EP 197
DI 10.1016/j.jvoice.2015.02.003
PG 6
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA DI4EI
UT WOS:000373452800009
PM 25801489
OA Green Submitted
DA 2025-03-18
ER
PT J
AU Fischinger, T
AF Fischinger, Timo
TI PIONEER OF EMPIRICAL AESTHETICS NOTES TO THE STUDY "THE NATURAL MOOD IN
THE MODERN VOCAL MUSIC" (1893) BY MAX PLANCK
SO NEUE ZEITSCHRIFT FUR MUSIK
LA German
DT Article
ID INTONATION; DRIFT
C1 [Fischinger, Timo] Max Plank Inst Empir Asthet, Abt Mus, Frankfurt, Germany.
RP Fischinger, T (corresponding author), Max Plank Inst Empir Asthet, Abt Mus, Frankfurt, Germany.
NR 12
TC 0
Z9 0
U1 0
U2 2
PU SCHOTT MUSIC GMBH & CO KG
PI MAINZ
PA WEIHERGARTEN 5, D-55116 MAINZ, GERMANY
SN 0945-6945
J9 NEUE Z MUSIK
JI Neue Z. Musik
PY 2018
IS 1
BP 27
EP 29
PG 3
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA GC2SP
UT WOS:000429633200007
DA 2025-03-18
ER
PT J
AU Videan, EN
Fritz, J
Howell, S
Murphy, J
AF Videan, Elaine N.
Fritz, Jo
Howell, Sue
Murphy, James
TI Effects of two types and two genre of music on social behavior in
captive chimpanzees (Pan troglodytes)
SO JOURNAL OF THE AMERICAN ASSOCIATION FOR LABORATORY ANIMAL SCIENCE
LA English
DT Article
ID BACKGROUND MUSIC; ENVIRONMENTAL ENRICHMENT; INSTRUMENTAL MUSIC;
BLOOD-PRESSURE; ANXIETY; PERFORMANCE; RESPONSES; MACAQUES; STRESS; STATE
AB Is music just noise, and thus potentially harmful to laboratory animals, or can it have a beneficial effect? Research addressing this question has generated mixed results, perhaps because of the different types and styles of music used across various studies. The purpose of this study was to test the effects of 2 different types (vocal versus instrumental) and 2 genres (classical vocal versus 'easy-listening' vocal) of music on social behavior in 31 female and 26 male chimpanzees (Pan troglodytes). Results indicated that instrumental music was more effective at increasing affiliative behavior in both male and female chimpanzees, whereas vocal music was more effective at decreasing agonistic behavior. A comparison of 2 genre of vocal music indicated that easy-listening (slower tempo) vocal music was more effective at decreasing agonistic behavior in male chimpanzees than classical (faster tempo) vocal music. Agonistic behavior in females remained low (< 0.5%) throughout the study and was unaffected by music. These results indicate that, like humans, captive chimpanzees react differently to various types and genres of music. The reactions varied depending on both the sex of the subject and the type of social behavior examined. Management programs should consider both type and genre when implementing a musical enrichment program for nonhuman primates.
C1 Primate Fdn Arizona, Mesa, AZ USA.
RP Videan, EN (corresponding author), Primate Fdn Arizona, Mesa, AZ USA.
EM evpfa@wydebeam.com
FU NCRR NIH HHS [1U42RR15090-05] Funding Source: Medline
NR 37
TC 30
Z9 32
U1 2
U2 51
PU AMER ASSOC LABORATORY ANIMAL SCIENCE
PI MEMPHIS
PA 9190 CRESTWYN HILLS DR, MEMPHIS, TN 38125 USA
SN 1559-6109
J9 J AM ASSOC LAB ANIM
JI J. Amer. Assoc. Lab. Anim. Sci.
PD JAN
PY 2007
VL 46
IS 1
BP 66
EP 70
PG 5
WC Veterinary Sciences; Zoology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Veterinary Sciences; Zoology
GA 127UL
UT WOS:000243611700012
PM 17203919
DA 2025-03-18
ER
PT J
AU Tong, Z
AF Tong, Zhe
TI An Adaptive Neuro-Fuzzy Inference System for Assessing Student's
Attitudes Towards Vocal Music Instruction
SO INTERNATIONAL JOURNAL OF FUZZY SYSTEMS
LA English
DT Article; Early Access
DE Vocal music; Student attitude; Fuzzy inference system; Mamdani-type
ID EDUCATION
AB The ever-increasing demands of vocal music's talent development and technical advancements need the evaluation of attitude-based student training. Traditional methods of evaluating student progress in the classroom rely solely on cognitive elements and tend to emphasize the student's competence level at a specific time. Adaptive instructional materials are created by combining fuzzy logic (FL) to deal with assessment uncertainty with neural networks to deal with students' continual changes in attitude toward Music Instruction (MI). This study seeks to fill a gap in the literature by investigating how students feel about vocal music education, considering the exceptional expressive potential of the voice. This research presents a new method called MANFIS, which stands for Mamdani-type Adaptive Neuro-Fuzzy Inference System, to evaluate students' viewpoints on vocal MI. The present study aims to enhance the evaluation of students' attitudes towards MI by integrating FL with neural networks. The research seeks to improve assessment accuracy and overcome methodological restrictions, positively impacting MI and students' educational experiences. The study included 152 students and performed a comparison analysis of students' vocal MI opinions using several approaches and statistical metrics, such as Cronbach's reliability of 0.98 and Root Mean Square Error of 0.0317, confirming the superiority of the proposed model.
C1 [Tong, Zhe] Northwest Normal Univ, Sch Mus, Lanzhou 730070, Peoples R China.
C3 Northwest Normal University - China
RP Tong, Z (corresponding author), Northwest Normal Univ, Sch Mus, Lanzhou 730070, Peoples R China.
EM zhetong188@outlook.com
NR 29
TC 0
Z9 0
U1 1
U2 1
PU SPRINGER HEIDELBERG
PI HEIDELBERG
PA TIERGARTENSTRASSE 17, D-69121 HEIDELBERG, GERMANY
SN 1562-2479
EI 2199-3211
J9 INT J FUZZY SYST
JI Int. J. Fuzzy Syst.
PD 2024 SEP 30
PY 2024
DI 10.1007/s40815-024-01807-y
EA SEP 2024
PG 16
WC Automation & Control Systems; Computer Science, Artificial Intelligence;
Computer Science, Information Systems
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Automation & Control Systems; Computer Science
GA H7U9J
UT WOS:001325468400008
DA 2025-03-18
ER
PT J
AU Li, BB
Zhou, Z
AF Li, Beibei
Zhou, Zhi
TI Application of Multisource Data Fusion Analysis in College Vocal Music
Teaching
SO SCIENTIFIC PROGRAMMING
LA English
DT Article
ID CLASSIFICATION
AB This paper constructs a two-level data fusion model with the classroom environment monitoring background of colleges and universities. By judging the validity of the data received by each sensor, the model eliminates the influence of neglected monitoring values on fusion accuracy. It uses the adaptive weighted average method to fuse the data of the same type of sensors in each area and then uses the BP neural network to fuse the heterogeneous sensor data in the area. After each region sends the fusion result to the gateway node, the second-level fusion is performed. In the second-level fusion, the error between the actual output result and the expected output of the BP neural network is calculated, and it is used as the basic probability assignment in DS; then the D-S synthesis rule is used for decision-level fusion so as to realize the integration of the college classroom environment. Aiming at the shortcomings of the D-S evidence theory, we improved the algorithm with respect to the distance of evidence and the conflict factor. Through the exploration of the multisource data fusion analysis method, it is found that it plays an important role in early vocal music teaching. The quality of early vocal music-teaching teachers has a particularly important impact on the music level of college students. Schools with preschool education majors are important bases for teacher training in early vocal music teaching. In order to expand the application scope of the concept of multisource data fusion in the field of vocal music teaching in China, it is necessary to change the traditional vocal music teaching mode of existing college teachers and pay attention to the integration of multisource data fusion analysis methods and the reforms of colleges and universities. In this paper, the effectiveness of the two-level fusion model is verified by using two evaluation indicators: the mean absolute percentage error and the correlation coefficient. Then, comparing the calculation results of the improved algorithm and the classical algorithm in this paper, it is proved that the probability accumulation of this algorithm is more obvious and consistent with the expected results, which shows the optimization effect of the improved method.
C1 [Li, Beibei] Nanchang Jiaotong Inst, Sch Design & Arts, Nanchang 330100, Jiangxi, Peoples R China.
[Zhou, Zhi] Nanchang Jiaotong Inst, Sch Business, Nanchang 330100, Jiangxi, Peoples R China.
RP Li, BB (corresponding author), Nanchang Jiaotong Inst, Sch Design & Arts, Nanchang 330100, Jiangxi, Peoples R China.
EM 06018@ncjti.edu.cn; zhouzhi0605@zju.edu.cn
OI Li, Beibei/0000-0003-3366-8253
FU Research Project of Humanities and Social Sciences in Colleges and
Universities of Jiangxi Province [YS19210]
FX This work was supported by the Research Project of Humanities and Social
Sciences in Colleges and Universities of Jiangxi Province, A Comparative
Study on the Construction of Oriental Female Music Images in Chinese and
Western Operas-Taking "Madame Butterfly" and "Canal Ballad" as examples
(Subject Number: YS19210).
NR 22
TC 3
Z9 3
U1 3
U2 23
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1058-9244
EI 1875-919X
J9 SCI PROGRAMMING-NETH
JI Sci. Program.
PD APR 15
PY 2022
VL 2022
AR 9483254
DI 10.1155/2022/9483254
PG 11
WC Computer Science, Software Engineering
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA 1V6MN
UT WOS:000806201600006
OA gold
DA 2025-03-18
ER
PT J
AU Yu, ZM
AF Yu, Zhenming
TI Vocal Music Teaching Brands Recommendation Based on Review Mining and
Multicriteria Decision-Making
SO MATHEMATICAL PROBLEMS IN ENGINEERING
LA English
DT Article
AB In the process of continuous improvement in the quality of vocal music teaching, new opportunities and challenges are ushered in. Teachers need to actively develop innovative and creative teaching activities in line with the teaching objectives and tasks of the new curriculum reform, enhance students' application and mastery of knowledge points, and provide a boost to students' high-quality practical learning activities. This paper proposes a method for recommending vocal teaching brands based on review mining and multicriteria decision-making. Firstly, a large number of student reviews are crawled from various university platforms in China, matching student views to lexical combinations of course opinions. The weight of each opinion indicator was calculated by using hierarchical analysis in multicriteria decision-making, and 35 teachers and students were asked to do paired comparison and scoring for the indicators. The results of the experiment suggest improvements to the recommended vocal teaching brands, with practical implications for the design and improvement of vocal music teaching.
C1 [Yu, Zhenming] Henan Inst Sci & Technol, Sch Arts, Xinxiang 454003, Henan, Peoples R China.
C3 Henan Institute of Science & Technology
RP Yu, ZM (corresponding author), Henan Inst Sci & Technol, Sch Arts, Xinxiang 454003, Henan, Peoples R China.
EM yanweiqishi@hist.edu.cn
OI Yu, Zhenming/0000-0002-6763-9904
NR 24
TC 2
Z9 2
U1 1
U2 6
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1024-123X
EI 1563-5147
J9 MATH PROBL ENG
JI Math. Probl. Eng.
PD AUG 18
PY 2022
VL 2022
AR 8077970
DI 10.1155/2022/8077970
PG 11
WC Engineering, Multidisciplinary; Mathematics, Interdisciplinary
Applications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Engineering; Mathematics
GA 4F3IK
UT WOS:000848407500007
OA gold
DA 2025-03-18
ER
PT J
AU Tang, Y
Zeng, XL
AF Tang, Yu
Zeng, Xiaoli
TI Application of intelligent audio data based on hash storage in vocal
music teaching platform
SO SOFT COMPUTING
LA English
DT Article; Early Access
DE Hash storage; Intelligent audio data; DTW algorithm; Vocal platform
ID SYSTEM
AB In this paper, the fast algorithm of audio retrieval is more about the template matching process of audio feature parameters. Nowadays, people regard vocal music learning as a way to relax the mood, because vocal music not only helps people vent their emotions and convey their heartfelt thoughts, but also helps regulate our body and mind. Aiming at these problems, this paper designs a vocal self-study assistant system. The vocal self-study assistant system introduces the latest technology, which can enable people to learn vocal music anywhere and anytime. First of all, the search time is reduced through the hash structure, and the search efficiency is improved. The index structure proposed in this paper includes two parts: the surface layer of the hash table and the tree layer of the hash tree. A hash tree structure that can perfectly adapt to changes in the amount of data is also proposed. In addition, this article also introduces the efficient search algorithm built by the hash tree index. According to the experimental results, it can be found that the intelligent audio data rapid retrieval algorithm using the image registration method is similar to the intelligent audio retrieval algorithm based on the DTW algorithm. Compared with the former, it is more accurate. Therefore, the retrieval algorithm in this article can be applied to intelligent audio retrieval technology based on content and semantics.
C1 [Tang, Yu] Aba Teachers Univ, Sch Mus & Dance, Aba 623002, Sichuan, Peoples R China.
[Zeng, Xiaoli] Sichuan Inst Ind Technol, Sch Educ, Deyang 621000, Sichuan, Peoples R China.
C3 Aba Teachers University
RP Zeng, XL (corresponding author), Sichuan Inst Ind Technol, Sch Educ, Deyang 621000, Sichuan, Peoples R China.
EM 13550640360@163.com
NR 14
TC 2
Z9 2
U1 1
U2 3
PU SPRINGER
PI NEW YORK
PA ONE NEW YORK PLAZA, SUITE 4600, NEW YORK, NY, UNITED STATES
SN 1432-7643
EI 1433-7479
J9 SOFT COMPUT
JI Soft Comput.
PD 2023 AUG 11
PY 2023
DI 10.1007/s00500-023-09118-4
EA AUG 2023
PG 11
WC Computer Science, Artificial Intelligence; Computer Science,
Interdisciplinary Applications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA O9XL4
UT WOS:001047273000002
DA 2025-03-18
ER
PT J
AU Tang, MM
AF Tang, Meng-Meng
TI College Vocal Music Teaching Design Based on Internet Platform
SO WIRELESS COMMUNICATIONS & MOBILE COMPUTING
LA English
DT Article
ID DISTANCE EDUCATION
AB Internet has penetrated into people's lives as the Internet education platform has faced many changes in the way vocal music is taught in the new situation. The teaching methods set up on the Internet have also undergone dramatic changes. A number of advanced music education concepts have emerged that require a careful review of the current state of music education in the world and in China. Current online learning environments are usually used only for formal or informal learning. The former overemphasizes the subjective role of the teacher and ignores the autonomy of the learner. Through a new modern network education method, this paper deeply analyzes the unique advantages and existing problems of a new voice education method based on the Internet and puts forward corresponding solutions. Its purpose is to encourage more ordinary vocal music teachers to better understand the new teaching methods, broaden their artistic horizons, consciously use modern teaching methods to support vocal music education in ordinary schools, and further expand the scope of music application. The experimental results show that for 4000 concurrent users, the response time of the system is less than 5 seconds, which can meet the time requirements of the system. For the service of querying some other data, the response time of the system is less than 9 seconds, so the response ability of the system to multiple users is impressive. Therefore, with the development of education, comprehensive network education platform is also the development direction of informatization in the future.
C1 [Tang, Meng-Meng] An Yang Univ, Sch Mus, Anyang 455000, Henan, Peoples R China.
RP Tang, MM (corresponding author), An Yang Univ, Sch Mus, Anyang 455000, Henan, Peoples R China.
EM tangmengmeng@stu.wzu.edu.cn
NR 29
TC 7
Z9 7
U1 3
U2 14
PU WILEY-HINDAWI
PI LONDON
PA ADAM HOUSE, 3RD FL, 1 FITZROY SQ, LONDON, WIT 5HE, ENGLAND
SN 1530-8669
EI 1530-8677
J9 WIREL COMMUN MOB COM
JI Wirel. Commun. Mob. Comput.
PD JUN 14
PY 2022
VL 2022
AR 3590597
DI 10.1155/2022/3590597
PG 10
WC Computer Science, Information Systems; Engineering, Electrical &
Electronic; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering; Telecommunications
GA 2M4FX
UT WOS:000817658400010
OA gold
DA 2025-03-18
ER
PT J
AU Yan, J
AF Yan, J. I. N.
TI ANALYSIS OF RELIGIOUS ELEMENTS IN WESTERN POP MUSIC EDUCATION
SO EUROPEAN JOURNAL FOR PHILOSOPHY OF RELIGION
LA English
DT Article
DE Religious elements; Western pop music; Vocal music education
AB After a thousand years of feudal middle ages, the west entered a new era, namely the Renaissance, from the 14th century. With the influence of humanism on the cultural field, people's individuality consciousness has been released. Western pop music is a western art form with profound connotation and eternal value. In recent years, many scholars and music educators have carried out a series of research and popularization of western pop music. Through scientific methods, the students' ability to control pop music can be transformed into the basic quality of solfeggio listening training, so as to achieve the combination of the advantages of pop music and serious music, so as to complete the interactive, concise and diversified solfeggio teaching and broaden new teaching ideas. The role and influence of religious songs on the development of western vocal music art is incalculable. Its value is reflected in various fields of vocal music art. Therefore, while singing and appreciating religious songs, we should also strengthen the study and research of their background and historical development.
C1 [Yan, J. I. N.] Hunan Normal Univ, Chang Sha 410000, Peoples R China.
C3 Hunan Normal University
RP Yan, J (corresponding author), Hunan Normal Univ, Chang Sha 410000, Peoples R China.
EM 202010160242@HUNNU.EDU.CN
NR 24
TC 0
Z9 0
U1 1
U2 7
PU EUROPEAN JOURNAL PHILOSOPHY RELIGION
PI INNSBRUCK
PA C/O UNIV INNSBRUCK, INST CHRISTLICHE PHILOSOPHIE, KARL-RAHNER-PLATZ 1,
INNSBRUCK, A-6020, AUSTRIA
SN 1689-8311
J9 EUR J PHILOS RELIG
JI Eur. J. Philos. Relig.
PY 2023
VL 15
IS 2
BP 123
EP 138
DI 10.24204/JP8.2021.3958
PG 16
WC Philosophy; Religion
WE Arts & Humanities Citation Index (A&HCI)
SC Philosophy; Religion
GA O1XH9
UT WOS:001041814500008
DA 2025-03-18
ER
PT J
AU Kato, K
Ando, Y
AF Kato, K
Ando, Y
TI A study of the blending of vocal music with the sound field by different
singing styles
SO JOURNAL OF SOUND AND VIBRATION
LA English
DT Article; Proceedings Paper
CT 17th International Conference on Acoustics (ICA)
CY SEP 03-08, 2001
CL ROME, ITALY
ID SUBJECTIVE PREFERENCE; SINGLE REFLECTION; TIME; PARAMETERS; SIGNALS;
DELAY
AB The initial time delay Deltat(1) between the direct sound and the first reflection and the subsequent reverberation time T-sub are usually fixed within a given space. Thus, concert halls do not have ideal conditions for all forms of music. It has been shown that the most preferred conditions for both listeners and performers are determined by the minimum value of the effective duration of the running autocorrelation function (ACF) of sound signals, (tau(e))(min). To determine the suitability of vocal music for a given sound field, (tau(e))(min) of vocal music was analyzed, after recording five solo singers (tenor) in an anechoic room. The results showed that (tau(e))(min) of the ACF of a voice source, which is closely related to the two temporal factors of the sound field, varies with singing style. A significant finding is that the values of (tau(e))(min) of sound signals for falsetto and medium falsetto are significantly longer than that for operatic singing. (C) 2002 Elsevier Science Ltd. All rights reserved.
C1 Kobe Univ, Grad Sch Sci & Technol, Kobe, Hyogo 6578501, Japan.
C3 Kobe University
RP Kobe Univ, Grad Sch Sci & Technol, Kobe, Hyogo 6578501, Japan.
EM kkato@kobe-u.com
NR 14
TC 8
Z9 8
U1 0
U2 6
PU ACADEMIC PRESS LTD- ELSEVIER SCIENCE LTD
PI LONDON
PA 24-28 OVAL RD, LONDON NW1 7DX, ENGLAND
SN 0022-460X
EI 1095-8568
J9 J SOUND VIB
JI J. Sound Vibr.
PD NOV 28
PY 2002
VL 258
IS 3
BP 463
EP 472
DI 10.1006/jsvi.2002.5269
PG 10
WC Acoustics; Engineering, Mechanical; Mechanics
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI); Conference Proceedings Citation Index - Science (CPCI-S)
SC Acoustics; Engineering; Mechanics
GA 620FL
UT WOS:000179523300007
DA 2025-03-18
ER
PT J
AU Zicari, M
AF Zicari, Massimo
TI Cultural stereotypes and the reception of Verdi's operas in Victorian
London
SO JOURNAL OF MODERN ITALIAN STUDIES
LA English
DT Article
DE Giuseppe Verdi; bel canto; opera reception; Victorian London; music
journalism
AB In the period spanning the years 1845-1901, Verdi came to be understood not only as the most influential representative of Italian opera worldwide, but also as the symbol of a musical tradition that was said to be in a constant state of decline. On the other hand, in Victorian London, Italy was still nostalgically portrayed as the country whose very language was music, where the gondolieri chanted the stanzas of Tasso to self-invented tunes, where singing came naturally even to the musically uneducated, and opera-goers cherished their favourite diva to the point of dragging her carriage home and serenading her until sunrise. By exploring the response of the London press to the invasion of Verdi's works, this article investigates if and to what extent such cultural stereotypes affected the critical reception of Italian opera in Victorian London.
C1 [Zicari, Massimo] Univ Mus, Conservatorio Svizzera Italiana Scuola, Lugano, Switzerland.
RP Zicari, M (corresponding author), Univ Mus, Conservatorio Svizzera Italiana Scuola, Lugano, Switzerland.
OI Zicari, Massimo/0000-0001-6884-4697
NR 29
TC 0
Z9 0
U1 1
U2 3
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1354-571X
EI 1469-9583
J9 J MOD ITAL STUD
JI J. Mod. Ital. Stud.
PD JAN 1
PY 2021
VL 26
IS 1
SI SI
BP 27
EP 40
DI 10.1080/1354571X.2020.1855803
EA JAN 2021
PG 14
WC History
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC History
GA RI9FN
UT WOS:000616257500001
DA 2025-03-18
ER
PT J
AU Mitchell, HF
Kenny, DT
Ryan, M
AF Mitchell, Helen F.
Kenny, Dianna T.
Ryan, Maree
TI Perceived improvement in vocal performance following tertiary-level
classical vocal training: do listeners hear systematic progress?
SO MUSICAE SCIENTIAE
LA English
DT Article
DE singing voice; voice quality; vocal training; perceptual evaluation;
longitudinal
ID SINGING VOICE; PARAMETERS; EDUCATION
AB This study assessed expert listeners' perceptual evaluations of the vocal performances of tertiary level classical singing students over two complete years of training Fifteen singers sang Caccini's Amarilli, mia bella each year at the start of each academic year of vocal training (Y1, Y2, Y3) Ten expert singing pedagogues assessed a set of each singer's three performances, with performance years presented in randomized order. Listeners first ranked singers' performances from best to worst and then rated each performance for overall vocal quality on a ten point scale to indicate the amount of difference between the performances The number of Y3 performances that were awarded the top rank was significantly greater than the number of Y1 performances awarded the top rank, but not significantly more than Y2 performances. Mean rating scores for singers' performances were significantly higher for Y3 performances than Y2 and Y1, but Y2 scores were not significantly different from Y1 scores There was considerable individual variability in singers' systematic stages of improvement during three years of professional training but results indicated that most singers demonstrated a perceptible improvement by Y3.
C1 [Mitchell, Helen F.; Kenny, Dianna T.] Univ Sydney, ACARMP, Sydney Conservatorium Mus, Sydney, NSW 2006, Australia.
C3 University of Sydney
RP Mitchell, HF (corresponding author), Univ Sydney, ACARMP, Sydney Conservatorium Mus, Conservatorium Mus C41, Sydney, NSW 2006, Australia.
EM helen.mitchell@sydney.edu.au
RI Mitchell, Helen/HJZ-0959-2023
OI Mitchell, Helen Frances/0000-0002-3852-3419; Kenny,
Dianna/0000-0003-1934-0163
NR 24
TC 2
Z9 3
U1 2
U2 3
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 1029-8649
J9 MUSIC SCI
JI Music Sci.
PD SPR
PY 2010
VL 14
IS 1
BP 73
EP 93
DI 10.1177/102986491001400103
PG 21
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA 585OD
UT WOS:000276834500003
DA 2025-03-18
ER
PT J
AU Drees, S
AF Drees, Stefan
TI IMAGINARY NARRATIVE MARIANNE SCHUPPES'S VOCAL ART OF TRANSITIONS
SO NEUE ZEITSCHRIFT FUR MUSIK
LA German
DT Article
NR 2
TC 0
Z9 0
U1 0
U2 1
PU SCHOTT MUSIC GMBH & CO KG
PI MAINZ
PA WEIHERGARTEN 5, D-55116 MAINZ, GERMANY
SN 0945-6945
J9 NEUE Z MUSIK
JI Neue Z. Musik
PY 2017
IS 3
BP 30
EP 31
PG 2
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA FB7ZB
UT WOS:000406357400008
DA 2025-03-18
ER
PT J
AU Cui, X
Chen, M
AF Cui, Xiang
Chen, Ming
TI A novel learning framework for vocal music education: an exploration of
convolutional neural networks and pluralistic learning approaches
SO SOFT COMPUTING
LA English
DT Article
DE Independent learning; Vocal music teaching; Machine learning;
Convolutional neural networks; Education technology
AB Technology has influenced education, business, and communication in the last several years, changing many facets of human existence. Many industries have seen radical changes due to the quick development of technology, especially in artificial intelligence, machine learning, data analytics, and the Internet of things (IoT). This research explores vocal music teaching against the backdrop of the twenty-first century educational reforms seeking innovation and pursuing new teaching methodologies. The goal is to develop an autonomous learning framework reinforced by machine learning techniques that use conventional neural networks. The present study aims to implement machine learning algorithms in education, because esthetic education promotes excellence and humanistic attributes in educational environments, and art is essential in social activities. The main goal is to provide a framework that enables music education majors to access a customizable learning environment by integrating a pluralistic network approach and the strength of conventional neural networks. Music education constitutes an integral facet of quality, ideological, and moral education within general colleges and universities. The mission of music education, cultivating competent teachers for various Chinese institutions, necessitates a comprehensive understanding of students' learning patterns, thinking characteristics, and behavioral phenomena. This study analyzes these facets across diverse levels and perspectives, employing empirical generalization, literature synthesis, logical reasoning, and action research methodologies. The research findings underscore an accuracy rate of 97.4%, emphasizing the augmentation of students' independent learning abilities in vocal music education at higher education institutions. The proposed approach outperforms machine learning techniques such as RNNs, LSTMs, and DNNs. This study highlights the significance and methods for autonomous music education at colleges to improve "music education" students' learning through "independent learning" theory in higher education music.
C1 [Cui, Xiang] Southwest Univ, Acad Mus, Chongqing 400715, Peoples R China.
[Chen, Ming] Tangshan Normal Univ, Dept Mus, Tangshan 063000, Hebei, Peoples R China.
C3 Southwest University - China; Tangshan Normal University
RP Cui, X (corresponding author), Southwest Univ, Acad Mus, Chongqing 400715, Peoples R China.
EM hyangyi718@163.com; 13102652722@163.com
NR 28
TC 4
Z9 4
U1 8
U2 18
PU SPRINGER
PI NEW YORK
PA ONE NEW YORK PLAZA, SUITE 4600, NEW YORK, NY, UNITED STATES
SN 1432-7643
EI 1433-7479
J9 SOFT COMPUT
JI Soft Comput.
PD FEB
PY 2024
VL 28
IS 4
BP 3533
EP 3553
DI 10.1007/s00500-023-09618-3
EA JAN 2024
PG 21
WC Computer Science, Artificial Intelligence; Computer Science,
Interdisciplinary Applications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA GP2W0
UT WOS:001147826700002
DA 2025-03-18
ER
PT J
AU Bigand, E
Tillmann, B
Poulin, B
D'Adamo, DA
Madurell, F
AF Bigand, E
Tillmann, B
Poulin, B
D'Adamo, DA
Madurell, F
TI The effect of harmonic context on phoneme monitoring in vocal music
SO COGNITION
LA English
DT Article
DE priming; expertise; phoneme monitoring; vocal music; modularity
ID REACTION-TIME; EXPECTANCY; CHORDS; SPEECH; IDENTIFICATION; PATTERNS;
LEXICON; RHYTHM; STRESS
AB The processing of a target chord depends on the previous musical context in which it has appeared. This harmonic priming effect occurs for fine syntactic-like changes in context and is observed irrespective of the extent of participants' musical expertise (Bigand & Pineau, Perception and Psychophysics, 59 (1997) 1098). The present study investigates how the harmonic context influences the processing of phonemes in vocal music. Eight-chord sequences were presented to participants. The four notes of each chord were played with synthetic phonemes and participants were required to quickly decide whether the last chord (the target) was sung on a syllable containing the phoneme /i/ or /u/. The musical relationship of the target chord to the previous context was manipulated so that the target chord acted as a referential tonic chord or as a congruent but less structurally important subdominant chord. Phoneme monitoring was faster for the tonic chord than for the subdominant chord, This finding has several implications for music cognition and speech perception. It also suggests that musical and phonemic processing interact at some stage of processing. (C) 2001 Elsevier Science B.V. All rights reserved.
C1 Univ Bourgogne, Dijon, France.
Dartmouth Coll, Hanover, NH 03755 USA.
Univ Paris 04, Paris, France.
C3 Universite de Bourgogne; Dartmouth College; Sorbonne Universite
RP Bigand, E (corresponding author), Fac Sci, CNRS, LEAD, 6 Blvd Gabriel, F-21000 Dijon, France.
RI Poulin-Charronnat, Bénédicte/K-7418-2015
OI Tillmann, Barbara/0000-0001-9676-5822
NR 33
TC 97
Z9 111
U1 2
U2 17
PU ELSEVIER SCIENCE BV
PI AMSTERDAM
PA PO BOX 211, 1000 AE AMSTERDAM, NETHERLANDS
SN 0010-0277
J9 COGNITION
JI Cognition
PD AUG
PY 2001
VL 81
IS 1
BP B11
EP B20
DI 10.1016/S0010-0277(01)00117-2
PG 10
WC Psychology, Experimental
WE Social Science Citation Index (SSCI)
SC Psychology
GA 455ZV
UT WOS:000170058400008
PM 11525485
DA 2025-03-18
ER
PT J
AU Temperley, N
Temperley, D
AF Temperley, Nicholas
Temperley, David
TI Stress-meter alignment in French vocal music
SO JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA
LA English
DT Article
ID LANGUAGE; PROSODY
AB Previous research has shown disagreement regarding the nature of stress in French. Some have maintained that French has lexical stress on the final syllable of each word; others have argued that French has no lexical stress, only phrasal stress. A possible source of evidence on this issue is vocal music. In languages with lexical stress, such as English, it is well known that stressed syllables tend to occur at "strong" positions in the musical meter (some evidence will be presented supporting this view). A corpus analysis was performed to investigate the degree of stress-meter alignment in French songs. The analysis showed that (excluding syllables at the ends of lines) the final syllables of polysyllabic words tend to occur at stronger metrical positions than non-final syllables of those words; it also showed that monosyllabic content words tend to occur at stronger positions than monosyllabic function words. While conflicts between stress and meter are much more common in French than in English vocal music, these results suggest that French poets and composers recognized distinctions of stress between syllables of polysyllabic words and between monosyllabic content and function words. (C) 2013 Acoustical Society of America.
C1 [Temperley, Nicholas] Univ Illinois, Sch Mus, Urbana, IL 61801 USA.
[Temperley, David] Univ Rochester, Eastman Sch Mus, Rochester, NY 14604 USA.
C3 University of Illinois System; University of Illinois Urbana-Champaign;
University of Rochester
RP Temperley, N (corresponding author), Univ Illinois, Sch Mus, 1114 West Nevada St, Urbana, IL 61801 USA.
EM ntemp@illinois.edu
NR 33
TC 17
Z9 22
U1 0
U2 9
PU ACOUSTICAL SOC AMER AMER INST PHYSICS
PI MELVILLE
PA STE 1 NO 1, 2 HUNTINGTON QUADRANGLE, MELVILLE, NY 11747-4502 USA
SN 0001-4966
EI 1520-8524
J9 J ACOUST SOC AM
JI J. Acoust. Soc. Am.
PD JUL
PY 2013
VL 134
IS 1
BP 520
EP 527
DI 10.1121/1.4807566
PN 1
PG 8
WC Acoustics; Audiology & Speech-Language Pathology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Acoustics; Audiology & Speech-Language Pathology
GA 184QQ
UT WOS:000321908500070
PM 23862827
DA 2025-03-18
ER
PT J
AU McLeod, A
Schramm, R
Steedman, M
Benetos, E
AF McLeod, Andrew
Schramm, Rodrigo
Steedman, Mark
Benetos, Emmanouil
TI Automatic Transcription of Polyphonic Vocal Music
SO APPLIED SCIENCES-BASEL
LA English
DT Article
DE automatic music transcription; multi-pitch detection; voice assignment;
music signal analysis; music language models; polyphonic vocal music;
music information retrieval
ID NONNEGATIVE MATRIX FACTORIZATION; VOICE SEPARATION; PITCH ESTIMATION;
MELODY; MODEL; ALGORITHM; SIGNALS
AB This paper presents a method for automatic music transcription applied to audio recordings of a cappella performances with multiple singers. We propose a system for multi-pitch detection and voice assignment that integrates an acoustic and a music language model. The acoustic model performs spectrogram decomposition, extending probabilistic latent component analysis (PLCA) using a six-dimensional dictionary with pre-extracted log-spectral templates. The music language model performs voice separation and assignment using hidden Markov models that apply musicological assumptions. By integrating the two models, the system is able to detect multiple concurrent pitches in polyphonic vocal music and assign each detected pitch to a specific voice type such as soprano, alto, tenor or bass (SATB). We compare our system against multiple baselines, achieving state-of-the-art results for both multi-pitch detection and voice assignment on a dataset of Bach chorales and another of barbershop quartets. We also present an additional evaluation of our system using varied pitch tolerance levels to investigate its performance at 20-cent pitch resolution.
C1 [McLeod, Andrew; Steedman, Mark] Univ Edinburgh, Sch Informat, Edinburgh EH8 9AB, Midlothian, Scotland.
[Schramm, Rodrigo] Univ Fed Rio Grande do Sul, Dept Mus, BR-90020 Porto Alegre, RS, Brazil.
[Benetos, Emmanouil] Queen Mary Univ London, Sch Elect Engn & Comp Sci, London E1 4NS, England.
C3 University of Edinburgh; Universidade Federal do Rio Grande do Sul;
University of London; Queen Mary University London
RP McLeod, A (corresponding author), Univ Edinburgh, Sch Informat, Edinburgh EH8 9AB, Midlothian, Scotland.
EM A.McLeod-5@sms.ed.ac.uk; rschramm@ufrgs.br; steedman@inf.ed.ac.uk;
emmanouil.benetos@qmul.ac.uk
RI ; Benetos, Emmanouil/S-1932-2018
OI McLeod, Andrew/0000-0003-2700-2076; Benetos,
Emmanouil/0000-0002-6820-6764
FU University of Edinburgh; UK Newton Research Collaboration Programme
Award [NRCP1617/5/46]; EU ERC H Advanced Fellowship [GA 742137
SEMANTAX]; UK Royal Academy of Engineering Research Fellowship [RF/128]
FX Andrew McLeod is supported by the University of Edinburgh. Rodrigo
Schramm is supported by a UK Newton Research Collaboration Programme
Award (Grant No. NRCP1617/5/46). Mark Steedman is supported by EU ERC
H2020 Advanced Fellowship GA 742137 SEMANTAX. Emmanouil Benetos is
supported by a UK Royal Academy of Engineering Research Fellowship
(Grant No. RF/128).
NR 54
TC 9
Z9 13
U1 0
U2 4
PU MDPI AG
PI BASEL
PA ST ALBAN-ANLAGE 66, CH-4052 BASEL, SWITZERLAND
SN 2076-3417
J9 APPL SCI-BASEL
JI Appl. Sci.-Basel
PD DEC
PY 2017
VL 7
IS 12
AR 1285
DI 10.3390/app7121285
PG 21
WC Chemistry, Multidisciplinary; Engineering, Multidisciplinary; Materials
Science, Multidisciplinary; Physics, Applied
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Chemistry; Engineering; Materials Science; Physics
GA FR6KW
UT WOS:000419175800081
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Bradt, J
Norris, M
Shim, M
Gracely, EJ
Gerrity, P
AF Bradt, Joke
Norris, Marisol
Shim, Minjung
Gracely, Edward J.
Gerrity, Patricia
TI Vocal Music Therapy for Chronic Pain Management in Inner-City African
Americans: A Mixed Methods Feasibility Study
SO JOURNAL OF MUSIC THERAPY
LA English
DT Article
DE Chronic pain; music therapy; African Americans; mixed methods research
ID OUTCOME MEASURES; SELF-EFFICACY; ARTHRITIS; ANXIETY; TRIALS; WOMEN
AB Background: To date, research on music for pain management has focused primarily on listening to prerecorded music for acute pain. Research is needed on the impact of active music therapy interventions on chronic pain management.
Objective: The aim of this mixed methods research study was to determine feasibility and estimates of effect of vocal music therapy for chronic pain management.
Methods: Fifty-five inner-city adults, predominantly African Americans, with chronic pain were randomized to an 8-week vocal music therapy treatment group or waitlist control group. Consent and attrition rates, treatment compliance, and instrument appropriateness/burden were tracked. Physical functioning (pain interference and general activities), self-efficacy, emotional functioning, pain intensity, pain coping, and participant perception of change were measured at baseline, 4, 8, and 12 weeks. Focus groups were conducted at the 12-week follow-up.
Results: The consent rate was 77%. The attrition rate was 27% at follow-up. We established acceptability of the intervention. Large effect sizes were obtained for self-efficacy at weeks 8 and 12; a moderate effect size was found for pain interference at week 8; no improvements were found for general activities and emotional functioning. Moderate effect sizes were obtained for pain intensity and small effect sizes for coping, albeit not statistically significant. Qualitative findings suggested that the treatment resulted in enhanced self-management, motivation, empowerment, a sense of belonging, and reduced isolation.
Conclusions: This study suggests that vocal music therapy may be effective in building essential stepping-stones for effective chronic pain management, namely enhanced self-efficacy, motivation, empowerment, and social engagement.
C1 [Bradt, Joke; Norris, Marisol; Shim, Minjung; Gracely, Edward J.; Gerrity, Patricia] Drexel Univ, Philadelphia, PA 19104 USA.
C3 Drexel University
RP Bradt, J (corresponding author), Drexel Univ, Dept Creat Arts Therapies, Coll Nursing & Hlth Profess, Three Pkwy,1601 Cherry St, Philadelphia, PA 19102 USA.
EM jbradt@drexel.edu
RI bradt, joke/C-5930-2014; Shim, Minjung/LPP-7859-2024
FU National Institute of Nursing Research of the National Institutes of
Health [R03NR013551]
FX Research reported in this publication was supported by the National
Institute of Nursing Research of the National Institutes of Health under
Award Number R03NR013551. The content is solely the responsibility of
the authors and does not necessarily represent the official views of the
National Institutes of Health.
NR 43
TC 29
Z9 41
U1 0
U2 38
PU OXFORD UNIV PRESS INC
PI CARY
PA JOURNALS DEPT, 2001 EVANS RD, CARY, NC 27513 USA
SN 0022-2917
EI 2053-7395
J9 J MUSIC THER
JI J. Music Ther.
PD SUM
PY 2016
VL 53
IS 2
BP 178
EP 206
DI 10.1093/jmt/thw004
PG 29
WC Music; Rehabilitation
WE Social Science Citation Index (SSCI)
SC Music; Rehabilitation
GA DO0JB
UT WOS:000377464100004
PM 27090149
OA Green Accepted
DA 2025-03-18
ER
PT J
AU Collyer, S
Thorpe, CW
Callaghan, J
Davis, PJ
AF Collyer, Sally
Thorpe, C. William
Callaghan, Jean
Davis, Pamela J.
TI The influence of fundamental frequency and sound pressure level range on
breathing patterns in female classical singing
SO JOURNAL OF SPEECH LANGUAGE AND HEARING RESEARCH
LA English
DT Article
DE singing voice; normal respiration; females
ID MAGNETIC TRACKING DEVICE; MESSA-DI-VOCE; RIB CAGE; RESPIRATORY
KINEMATICS; TIDAL VOLUME; VENTILATION; SINGERS; ABDOMEN; SPEECH; HUMANS
AB 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 chest-wall kinematic behavior (dimensional change in ribcage [RC] and abdominal [AB] wall) was recorded using triaxial magnetometry.
Results: The direction of F0 influence on LV excursion (LVE) varied among singers, but SPL range appeared to be less important than duration to LVE. LVE was generally evenly divided between crescendo and decrescendo. Kinematic patterns differed markedly among singers, despite task consistency, and RC and AB paradoxing was widespread.
Conclusion: Each singer maintained her characteristic kinematic pattern regardless of F0 or SPL range, although these did influence aspects of RC and AB behavior. Given the essential role of breathing in classical singing, further work is needed to understand how singers develop their highly individual respiratory strategies and the principles by which each singer's breathing strategy can be optimized.
C1 [Collyer, Sally; Thorpe, C. William; Callaghan, Jean; Davis, Pamela J.] Univ Sydney, Natl Voice Ctr, Sydney, NSW 2006, Australia.
C3 University of Sydney
EM sallycollyer@yahoo.com.au
RI Collyer, Sally/HZI-6509-2023
OI Thorpe, William/0000-0002-4835-7063
NR 58
TC 8
Z9 12
U1 0
U2 2
PU AMER SPEECH-LANGUAGE-HEARING ASSOC
PI ROCKVILLE
PA 2200 RESEARCH BLVD, #271, ROCKVILLE, MD 20850-3289 USA
SN 1092-4388
EI 1558-9102
J9 J SPEECH LANG HEAR R
JI J. Speech Lang. Hear. Res.
PD JUN 1
PY 2008
VL 51
IS 3
BP 612
EP 628
DI 10.1044/1092-4388(2008/044)
PG 17
WC Audiology & Speech-Language Pathology; Linguistics; Rehabilitation
WE Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Linguistics; Rehabilitation
GA 305FU
UT WOS:000256164000005
PM 18506039
DA 2025-03-18
ER
PT J
AU Johnson, G
Otto, D
Clair, AA
AF Johnson, G
Otto, D
Clair, AA
TI The effect of instrumental and vocal music on adherence to a physical
rehabilitation exercise program with persons who are elderly
SO JOURNAL OF MUSIC THERAPY
LA English
DT Article
ID RHYTHMIC AUDITORY-STIMULATION; PARKINSONS-DISEASE; BED REST;
FACILITATION
AB This study compared live, instrumental music, vocal music, and no music on the repetition frequencies for 14 prescribed physical therapy rehabilitation exercises. Male (N = 4) and female (N = 15) residents of care centers for older adults served as subjects. They ranged in age from 65 to 90 years (M = 84.3), and were either referred to physical therapy or were already involved in a physical therapy exercise program. All subjects (N = 19) participated in 6 treatment sessions under 3 conditions: Two sessions with live instrumental music, two with live vocal music, and two with no music. In all music sessions, familiar and recognizable songs were paired with specific exercises. Each exercise in all conditions had the same duration, and a metronome established consistent tempos. Each session was videotaped for later review and data collection. Analyses of variance were calculated for treatment effects and mean differences among the three conditions which yielded significant treatment effects and treatment differences among conditions for 6 of the 14 exercises. Unsolicited comments from subjects indicated preference for music over no music conditions while exercising. Further study is required to establish the relationship between music enhanced exercises and adherence to exercise regimens in populations of older adults.
C1 Univ Kansas, Colmery ONeil Vet Adm Med Ctr, Lawrence, KS 66045 USA.
C3 University of Kansas
RP Johnson, G (corresponding author), Univ Kansas, Colmery ONeil Vet Adm Med Ctr, Lawrence, KS 66045 USA.
NR 29
TC 37
Z9 48
U1 0
U2 22
PU NATL ASSOC MUSIC THERAPY INC
PI SILVER SPRING
PA 8455 COLESVILLE RD, STE 1000, SILVER SPRING, MD 20910 USA
SN 0022-2917
J9 J MUSIC THER
JI J. Music Ther.
PD SUM
PY 2001
VL 38
IS 2
BP 82
EP 96
DI 10.1093/jmt/38.2.82
PG 15
WC Music; Rehabilitation
WE Social Science Citation Index (SSCI)
SC Music; Rehabilitation
GA 460TJ
UT WOS:000170324400001
PM 11469917
DA 2025-03-18
ER
PT J
AU Sweet, B
Parker, EC
AF Sweet, Bridget
Parker, Elizabeth Cassidy
TI Female Vocal Identity Development: A Phenomenology
SO JOURNAL OF RESEARCH IN MUSIC EDUCATION
LA English
DT Article
DE vocal identity; female singers; choral research
ID EMERGING ADULTHOOD; VOICE
AB The purpose of our phenomenology was to investigate the lived experiences of emerging female vocal identity development (ages 19-35 years) and how participants' lived experiences shaped their future as musicians and music educators. Thirty-nine participants, freshmen through graduate students, enrolled in vocal music education or vocal performance programs within two large universities in the United States completed written responses to an open set of questions that were then discussed during a corresponding in-depth interview. Our analysis revealed four themes: (a) others as powerful influences, (b) voice classification, (c) omnipresent emotion, and (d) perceptions of future involvement. Time underwrote each theme as participants shared lived experiences that took place from age 11 into their 20s and some into the mid-30s. Therefore, consideration of chronological age within each of the themes provided deeper insight on the evolution of female vocal identity development. We found that intrapersonal and interpersonal interactions, both past and present, fostered emotional responses that influenced female vocalists' perceptions of their voice. These, in combination with encounters with voice classifications and tensions between vocal and choral teachers, influenced their ever-evolving relationship with their instrument. In addition, participants actively used lived experiences to build futures for themselves and their vocal students.
C1 [Sweet, Bridget] Univ Illinois, Mus Educ, Urbana, IL USA.
[Parker, Elizabeth Cassidy] Temple Univ, Mus Educ, Boyer Coll Mus & Dance, Philadelphia, PA 19122 USA.
C3 University of Illinois System; University of Illinois Urbana-Champaign;
Pennsylvania Commonwealth System of Higher Education (PCSHE); Temple
University
RP Sweet, B (corresponding author), Univ Illinois, Sch Mus, 1114 West Nevada St,MC-056, Urbana, IL 61801 USA.
EM bsweet@illinois.edu
FU University of Illinois College of Fine and Applied Arts Creative
Research Award
FX The authors disclosed receipt of the following financial support for the
research, authorship, and/or publication of this article: This study was
supported by University of Illinois College of Fine and Applied Arts
Creative Research Award.
NR 52
TC 11
Z9 26
U1 1
U2 10
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0022-4294
EI 1945-0095
J9 J RES MUSIC EDUC
JI J. Res. Music Educ.
PD APR
PY 2019
VL 67
IS 1
BP 62
EP 82
DI 10.1177/0022429418809981
PG 21
WC Education & Educational Research; Music
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Education & Educational Research; Music
GA HN0JX
UT WOS:000459875200005
DA 2025-03-18
ER
PT J
AU Milella, F
AF Milella, Francesco
TI A Mexican Semiramide: Garcia and Rossini in Postcolonial Latin
America
SO CAMBRIDGE OPERA JOURNAL
LA English
DT Article
DE Manuel Garcia; Gioachino Rossini; Mexico; Italian opera; postcolonial
studies; Latin America
AB In 1828, five years after the premiere in Venice of Rossini's final Italian opera, Semiramide, Gaetano Rossi's libretto was again set to music, this time by the famed bel canto tenor and composer Manuel Garcia in Mexico City. The opera, one of the first to be composed in Latin America after the collapse of the Spanish empire, was intended to demonstrate independent Mexico's ability not just to import Italian opera from Europe but also to produce new works. Instead of proving Mexico's credentials as a successful operatic nation, however, Garcia's Semiramide became a problematic space for bringing to light tensions between underlying colonial resistance and the new liberal influence of France, England and Italy. This article contextualises this momentous operatic event within the wider frame of Mexico's nation building and investigates how the manifold political tensions and cultural contradictions of Mexico's postcolonial transition were absorbed and amplified by both Garcia's composition and its staging.
C1 [Milella, Francesco] Univ Cambridge, Jesus Coll, Cambridge, England.
C3 University of Cambridge
RP Milella, F (corresponding author), Univ Cambridge, Jesus Coll, Cambridge, England.
EM fm483@cam.ac.uk
OI Milella Gonzalez Luna, Francesco/0000-0003-1971-8242
FU Arts and Humanities Research Council in the United Kingdom
FX This article would not have been possible without the generous support
of Benjamin Walton, Emilio Sala, Charlotte Bentley, Francesca Vella and
Alexandra Leonzini. I also want to thank the anonymous readers of this
article for their feedback. This research was supported by the Arts and
Humanities Research Council in the United Kingdom.
NR 8
TC 0
Z9 0
U1 0
U2 0
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 0954-5867
EI 1474-0621
J9 CAMB OPERA J
JI Camb. Opera J.
PD NOV
PY 2022
VL 34
IS 3
BP 245
EP 268
AR PII S0954586722000295
DI 10.1017/S0954586722000295
EA JAN 2023
PG 24
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA 8Z3JT
UT WOS:000910738900001
OA hybrid
DA 2025-03-18
ER
PT J
AU La, FMB
Sundberg, J
Granqvist, S
AF Batista La, Filipa Martins
Sundberg, Johan
Granqvist, Svante
TI Augmented visual-feedback of airflow: Immediate effects on voice-source
characteristics of students of singing
SO PSYCHOLOGY OF MUSIC
LA English
DT Article
DE real-time visual feedback; voice training; phonatory airflow; glottal
adduction; flow phonation; classical singing
ID OCCLUDED VOCAL-TRACT; SUBGLOTTAL PRESSURE; ADDUCTION
AB Glottal adduction is a crucial aspect in voice education and vocal performance: it has major effects on phonatory airflow and, consequently, on voice timbre. As the voice is a non-visible musical instrument, controlling it could be facilitated by providing real-time visual feedback of phonatory airflow. Here, we test the usefulness of a flow ball (FB) training device, visualizing, in terms of the height of a polystyrene ball placed in a plastic basket, phonatory airflow during phonation. Audio and electroglottographic recordings of five postgraduate, classically trained singer students were made under three subsequent conditions: before, during, and after phonating into the FB. The calibrated audio signal was inverse-filtered, using an electroglottograph signal to guide the manual tuning of the inverse filters. Mean phonatory airflow, peak-to-peak pulse amplitude, and normalized amplitude quotient were extracted from the resulting flow glottograms. After the FB condition, increases of mean flow and peak-to-peak pulse amplitude were observed in four singers. In addition, the singers' mean normalized amplitude quotient increased significantly. The findings, although exploratory, suggest that reduction of glottal adduction can be observed immediately after FB phonation.
C1 [Batista La, Filipa Martins] Natl Distance Educ Univ UNED, Fac Educ, Sch Org & Special Didact, Dept Didact, Calle Juan del Rosal 14, Madrid 28040, Spain.
[Sundberg, Johan] KTH Royal Inst Technol, Sch Elect Engn & Comp Sci, Dept Speech Mus & Hearing, Stockholm, Sweden.
[Sundberg, Johan] Stockholm Univ, Dept Linguist, Stockholm, Sweden.
[Sundberg, Johan] Univ Coll Mus Educ Stockholm, Stockholm, Sweden.
[Granqvist, Svante] Karolinska Inst, Dept Clin Sci Intervent & Technol CLINTEC, Div Speech & Language Pathol, Stockholm, Sweden.
[Granqvist, Svante] KTH Royal Inst Technol, Sch Engn Sci Chem Biotechnol & Hlth CBH, Dept Biomed Engn & Hlth Syst, Stockholm, Sweden.
C3 Universidad Nacional de Educacion a Distancia (UNED); Royal Institute of
Technology; Stockholm University; Karolinska Institutet; Royal Institute
of Technology
RP La, FMB (corresponding author), Natl Distance Educ Univ UNED, Fac Educ, Sch Org & Special Didact, Dept Didact, Calle Juan del Rosal 14, Madrid 28040, Spain.
EM filipa.la@edu.uned.es
RI La, Filipa M.B./M-7767-2013
OI La, Filipa M.B./0000-0001-5560-7406
FU Program for Research Talent Attraction of the Comunidad de Madrid, Spain
[2018-T1/HUM-12172]
FX The authors would like to acknowledge all singers who kindly volunteered
to participate in this study, and the Program for Research Talent
Attraction of the Comunidad de Madrid, Spain (Atraccion de Talento
Investigador C. de Madrid / Proyecto 2018-T1/HUM-12172) for the authors'
faculty time spent in this investigation.
NR 37
TC 4
Z9 4
U1 2
U2 3
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0305-7356
EI 1741-3087
J9 PSYCHOL MUSIC
JI Psychol. Music
PD MAY
PY 2022
VL 50
IS 3
BP 933
EP 944
AR 03057356211026735
DI 10.1177/03057356211026735
EA JUL 2021
PG 12
WC Psychology, Educational; Psychology, Applied; Music; Psychology,
Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Psychology; Music
GA 0N4KJ
UT WOS:000673661100001
DA 2025-03-18
ER
PT J
AU Zohn, S
AF Zohn, Steven
TI Preludes to friendship: improvisatory instrumental souvenirs in
19th-century autograph albums
SO EARLY MUSIC
LA English
DT Article
DE autograph album; cadenza; capriccio; improvisation; prelude
ID 18TH-CENTURY; BEETHOVEN; LEAVES
AB Among the musical souvenirs found in 19th-century autograph or friendship albums is an overlooked repertory of improvisatory pieces for solo string and wind instruments. These cadenzas, capriccios and preludes were given to collectors by some of the leading performers of the day, including violinists Charles-Auguste de Beriot, Ole Bull, Ferdinand David, Joseph Joachim and Niccol & ograve; Paganini; and flautists Louis Drou & euml;t and Jean-Louis Tulou. Most of these pieces are found nowhere else, and because they include precise indications of date and place, some can be connected to specific performances. As musical self-portraits, they capture their authors' personalities and artistry in strikingly varied ways: from visually extravagant (and occasionally humorous) roulades, to bel canto 'vocal' cadenzas and more extended flights of fancy. Taken as a whole, this repertory brings us a step or two closer to what was heard in salons and concert halls than the more familiar repertory of published cadenzas, capriccios and preludes.
C1 [Zohn, Steven] Temple Univ, Mus Studies, Philadelphia, PA 19122 USA.
C3 Pennsylvania Commonwealth System of Higher Education (PCSHE); Temple
University
RP Zohn, S (corresponding author), Temple Univ, Mus Studies, Philadelphia, PA 19122 USA.
EM steven.zohn@temple.edu
NR 57
TC 0
Z9 0
U1 0
U2 0
PU OXFORD UNIV PRESS
PI OXFORD
PA GREAT CLARENDON ST, OXFORD OX2 6DP, ENGLAND
SN 0306-1078
EI 1741-7260
J9 EARLY MUSIC
JI Early Music
PD SEP 3
PY 2024
VL 52
IS 2
BP 242
EP 261
DI 10.1093/em/caae032
EA SEP 2024
PG 20
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA Q5I8T
UT WOS:001304236200001
DA 2025-03-18
ER
PT J
AU Iwanaga, M
Ito, T
AF Iwanaga, M
Ito, T
TI Disturbance effect of music on processing of verbal and spatial memories
SO PERCEPTUAL AND MOTOR SKILLS
LA English
DT Article
ID SHORT-TERM-MEMORY; IRRELEVANT SPEECH; BACKGROUND MUSIC; WORKING-MEMORY;
NOISE; PERFORMANCE
AB The purpose of the present study was to examine the disturbance effect of music on performances of memory tasks. Subjects performed a verbal memory task and a spatial memory task in 4 sound conditions, including the presence of vocal music, instrumental music, a natural sound (murmurings of a stream), and no music, 47 undergraduate volunteers were randomly assigned to perform tasks under each condition. Perceived disturbance was highest under the vocal music condition regardless of the type of task. A disturbance in performance by music was observed only with the verbal memory task under the vocal and the instrumental music conditions. These findings were discussed from the perspectives of the working memory hypothesis and the changing state model.
C1 Hiroshima Univ, Fac Integrated Arts & Sci, Dept Behav Sci, Higashihiroshima, Hiroshima 7398521, Japan.
Gifu Prefectural Mus Therapy & Res Ctr, Gifu, Japan.
C3 Hiroshima University
RP Iwanaga, M (corresponding author), Hiroshima Univ, Fac Integrated Arts & Sci, Dept Behav Sci, Kagamiyama 1-7-1, Higashihiroshima, Hiroshima 7398521, Japan.
NR 15
TC 39
Z9 43
U1 5
U2 85
PU PERCEPTUAL MOTOR SKILLS
PI MISSOULA
PA PO BOX 9229, MISSOULA, MT 59807 USA
SN 0031-5125
J9 PERCEPT MOTOR SKILL
JI Percept. Mot. Skills
PD JUN
PY 2002
VL 94
IS 3
BP 1251
EP 1258
DI 10.2466/PMS.94.4.1251-1258
PN 2
PG 8
WC Psychology, Experimental
WE Social Science Citation Index (SSCI)
SC Psychology
GA 583MJ
UT WOS:000177411400023
PM 12186247
DA 2025-03-18
ER
PT J
AU Fecondo, F
AF Fecondo, Francesco
TI The fake Harlequin. The synthetic- melodramatic theatre of Gian
Francesco Malipiero
SO RIVISTA ITALIANA DI MUSICOLOGIA
LA Italian
DT Article
AB Il falso Arlecchino, a small-scale musical comedy written by Gian Francesco Malipiero in 1925, constitutes a paramount opportunity for those intending to understand the reform of musical theatre carried out by the Venetian composer. A 'synthetic-melodramatic' opera par excellence, it can be considered a metaphor of the conflict between two different singing models, namely the 'cantar bene' (singing properly) and the 'bel canto': these are represented by the heroic Arlecchino / Don Ippolito and by the funny suitors of Donna Rosaura, respectively. Malipiero used the narrative artifice of a singing competition and built up an amusing, yet mordant parody of the vices in the eighteenth- and nineteenth-century theatre, with a clear-cross reference to the reflections he previously presented in the essay I profeti di Babilonia (1924). The libretto of the comedy is a collage of old Italian poems presenting several interpolations and variations: the composer went back to the Arcadia poets Magalotti and Rolli and to his 'favourite' Poliziano to recreate the spirit of original musical theatre.
C1 [Fecondo, Francesco] Fdn Cini Venezia, Venice, Italy.
[Fecondo, Francesco] Fdn Cini Venezia, Progetto Finto Arlecchino Intertestualita Interna, Venice, Italy.
RP Fecondo, F (corresponding author), Fdn Cini Venezia, Venice, Italy.
NR 31
TC 0
Z9 0
U1 0
U2 0
PU ITALIAN SOC MUSICOLOGY
PI ROME
PA PO BOX 318, AG ROMA ACILIA SAPONARA, ROME, 00125, ITALY
SN 0035-6867
EI 2036-5586
J9 RIV ITAL MUSIC
JI Riv. Ital. Musicol.
PY 2017
VL 52
BP 149
EP 182
PG 34
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA GM8GA
UT WOS:000438458600005
DA 2025-03-18
ER
PT J
AU Bracknell, C
AF Bracknell, Clint
TI Wal-Walang-al Ngardanginy: hunting the songs (of the Australian
south-west)
SO AUSTRALIAN ABORIGINAL STUDIES
LA English
DT Article
AB Given the paucity of research pertaining to Indigenous vocal music in the south-west of Western Australia and the present endangered state of traditional music knowledge in the region, this paper discusses contemporary community-driven Noongar language revitalisation activities and explores relevant archival song texts. Oral accounts and archival records from the south-west of Western Australia highlight the centrality of vocal music in the local Aboriginal (Noongar) society. Accordingly, Noongar people composed songs in response to new experiences and phenomena as colonial influence extended across the south-west in the nineteenth and twentieth centuries. These compositions experiment with point-of-view, vocabulary and metaphor, indicating the ability for Noongar singing traditions to maintain continuity and intergenerational transmission while demonstrating linguistic, thematic and semantic flexibility.
C1 [Bracknell, Clint] Univ Sydney, Sydney, NSW 2006, Australia.
[Bracknell, Clint] Univ Western Australia, Nedlands, WA 6009, Australia.
C3 University of Sydney; University of Western Australia
RP Bracknell, C (corresponding author), Univ Sydney, Sydney, NSW 2006, Australia.
EM clint.bracknell@sydney.edu.au
OI Bracknell, Clint/0000-0002-9808-1624
NR 99
TC 5
Z9 5
U1 0
U2 8
PU ABORIGINAL STUDIES PRESS
PI CANBERRA
PA PO BOX 553, CANBERRA, ACT 2601, AUSTRALIA
SN 0729-4352
J9 AUST ABORIG STUD
JI Aust. Aborig. Stud.
PY 2014
IS 1
BP 3
EP 15
PG 13
WC Anthropology
WE Social Science Citation Index (SSCI)
SC Anthropology
GA AL2RO
UT WOS:000338973000002
DA 2025-03-18
ER
PT J
AU Pettersen, V
Eggebo, TM
AF Pettersen, Viggo
Eggebo, Torbjorn M.
TI The movement of the diaphragm monitored by ultrasound imaging:
Preliminary findings of diaphragm movements in classical singing
SO LOGOPEDICS PHONIATRICS VOCOLOGY
LA English
DT Article
DE Movement of the diaphragm; movement of the kidney; singing; ultrasound
AB This study will by ultrasound imaging (USI) investigate the movement of the diaphragm (DPH) during classical singing. Due to the complex structures of the DPH both the anterior and dorsal sections of the DPH will be investigated. The movement of the anterior section is surveyed by performing a transabdominal scan from the right hypochondrium. The movement of the dorsal section is surveyed by examining the movement of the left kidney. We conclude that USI is a promising tool for surveying the movement of the DPH. Especially the anterior section is easily assessed; however, also the dorsal section may indirectly be surveyed by USI of the movement of the left kidney.
C1 [Pettersen, Viggo] Univ Stavanger, Dept Mus & Dance, N-4036 Stavanger, Norway.
[Eggebo, Torbjorn M.] Stavanger Univ Hosp, Dept Obstet & Gynecol, Stavanger, Norway.
C3 Universitetet i Stavanger; Stavanger University Hospital
RP Pettersen, V (corresponding author), Univ Stavanger, Dept Mus & Dance, N-4036 Stavanger, Norway.
EM Viggo.Pettersen@uis.no
NR 23
TC 9
Z9 10
U1 0
U2 6
PU TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OR14 4RN, OXON, ENGLAND
SN 1401-5439
EI 1651-2022
J9 LOGOP PHONIATR VOCO
JI Logop. Phoniatr. Vocology.
PD OCT
PY 2010
VL 35
IS 3
BP 105
EP 112
DI 10.3109/14015430903313776
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 680WT
UT WOS:000284268900001
PM 19883171
DA 2025-03-18
ER
PT J
AU Hu, WL
AF Hu, Wanli
TI The Possible Relationship between Mathematical Skills and Vocal
Performance
SO MUSICA HODIE
LA English
DT Article
DE connection between music and math; mathematical skills; music
performance; vocal skills; vocal performance
ID MUSIC
AB The purpose of this study was to verify a possible relationship between vocal performance and mathematical skills. The study has polled 60 vocal students and 6 voice teachers, analysed educational records, and conducted an independent singing examination. Using the Student's t-test, it was found that vocal performance estimates carried among student with different levels of mathematical competency indicated a connection between vocal performance and mathematical abilities. The results revealed that vocal students with relatively well-developed mathematical skills outperformed those with poor mathematical abilities by around 33 percentage points.
C1 [Hu, Wanli] Huanghuai Univ, Conservatory Mus, Zhumadian City, Henan, Peoples R China.
C3 Huanghuai University
RP Hu, WL (corresponding author), Huanghuai Univ, Conservatory Mus, Zhumadian City, Henan, Peoples R China.
EM wanlihu44@yahoo.com
NR 42
TC 1
Z9 2
U1 2
U2 13
PU UNIV FEDERAL GOIAS
PI GOIANIA GO
PA ESCOLA MUSICA ARTES CIENCIAS, PROG POT-GRAD MUSICA, CAIXA POSTAL 131,
CAMPUS II-SAMAMBAIA, GOIANIA GO, CEP74001-970, BRAZIL
SN 1676-3939
J9 MUSICA HODIE
JI Musica Hodie
PY 2021
VL 21
AR e67697
DI 10.5216/mh.v21.67697
PG 15
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA RU8SM
UT WOS:000645411000001
OA gold
DA 2025-03-18
ER
PT J
AU Tanner, K
Roy, N
Merrill, RM
Power, D
AF Tanner, K
Roy, N
Merrill, RM
Power, D
TI Velopharyngeal port status during classical singing
SO JOURNAL OF SPEECH LANGUAGE AND HEARING RESEARCH
LA English
DT Article
DE singing; nasal airflow; velopharyngeal opening; pressure-flow
measurement
ID NASAL AIR-FLOW; SPEECH PRODUCTION; NORMAL SPEAKERS; RESONANT VOICE;
VERTICAL-BAR; CHEST WALL; RIB CAGE; CLOSURE; KINEMATICS; SINGERS
AB 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 2 pressure (cm H2O), and VP orifice area estimates (cm) were studied in 10 classically, trained sopranos during singing and speaking. Each participant sang and spoke 3, nonsense words-/hampa/, /himpi/, and /kumpu/-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.
Results: 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.
Conclusions: 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.
C1 Univ Utah, Dept Commun Sci & Disordes, Salt Lake City, UT 84112 USA.
Brigham Young Univ, Provo, UT 84602 USA.
C3 Utah System of Higher Education; University of Utah; Brigham Young
University
RP Univ Utah, Dept Commun Sci & Disordes, 390 S 1530 E,Rm 1201 BEH SCI, Salt Lake City, UT 84112 USA.
EM kristine.tanner@hsc.utah.edu
RI Tanner, Kristine/AFR-4781-2022
OI Roy, Nelson/0000-0001-8017-805X
NR 45
TC 10
Z9 13
U1 0
U2 5
PU AMER SPEECH-LANGUAGE-HEARING ASSOC
PI ROCKVILLE
PA 2200 RESEARCH BLVD, #271, ROCKVILLE, MD 20850-3289 USA
SN 1092-4388
EI 1558-9102
J9 J SPEECH LANG HEAR R
JI J. Speech Lang. Hear. Res.
PD DEC
PY 2005
VL 48
IS 6
BP 1311
EP 1324
DI 10.1044/1092-4388(2005/091)
PG 14
WC Audiology & Speech-Language Pathology; Linguistics; Rehabilitation
WE Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Linguistics; Rehabilitation
GA 022KY
UT WOS:000236055900006
PM 16478373
DA 2025-03-18
ER
PT J
AU Rahaim, M
AF Rahaim, Matt
TI Gesture and melody in Indian vocal music
SO Gesture
LA English
DT Article
DE music; india; singing; melody; transmission; phenomenology; gesture
dialects
ID PERFORMANCE
AB The gestures that accompany improvisation in Indian vocal music, like the gestures that accompany speech, are closely co-ordinated with vocalization. Though linked to what is being sung, these movements are not determined by vocal action; nor are they taught explicitly, deliberately rehearsed, or tied to specific meanings. Students tend to gesture recognizably like their teachers, producing lineage-based gesture dialects, but the gestural repertoire of every vocalist is nonetheless idiosyncratic. This paper aims to trace a brief history of song gesture in India, and to show some of the links between gesture and vocalization. It also adapts Katharine Young's theory of the "family body" to the transmission of gesture dialects through teaching lineages. Gesture and sound are taken to be parallel channels for the expression of melody.
C1 [Rahaim, Matt] Univ Calif Berkeley, Dept Mus, Berkeley, CA 94720 USA.
[Rahaim, Matt] Stanford Univ, Dept Religious Studies, Stanford, CA 94305 USA.
C3 University of California System; University of California Berkeley;
Stanford University
RP Rahaim, M (corresponding author), 1196 Keith Ave, Berkeley, CA 94708 USA.
EM mrahaim@gmail.com
NR 29
TC 19
Z9 23
U1 2
U2 2
PU JOHN BENJAMINS PUBLISHING COMPANY
PI AMSTERDAM
PA PO BOX 36224, 1020 ME AMSTERDAM, NETHERLANDS
SN 1568-1475
J9 GESTURE
JI Gesture
PY 2008
VL 8
IS 3
BP 325
EP 347
DI 10.1075/gest.8.3.04rah
PG 23
WC Linguistics; Language & Linguistics
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Linguistics
GA 396QQ
UT WOS:000262606600003
DA 2025-03-18
ER
PT J
AU Heister, HW
AF Heister, Hanns-Werner
TI Hands and Voice. On the Relationship between Instrumental and Vocal
Music
SO INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC
LA German
DT Article
AB At first, music seems to us to be something uniform. But it is something composed. Starting from the duality of hands/body versus voice, relevant components of music here are deduced anthropologically. Their multidimensional, complex interaction is developed step by step, from an evolutionary, phylo- as well as ontogenetic perspective. 'Sonando' and 'Cantando' (Harry Goldschmidt) as generative deep structure can be realized both instrumentally and vocally. They are concretized here as percussive (noise / sound and rhythm) and vocal ("Vokalisches") (tone). Through the omnipresent rhythm in nature, dance plays a key role. The two basic arts, i.e. art of dancing (Tanzkunst) and word art poetry (Wortkunst), are based on the everyday languages of gesture ("sign") and word ("verbal") language. Their common phylo- and ontogenetic origin is the multimodal 'mimetic action'. They become art in and through the 'Mimetic Ceremony', genuinely the 'Gesamtkunstwerk', tendentially with elements of all senses, originally practiced by all participants in the 'Other State', which is separated from the prosaic 'Normal State' of everyday life by functional and structural distance. The poetry comes, systematically seen, only late into the music, as setting texts to music in vocal music and as texting (troping) into the instrumental music. The verbal text can be dissolved by vocalises (e.g. scat singing) or dadaistic deformations, or by 'de-texting' the transformation of vocal music into instrumental music into latency. One conclusion is the formula: Dance art + word art = sound art.
C1 [Heister, Hanns-Werner] Hohlredder 8, D-21224 Rosengarten, Germany.
RP Heister, HW (corresponding author), Hohlredder 8, D-21224 Rosengarten, Germany.
EM hwh@joki.de
NR 34
TC 0
Z9 0
U1 0
U2 2
PU CROATIAN MUSICOLOGICAL SOC
PI ZAGREB
PA OPATICKA 18, HR-71000 ZAGREB, CROATIA
SN 0351-5796
J9 INT REV AESTHET SOC
JI Int. Rev. Aesthet. Sociol. Music
PD JUN-DEC
PY 2019
VL 50
IS 1-2
BP 87
EP 104
PG 18
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA JJ3FX
UT WOS:000494048000005
DA 2025-03-18
ER
PT J
AU Paula, V
Vesa, P
Anastasia, G
Anja, T
Laurel, JT
Teija, K
AF Paula, Virtala
Vesa, Putkinen
Anastasia, Gallen
Anja, Thiede
Laurel, J. Trainor
Teija, Kujala
TI Beneficial effects of a music listening intervention on neural speech
processing in 0-28-month-old children at risk for dyslexia
SO DEVELOPMENTAL SCIENCE
LA English
DT Article
DE dyslexia; event-related potentials (ERPs); infants; mismatch response
(MMR); music intervention; speech processing
ID EVENT-RELATED POTENTIALS; AUDITORY-DISCRIMINATION; 2-MONTH-OLD INFANTS;
MISMATCH RESPONSES; FAMILIAL RISK; BRAIN; PLASTICITY; SKILLS;
EXPERIENCE; FREQUENCY
AB Familial risk for developmental dyslexia can compromise auditory and speech processing and subsequent language and literacy development. According to the phonological deficit theory, supporting phonological development during the sensitive infancy period could prevent or ameliorate future dyslexic symptoms. Music is an established method for supporting auditory and speech processing and even language and literacy, but no previous studies have investigated its benefits for infants at risk for developmental language and reading disorders. We pseudo-randomized N & SIM;150 infants at risk for dyslexia to vocal or instrumental music listening interventions at 0-6 months, or to a no-intervention control group. Music listening was used as an easy-to-administer, cost-effective intervention in early infancy. Mismatch responses (MMRs) elicited by speech-sound changes were recorded with electroencephalogram (EEG) before (at birth) and after (at 6 months) the intervention and at a 28 months follow-up. We expected particularly the vocal intervention to promote phonological development, evidenced by enhanced speech-sound MMRs and their fast maturation. We found enhanced positive MMR amplitudes in the vocal music listening intervention group after but not prior to the intervention. Other music activities reported by parents did not differ between the three groups, indicating that the group effects were attributable to the intervention. The results speak for the use of vocal music in early infancy to support speech processing and subsequent language development in infants at developmental risk. Research HighlightsDyslexia-risk infants were pseudo-randomly assigned to a vocal or instrumental music listening intervention at home from birth to 6 months of age.Neural mismatch responses (MMRs) to speech-sound changes were enhanced in the vocal music intervention group after but not prior to the intervention.Even passive vocal music listening in early infancy can support phonological development known to be deficient in dyslexia-risk.
C1 [Paula, Virtala; Vesa, Putkinen; Anastasia, Gallen; Anja, Thiede; Teija, Kujala] Univ Helsinki, Fac Med, Ctr Excellence Mus Mind Body & Brain, Dept Psychol & Logoped,Cognit Brain Res Unit, Helsinki, Finland.
[Vesa, Putkinen] Univ Turku, Turku PET Ctr, Turku, Finland.
[Vesa, Putkinen] Turku Univ Hosp, Turku, Finland.
[Laurel, J. Trainor] McMaster Univ, Dept Psychol Neurosci & Behav, Hamilton, ON, Canada.
[Laurel, J. Trainor] McMaster Univ, McMaster Inst Mus & Mind, Hamilton, ON, Canada.
[Laurel, J. Trainor] Baycrest Hosp, Rotman Res Inst, Toronto, ON, Canada.
[Teija, Kujala] Univ Helsinki, Ctr Excellence Mus Mind Body & Brain, Cognit Brain Res Unit, POB 21, Helsinki 00014, Finland.
C3 University of Helsinki; University of Turku; University of Turku;
McMaster University; McMaster University; University of Toronto;
Baycrest; University of Helsinki
RP Teija, K (corresponding author), Univ Helsinki, Ctr Excellence Mus Mind Body & Brain, Cognit Brain Res Unit, POB 21, Helsinki 00014, Finland.
EM teija.m.kujala@helsinki.fi
RI Gallen, Anastasia/JCN-9845-2023; Kujala, Teija/G-6704-2016; Thiede,
Anja/AAM-1295-2020
OI Thiede, Anja/0000-0001-6638-376X; Kujala, Teija/0000-0002-8814-605X;
Gallen, Anastasia/0000-0002-0573-2169; Virtala, Paula
Maarit/0000-0001-5864-6478
FU Academy of Finland [276414, 316970, 346211]; Jane and Aatos Erkko
Foundation; Finnish Cultural Foundation; Kela (The Social Insurance
Institution in Finland)
FX Academy of Finland, Grant/Award Numbers: 276414, 316970, 346211; Jane
and Aatos Erkko Foundation; Kela (The Social Insurance Institution in
Finland); The Finnish Cultural Foundation
NR 66
TC 4
Z9 6
U1 6
U2 28
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 1363-755X
EI 1467-7687
J9 DEVELOPMENTAL SCI
JI Dev. Sci.
PD SEP
PY 2023
VL 26
IS 5
DI 10.1111/desc.13426
EA JUN 2023
PG 17
WC Psychology, Developmental; Psychology, Experimental
WE Social Science Citation Index (SSCI)
SC Psychology
GA FO9Z9
UT WOS:001016082600001
PM 37350469
OA hybrid
DA 2025-03-18
ER
PT J
AU Besson, M
Faïta, F
Peretz, I
Bonnel, AM
Requin, J
AF Besson, M
Faïta, F
Peretz, I
Bonnel, AM
Requin, J
TI Singing in the brain:: Independence of lyrics and tunes
SO PSYCHOLOGICAL SCIENCE
LA English
DT Article
ID POTENTIALS; EXPECTANCY; SENTENCES; ERP
AB Why is vocal music the oldest and still the most popular form of music music? Very possibly because vocal music involves an intimate combination of speech and music, two of the most specific, high-level skills of human beings. The issue we address is whether people listening to a song treat the linguistic and musical components separately or integrate them within a single percept. Event-related potentials were recorded while musicians listened to excerpts from operas sung a capella. Excerpts were ended by semantically congruous or incongruous words sung either in or out of key. Results clearly demonstrated the independence of lyrics and tunes, so that an additive model of semantic- and harmonic-violations processing predicted the data extremely well. These results are consistent with a modular organization of the human cognitive system and open new perspectives in the search for the similarities and differences between language and music processing.
C1 CNRS, Ctr Rech Neurosci Cognit, F-13402 Marseille 20, France.
Univ Bordeaux 2, F-33076 Bordeaux, France.
Univ Montreal, Montreal, PQ, Canada.
C3 Centre National de la Recherche Scientifique (CNRS); Universite de
Bordeaux; Universite de Montreal
RP Besson, M (corresponding author), CNRS, Ctr Rech Neurosci Cognit, 31 Chemin Joseph Aiguier, F-13402 Marseille 20, France.
RI Besson, Mireille/H-5110-2015
NR 16
TC 120
Z9 148
U1 3
U2 32
PU BLACKWELL PUBLISHERS
PI MALDEN
PA 350 MAIN STREET, STE 6, MALDEN, MA 02148 USA
SN 0956-7976
J9 PSYCHOL SCI
JI Psychol. Sci.
PD NOV
PY 1998
VL 9
IS 6
BP 494
EP 498
DI 10.1111/1467-9280.00091
PG 5
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA 147EU
UT WOS:000077476000013
DA 2025-03-18
ER
PT J
AU Bell, G
AF Bell, Gelsey
TI Gestural Song Form in Experimental Vocal Music
SO PERFORMANCE RESEARCH
LA English
DT Article
AB This article explores an unconventional form of song that is not defined by pitch, rhythm, melody, or lyrics. Instead gestural songs are defined by sonic gestures like glissandi or portamento, timbre, physical movements or choreography, and/or an engagement with particular objects, technologies or architectural features. The article investigates gestural song form using examples from American experimental vocal music and performance art, first tracing the emergence of new methods of songwriting in the mid-twentieth century, particularly in the work of Joan La Barbara, Meredith Monk, and Charlemagne Palestine, with additional examples in the work of Marina Abramovic, Robert Ashley, Alvin Lucier, and Yoko Ono. Then the article briefly focuses on more recent examples from composer-performers Gelsey Bell and Odeya Nini. The use of extended vocal techniques and alternate forms of notation, such as graphic or prose scores, are recurrent themes. Recent interviews with La Barbara, Monk, and Nini supplement the investigation.
NR 22
TC 0
Z9 0
U1 0
U2 1
PU TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OR14 4RN, OXON, ENGLAND
SN 1352-8165
EI 1469-9990
J9 PERFORM RES
JI Perform. Res.
PD JAN 2
PY 2019
VL 24
IS 1
SI SI
BP 45
EP 52
DI 10.1080/13528165.2019.1593735
PG 8
WC Theater
WE Arts & Humanities Citation Index (A&HCI)
SC Theater
GA ID4XE
UT WOS:000471678800007
DA 2025-03-18
ER
PT J
AU Collyer, S
Kenny, DT
Archer, M
AF Collyer, Sally
Kenny, Dianna T.
Archer, Michaele
TI The effect of abdominal kinematic directives on respiratory behaviour in
female classical singing
SO LOGOPEDICS PHONIATRICS VOCOLOGY
LA English
DT Article
DE Abdomen; breathing; directive; instruction; singing; rib-cage; training
ID BREATHING PATTERNS; RIB CAGE; CHEST-WALL; DIAPHRAGMATIC ACTIVITY;
SPEECH; SINGERS; INDIVIDUALITY; ABDOMEN; VOICE; DISTORTION
AB Breathing instruction for classical singing is becoming more physiologically focused, yet the effect of chest-wall kinematic directives on breathing behaviour is largely unexplored. Five female classical singers sang Caccini's Ave Maria without directive and under two directives: 'steadily pull the abdomen inward' and 'steadily expand the abdomen' through each phrase. The directives had a statistically significant effect on chest-wall dimension at initiation of phrase and on excursion, but dimension at termination of each phrase reverted to habitual behaviour. Rib-cage dimensional change counteracted abdominal change so that lung volume measures were consistent within singer across all breathing conditions. The results have implications for the distinction between consciously controlled and innate respiratory behaviours in singing. Implications for singing pedagogy are discussed.
C1 [Collyer, Sally; Kenny, Dianna T.; Archer, Michaele] Univ Sydney, Sydney Conservatorium Mus, Sydney, NSW 2006, Australia.
C3 University of Sydney
RP Collyer, S (corresponding author), Univ Sydney, Sydney Conservatorium Mus C41, Sydney, NSW 2006, Australia.
EM sallycollyer@yahoo.com.au
RI Collyer, Sally/HZI-6509-2023
OI Kenny, Dianna/0000-0003-1934-0163
FU Australian Research Council Discovery [DP066559]
FX The authors are grateful to the participants and to Dr Helen Mitchell
and Mr Robert Sazdov for their assistance in data collection. This study
was supported by an Australian Research Council Discovery Grant
(DP066559) to Professor Dianna Kenny and Dr C. William Thorpe.
NR 56
TC 11
Z9 15
U1 3
U2 11
PU TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OR14 4RN, OXON, ENGLAND
SN 1401-5439
EI 1651-2022
J9 LOGOP PHONIATR VOCO
JI Logop. Phoniatr. Vocology.
PY 2009
VL 34
IS 3
BP 100
EP 110
AR PII 911797831
DI 10.1080/14015430903008780
PG 11
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 497IS
UT WOS:000270053100002
PM 19479619
DA 2025-03-18
ER
PT J
AU Phillips, JN
Derryberry, EP
AF Phillips, Jennifer N.
Derryberry, Elizabeth P.
TI Equivalent effects of bandwidth and trill rate: support for a
performance constraint as a competitive signal
SO ANIMAL BEHAVIOUR
LA English
DT Article
DE bandwidth; male-male competition; sexual selection; song salience; trill
rate; vocal performance; Zonotrichia leucophrys
ID EXTRA-PAIR PATERNITY; VOCAL PERFORMANCE; BIRDSONG PERFORMANCE; SPARROWS
MODULATE; SEXUAL SELECTION; SONG PERFORMANCE; BANDED WREN; MALE SWAMP;
FREQUENCY; NOISE
AB Sexual signals that are physically limited can be reliable indicators of quality or motivation in male-male competition. One such example of a motor constraint in birds is the production of repeated notes, which are limited in the frequency bandwidth and trill rate at which notes can be produced, such that it is difficult to produce wide-bandwidth notes at fast rates. How well birds maximize frequency bandwidth and trill rate is one measure of vocal performance, commonly referred to as 'vocal deviation'. In theory, fast songs with narrow bandwidths and slow songs with wide bandwidths should have similar values of vocal deviation. In many species, males respond to variation in vocal deviation, supporting the notion that it is a sexually selected signal. However, most studies test only one of these components, either trill rate or bandwidth, rather than both individually, when testing receiver response to vocal deviation. Therefore, a question remains as to whether songs with equivalent values of vocal deviation (e.g. fast songs with narrow bandwidths and slow songs with wide bandwidths) elicit similar levels of response from receivers. We tested whether receivers respond specifically to the trade-off between trill rate and bandwidth (i.e. vocal deviation) or only to variation in one of the component parts. Using territorial playback experiments with wild male white-crowned sparrows, Zonotrichia leucophrys, we found that males approached high-performance songs (fast trill, wide bandwidth) more closely than they did lower-performance songs (fast trill, narrow bandwidth; slow trill, wide bandwidth) and they did so regardless of whether performance varied because of differences in trill rate or bandwidth. Furthermore, we found that males gave similar responses to songs of similar vocal deviation. Our results empirically support the hypothesis that receivers respond specifically to the physical limitation on the production of repeated notes. (C) 2017 The Association for the Study of Animal Behaviour. Published by Elsevier Ltd. All rights reserved.
C1 [Phillips, Jennifer N.; Derryberry, Elizabeth P.] Tulane Univ, Dept Ecol & Evolutionary Biol, New Orleans, LA 70118 USA.
[Derryberry, Elizabeth P.] Univ Tennessee, Dept Ecol & Evolutionary Biol, Knoxville, TN 37996 USA.
C3 Tulane University; University of Tennessee System; University of
Tennessee Knoxville
RP Phillips, JN (corresponding author), Tulane Univ, Dept Ecol & Evolutionary Biol, New Orleans, LA 70118 USA.
EM jnphilli26@gmail.com; liz@utk.edu
RI Derryberry, Elizabeth/C-2396-2011
OI Phillips, Jennifer/0000-0002-0014-2995; Derryberry,
Elizabeth/0000-0002-8248-9748
FU National Science Foundation [1354756]; American Ornithologist's Union
Van Tyne Award; Wilson Ornithological Society; Tulane University EEB
Department; Dissertation Fellowship; Direct For Biological Sciences;
Division Of Integrative Organismal Systems [1827290] Funding Source:
National Science Foundation
FX Funding was provided by the National Science Foundation (award number
1354756), an American Ornithologist's Union Van Tyne Award, a Wilson
Ornithological Society Research Grant, a Tulane University EEB
Department Gunning Award and Dissertation Fellowship. Thanks to Ann
Phillips, Pat Phillips, Sarah Termondt, Leanne Norden and Mae Berlow for
assistance in the field. Ben Becker from Point Reyes National Seashore
and Diana Humple from Point Blue Conservation Science provided housing
and access to study sites. This manuscript was improved by comments from
Editor Scott MacDougall-Shackleton and two anonymous referees, as well
as Gail Patricelli, Dana Moseley, Maggie MacPherson, Samantha Lantz,
Casey Coomes and Sara Lipshutz.
NR 78
TC 24
Z9 30
U1 1
U2 46
PU ACADEMIC PRESS LTD- ELSEVIER SCIENCE LTD
PI LONDON
PA 24-28 OVAL RD, LONDON NW1 7DX, ENGLAND
SN 0003-3472
EI 1095-8282
J9 ANIM BEHAV
JI Anim. Behav.
PD OCT
PY 2017
VL 132
BP 209
EP 215
DI 10.1016/j.anbehav.2017.08.012
PG 7
WC Behavioral Sciences; Zoology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Behavioral Sciences; Zoology
GA FJ1BE
UT WOS:000412445700021
OA Bronze
DA 2025-03-18
ER
PT J
AU WATSON, PJ
HIXON, TJ
STATHOPOULOS, ET
SULLIVAN, DR
AF WATSON, PJ
HIXON, TJ
STATHOPOULOS, ET
SULLIVAN, DR
TI RESPIRATORY KINEMATICS IN FEMALE CLASSICAL SINGERS
SO JOURNAL OF VOICE
LA English
DT Article
AB Kinematic behavior of the respiratory apparatus was studied during speaking and singing in four females subjects, all classical singers. Results revealed that respiratory events were similar to those observed previously for male classical singers. Findings suggest that respiratory function in classical singing is not sex-related in its kinematic manifestations.
RP UNIV ARIZONA, DEPT SPEECH & HEARING SCI, TUCSON, AZ 85721 USA.
NR 0
TC 25
Z9 29
U1 0
U2 0
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JUN
PY 1990
VL 4
IS 2
BP 120
EP 128
DI 10.1016/S0892-1997(05)80136-5
PG 9
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA DF095
UT WOS:A1990DF09500003
DA 2025-03-18
ER
PT J
AU Li, Y
AF Li, Yuan
TI Interactive methods for improving musical literacy among students with
preschool education Majors at Teacher Training Universities: The
effectiveness of the Kodaly method
SO EDUCATION AND INFORMATION TECHNOLOGIES
LA English
DT Article
DE Numerical parameter of effectiveness; Soliloquy principle; Tonal system;
Tone; Vocal placement
ID REALITY
AB The system of music education is directly attributed to arrangements that improve theoretical and working knowledge. Purpose of the article: the features of interactive methods that improve music literacy skills among students majoring in preschool education at teacher training universities, based on the Kodaly method. Achievement of the set goal was possible as a result of involvement of 100 students and 55 preschoolers. Using the method of observation, the authors developed the following principles to improve the musical literacy of students: setting the voice with Erol Singer's Studio; vocal performance of songs using active movements; learning from national vocal art, as well as academic foreign compositions; application of the soliloquy principle using the Sing Sharp app. In this study, using the calculation of the coefficient of effectiveness, the level of knowledge of students after the training was established. It was found that voice production without the involvement of a musical instrument and vocal performance of songs using active movements were developed to a greater extent (at a high level), because interactive technology was involved, promoting the assimilation of knowledge (Erol Singer's Studio). Calculation of the knowledge efficiency of preschool children who were trained according to the developed principles showed that the greatest number of preschool children received a high level of knowledge, which is associated with their interest in learning. The paper's practical implications are attributed to the possibility of applying the developed education principles for musical literacy improvement based on interactive teaching methods and the Kodaly method. Further studies might measure the effectiveness of the developed teaching principles for a broader age group of students, which will help to track the positive (negative) effects of the curriculum on musical literacy skills.
C1 [Li, Yuan] Huaiyin Normal Univ, Sch Educ Sci, Dept Presch Educ, Huaian, Jiangsu, Peoples R China.
C3 Huaiyin Normal University
RP Li, Y (corresponding author), Huaiyin Normal Univ, Sch Educ Sci, Dept Presch Educ, Huaian, Jiangsu, Peoples R China.
EM yuanli52@yahoo.com
NR 42
TC 4
Z9 4
U1 5
U2 20
PU SPRINGER
PI NEW YORK
PA ONE NEW YORK PLAZA, SUITE 4600, NEW YORK, NY, UNITED STATES
SN 1360-2357
EI 1573-7608
J9 EDUC INF TECHNOL
JI Educ. Inf. Technol.
PD OCT
PY 2023
VL 28
IS 10
BP 12807
EP 12821
DI 10.1007/s10639-023-11636-5
EA MAR 2023
PG 15
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA EI1D7
UT WOS:000952208000001
DA 2025-03-18
ER
PT J
AU Lyons, SM
Sockman, KW
AF Lyons, Susan M.
Sockman, Keith W.
TI Sex Differences in Forebrain Monoaminergic Response to Song Performance
SO BRAIN BEHAVIOR AND EVOLUTION
LA English
DT Article
DE Auditory telencephalon; Catecholamine; Dopamine; Monoamine;
Norepinephrine; Pallium; Serotonin; Sex differences; Songbird; Song
performance
ID MATE-CHOICE CUES; VOCAL PERFORMANCE; LOCUS-COERULEUS; AUDITORY
TELENCEPHALON; DEPENDENT MODULATION; CONSPECIFIC SONG; FEMALE;
VOCALIZATIONS; SEROTONIN; DOPAMINE
AB In many species, successful reproduction is dependent on the ability to adjust social behavior in response to an ever-changing social environment. Because a sexual signal's value and meaning can differ between females and males, responses to those signals should also differ. One way individuals can modulate social behavior is through experience-dependent modulation of the sensory systems that process social signals. Central monoamines (norepinephrine, dopamine, serotonin) modulate neural sensitivity to social stimuli and are key regulators of experience-dependent neuroplasticity in vertebrate sensory systems. However, few studies have examined how exposure to different sexual signals influences monoaminergic activity in female compared to male sensory systems. We used Lincoln's sparrows (Melospiza lincolnii) to examine sex differences in how variation in the trill performance of song influences central monoaminergic activity in the auditory telencephalon. Trill performance measures the rate at which a song syllable is produced relative to the syllable's frequency bandwidth and is thought to reflect the difficulty with which songs are produced. High-performance trills are more threatening to males but more attractive to females. We found that the effects of trill performance on monoaminergic activity were sex-dependent. Relative to the response to low-performance songs, exposure to high-performance songs decreased nor-adrenergic activity in the caudomedial nidopallium, and tended to decrease serotoninergic activity in the caudomedial mesopallium and caudomedial nidopallium of the auditory telencephalon in females, but in males, the monoamine measurements were indistinguishable between song treatments. These results suggest that the mechanisms underlying sensory processing of male sexual signals differ between the sexes. (C) 2017 S. Karger AG, Basel
C1 [Lyons, Susan M.; Sockman, Keith W.] Univ N Carolina, Dept Biol, CB 3280, Chapel Hill, NC 27599 USA.
[Sockman, Keith W.] Univ N Carolina, Curriculum Neurobiol, Chapel Hill, NC USA.
C3 University of North Carolina; University of North Carolina Chapel Hill;
University of North Carolina; University of North Carolina Chapel Hill
RP Sockman, KW (corresponding author), Univ N Carolina, Dept Biol, CB 3280, Chapel Hill, NC 27599 USA.
EM kws@unc.edu
FU NINDS [R01 NS055125]
FX The USFWS, USDA, Colorado Division of Wildlife, and UNC IACUC each
granted the relevant permissions to conduct this study. We thank Michael
Beaulieu, Daniel Bobrowski, Emma Johnson, Caroline Jordan, and Alex
Rohtla for bird collection; Jonathan Hootman for bird care; Riley Hurst
for assistance with monoamine measurements, Robert Aldredge for comments
on the manuscript; and William Marzluff for use of the
spectrophotometer. This study was supported in part by NINDS R01
NS055125 to K.W.S.
NR 90
TC 1
Z9 1
U1 0
U2 11
PU KARGER
PI BASEL
PA ALLSCHWILERSTRASSE 10, CH-4009 BASEL, SWITZERLAND
SN 0006-8977
EI 1421-9743
J9 BRAIN BEHAV EVOLUT
JI Brain Behav. Evol.
PY 2017
VL 89
IS 3
BP 219
EP 230
DI 10.1159/000471784
PG 12
WC Behavioral Sciences; Neurosciences; Zoology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Behavioral Sciences; Neurosciences & Neurology; Zoology
GA EX1RC
UT WOS:000403002300006
PM 28482339
OA Green Published, Bronze
DA 2025-03-18
ER
PT J
AU Liu, AZ
AF Liu, Aizhen
TI Pedagogical and Methodological Principles for the Development of
Artistry of Vocal Performance in the Context of Distance Learning
SO EUROPEAN JOURNAL OF EDUCATION
LA English
DT Article
DE academic performance; digital educational space; distance education;
pedagogical teaching principles; vocal art
ID TEACHERS
AB The objective of this study was to investigate the influence of contemporary pedagogical principles of distance learning on the quality of acquiring artistic skills in the field of vocal arts. The research was conducted based on a sample of 750 first-year students from the School of Literature and Journalism (Zhengzhou Business University), utilising a random sampling method. The research entailed the implementation of a case study method to facilitate an in-depth examination of the impact of modern pedagogical principles of distance learning on the quality of acquiring artistic skills in the realm of vocal arts. Pedagogical observation materials were employed in two experimental groups of students for empirical investigation purposes. To obtain statistical data, the method of qualitative analysis was employed and experimental online sessions were conducted from February to April 2023. It has been ascertained that, based on preliminary surveys, the average performance scores for the three groups, as per the mental principle, did not exceed 3.8 points; as per the physical principle, 4.3 points; and as per the aesthetic principle, 4.4 points. This equates to a low and borderline average level of knowledge and signifies the low efficacy of the methodological principles.
C1 [Liu, Aizhen] Zhengzhou Business Univ, Sch Literature & Journalism, Zhengzhou, Peoples R China.
RP Liu, AZ (corresponding author), Zhengzhou Business Univ, Sch Literature & Journalism, Zhengzhou, Peoples R China.
EM aizhenliu62@gmx.com
NR 31
TC 0
Z9 0
U1 1
U2 1
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0141-8211
EI 1465-3435
J9 EUR J EDUC
JI Eur. J. Educ.
PD MAR
PY 2025
VL 60
IS 1
AR e12912
DI 10.1111/ejed.12912
PG 10
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA R3X6O
UT WOS:001390822000001
DA 2025-03-18
ER
PT J
AU Pettersen, V
Westgaard, RH
AF Pettersen, V
Westgaard, RH
TI The activity patterns of neck muscles in professional classical singing
SO JOURNAL OF VOICE
LA English
DT Article
DE classical singing; electromyography; trapezius; sternocleidomastoideus;
scalenus; posterior neck; biofeedback
ID STERNOMASTOID MUSCLE; HEAD BALANCE; VOICE; SINGERS
AB The study aimed to characterize the activity patterns of neck muscles during classical singing. Muscle usage during inhalation and phonation and the relationship to changes in pitch and vocal loudness was of particular interest. Five professional opera singers (2 males, 3 females) participated. Surface electromyographic activity (EMG) was recorded from the upper trapezius (TR), the sternocleidomastoideus (STM), and the scalenus (SC) muscles and the muscles in the posterior neck region (PN). EMG activity in TR and STM was lowered by EMG biofeedback (BF), and the possible effect of lowered EMG activity in these muscles on the EMG activity of SC and PN was analyzed. A strain gauge sensor recorded the chest circumference of the thorax. Three singing tasks were performed. Each task was performed three times with variation in vocal loudness and pitch. After the first performance of the singing tasks, the BF session was carried out. Thereafter muscle activity was recorded in repeat performances of the same tasks, and the EMG amplitude of all muscles was compared before and after BF We conclude that STM and SC showed correlated activity patterns during inhalation and phonation by classical singers. Second, substantial muscle activity was observed in PN during inhalation and phonation. BF performed on TR and STM had a secondary effect of lowering EMG activity in SC and PN. The activity of all neck muscles was markedly elevated when singing in the highest pitch. There was no consistent task-based difference in EMG amplitude for the other singing tasks.
C1 Stavanger Univ Coll, Sch Art Educ, N-4068 Stavanger, Norway.
Norwegian Univ Sci & Technol, N-7034 Trondheim, Norway.
C3 Universitetet i Stavanger; Equinor; Norwegian University of Science &
Technology (NTNU)
RP Stavanger Univ Coll, Sch Art Educ, POB 8002, N-4068 Stavanger, Norway.
EM viggo.pettersen@kf.his.no
NR 22
TC 43
Z9 53
U1 1
U2 12
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JUN
PY 2005
VL 19
IS 2
BP 238
EP 251
DI 10.1016/j.jvoice.2004.02.006
PG 14
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 934JJ
UT WOS:000229704800009
PM 15907438
DA 2025-03-18
ER
PT J
AU Neubauer, J
Edgerton, M
Herzel, H
AF Neubauer, J
Edgerton, M
Herzel, H
TI Nonlinear phenomena in contemporary vocal music
SO JOURNAL OF VOICE
LA English
DT Article
DE contemporary vocal music; nonlinear dynamics; multiphonic complex
sonorities; artistic reproducibility; glottal whistle
ID FOLD OSCILLATIONS; VOICE QUALITY; CHAOS; BIFURCATIONS; BIPHONATION;
DIPLOPHONIA; DYNAMICS; VOCALIZATIONS; VIBRATIONS; DISORDERS
AB Complex and multiphonic voice signals of vocal improvisors are analyzed within the framework of nonlinear dynamics. Evidence is given that nonlinear phenomena are extensively used by performers associated with contemporary music. Narrow-band spectrograms of complex vocalizations are used to visualize the appearance of nonlinear phenomena (spectral bifurcation diagrams). Possible production mechanisms are discussed in connection with previous research, personal performance and pedagogical experience. Examples for period doubling, biphonation and irregular aperiodic phonation in vocal sonorities of contemporary vocal improvisors are given, and glottal whistle production encompassed with biphonation and triphonation is shown. Furthermore, coincidences of harmonics-formant matching associated with abrupt transitions to subharmonics and biphonation in the vocal output are provided. This also shows the recurrent use of nonlinear phenomena by performers. It is argued that mechanisms such as source-tract coupling or vocal fold desynchronization due to asymmetry are used in a reproducible way for musical tasks.
C1 Inst Theoret Biol, D-10115 Berlin, Germany.
RP Neubauer, J (corresponding author), Inst Theoret Biol, Invalidenstr 43, D-10115 Berlin, Germany.
EM j.neubauer@biologie.hu-berlin.de; edgertonmichael@yahoo.com;
h.herzel@biologie.hu-berlin.de
RI Edgerton, Michael/I-6268-2019
OI Edgerton, Michael/0000-0002-8478-6869; Neubauer,
Juergen/0000-0002-7997-1007
NR 81
TC 39
Z9 42
U1 0
U2 17
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD MAR
PY 2004
VL 18
IS 1
BP 1
EP 12
DI 10.1016/S0892-1997(03)00073-0
PG 12
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 805RQ
UT WOS:000220383800001
PM 15070219
DA 2025-03-18
ER
PT J
AU Jiang, LZ
AF Jiang, Luzhen
TI Analysis and Optimization of the Online Vocal Teaching System Based on
Intelligent Computing
SO MATHEMATICAL PROBLEMS IN ENGINEERING
LA English
DT Article
ID FRAMEWORK; NETWORK
AB With the continuous development of science and technology, network technology has become more and more advanced and network applications are widely used in all walks of life, and vocal music teaching is no exception. The Intelligent Agent plays a unique role in networked teaching by making up for the lack of intelligence, adaptiveness, autonomy, and interoperability and interactivity in all aspects of traditional teaching. This paper introduces the knowledge of Intelligent Agent and then discusses its application in the networked teaching environment. Compared with the traditional teaching environment, the intelligent network teaching environment is more conducive to the initiative and innovation of students, reflecting the characteristics of student-centred learning and achieving a variety of functions such as teaching resource sharing, information interaction, online communication, and distance learning with the support of computer network technology. It is a new field to be explored, especially opening up a new chapter of online vocal music teaching.
C1 [Jiang, Luzhen] Shangqiu Inst Technol, Dept Educ & Modern Art, Shangqiu 476000, Peoples R China.
RP Jiang, LZ (corresponding author), Shangqiu Inst Technol, Dept Educ & Modern Art, Shangqiu 476000, Peoples R China.
EM jiangluzhen@sqgxy.edu.cn
FU Mixed Teaching Model Reform and Practice of Music Theory and Trial
Singing Course Based on Smart Tree Platform [2021JGXM58]
FX AcknowledgmentsThis work was sponsored in part by Mixed Teaching Model
Reform and Practice of Music Theory and Trial Singing Course Based on
Smart Tree Platform (2021JGXM58).
NR 27
TC 2
Z9 2
U1 0
U2 9
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1024-123X
EI 1563-5147
J9 MATH PROBL ENG
JI Math. Probl. Eng.
PD APR 22
PY 2022
VL 2022
AR 5320615
DI 10.1155/2022/5320615
PG 8
WC Engineering, Multidisciplinary; Mathematics, Interdisciplinary
Applications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Engineering; Mathematics
GA 1C8QR
UT WOS:000793378000009
OA gold
DA 2025-03-18
ER
PT J
AU Wang, D
AF Wang, Di
TI Sensibility and Rationality in Vocal Music: The Issue of Intonation
SO MUSICA HODIE
LA English
DT Article
DE control; experiment; intonation control; singing; vocal apparatus
ID EMOTION
AB The purpose of this article was to assess the effectiveness of intonation control among first-year students majoring in vocal music. The study was performed during the 2018-2019 in on one of Beijing conservatories (China). Research sample comprised of 300 first-year students, 100 of which made up the control group, another 100 - the experimental group 1, and the last 100 - experimental group 2. Higher results of students from EGs than those of CG participants resulted from systematic and constant work on intonation improvement. The total number of individuals with poor educational achievements decreased in view of the innovative training methodology introduction that provoked the overall enhancement of academic outcomes. An inverse correlation was found between intonation control and health vocal apparatus: -0.89 for CG, 0.78 for EG1, and 0.81 for EG2. The application of the developed methodology allowed students to preserve vocal cords' health and improve singing abilities.
C1 [Wang, Di] Hubei Polytech Univ, Art Acad, Huang Shi, Peoples R China.
C3 Hubei Polytechnic University
RP Wang, D (corresponding author), Hubei Polytech Univ, Art Acad, Huang Shi, Peoples R China.
EM diwang422@yahoo.com
NR 30
TC 3
Z9 3
U1 2
U2 4
PU UNIV FEDERAL GOIAS
PI GOIANIA GO
PA ESCOLA MUSICA ARTES CIENCIAS, PROG POT-GRAD MUSICA, CAIXA POSTAL 131,
CAMPUS II-SAMAMBAIA, GOIANIA GO, CEP74001-970, BRAZIL
SN 1676-3939
J9 MUSICA HODIE
JI Musica Hodie
PY 2021
VL 21
AR e66429
DI 10.5216/mh.v21.66429
PG 19
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA TM0HI
UT WOS:000675235800001
OA gold
DA 2025-03-18
ER
PT J
AU Mouri, K
Akiyama, K
Ando, Y
AF Mouri, K
Akiyama, K
Ando, Y
TI Relationship between subjective preference and the alpha-brain wave in
relation to the initial time delay gap with vocal music
SO JOURNAL OF SOUND AND VIBRATION
LA English
DT Article; Proceedings Paper
CT Workshop on Opera House Acoustics Held at the 16th ICA-ASA Meeting
CY JUN, 1998
CL SEATTLE, WASHINGTON
SP ICA, ASA, Tech Comm Architectural Acoust, Interuniv Ctr Acoust
ID SOUND FIELDS
AB Previously, it was reported that the most preferred initial time delay gap [Delta t(1)](p) and subsequent reverberation time are described by the minimum value of the effective duration (tau(e))(min) of the running autocorrelation function (ACF) of music signals (2T = 2.0 s) (Y. ANDO et al. 1989 Journal of Acoustical Society of America 86, 644-649). This paper shows whether this result is supported or not by use of the electro-physiological method. Experiments were performed for sound fields changing the initial time delay gap Delta t(1) of a single reflection with vocal music as a source signal, which has large changes in running tau(e). The results at the time interval when (tau(e))(min) Of the music is observed reveal that the scale value of subjective preference is closely related to the value of tau(e) of the alpha wave obtained from the left heimsphere. (C) 2000 Academic Press.
C1 Itoki Crebio Corp, Joto Ku, Osaka, Japan.
Kobe Univ, Grad Sch Sci & Technol, Nada Ku, Kobe, Hyogo 6578501, Japan.
C3 Kobe University
RP Mouri, K (corresponding author), Itoki Crebio Corp, Joto Ku, Cent Res & Dev Headquarters,4-12 Imafuku Higashi, Osaka, Japan.
NR 10
TC 12
Z9 13
U1 0
U2 6
PU ACADEMIC PRESS LTD
PI LONDON
PA 24-28 OVAL RD, LONDON NW1 7DX, ENGLAND
SN 0022-460X
J9 J SOUND VIB
JI J. Sound Vibr.
PD APR 20
PY 2000
VL 232
IS 1
BP 139
EP 147
DI 10.1006/jsvi.1999.2689
PG 9
WC Acoustics; Engineering, Mechanical; Mechanics
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Acoustics; Engineering; Mechanics
GA 313LJ
UT WOS:000087000900012
DA 2025-03-18
ER
PT J
AU Haapakangas, A
Kankkunen, E
Hongisto, V
Virjonen, P
Oliva, D
Keskinen, E
AF Haapakangas, A.
Kankkunen, E.
Hongisto, V.
Virjonen, P.
Oliva, D.
Keskinen, E.
TI Effects of Five Speech Masking Sounds on Performance and Acoustic
Satisfaction. Implications for Open-Plan Offices
SO ACTA ACUSTICA UNITED WITH ACUSTICA
LA English
DT Article
ID FALSE DISCOVERY RATE; SHORT-TERM-MEMORY; IRRELEVANT SPEECH; NOISE;
INTELLIGIBILITY; ENVIRONMENT; WORK; MUSIC; INTENSITY; ANNOYANCE
AB The aim of this study was to compare different sounds which can be used in open-plan offices to mask distracting speech. Fifty-four subjects were tested in seven sound conditions: speech, silence and five masked speech conditions. The five masking sounds were filtered pink noise, ventilation noise, instrumental music, vocal music and the sound of spring water. They were superimposed on speech. The masked speech conditions corresponded to an acoustically excellent open-plan office in respect to the Speech Transmission Index (STI 0.38). The speech condition (STI 0.62) corresponded to the STI obtained between nearby workstations in an acoustically poor open-plan office. Silent condition (STI 0.00) corresponded to the STI measured between two nearby private office rooms. In each of the seven sound conditions, the subjects performed a short-term memory task, a proofreading task and a creative thinking task and completed a questionnaire on acoustic comfort. Compared to silence condition, shortterm memory performance deteriorated in speech condition and in most masked speech conditions. Compared to speech condition, performance improved when speech was masked with spring water sound. Ratings of acoustic satisfaction and subjective workload showed that masked speech conditions subjectively improved the working conditions compared to speech condition. Overall, the performance results and subjective perceptions showed that the spring water sound was the most optimal speech masker whereas vocal music produced negative effects similar to those of speech. The use of constant masking sounds should be preferred in open-plan offices instead of instrumental or vocal music.
C1 [Haapakangas, A.; Hongisto, V.; Virjonen, P.; Oliva, D.] Finnish Inst Occupat Hlth, Indoor Environm Lab, Turku 20520, Finland.
[Kankkunen, E.; Keskinen, E.] Univ Turku, Dept Psychol, Turku 20014, Finland.
C3 Finnish Institute of Occupational Health; University of Turku
RP Haapakangas, A (corresponding author), Finnish Inst Occupat Hlth, Indoor Environm Lab, Turku 20520, Finland.
EM valtteri.hongisto@ttl.fi
RI Haapakangas, Annu/AFJ-7116-2022
OI Haapakangas, Annu/0000-0003-2088-2189; Hongisto,
Valtteri/0000-0003-2901-2702; Virjonen, Petra/0000-0002-9731-7367
FU Tekes; National Technology Agency; Finnish Institute of Occupational
Health
FX This research was carried out as a part of a national research programme
MAKSI (Perceived and Modeled Indoor Environment) funded by Tekes, the
National Technology Agency, the Finnish Institute of Occupational Health
and various companies.
NR 67
TC 77
Z9 87
U1 7
U2 78
PU S HIRZEL VERLAG
PI STUTTGART
PA POSTFACH 10 10 61, D-70 009 STUTTGART, GERMANY
SN 1610-1928
EI 1861-9959
J9 ACTA ACUST UNITED AC
JI Acta Acust. United Acust.
PD JUL-AUG
PY 2011
VL 97
IS 4
BP 641
EP 655
DI 10.3813/AAA.918444
PG 15
WC Acoustics
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Acoustics
GA 790NQ
UT WOS:000292595800011
DA 2025-03-18
ER
PT J
AU Yurdum, L
Singh, M
Glowacki, L
Vardy, T
Atkinson, QD
Hilton, CB
Sauter, D
Krasnow, MM
Mehr, SA
AF Yurdum, Lidya
Singh, Manvir
Glowacki, Luke
Vardy, Thomas
Atkinson, Quentin D.
Hilton, Courtney B.
Sauter, Disa
Krasnow, Max M.
Mehr, Samuel A.
TI Universal interpretations of vocal music
SO PROCEEDINGS OF THE NATIONAL ACADEMY OF SCIENCES OF THE UNITED STATES OF
AMERICA
LA English
DT Article
DE music; cross-cultural; universality; cultural evolution; form and
function
ID EMOTION RECOGNITION; FACIAL EXPRESSION; PERCEPTION
AB Despite the variability of music across cultures, some types of human songs share acoustic characteristics. For example, dance songs tend to be loud and rhythmic, and lullabies tend to be quiet and melodious. Human perceptual sensitivity to the behavioral contexts of songs, based on these musical features, suggests that basic properties of music are mutually intelligible, independent of linguistic or cultural content. Whether these effects reflect universal interpretations of vocal music, however, is unclear because prior studies focus almost exclusively on English-speaking participants, a group that is not representative of humans. Here, we report shared intuitions concerning the behavioral contexts of unfamiliar songs produced in unfamiliar languages, in participants living in Internet-connected industrialized societies (n = 5,516 native speakers of 28 languages) or smaller -scale societies with limited access to global media (n = 116 native speakers of three non-English languages). Participants listened to songs randomly selected from a representative sample of human vocal music, originally used in four behavioral contexts, and rated the degree to which they believed the song was used for each context. Listeners in both industrialized and smaller -scale societies inferred the contexts of dance songs, lullabies, and healing songs, but not love songs. Within and across cohorts, inferences were mutually consistent. Further, increased linguistic or geographical proximity between listeners and singers only minimally increased the accuracy of the inferences. These results demonstrate that the behavioral contexts of three common forms of music are mutually intelligible cross-culturally and imply that musical diversity, shaped by cultural evolution, is nonetheless grounded in some universal perceptual phenomena.
C1 [Yurdum, Lidya; Mehr, Samuel A.] Yale Univ, Child Study Ctr, New Haven, CT 06520 USA.
[Yurdum, Lidya; Sauter, Disa] Univ Amsterdam, Dept Psychol, NL-1018 WT Amsterdam, Netherlands.
[Singh, Manvir] Univ Calif Davis, Dept Anthropol, Davis, CA 95616 USA.
[Glowacki, Luke] Boston Univ, Dept Anthropol, Boston, MA 02215 USA.
[Vardy, Thomas; Atkinson, Quentin D.; Hilton, Courtney B.; Mehr, Samuel A.] Univ Auckland, Sch Psychol, Auckland 1010, New Zealand.
[Krasnow, Max M.] Harvard Univ, Div Continuing Educ, Cambridge, MA 02138 USA.
C3 Yale University; University of Amsterdam; University of California
System; University of California Davis; Boston University; University of
Auckland; Harvard University
RP Yurdum, L; Mehr, SA (corresponding author), Yale Univ, Child Study Ctr, New Haven, CT 06520 USA.; Yurdum, L (corresponding author), Univ Amsterdam, Dept Psychol, NL-1018 WT Amsterdam, Netherlands.; Mehr, SA (corresponding author), Univ Auckland, Sch Psychol, Auckland 1010, New Zealand.
EM lidya.yurdum@yale.edu; sam@auckland.ac.nz
RI Sauter, Disa/AFK-2268-2022; Singh, Manvir/K-9698-2019
OI Singh, Manvir/0000-0002-6026-947X; Hilton, Courtney
B./0000-0001-9113-1222; Atkinson, Quentin/0000-0002-8499-7535; Mehr,
Samuel/0000-0002-9400-7718; Yurdum, Lidya/0000-0002-3693-4783
FU Harvard University Department of Psychology; Harvard Data Science
Initiative; NIH [DP5OD024566]; Institute for Advanced Study in Toulouse,
under an Agence Nationale de la Recherche grant [ANR-17-EURE-0010];
Royal Society of New Zealand Te Aparangi Rutherford Discovery
Fellowships [RDF-UOA1101, RDF-UOA2103]
FX This research was supported by the Harvard University Department of
Psychology (M.M.K. and S.A.M.) ; the Harvard Data Science Initiative
(S.A.M.) ; the NIH Director's Early Independence Award DP5OD024566
(L.Y., C.B.H., and S.A.M.) ; the Institute for Advanced Study in
Toulouse, under an Agence Nationale de la Recherche grant,
Investissements d'Avenir ANR-17-EURE-0010 (M.S. and L.G.) ; and the
Royal Society of New Zealand Te Aparangi Rutherford Discovery
Fellowships RDF-UOA1101 (T.A.V. and Q.D.A.) and RDF-UOA2103 (S.A.M.) .
We thank the participants; J. Stieglitz and C. Scaff for their efforts
at additional data collection; S. Atwood and C. Bainbridge for research
assistance; and the members of The Music Lab for feedback on the paper.
NR 65
TC 8
Z9 8
U1 2
U2 5
PU NATL ACAD SCIENCES
PI WASHINGTON
PA 2101 CONSTITUTION AVE NW, WASHINGTON, DC 20418 USA
SN 0027-8424
EI 1091-6490
J9 P NATL ACAD SCI USA
JI Proc. Natl. Acad. Sci. U. S. A.
PD SEP 12
PY 2023
VL 120
IS 37
AR e2218593120
DI 10.1073/pnas.2218593120
PG 11
WC Multidisciplinary Sciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Science & Technology - Other Topics
GA RW6I5
UT WOS:001230732100001
PM 37676911
OA Green Submitted, Green Published, hybrid
DA 2025-03-18
ER
PT J
AU Leloup, G
Anders, R
Charlet, V
Eula-Fantozzi, B
Fossoud, C
Cavalli, E
AF Leloup, Gilles
Anders, Royce
Charlet, Valentin
Eula-Fantozzi, Beatrice
Fossoud, Catherine
Cavalli, Eddy
TI Improving reading skills in children with dyslexia: efficacy studies on
a newly proposed remedial intervention-repeated reading with vocal music
masking (RVM)
SO ANNALS OF DYSLEXIA
LA English
DT Article
DE Children with dyslexia; Reading; Remedial intervention; Repeated
reading; Vocal music masking
ID VISUAL-ATTENTION SPAN; SHORT-TERM-MEMORY; DEVELOPMENTAL DYSLEXIA; WORD
RECOGNITION; PHONOLOGICAL SKILLS; PHONEMIC AWARENESS; WORKING-MEMORY;
POOR READERS; DUAL-ROUTE; FLUENCY
AB In this work, two different studies are examined to evaluate the effectiveness of a novel intervention program for the improvement of reading ability in children with dyslexia, known as repeated reading with vocal music masking (RVM). The proposed remedial approach is inspired by Breznitz's original work. The studies assess a 5-week program of intensive RVM training in a pre-post-test clinical paradigm, as well as a longitudinal paradigm where it is compared to 8 months of the standard remediation program (SRP). The results of both studies support the efficacy of the newly proposed RVM method. Notably in the longitudinal study, the reading speed of children, as well as related phonological, visuo-attentional, and cognitive skills, and attitudes toward reading, were measured regularly. Significant improvements in reading efficiency and related skills were observed, as well as greater motivation to read after RVM training. A modeling of the data specifically linked executive and processing speed skills to be involved in RVM training, suggesting that RVM may help rebalance the phonological and orthographic coding procedures necessary for efficient reading. The short, intensive, and focused nature of RVM training makes it a viable and attractive intervention for clinical practice. As preliminary results are promising, RVM training may prove to be a valuable tool that clinicians can call upon to effectively treat reading fluency disorders, especially when standard programs do not provide results.
C1 [Leloup, Gilles; Charlet, Valentin; Eula-Fantozzi, Beatrice] Univ Cote Azur, Dept Orthophonie, Lab Cognit Behav Technol EA 7276, Nice, France.
[Leloup, Gilles; Charlet, Valentin; Eula-Fantozzi, Beatrice; Fossoud, Catherine] CHU Nice, CERTA Ctr Referent Troubles Apprentissages, Fdn Lenval, Nice, France.
[Leloup, Gilles] Univ Paris 06, Paris, France.
[Anders, Royce; Cavalli, Eddy] Univ Lyon 2, Lab Etud Mecanismes Cognitifs EA 3082, Lyon, France.
C3 Universite Cote d'Azur; CHU Nice; Sorbonne Universite; Universite Lyon 2
RP Leloup, G (corresponding author), Univ Cote Azur, Dept Orthophonie, Lab Cognit Behav Technol EA 7276, Nice, France.; Leloup, G (corresponding author), CHU Nice, CERTA Ctr Referent Troubles Apprentissages, Fdn Lenval, Nice, France.; Leloup, G (corresponding author), Univ Paris 06, Paris, France.; Cavalli, E (corresponding author), Univ Lyon 2, Lab Etud Mecanismes Cognitifs EA 3082, Lyon, France.
EM gilles.leloup@univ-cotedazur.fr; eddy.cavalli@univ-lyon2.fr
RI Cavalli, Eddy/N-8081-2017
OI Cavalli, Eddy/0000-0003-3944-1973
FU Universite de Lyon [ANR-11-LABX-0042, ANR-11-IDEX-0007]
FX This work was performed within the framework of the LABEX CORTEX
(ANR-11-LABX-0042) of Universite de Lyon, within the program
"Investissements d'Avenir" (ANR-11-IDEX-0007) operated by the French
National Research Agency (ANR). The authors gratefully acknowledge all
the children who participated in this study. Special thanks are due to
the speech therapists who are involved in the remedial intervention.
NR 117
TC 9
Z9 9
U1 7
U2 45
PU SPRINGER
PI NEW YORK
PA ONE NEW YORK PLAZA, SUITE 4600, NEW YORK, NY, UNITED STATES
SN 0736-9387
EI 1934-7243
J9 ANN DYSLEXIA
JI Ann. Dyslexia
PD APR
PY 2021
VL 71
IS 1
BP 60
EP 83
DI 10.1007/s11881-021-00222-4
EA APR 2021
PG 24
WC Education, Special; Rehabilitation
WE Social Science Citation Index (SSCI)
SC Education & Educational Research; Rehabilitation
GA RQ4SJ
UT WOS:000637451000001
PM 33822306
DA 2025-03-18
ER
PT J
AU Guhn, M
Emerson, SD
Gouzouasis, P
AF Guhn, Martin
Emerson, Scott D.
Gouzouasis, Peter
TI A Population-Level Analysis of Associations Between School Music
Participation and Academic Achievement
SO JOURNAL OF EDUCATIONAL PSYCHOLOGY
LA English
DT Article
DE music making; school music; audiation; academic achievement;
adolescents; population-level
ID EXECUTIVE FUNCTIONS; AUDITORY-CORTEX; SOCIOECONOMIC-STATUS; STUDENTS
MOTIVATION; BRAIN PLASTICITY; SECONDARY-SCHOOL; SELF-CONCEPT; LESSONS;
BILINGUALISM; INTELLIGENCE
AB The present study employed population-level educational records from 4 public school student cohorts (n = 112,916; Grades 7-12) in British Columbia (Canada) to examine relationships between music education (any participation, type of participation, music achievement, and engagement level I and mathematics and science achievement in Grade 10 as well as English achievement in Grades 10 and 12. while controlling for language/cultural background, Grade 7 academic achievement, and neighborhood socioeconomic status. Music participation was related to higher scores on all 4 subjects and these relationships were stronger for instrumental music than vocal music (Cohen's d range: .28 to .44 [small-medium effect sizes] and .05 to .13 [null-small effect sizes)). School music achievement positively related to scores on all subjects; such relationships were stronger for achievement in instrumental music compared with vocal music. Higher levels of music engagement (number of courses) was related to higher exam scores on all subjects; this pattern was more pronounced for very high engagement in instrumental music (d range: .37 to .55; medium effect sizes) compared with vocal music (d range: .11 to .26; small effect sizes). The effect sizes of these group differences are greater than the effect sizes corresponding to average annual gains of students' academic achievement during high school-in other words, highly engaged instrumental music students were. on average, academically over 1 year ahead of their peers. The findings suggest that multiyear engagement in music, especially instrumental music. may benefit high school academic achievement. Findings and implications are discussed within the broader interdisciplinary literature on music learning.
C1 [Guhn, Martin; Emerson, Scott D.] Univ British Columbia, Sch Populat & Publ Hlth, Vancouver, BC, Canada.
[Gouzouasis, Peter] Univ British Columbia, Dept Curriculum & Pedag, 2125 Main Mall, Vancouver, BC V6T 1Z4, Canada.
C3 University of British Columbia; University of British Columbia
RP Gouzouasis, P (corresponding author), Univ British Columbia, Dept Curriculum & Pedag, 2125 Main Mall, Vancouver, BC V6T 1Z4, Canada.
EM peter.gouzouasis@ubc.ca
RI Gouzouasis, Peter/LBP-0229-2024
OI Gouzouasis, Peter/0000-0003-4449-9715; Emerson,
Scott/0000-0001-8055-3542
FU Insight Grant from the Social Sciences and Humanities Research Council,
Canada [15R09570]
FX This research was supported by an Insight Grant (Peter Gouzouasis
15R09570) from the Social Sciences and Humanities Research Council,
Canada. We thank the BC Ministry of Education, Victor Glickman, and
Colleen Hawkey for providing the educational records used in this
research, and graduate students who assisted with data preparation at an
early stage of the project: Queenie Siu, Kate Twohig, and Ivan Cepeda.
This study featured analyses of secondary, administrative, educational
school records and was approved by the University of British Columbia
Behavioural Research Ethics Board, and by the BC Ministry of Education.
Peter Gouzouasis is the principal investigator of this article.
NR 120
TC 51
Z9 73
U1 6
U2 58
PU AMER PSYCHOLOGICAL ASSOC
PI WASHINGTON
PA 750 FIRST ST NE, WASHINGTON, DC 20002-4242 USA
SN 0022-0663
EI 1939-2176
J9 J EDUC PSYCHOL
JI J. Educ. Psychol.
PD FEB
PY 2020
VL 112
IS 2
BP 308
EP 328
DI 10.1037/edu0000376
PG 23
WC Psychology, Educational
WE Social Science Citation Index (SSCI)
SC Psychology
GA KF4MC
UT WOS:000509217300006
DA 2025-03-18
ER
PT J
AU Wang, JJ
AF Wang, Jianjian
TI Preservation and promotion of China's musical cultural heritage on the
internet
SO HERITAGE SCIENCE
LA English
DT Article
DE China; Chinese music; Internet platforms; Likee; TikTok; YouTube
AB The study investigates different ways of preservation and popularization of Chinese traditional music using the Internet. The study collected data by analyzing various methods of presenting traditional Chinese music in online platforms YouTube, TikTok, and Likee. Common groups for YouTube are instrumental music (46.8%) and vocal music (23.9%), whereas, for TikTok and Likee, it is dancing performances (68.6% and 71.8%) and instrumental music (21.6% and 22.3%). The samples containing information about the content on the online platforms YouTube and TikTok are continuously growing in August, October, and December, while the Likee platform has seen a decline in all indicators. For the online platform YouTube, the largest increases were seen for vocal music theory and instrumental music for August, October, and December, while for the TikTok platform, the corresponding indicators were for Chinese music theory and educational dance performances in August and October. For online platform Likee for the aforementioned months, vocal music has seen the biggest decline over time. The obtained data can be useful for a better understanding of the audience's requests, which makes it possible to popularize music content more productively. The authors see such study as necessary for the implementation of new business projects in the operation of online music platforms, changes in approaches to licensing over the Internet, and reform of the music industry. The development of the Internet popularizes Chinese musical culture on a global scale, opens up new opportunities for the Chinese population (professionals and amateurs, adults and children) to study the musical heritage of other countries, promotes musical diversity, and can bring substantial financial benefits not only to individuals or companies, but also to the state as a whole.
C1 [Wang, Jianjian] Baoji Univ Arts & Sci, Mus Dept, 1 Gaoxin Ave, Baoji 721000, Peoples R China.
C3 Baoji University of Arts & Sciences
RP Wang, JJ (corresponding author), Baoji Univ Arts & Sci, Mus Dept, 1 Gaoxin Ave, Baoji 721000, Peoples R China.
EM jianjianwang6@yahoo.com
FU Social Science Foundation project of Shaanxi Province [2016J053]
FX This paper is the achievement of the Social Science Foundation project
of Shaanxi Province (Project No. 2016J053).
NR 39
TC 20
Z9 20
U1 10
U2 59
PU SPRINGER
PI NEW YORK
PA ONE NEW YORK PLAZA, SUITE 4600, NEW YORK, NY, UNITED STATES
SN 2050-7445
J9 HERIT SCI
JI Herit. Sci.
PD OCT 21
PY 2021
VL 9
IS 1
AR 135
DI 10.1186/s40494-021-00612-2
PG 8
WC Humanities, Multidisciplinary; Chemistry, Analytical; Materials Science,
Multidisciplinary; Spectroscopy
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics; Chemistry; Materials Science;
Spectroscopy
GA WJ8VD
UT WOS:000709315200001
OA gold
DA 2025-03-18
ER
PT J
AU Pettersen, V
Westgaard, RH
AF Pettersen, V
Westgaard, RH
TI The association between upper trapezius activity and thorax movement in
classical singing
SO JOURNAL OF VOICE
LA English
DT Article
DE classical singing; electromyography; trapezius; thorax; biofeedback
ID RESPIRATORY MUSCLES; SPEECH; POSITION; SINGERS; RECORDINGS; PRESSURE;
PATTERNS
AB 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 BE The lowered TR activity resulted in an expanded upper TX circumference and less TX respiratory movement after BF.
C1 Stavanger Univ Coll, Sch Art Educ, N-4068 Stavanger, Norway.
Norwegian Univ Sci & Technol, N-7034 Trondheim, Norway.
C3 Universitetet i Stavanger; Equinor; Norwegian University of Science &
Technology (NTNU)
RP Stavanger Univ Coll, Sch Art Educ, POB 8002, N-4068 Stavanger, Norway.
EM viggo.pettersen@kf.his.no
NR 28
TC 14
Z9 19
U1 0
U2 6
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD DEC
PY 2004
VL 18
IS 4
BP 500
EP 512
DI 10.1016/j.jvoice.2003.11.001
PG 13
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 880VI
UT WOS:000225817400008
PM 15567051
DA 2025-03-18
ER
PT J
AU Chen, DD
AF Chen, Dandan
TI The influence of classical poetry on the transmission of vocal music
teaching in Chinese universities
SO VOPROSY ISTORII
LA English
DT Article
DE China; classical poetry; teaching; music teaching
AB Classical Chinese poetry and songs have a rich cultural connotation and are a combination of the life experiences and emotions of the people who created them. In recent years, with the introduction of the concept of cultural confidence, people have begun to realize the important value of traditional culture.
C1 [Chen, Dandan] Qiqihar Univ, Qiqihar, Heilongjiang, Peoples R China.
C3 Qiqihar University
RP Chen, DD (corresponding author), Qiqihar Univ, Qiqihar, Heilongjiang, Peoples R China.
EM 13339427688@163.com
RI Chen, Dandan/AAH-7141-2020
NR 4
TC 0
Z9 0
U1 6
U2 10
PU VOPROSY ISTORII
PI MOSCOW
PA VOPROSY ISTORII, MOSCOW, 00000, RUSSIA
SN 0042-8779
EI 1938-2561
J9 VOP ISTORII
JI Vopr. Istor.
PY 2023
VL 3
IS 1
BP 234
EP 239
DI 10.31166/VoprosyIstorii202303Statyi11
PG 6
WC History
WE Arts & Humanities Citation Index (A&HCI)
SC History
GA 9Z9IE
UT WOS:000951445400028
DA 2025-03-18
ER
PT J
AU Desblache, L
AF Desblache, Lucile
TI Live music and translation: The case of performances involving singing
SO JOURNAL OF SPECIALISED TRANSLATION
LA English
DT Article
DE Vocal music; popular music; live music; song translation; lyrics
translation
ID LYRICS
AB This article explores the multicultural and multilingual context of live music today in relation to translation, focusing primarily on a European context. A first section examines the complex relationship of music and translation, arguing that in many respects, music is a form of translation. The article then focuses on the case of vocal music and/in translation, before considering accessibility in relation to music and how it is understood in this article. Past and current traditions and expectations of translation in live music are discussed in the next section. Two more sections explore respectively contemporary audiences' preferences, and artists' engagement with their public, as well as the solutions they find to communicate with their audiences and convey the verbal content of their songs. The conclusion draws on the findings of these sections to emphasise the importance of lyrics translation in the live music scene. It also outlines the key role that music can play in translation, particularly in the cosmopolitan context of live musical events.
C1 [Desblache, Lucile] Univ Roehampton, Translat & Transcultural Studies, London, England.
[Desblache, Lucile] Univ Roehampton, Ctr Res Translat & Transcultural Studies, London, England.
C3 Roehampton University; Roehampton University
RP Desblache, L (corresponding author), Univ Roehampton, Translat & Transcultural Studies, London, England.; Desblache, L (corresponding author), Univ Roehampton, Ctr Res Translat & Transcultural Studies, London, England.
EM l.desblache@roehampton.ac.uk
NR 68
TC 3
Z9 3
U1 5
U2 25
PU ROEHAMPTON UNIV SCH ARTS
PI LONDON
PA DIGBY STUART COLL, ROEHAMPTON LA, LONDON, SW15 5PH, ENGLAND
SN 1740-357X
J9 J SPEC TRANSL
JI J. Spec. Transl.
PD JAN
PY 2021
IS 35
BP 45
EP 68
PG 24
WC Linguistics; Language & Linguistics
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Linguistics
GA RU0JV
UT WOS:000644839200004
DA 2025-03-18
ER
PT J
AU Kotler, J
Mehr, SA
Egner, A
Haig, D
Krasnow, MM
AF Kotler, Jennifer
Mehr, Samuel A.
Egner, Alena
Haig, David
Krasnow, Max M.
TI Response to vocal music in Angelman syndrome contrasts with Prader-Willi
syndrome
SO EVOLUTION AND HUMAN BEHAVIOR
LA English
DT Article
DE Parent-offspring conflict; Angelman syndrome; Genomic imprinting; Music;
Evolution
ID PARENT-OFFSPRING CONFLICT; KINSHIP THEORY; EVOLUTION; EXPRESSION;
BEHAVIOR; INFANTS; CARE
AB Parent-offspring conflict-conflict over resource distribution within families due to differences in genetic relatedness-is the biological foundation for many psychological phenomena. In genomic imprinting disorders, parent-specific genetic expression is altered, causing imbalances in behaviors influenced by parental investment. We use this natural experiment to test the theory that parent-offspring conflict contributed to the evolution of vocal music by moderating infant demands for parental attention. Individuals with Prader-Willi syndrome, a genomic imprinting disorder resulting from increased relative maternal genetic contribution, show enhanced relaxation responses to song, consistent with reduced demand for parental investment (Mehr, Kotler, Howard, Haig, & Krasnow, 2017, Psychological Science). We report the necessary complementary pattern here: individuals with Angelman syndrome, a genomic imprinting disorder resulting from increased relative paternal genetic contribution, demonstrate a relatively reduced relaxation response to song, suggesting increased demand for parental attention. These results support the extension of genetic conflict theories to psychological resources like parental attention.
C1 [Kotler, Jennifer; Haig, David] Harvard Univ, Dept Organism & Evolutionary Biol, 26 Oxford St, Cambridge, MA 02138 USA.
[Kotler, Jennifer; Mehr, Samuel A.; Egner, Alena; Krasnow, Max M.] Harvard Univ, Dept Psychol, 33 Kirkland St, Cambridge, MA 02138 USA.
[Mehr, Samuel A.] Harvard Univ, Data Sci Initiat, 8 Story St,Suite 380, Cambridge, MA 02138 USA.
[Egner, Alena] Univ Calif Los Angeles, Dept Psychol, Los Angeles, CA 90095 USA.
C3 Harvard University; Harvard University; Harvard University; University
of California System; University of California Los Angeles
RP Kotler, J (corresponding author), Harvard Univ, William James Hall,Rm 964, Cambridge, MA 02138 USA.
EM jkotler@fas.harvard.edu
OI Mehr, Samuel/0000-0002-9400-7718
FU Harvard University Department of Psychology seed grant; National
Institutes of Health Director's Early Independence Award [DP50D024566];
Harvard Graduate School of Education/Harvard University Presidential
Scholarship; Natural Sciences and Engineering Research Council of Canada
Post -Graduate Scholarship; Harvard Data Science Initiative
FX This work was supported by a Harvard University Department of Psychology
seed grant to M.M.K.; the Harvard Data Science Initiative (S.A.M.); the
National Institutes of Health Director's Early Independence Award
DP50D024566 (S.A.M.); the Harvard Graduate School of Education/Harvard
University Presidential Scholarship (S.A.M.); and the Natural Sciences
and Engineering Research Council of Canada Post -Graduate Scholarship
(J.K.).
NR 52
TC 9
Z9 9
U1 2
U2 10
PU ELSEVIER SCIENCE INC
PI NEW YORK
PA STE 800, 230 PARK AVE, NEW YORK, NY 10169 USA
SN 1090-5138
EI 1879-0607
J9 EVOL HUM BEHAV
JI Evol. Hum. Behav.
PD SEP
PY 2019
VL 40
IS 5
BP 420
EP 426
DI 10.1016/j.evolhumbehav.2019.05.003
PG 7
WC Psychology, Biological; Behavioral Sciences; Social Sciences, Biomedical
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Psychology; Behavioral Sciences; Biomedical Social Sciences
GA IU3AO
UT WOS:000483451300002
PM 32655274
OA Green Submitted, Green Accepted
DA 2025-03-18
ER
PT J
AU Refini, E
AF Refini, Eugenio
TI 'SONI FIUNT SUAVIORES': MUSICAL IMPLICATIONS IN THE EARLY MODERN
RECEPTION OF LONGINUS' ON THE SUBLIME
SO LIAS-JOURNAL OF EARLY MODERN INTELLECTUAL CULTURE AND ITS SOURCES
LA English
DT Article
DE Music theory; Leone Allacci; Francesco Porto; vocal music; affections
AB The relevance of the rediscovery of Longinus to early modern music theory and practice remains largely unexplored. In order to contribute to the study of this aspect of the reception of Longinus, this essay aims to analyse the ways in which references to music in Longinus' On the sublime were understood by early modem readers of the treatise. More precisely, my analysis shows that Longinus' use of musical terms in his discussion of periphrasis and compositio verborum was interpreted by early modern scholars in the light of contemporary music theory and practice. Although far from seizing the original meaning of Longinus' similes, these interpretations shed light on the interplay of rhetoric, poetics, and musical culture that informed the early modern reception of the sublime. By comparing this body of works to contemporary debates on vocal music, I propose that categories belonging to the Longinian sublime may be used to better understand the development of musical genres between the end of the sixteenth and the beginning of the seventeenth centuries.
EM erefini1@jhu.edu
NR 46
TC 0
Z9 0
U1 0
U2 0
PU PEETERS
PI LEUVEN
PA BONDGENOTENLAAN 153, B-3000 LEUVEN, BELGIUM
SN 2033-4753
EI 2033-5016
J9 LIAS
JI LIAS
PY 2016
VL 43
IS 2
SI SI
BP 241
EP 262
DI 10.2143/LIAS.43.2.3197378
PG 22
WC Humanities, Multidisciplinary
WE Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics
GA EO4DB
UT WOS:000396643700004
DA 2025-03-18
ER
PT J
AU Sun, J
AF Sun, Jian
TI Research on resource allocation of vocal music teaching system based on
mobile edge computing
SO COMPUTER COMMUNICATIONS
LA English
DT Article
DE Mobile edge computing; Vocal music; System resources; Resource
allocation; Nash equilibrium
ID SERVICES; CLOUD
AB How to allocate vocal teaching system resources plays an important role in improving the performance of vocal teaching systems. With the development of mobile edge computing, the calculation and storage of resource data can be adapted to the operating needs of vocal teaching systems. This study proposes a method of system resource allocation based on power iteration and sets the throughput of the unloading process as an objective function and realizes the optimal allocation of normal power by iterative optimization. At the same time, in view of the low energy efficiency and resource utilization of edge servers, a heterogeneous network based on edge servers is proposed to find the optimal strategy based on ensuring the Nash equilibrium point. In addition, in order to verify the performance of the algorithm in this paper, a comparative experiment is performed by designing simulation experiments. The results show that the method proposed in this paper has certain effects and strong practicability, which can provide theoretical references for subsequent related research.
C1 [Sun, Jian] Mahasarakham Univ, Dept Mus Coll, Talat, Thailand.
C3 Mahasarakham University
RP Sun, J (corresponding author), Mahasarakham Univ, Dept Mus Coll, Talat, Thailand.
EM 201972150938@std.uestc.edu.cn
NR 28
TC 24
Z9 25
U1 0
U2 3
PU ELSEVIER
PI AMSTERDAM
PA RADARWEG 29, 1043 NX AMSTERDAM, NETHERLANDS
SN 0140-3664
EI 1873-703X
J9 COMPUT COMMUN
JI Comput. Commun.
PD JUL 1
PY 2020
VL 160
BP 342
EP 350
DI 10.1016/j.comcom.2020.05.016
PG 9
WC Computer Science, Information Systems; Engineering, Electrical &
Electronic; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering; Telecommunications
GA NX5AP
UT WOS:000575724000008
DA 2025-03-18
ER
PT J
AU Podos, J
Moseley, DL
Goodwin, SE
McClure, J
Taft, BN
Strauss, AVH
Rega-Brodsky, C
Lahti, DC
AF Podos, Jeffrey
Moseley, Dana L.
Goodwin, Sarah E.
McClure, Jesse
Taft, Benjamin N.
Strauss, Amy V. H.
Rega-Brodsky, Christine
Lahti, David C.
TI A fine-scale, broadly applicable index of vocal performance: frequency
excursion
SO ANIMAL BEHAVIOUR
LA English
DT Article
DE birdsong; chipping sparrow; frequency excursion; song sparrow; swamp
sparrow; vocal deviation; vocal performance; vocalization
ID SEXUAL SELECTION; CORRELATED EVOLUTION; BIRDSONG PERFORMANCE; FEMALE
PREFERENCE; PAIRING SUCCESS; DARWINS FINCHES; BEAK MORPHOLOGY; SONG
SPARROWS; TRADE-OFFS; VOCALIZATIONS
AB Our understanding of the evolution and function of animal displays has been advanced through studies of vocal performance. A widely used metric of vocal performance, vocal deviation, is limited by being applicable only to vocal trills, and also overlooks certain fine-scale aspects of song structure that might reflect vocal performance. In light of these limitations we here introduce a new index of vocal performance, 'frequency excursion'. Frequency excursion calculates, for any given song or song segment, the sum of frequency modulations both within and between notes on a per-time basis. We calculated and compared the two performance metrics in three species: chipping sparrows, Spizella passerina, swamp sparrows, Melospiza georgiana, and song sparrows, Melospiza melodia. The two metrics correlated as expected, yet frequency excursion accounted for subtle variations in performance overlooked by vocal deviation. In swamp sparrows, frequency excursion values varied significantly by song type but not by individual. Moreover, song type performance in swamp sparrows, according to both metrics, varied negatively with the extent to which song types were shared among neighbours. In song sparrows, frequency excursion values of trilled song segments exceeded those of nontrilled song segments, although not to a statistically significant degree. We suggest that application of frequency excursion in birds and other taxa will provide new insights into diverse open questions concerning vocal performance, function and evolution. (c) 2016 The Association for the Study of Animal Behaviour. Published by Elsevier Ltd. All rights reserved.
C1 [Podos, Jeffrey] Univ Massachusetts, Dept Biol, Grad Program Organism & Evolutionary Biol, Amherst, MA 01003 USA.
[Moseley, Dana L.] Coll William & Mary, Environm Sci Program, Williamsburg, VA USA.
[Goodwin, Sarah E.; Strauss, Amy V. H.] Univ Massachusetts, Grad Program Organism & Evolutionary Biol, Amherst, MA 01003 USA.
[McClure, Jesse] Univ Massachusetts, Sch Med, Program Bioinformat & Integrat Biol, Worcester, MA USA.
[Taft, Benjamin N.] Landmark Acoust LLC, Racine, WI USA.
[Rega-Brodsky, Christine] Univ Missouri, Dept Fisheries & Wildlife Sci, Columbia, MO USA.
[Lahti, David C.] CUNY Queens Coll, Dept Biol, New York, NY USA.
C3 University of Massachusetts System; University of Massachusetts Amherst;
William & Mary; University of Massachusetts System; University of
Massachusetts Amherst; University of Massachusetts System; University of
Massachusetts Worcester; University of Missouri System; University of
Missouri Columbia; City University of New York (CUNY) System
RP Podos, J (corresponding author), Univ Massachusetts, Dept Biol, Amherst, MA 01003 USA.
EM jpodos@bio.umass.edu
RI Podos, Jeff/I-3843-2019; Rega-Brodsky, Christine/AAN-7397-2021; Strauss,
Amy/AAB-4108-2019
OI Brodsky, Christine/0000-0002-3483-1465; Moseley,
Dana/0000-0001-7627-8955; Podos, Jeffrey/0000-0002-2546-7999
FU National Science Foundation [NSF IOS 1011241, NSF IOS 1311393]; Direct
For Biological Sciences; Division Of Integrative Organismal Systems
[1311393] Funding Source: National Science Foundation
FX We thank the Massachusetts Department of Conservation and Recreation and
the Town of Amherst Conservation Committee for granting access to field
sites, Greg LeBoeuf, Chrissy Rivera and Cosmo LaViola for assistance in
the field, David Logue, Gail Patricelli and two anonymous referees for
insightful feedback on earlier drafts of the manuscript and the National
Science Foundation for funding (NSF IOS 1011241 to D. L. M. and J. P.,
and NSF IOS 1311393 to S. E. G. and J.P.).
NR 87
TC 37
Z9 41
U1 1
U2 44
PU ACADEMIC PRESS LTD- ELSEVIER SCIENCE LTD
PI LONDON
PA 24-28 OVAL RD, LONDON NW1 7DX, ENGLAND
SN 0003-3472
EI 1095-8282
J9 ANIM BEHAV
JI Anim. Behav.
PD JUN
PY 2016
VL 116
BP 203
EP 212
DI 10.1016/j.anbehav.2016.03.036
PG 10
WC Behavioral Sciences; Zoology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Behavioral Sciences; Zoology
GA DN7UY
UT WOS:000377286700022
OA Bronze
DA 2025-03-18
ER
PT J
AU Bai, JQ
AF Bai, Junqing
TI Design of the Artificial Intelligence Vocal System for Music Education
by Using Speech Recognition Simulation
SO COMPUTATIONAL INTELLIGENCE AND NEUROSCIENCE
LA English
DT Article
AB At present, computer technology is not limited to the network but to many aspects of spread out, including artificial intelligence technology, signal processing technology, speech recognition technology, and so on which have been better developed, and music teaching has also obtained certain achievements. If the detected speech data have no other clutter in the speech, then the endpoint detection can achieve ideal results. The music education system includes the development of four dimensions: WEB terminal, mobile terminal, web interface, and database. Using the powerful functions of computers, such as computing functions and processing functions, combined with advanced intelligent technology and related equipment, the intelligent learning model based on computer technology is established. It can be applied in college teaching, combined with the actual needs of current college music teaching, corresponding to the curriculum and teaching plan issued by the school, combined with the design of online learning system and reasonable use of computer technology to build a vocal music education system. The intelligent system can improve the requirements of vocal music education management level, teaching organization ability, and teaching platform operation ability.
C1 [Bai, Junqing] Shanxi Vocat Univ Engn Sci & Technol, Jinzhong 030619, Shanxi, Peoples R China.
C3 Shanxi Vocational University of Engineering Science & Technology
RP Bai, JQ (corresponding author), Shanxi Vocat Univ Engn Sci & Technol, Jinzhong 030619, Shanxi, Peoples R China.
EM 20060032@nxmu.edu.cn
NR 16
TC 0
Z9 0
U1 14
U2 41
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1687-5265
EI 1687-5273
J9 COMPUT INTEL NEUROSC
JI Comput. Intell. Neurosci.
PD SEP 27
PY 2022
VL 2022
AR 5066004
DI 10.1155/2022/5066004
PG 9
WC Mathematical & Computational Biology; Neurosciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Mathematical & Computational Biology; Neurosciences & Neurology
GA 5I8XU
UT WOS:000868633600018
PM 36203722
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Wei, YL
AF Wei Yingluo
TI The development of China piano music based on the cultural differences
between China and the West
SO VOPROSY ISTORII
LA English
DT Article
DE China; West; cultural differences; China piano music
AB China's piano music is in contact and fusion with national music culture and language culture, which gave birth to modern vocal music art in China. Based on the cultural differences between China and the West, this article sorts out the development history of piano music and analyzes its characteristics.
C1 [Wei Yingluo] Shenyang Conservatory Mus, Shenyang, Peoples R China.
C3 Shenyang Conservatory of Music
RP Wei, YL (corresponding author), Shenyang Conservatory Mus, Shenyang, Peoples R China.
EM bimc2015@126.com
NR 13
TC 0
Z9 0
U1 7
U2 15
PU VOPROSY ISTORII
PI MOSCOW
PA VOPROSY ISTORII, MOSCOW, 00000, RUSSIA
SN 0042-8779
EI 1938-2561
J9 VOP ISTORII
JI Vopr. Istor.
PY 2023
VL 3
IS 2
BP 192
EP 199
DI 10.31166/VoprosyIstorii202303Statyi47
PG 8
WC History
WE Arts & Humanities Citation Index (A&HCI)
SC History
GA A5OZ9
UT WOS:000955626500021
DA 2025-03-18
ER
PT J
AU Sukljan, N
AF Sukljan, Nejc
TI Zarlino's Harpsichord: A Contribution to the (Pre) History of Equal
Temperament
SO MUZIKOLOSKI ZBORNIK
LA English
DT Article
DE Gioseffo Zarlino; music theory; Renaissance; tuning question
AB This paper deals with the tuning question as it is discussed in Gioseffo Zarlino's principal musical-theoretical treatise, Istitutioni harmoniche (1558). First, Zarlino's tuning system in vocal music (the syntonic diatonic) is presented; then, its shortcomings are discussed; and finally, its adjustment (temperament) for the use in instrumental music is explained.
C1 [Sukljan, Nejc] Univ Ljubljana, Fac Arts, Ljubljana, Slovenia.
C3 University of Ljubljana
RP Sukljan, N (corresponding author), Univ Ljubljana, Fac Arts, Ljubljana, Slovenia.
NR 9
TC 0
Z9 0
U1 0
U2 1
PU UNIV LJUBLJANI ODDELEK MUSIKOLOGIJO
PI LJUBLJANA
PA FILOZOFSKA FAKULTETA, ASKERCEVA 2, LJUBLJANA, SI-1000, SLOVENIA
SN 0580-373X
J9 MUZIKOLOSKI ZB
JI Muzikoloski Zb.
PY 2018
VL 54
IS 1
BP 5
EP 22
DI 10.4312/mz.54.1.5-22
PG 18
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA GL7XV
UT WOS:000437422700001
OA gold
DA 2025-03-18
ER
PT J
AU Injejikian, H
AF Injejikian, Hasmig
TI VOCAL ART OF ARMENIAN COMPOSERS
SO FONTES ARTIS MUSICAE
LA English
DT Article
AB The three volumes of the Vocal Art of Armenian Composers present the works of post-genocide first generation composers, such as Komitas, Alemshah, Ganatchian, and Berberian, to enrich the art song repertoire of the musical community at large. The repertoire is presented for the first time in International Phonetic Alphabet (IPA) phonemes accompanied by literal, poetic, and idiomatic English translations. The volumes also include information on Armenian music and historic events relevant to the repertoire, composer biographies, and sources. Classical singers, vocal coaches, and voice teachers will find this Anthology helpful in learning and teaching Armenian art songs. This article describes the process of putting together the volumes, elucidates linguistic and grammatical intricacies of the Armenian language, and provides an IPA transliteration key that will greatly simplify the learning process.
C1 [Injejikian, Hasmig] McGill Univ, Montreal, PQ, Canada.
C3 McGill University
RP Injejikian, H (corresponding author), McGill Univ, Montreal, PQ, Canada.
EM hasmigi@gmail.com
NR 6
TC 0
Z9 0
U1 0
U2 0
PU A-R EDITIONS
PI MIDDLETON
PA 8551 RESEARCH WAY, STE 180, MIDDLETON, WI 53562 USA
SN 0015-6191
EI 2471-156X
J9 FONTES ARTIS MUSICAE
JI Fontes Artis Musicae
PD OCT-DEC
PY 2021
VL 68
IS 4
BP 344
EP 356
PG 14
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA YI9ND
UT WOS:000744166800002
DA 2025-03-18
ER
PT J
AU Booker, VA
AF Booker, Vaughn A.
TI Performing, Representing, and Archiving Belief: Religious Expressions
among Jazz Musicians
SO RELIGIONS
LA English
DT Article
DE African American religious history; Religion in America; jazz; Duke
Ellington; Mary Lou Williams
AB The archives of African American jazz musicians demonstrate rich sites for studying expressions of religious belief and daily religious practice in public and private arenas, in professional and personal capacities. Highlighting print material from the archives of Edward Kennedy "Duke" Ellington (1899-1974) and Mary LouWilliams (1910-1981), this article examines the ways that these musicians worked to articulate their beliefs in print and to make meaning of their routine practices. Ellington and Williams produced written records of their aspirations for non-clerical religious authority and leadership, novel notions of religious community, and conceptions of quotidian writing tasks as practices with devotional value in the middle decades of the twentieth century. In preparation for his Sacred Concert tours of American and Western European religious congregations, Ellington theologized about the nature of God and the proper language to address God through private hotel stationery. Following her conversion to Roman Catholicism, Williams managed a Harlem thrift shop and worked to create the Bel Canto Foundation for musicians struggling with substance abuse and unemployment. This study of the religious subjectivity of African Americans with status as race representatives employs archival historical methods in the effort to vividly approximate complex religious interiority.
C1 [Booker, Vaughn A.] Princeton Univ, Dept Relig, 1879 Hall, Princeton, NJ 08544 USA.
C3 Princeton University
RP Booker, VA (corresponding author), Princeton Univ, Dept Relig, 1879 Hall, Princeton, NJ 08544 USA.
EM vbooker@princeton.edu
NR 22
TC 0
Z9 3
U1 1
U2 6
PU MDPI AG
PI BASEL
PA ST ALBAN-ANLAGE 66, CH-4052 BASEL, SWITZERLAND
SN 2077-1444
J9 RELIGIONS
JI Religions
PD AUG
PY 2016
VL 7
IS 8
AR 108
DI 10.3390/rel7080108
PG 18
WC Religion
WE Arts & Humanities Citation Index (A&HCI)
SC Religion
GA DU5RQ
UT WOS:000382269400013
OA Green Submitted, gold
DA 2025-03-18
ER
PT J
AU Tahamtan, M
Scherer, RC
AF Tahamtan, Mahdi
Scherer, Ronald C.
TI Tahrir Patterns and Acoustical Analysis of Tekyeh in a Professional
Iranian Classical Singer
SO JOURNAL OF VOICE
LA English
DT Article
DE Avaz; Tahrir; Tekyeh; Vibrato; Acoustical analysis of singing; Iranian
classical singing
AB Objectives. "Iranian classical singing," called "avaz" in Persian, contains the ornament called a tahrir which is composed of a chain of tekyehs. A tekyeh is a fundamental frequency gesture that quickly increases and then decreases. Performing artists produce different patterns of tahrir during their singing. The primary aim of the study was to determine and describe different tahrir patterns based on fundamental frequency and temporal measurements of tekyeh produced by a professional avaz singer.
Methods. A live unaccompanied recording was made of a professional avaz singer singing the popular song "Morghe Sahar" (Dawn Bird) with free meter. Tahrir patterns were determined through auditory and spectrographic examination of the recording. Quantitative measurements were determined to distinguish among the resulting patterns.
Results. Four primary tahrir patterns were identified. These patterns were categorized based on (1) the number of tekyehs, (2) fundamental frequency extent from the baseline to the tekyeh peak, (3) inter tekyeh interval duration, (4) tekyeh rate, and (5) tekyeh speed quotient. Pattern 1 consists of one tekyeh and is called a "zinat." Pattern 2 is a multiple tekyeh gesture with relatively long plateau intervals. Pattern 3 is a multiple tekyeh gesture with relatively short plateau intervals. Vibrato-like Pattern 4 is also a multiple tekyeh pattern with short plateau intervals like Pattern 3 but with relatively small frequency extents.
Conclusions. Four uniquely distinguished tahrir patterns, defined via acoustical analysis and the number of tekyehs, were identified using visual and auditory inspection of the various tahrirs produced by the participant. For the singer, Patterns 1, 3, and 4 constituted 96% of all the tokens. None of the tekyehs produced by the participant studied here appeared to switch between vocal registers between the lower and upper notes. The results have ethnomusicological, physiological, acoustic, and pedagogical importance for Iranian classical singing.
C1 [Tahamtan, Mahdi; Scherer, Ronald C.] Bowling Green State Univ, Coll Hlth & Human Serv, Dept Commun Sci & Disorders, Bowling Green, OH 43403 USA.
C3 University System of Ohio; Bowling Green State University
RP Scherer, RC (corresponding author), Bowling Green State Univ, Coll Hlth & Human Serv, Dept Commun Sci & Disorders, Bowling Green, OH 43403 USA.
EM ronalds@bgsu.edu
NR 13
TC 0
Z9 0
U1 0
U2 1
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD NOV
PY 2020
VL 34
IS 6
BP 830
EP 837
DI 10.1016/j.jvoice.2019.04.018
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA RM1WA
UT WOS:000639449500006
PM 31221483
DA 2025-03-18
ER
PT J
AU QUARRIER, NF
AF QUARRIER, NF
TI FORWARD HEAD POSTURE IN VOCAL PERFORMANCE
SO MEDICAL PROBLEMS OF PERFORMING ARTISTS
LA English
DT Article
ID SYSTEM
RP QUARRIER, NF (corresponding author), ITHACA COLL,DEPT PHYS THERAPY,ITHACA,NY 14850, USA.
NR 15
TC 0
Z9 0
U1 0
U2 1
PU HANLEY & BELFUS INC
PI PHILADELPHIA
PA 210 S 13TH ST, PHILADELPHIA, PA 19107
SN 0885-1158
J9 MED PROBL PERFORM AR
JI Med. Probl. Perform. Artist.
PD MAR
PY 1993
VL 8
IS 1
BP 29
EP 32
PG 4
WC Medicine, General & Internal; Music
WE Arts & Humanities Citation Index (A&HCI); Science Citation Index Expanded (SCI-EXPANDED)
SC General & Internal Medicine; Music
GA KT651
UT WOS:A1993KT65100008
DA 2025-03-18
ER
PT J
AU Rose, S
AF Rose, Stephen
TI PATRIOTIC PURIFICATION: CLEANSING ITALIAN SECULAR VOCAL MUSIC IN
THURINGIA, 1575-1600
SO EARLY MUSIC HISTORY
LA English
DT Article
AB In German-speaking lands until the 1580s, Italian secular vocal music was mainly cultivated by a narrow elite of aristocrats and merchants who valued its exclusivity. Yet some German patriots - teachers, clergy and humanists - regarded such foreign imports as emasculating luxuries that would corrupt their national character. This article examines four collections of contrafacta of Italian villanellas and madrigals that were published in Erfurt and have been neglected by modern scholars: the Cantiones suavissimae (1576 and 1580), Primus liber suavissimas praestantissimorum nostrae aetatis artificum Italianorum cantilenas (1587) and Amorum filii Dei decades duae (1598). According to the prefatory material of these anthologies, their editors were motivated by a patriotic agenda of purifying Italian secular song and by a Lutheran belief in the intrinsic holiness of music. This article provides the first comprehensive identification of the originals of the contrafacta, showing that the latest Italian secular repertory travelled as speedily to Thuringian towns as to the better-known publishing centre of Nuremberg. The process of transformation in the contrafacta is discussed, including examples where church officials ruled that the change of text was insufficient to cleanse the tunes of their lascivious connotations.
C1 [Rose, Stephen] Royal Holloway Univ London, Egham, Surrey, England.
C3 University of London; Royal Holloway University London
RP Rose, S (corresponding author), Royal Holloway Univ London, Egham, Surrey, England.
EM Stephen.Rose@rhul.ac.uk
NR 123
TC 1
Z9 1
U1 0
U2 1
PU CAMBRIDGE UNIV PRESS
PI NEW YORK
PA 32 AVENUE OF THE AMERICAS, NEW YORK, NY 10013-2473 USA
SN 0261-1279
EI 1474-0559
J9 EARLY MUSIC HIST
JI Early Music Hist.
PD OCT
PY 2016
VL 35
BP 203
EP 260
DI 10.1017/S0261127916000048
PG 58
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA DZ2OA
UT WOS:000385679900004
DA 2025-03-18
ER
PT J
AU Kang, E
Lakshmanan, A
AF Kang, Esther
Lakshmanan, Arun
TI Role of executive attention in consumer learning with background music
SO JOURNAL OF CONSUMER PSYCHOLOGY
LA English
DT Article
DE Background music; Unattended speech effect; Executive attention;
Multi-modal learning; Working memory capacity
ID WORKING-MEMORY CAPACITY; SHORT-TERM-MEMORY; TASK-PERFORMANCE;
HABITUATION; IRRELEVANT; SPEECH; INTERFERENCE; DISRUPTION; ILLUSIONS;
PRICES
AB This paper examines how the type of background music (vocal vs. instrumental) affects consumers' cognitive performance depending on individual differences in executive attention (i.e., working memory capacity). Across three experiments, we find that vocal music leads to poorer cognitive and attitudinal outcomes for consumers lower in working memory capacity but does not affect those higher in working memory capacity. However, short-term habituation to background music helps mitigate this negative effect of vocal music on consumer ad recall. Finally, consumer performances on computing discount prices are also affected by music type depending upon whether prices are communicated in verbal or numeric form. Overall, this research lays out an executive-attention based process mechanism explaining when and how background music shapes consumer learning and memory. The outlined theory enriches the literature on music effects as well as immediate-term learning by explicating the role of selective attention in the processing of multi-modal marketing stimuli. (C) 2016 Society for Consumer Psychology. Published by Elsevier Inc. All rights reserved.
C1 [Kang, Esther] Univ Cologne, Cologne, Germany.
[Lakshmanan, Arun] SUNY Buffalo, Buffalo, NY USA.
C3 University of Cologne; State University of New York (SUNY) System;
University at Buffalo, SUNY
RP Kang, E (corresponding author), Univ Cologne, Fac Management Econ & Social Sci, Room 0-20,Univ Str 91, D-50931 Cologne, Germany.
EM ekang@uni-koeln.de; alakshma@buffalo.edu
RI Kang, Esther/ABH-1115-2021
OI Lakshmanan, Arun/0009-0002-1356-4393; Kang, Esther/0000-0002-9625-3103
NR 57
TC 23
Z9 31
U1 12
U2 163
PU ELSEVIER SCIENCE INC
PI NEW YORK
PA 360 PARK AVE SOUTH, NEW YORK, NY 10010-1710 USA
SN 1057-7408
EI 1532-7663
J9 J CONSUM PSYCHOL
JI J. Consum. Psychol.
PD JAN
PY 2017
VL 27
IS 1
BP 35
EP 48
DI 10.1016/j.jcps.2016.03.003
PG 14
WC Business; Psychology, Applied
WE Social Science Citation Index (SSCI)
SC Business & Economics; Psychology
GA EH8RX
UT WOS:000392041100004
DA 2025-03-18
ER
PT J
AU Zhang, Y
AF Zhang, Yue
TI Increasing Emotional Perception in Academic Singing During Vocal
Performance: The Use of AI Solutions
SO INTERNATIONAL JOURNAL OF HUMAN-COMPUTER INTERACTION
LA English
DT Article; Early Access
DE Expressiveness of singing; intonation pattern; lightness of sound;
neural network; technical accuracy of performance; timbral uniformity
AB The purpose of the paper is to study the specifics of using artificial intelligence (AI) solutions in academic singing during vocal performance to increase emotional perception. The authors found that the factors of academic singing that impact the emotionality of academic singing are timbral uniformity, lightness of sound performance, dynamic stability, preservation of the original melody, verbal imagery, and compliance with the intonation pattern. To ensure the emotional performance of academic works, the authors proposed the use of artificial intelligence technologies. Such technology as Meet Evita facilitated the work with the musical repertoire through the focus on the tips of a virtual teacher. OpenAI MuseNet is a tool utilized to enhance the fluidity of vocal performance; DeepSinger fostered the analysis of academic compositions and formed the individuality of vocal performance. The study found that the respondents who used artificial intelligence technologies achieved higher results.
C1 [Zhang, Yue] Mus Middle Sch Shenyang Conservatory Mus, Shenyang, Peoples R China.
RP Zhang, Y (corresponding author), Mus Middle Sch Shenyang Conservatory Mus, Shenyang, Peoples R China.
EM yuezhang67@gmx.com
NR 30
TC 0
Z9 0
U1 3
U2 3
PU TAYLOR & FRANCIS INC
PI PHILADELPHIA
PA 530 WALNUT STREET, STE 850, PHILADELPHIA, PA 19106 USA
SN 1044-7318
EI 1532-7590
J9 INT J HUM-COMPUT INT
JI Int. J. Hum.-Comput. Interact.
PD 2025 JAN 18
PY 2025
DI 10.1080/10447318.2025.2452213
EA JAN 2025
PG 9
WC Computer Science, Cybernetics; Ergonomics
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Computer Science; Engineering
GA S8G5F
UT WOS:001400540700001
DA 2025-03-18
ER
PT J
AU Echternach, M
Burk, F
Köberlein, M
Döllinger, M
Burdumy, M
Richter, B
Titze, IR
Elemans, CPH
Herbst, CT
AF Echternach, Matthias
Burk, Fabian
Koeberlein, Marie
Doellinger, Michael
Burdumy, Michael
Richter, Bernhard
Titze, Ingo R.
Elemans, Coen P. H.
Herbst, Christian T.
TI Biomechanics of sound production in high-pitched classical singing
SO SCIENTIFIC REPORTS
LA English
DT Article
ID VOCAL FOLD VIBRATIONS; LARYNGEAL MECHANISMS; OPEN QUOTIENT; ACOUSTICS;
FEMALE; PHYSIOLOGY; RESONANCE; AMPLITUDE; DYNAMICS; REGISTER
AB Voice production of humans and most mammals is governed by the MyoElastic-AeroDynamic (MEAD) principle, where an air stream is modulated by self-sustained vocal fold oscillation to generate audible air pressure fluctuations. An alternative mechanism is found in ultrasonic vocalizations of rodents, which are established by an aeroacoustic (AA) phenomenon without vibration of laryngeal tissue. Previously, some authors argued that high-pitched human vocalization is also produced by the AA principle. Here, we investigate the so-called "whistle register" voice production in nine professional female operatic sopranos singing a scale from C6 (approximate to 1047 Hz) to G6 (approximate to 1568 Hz). Super-high-speed videolaryngoscopy revealed vocal fold collision in all participants, with closed quotients from 30 to 73%. Computational modeling showed that the biomechanical requirements to produce such high-pitched voice would be an increased contraction of the cricothyroid muscle, vocal fold strain of about 50%, and high subglottal pressure. Our data suggest that high-pitched operatic soprano singing uses the MEAD mechanism. Consequently, the commonly used term "whistle register" does not reflect the physical principle of a whistle with regard to voice generation in high pitched classical singing.
C1 [Echternach, Matthias; Koeberlein, Marie] LMU Univ Hosp, Dept Otorhinolaryngol, Div Phoniatr & Pediat Audiol, Marchioninistr 15, D-81377 Munich, Germany.
[Burk, Fabian] SRH Wald Klinikum Gera, Dept Otorhinolaryngol & Plast Surg, Str Friedens 122, Gera, Germany.
[Doellinger, Michael] Univ Hosp Erlangen, Dept Otorhinolaryngol Head & Neck Surg, Div Phoniatr & Pediat Audiol, Waldstr 1, D-91054 Erlangen, Germany.
[Burdumy, Michael] Univ Freiburg, Fac Med, Med Ctr, Dept Med Phys,Dept Radiol, Breisacher Str 60, D-79106 Freiburg, Germany.
[Richter, Bernhard] Freiburg Univ, Inst Musicians Med, Med Ctr, Elsasser Str 2m, D-79110 Freiburg, Germany.
[Richter, Bernhard] Freiburg Univ, Fac Med, Elsasser Str 2m, D-79110 Freiburg, Germany.
[Titze, Ingo R.] Utah Ctr Vocol, 240 S 1500 E,Room 206, Salt Lake City, UT 84112 USA.
[Elemans, Coen P. H.] Univ Southern Denmark, Dept Biol, Vocal Neuromech Lab, Sound Commun & Behav Grp, Campusvej 55, DK-5230 Odense M, Denmark.
[Herbst, Christian T.] Univ Vienna, Dept Behav & Cognit Biol, Djerassipl 1, A-1030 Vienna, Austria.
[Herbst, Christian T.] Shenandoah Conservatory, Janette Ogg Voice Res Ctr, Winchester, VA 22601 USA.
C3 University of Munich; University of Erlangen Nuremberg; University of
Freiburg; University of Freiburg; University of Freiburg; University of
Southern Denmark; University of Vienna
RP Echternach, M (corresponding author), LMU Univ Hosp, Dept Otorhinolaryngol, Div Phoniatr & Pediat Audiol, Marchioninistr 15, D-81377 Munich, Germany.; Herbst, CT (corresponding author), Univ Vienna, Dept Behav & Cognit Biol, Djerassipl 1, A-1030 Vienna, Austria.; Herbst, CT (corresponding author), Shenandoah Conservatory, Janette Ogg Voice Res Ctr, Winchester, VA 22601 USA.
EM matthias.echternach@med.uni-muenchen.de; info@christian-herbst.org
RI Burdumy, Michael/M-6212-2017; Herbst, Christian/D-6470-2011; Echternach,
Matthias/IAP-7667-2023
OI Echternach, Matthias/0000-0003-0095-5360; Elemans, Coen
P.H./0000-0001-6306-5715
FU NovoNordisk Interdisciplinary Synergy grant; German Research Foundation,
DFG [Ec409/1-1, 1-4]; [1R01 DC 018280 - 05]
FX The authors acknowledge a NovoNordisk Interdisciplinary Synergy grant
(to CPHE), and grant # Ec409/1-1 and 1-4 by the German Research
Foundation, DFG (to ME) and National Institutes of Health, Grant number
1R01 DC 018280 - 05 (to IRT). A pre-print version of this article was
published on August 11th 2023 on ResearchSquare, DOI:
https://doi.org/10.21203/rs.3.rs-3222892/v1.
NR 72
TC 2
Z9 2
U1 0
U2 0
PU NATURE PORTFOLIO
PI BERLIN
PA HEIDELBERGER PLATZ 3, BERLIN, 14197, GERMANY
SN 2045-2322
J9 SCI REP-UK
JI Sci Rep
PD JUN 7
PY 2024
VL 14
IS 1
AR 13132
DI 10.1038/s41598-024-62598-8
PG 13
WC Multidisciplinary Sciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Science & Technology - Other Topics
GA TW8Z6
UT WOS:001244401200028
PM 38849382
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Barnes-Burroughs, K
Anderson, TE
Hughes, T
Lan, WY
Dent, K
Arnold, S
Dolter, G
McNeil, K
AF Barnes-Burroughs, Kathryn
Anderson, Edward E.
Hughes, Thomas
Lan, William Y.
Dent, Karl
Arnold, Sue
Dolter, Gerald
McNeil, Kathy
TI Pedagogical efficiency of melodic contour mapping technology as it
relates to vocal timbre in singers of classical music repertoire
SO JOURNAL OF VOICE
LA English
DT Article; Proceedings Paper
CT 34th Annual Symposium on Care of the Professional Voice
CY JUN 02-06, 2005
CL Philadelphia, PA
DE melodic contour; classical voice; timbre; studio technology; mapping
systems; pedagogy; tone quality; notation; singing posture;
visual/kinesthetic; response-legato
AB 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.
C1 Texas Tech Univ, Sch Music, Lubbock, TX 79409 USA.
Texas Tech Univ, Dept Mech Engn, Lubbock, TX 79409 USA.
Texas Tech Univ, Dept Educ Psychol & Leadership, Lubbock, TX 79409 USA.
C3 Texas Tech University System; Texas Tech University; Texas Tech
University System; Texas Tech University; Texas Tech University System;
Texas Tech University
RP Barnes-Burroughs, K (corresponding author), Texas Tech Univ, Lubbock, TX 79409 USA.
EM kathryn.barnes-burroughs@ttu.edu
NR 10
TC 5
Z9 7
U1 0
U2 3
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD NOV
PY 2007
VL 21
IS 6
BP 689
EP 698
DI 10.1016/j.jvoice.2006.05.010
PG 10
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 235FI
UT WOS:000251218500006
PM 16872804
DA 2025-03-18
ER
PT J
AU Mahiri, JK
AF Mahiri, Jelani K.
TI Accenting Songs in an Afro-Brazilian Festival: Song Structures,
Performance Styles, and Ludic Capital in the Bumba-meu-Boi of
Maranhao
SO JOURNAL OF AMERICAN FOLKLORE
LA English
DT Article
DE (from the AFS Ethnographic Thesaurus); reproduction (performance); vocal
music; musical genres; race
AB This article compares songs in the bumba-meu-boi of Maranhao, Brazil, to reframe discussions of sotaque ("performance styles"). Songs structure performances and have a high symbolic value. Focusing on songs emphasizes the annual re-creation of performance styles and encourages further exploration of singing and songs as exemplars of ludic (cultural) capital.
C1 [Mahiri, Jelani K.] Montana State Univ, Dept Sociol & Anthropol, Bozeman, MT 59717 USA.
C3 Montana State University System; Montana State University Bozeman
RP Mahiri, JK (corresponding author), Montana State Univ, Dept Sociol & Anthropol, Bozeman, MT 59717 USA.
NR 31
TC 0
Z9 0
U1 0
U2 0
PU AMER FOLKLORE SOC
PI ARLINGTON
PA 4350 NORTH FAIRFAX DR, STE 640, ARLINGTON, VA 22203 USA
SN 0021-8715
EI 1535-1882
J9 J AM FOLKLORE
JI J. Am. Folk.
PD SPR
PY 2024
VL 137
IS 544
PG 31
WC Folklore
WE Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics
GA XB8Z5
UT WOS:001259327900002
DA 2025-03-18
ER
PT J
AU Yamaguchi, M
Miwa, T
Tadokoro, Y
AF Yamaguchi, Michiru
Miwa, Taeko
Tadokoro, Yoshiaki
TI Estimating the pitch of polyphonic vocal music using comb filters
connected in parallel and singular value decomposition
SO ELECTRONICS AND COMMUNICATIONS IN JAPAN PART II-ELECTRONICS
LA English
DT Article
DE scoring music; pitch estimation; polyphony; comb filters; singular value
decomposition (SVD)
AB Pitch estimation processing is an essential process in the automatic scoring of music. In this paper we propose a method for estimating the pitch of polyphonic vocal lines, an area that has received almost no research. The proposed method estimates pitch by using 12 comb filters connected together in parallel (corresponding to the 12 notes of an octave) together with singular value decomposition (SVD). The approach is based on the fact that a comb filter (H(z) = 1 - z(-N)) is able to eliminate all the harmonic components of the note to which it corresponds and also that the SVD of the matrix of signal samples enables us to distinguish the number of harmonic components in the signal from the number of singular values obtained. In other words, together with the above-mentioned structure we are able to use the SVD to detect outputs in which the number of harmonic components has been reduced and thereby estimate the pitch of a note. We confirm the effectiveness of the proposed method by presenting the results of estimating pitch using the proposed method on polyphonic vocal music with both two and three voices singing at the same time. (c) 2007 Wiley Periodicals, Inc.
C1 Toyohashi Univ Technol, Dept Informat & Comp Sci, Toyohashi, Aichi 4418580, Japan.
Toyohashi Sozo Coll, Fac Management & Informat Sci, Toyohashi, Aichi 4408511, Japan.
C3 Toyohashi University of Technology
RP Yamaguchi, M (corresponding author), Toyohashi Univ Technol, Dept Informat & Comp Sci, Toyohashi, Aichi 4418580, Japan.
NR 17
TC 0
Z9 0
U1 0
U2 0
PU SCRIPTA TECHNICA-JOHN WILEY & SONS
PI NEW YORK
PA 605 THIRD AVE, NEW YORK, NY 10158 USA
SN 8756-663X
J9 ELECTRON COMM JPN 2
JI Electron. Commun. Jpn. Pt. II-Electron.
PY 2007
VL 90
IS 9
BP 62
EP 74
DI 10.1002/ecjb.20381
PG 13
WC Engineering, Electrical & Electronic
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Engineering
GA 208OE
UT WOS:000249328300007
DA 2025-03-18
ER
PT J
AU Li, HZ
Zhang, C
AF Li, Huizi
Zhang, Chao
TI Intelligent Management Framework for Internet Multimedia Resources Based
on Deep Neural Network and Web Crawlers
SO JOURNAL OF CIRCUITS SYSTEMS AND COMPUTERS
LA English
DT Article
DE Intelligent management; Internet resource; deep neural network; web
crawlers
AB This work focuses on an intelligent management framework for vocal music media resources, with use of deep neural networks and web crawlers. The web driver module is used to simulate the Google browser access mode to collect and preprocess the data of the China vocal music network webpage project, and the delay code is added to solve the problem of Internet Protocol (IP) restrictions on crawling webpages. After parsing, the content of the project description is obtained and temporarily stored in the local file through the panda's module to realize the automatic collection of project data. Membership functions of four basic types of emotions are designed. By utilizing the analytic hierarchy process, the experience and wisdom of many music experts are gathered. The weights of activity and the evoking force in determining the music emotion membership value are discussed, trying to make the membership function closer to reality. Through the application of the music emotion analysis model, the music emotion analysis technology is combined with the recommendation algorithm, and the music recommendation algorithm combined with the emotion analysis is realized. The experimental test proves that the algorithm has higher accuracy than the traditional music recommendation algorithm.
C1 [Li, Huizi; Zhang, Chao] Commun Univ China, Sch Mus & Recording Arts, Beijing 100010, Peoples R China.
C3 Communication University of China
RP Zhang, C (corresponding author), Commun Univ China, Sch Mus & Recording Arts, Beijing 100010, Peoples R China.
EM music_hh@cuc.edu.cn; zhangchaomusic@cuc.edu.cn
NR 32
TC 0
Z9 0
U1 5
U2 5
PU WORLD SCIENTIFIC PUBL CO PTE LTD
PI SINGAPORE
PA 5 TOH TUCK LINK, SINGAPORE 596224, SINGAPORE
SN 0218-1266
EI 1793-6454
J9 J CIRCUIT SYST COMP
JI J. Circuits Syst. Comput.
PD JAN 30
PY 2025
VL 34
IS 02
AR 2550052
DI 10.1142/S0218126625500525
EA OCT 2024
PG 26
WC Computer Science, Hardware & Architecture; Engineering, Electrical &
Electronic
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering
GA W0J9O
UT WOS:001334475200001
DA 2025-03-18
ER
PT J
AU Massone, M
Olmello, O
AF Massone, Manuel
Olmello, Oscar
TI The 1890 crisis. Dividing line between two opposing models of music
education in Argentina
SO RESONANCIAS
LA Spanish
DT Article
DE conservatoire; solfege; vocal music; revolution; teachers; school; State
AB Two opposite models of music education were set in Argentina during the 19th century. In 1890, an economic crisis unleashes a political and military uprising known as "Revolution of the Park". We shall demonstrate how, as a consequence of this crisis, the National State avoided subsidizing music education for the next thirty years causing the dissolution of the National Conservatory founded in 1888, an institution ignored and disregarded in the bibliography until the recent publication of presidential documents. At the same time an antagonistic project based on private profit-making institutions was established. Alberto Williams' viewpoint oriented towards educating only composers and performers was not absent from that situation. Williams, with his entrepreneurial skills and political influences, could hold his conservatoire as an opposite model to the one that Juan Gutierrez and the Nation State embodied in the National Conservatory established in 1888 oriented to train music teachers in vocal music and solfege for elementary and high school education. This institution was a pioneer of a paradigm that was going to be successfully established in 1924 with the definitive foundation of the National Conservatory of Music and other official music schools, leading to the decline of private musical institutions.
C1 [Massone, Manuel; Olmello, Oscar] Univ Nacl Artes, Dept Artes Mus & Sonoras Carlos Lopez Buchardo, Buenos Aires, DF, Argentina.
RP Massone, M (corresponding author), Univ Nacl Artes, Dept Artes Mus & Sonoras Carlos Lopez Buchardo, Buenos Aires, DF, Argentina.
EM manuelmassone@hotmail.com; oscar.olmello@gmail.com
NR 43
TC 1
Z9 4
U1 0
U2 0
PU PONTIFICIA UNIV CATOLICA CHILE
PI SANTIAGO
PA AVENIDA VICUNA MACKENNA 4860, MACUL, SANTIAGO, 00000, CHILE
SN 0717-3474
EI 0719-5702
J9 RESONANCIAS
JI Resonancias
PD JAN-JUN
PY 2018
VL 22
IS 42
BP 33
EP 52
PG 20
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA GM5BK
UT WOS:000438142400003
DA 2025-03-18
ER
PT J
AU David, E
AF David, Emmanuel
TI Sonic Transness: Christine Jorgensen's Vocal Performance in
Kaming Mga Talyada (We Who Are Sexy)
SO AMERICAN QUARTERLY
LA English
DT Article
NR 82
TC 1
Z9 1
U1 0
U2 2
PU JOHNS HOPKINS UNIV PRESS
PI BALTIMORE
PA JOURNALS PUBLISHING DIVISION, 2715 NORTH CHARLES ST, BALTIMORE, MD
21218-4363 USA
SN 0003-0678
EI 1080-6490
J9 AM QUART
JI Am. Q.
PD MAR
PY 2023
VL 75
IS 1
BP 75
EP 102
DI 10.1353/aq.2023.0004
PG 29
WC Humanities, Multidisciplinary
WE Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics
GA A0UM7
UT WOS:000952368500001
DA 2025-03-18
ER
PT J
AU Biasutti, M
Frate, S
Concina, E
AF Biasutti, Michele
Frate, Sara
Concina, Eleonora
TI Music teachers' professional development: assessing a three-year
collaborative online course
SO MUSIC EDUCATION RESEARCH
LA English
DT Article
DE Music teacher; instrumental and vocal music teaching; online learning;
collaborative learning; professional development
AB The study examines the professional development of in-service advanced music teachers as a result of their participation in a three-year collaborative online course. A socio-constructivist theoretical framework was used for designing and implementing the course. Participants were 24 teachers (22 teaching instrumental music and 2 vocal music) enrolled in blended collaborative learning activities. A mixed research method was adopted for assessing the impact of the course on teachers' attitudes and skills, including quantitative data (a close ended questionnaire about the quality of the online activities) and qualitative information (focus groups and interviews). Focus groups were conducted with teachers for collecting their satisfaction and perceived professional enhancement. School principals were interviewed to investigate perceived changes of teachers' behaviours in their music schools. The findings highlighted the impact of the course for improving music teachers' professional skills. Attending the course was an opportunity to discuss student-centred didactic principles, teaching methods, and practices in music education. Participants reported the development of a metacognitive attitude, a reflective teaching approach and a goal-oriented method to curriculum planning. The key factors that contributed to the effectiveness of the course as well as implications for designing professional learning activities for music teachers are also discussed.
C1 [Biasutti, Michele; Frate, Sara; Concina, Eleonora] Univ Padua, Dept Philosophy Sociol Educ & Appl Psychol, Via Beato Pellegrino 28, I-35137 Padua, Italy.
C3 University of Padua
RP Biasutti, M (corresponding author), Univ Padua, Dept Philosophy Sociol Educ & Appl Psychol, Via Beato Pellegrino 28, I-35137 Padua, Italy.
EM michele.biasutti@unipd.it
RI Concina, Eleonora/AAY-9532-2020; Biasutti, Michele/K-5374-2019
OI FRATE, SARA/0000-0002-2938-8075; Biasutti, Michele/0000-0002-7784-4258;
CONCINA, ELEONORA/0000-0001-8705-2732
NR 26
TC 29
Z9 36
U1 6
U2 44
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1461-3808
EI 1469-9893
J9 MUSIC EDUC RES
JI Music Educ. Res.
PD JAN 1
PY 2019
VL 21
IS 1
BP 116
EP 133
DI 10.1080/14613808.2018.1534818
PG 18
WC Education & Educational Research; Music
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Education & Educational Research; Music
GA HK4FJ
UT WOS:000457876900009
DA 2025-03-18
ER
PT J
AU Cui, JY
Zhang, HL
AF Cui, Jiayue
Zhang, Hongliang
TI Using nano-micro-control technology to improve breathing pressure in
vocal music technique teaching innovation
SO ADVANCES IN NANO RESEARCH
LA English
DT Article
DE ANN; breath pressure control; nano-sensors; subglottal pressure; vocal
music; voice frequency
ID FORCED VIBRATION CHARACTERISTICS; FUZZY INFERENCE SYSTEM; STRAIN
GRADIENT THEORY; SPRING-MASS SYSTEMS; FREQUENCY-CHARACTERISTICS;
SHEAR-STRENGTH; ARTIFICIAL-INTELLIGENCE; MECHANICAL-PROPERTIES; CONCRETE
BEAMS; NEURAL-NETWORK
AB In the present study, we aim to use nanotechnology sensors/actuators to capture pressure and frequency of voice singers and to send signals for improving breathing pressure. In this regard, a circular composite structure having 3 different layers are used. The core layer is nano-composite material reinforced with graphene nanoplatelets. The face sheets are piezo electric materials connected to electrical circuit capable of measuring and applying voltage to the piezoelectric layers. This sensors have extremely smaller size than conventional sensors attached to the neck of singer and, hence, minimizes the influences on the output voice of the singer. A brief theoretical framework are presented for nonlocal strain gradient theory and geometry of the sensor is described in detail. The controlling procedure along with experimental results on 20 amateur and professional singer participants are also presented. The results of the study indicate that the participants could gain benefit from the device for improving their ability in phonation and keeping their frequency at a constant level although they have difficulty in the of the used to the device.
C1 [Cui, Jiayue] Harbin Normal Univ, Harbin 150025, Heilongjiang, Peoples R China.
[Cui, Jiayue] Harbin Conservatory Mus, Harbin 150025, Heilongjiang, Peoples R China.
[Zhang, Hongliang] Harbin Conservatory Mus, Dept Art, Harbin 150025, Heilongjiang, Peoples R China.
C3 Harbin Normal University; Harbin Conservatory of Music; Harbin
Conservatory of Music
RP Zhang, HL (corresponding author), Harbin Conservatory Mus, Dept Art, Harbin 150025, Heilongjiang, Peoples R China.
EM Zhang07030703@126.com
RI Cui, Jiayue/B-9501-2011; zhang, hongliang/AAC-6827-2021
FU China Postdoctoral Science Foundation [2022MD723785]; 2023 key project
of Heilongjiang Province's education and science planning [GJE1422085]
FX Funded by China Postdoctoral Science Foundation 2022MD723785The phased
research results of the 2023 key project of Heilongjiang Province's
education and science planning < Research on the mechanism of educating
people and innovative development and utilization of red art culture >
(project number: GJE1422085)
NR 190
TC 1
Z9 1
U1 1
U2 6
PU TECHNO-PRESS
PI DAEJEON
PA PO BOX 33, YUSEONG, DAEJEON 305-600, SOUTH KOREA
SN 2287-237X
EI 2287-2388
J9 ADV NANO RES
JI Adv. Nano Res.
PD SEP
PY 2023
VL 15
IS 3
BP 239
EP 251
DI 10.12989/anr.2023.15.3.239
PG 13
WC Nanoscience & Nanotechnology; Materials Science, Multidisciplinary
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Science & Technology - Other Topics; Materials Science
GA W0ZW7
UT WOS:001089008100005
DA 2025-03-18
ER
PT J
AU Pasch, B
George, AS
Campbell, P
Phelps, SM
AF Pasch, Bret
George, Andreas S.
Campbell, Polly
Phelps, Steven M.
TI Androgen-dependent male vocal performance influences female preference
in Neotropical singing mice
SO ANIMAL BEHAVIOUR
LA English
DT Article
DE androgen; female preference; mouse vocalization; singing mice; vocal
performance
ID TESTOSTERONE-INDUCED CHANGES; ZEBRA FINCHES; AIR-FLOW; SONG; EVOLUTION;
BIRDSONG; BEHAVIOR; TRACT; STIMULATION; CONSISTENCY
AB Vocalizations used in aggressive and mating contexts often convey reliable information about signaller condition when physical or physiological limitations constrain signal expression. In vertebrates, androgens modulate the expression of vocal signals and provide a proximate link between male condition and signal form. In many songbirds, assessment of males is based on production of trills that are constrained by a performance trade-off between how fast notes are repeated and the frequency bandwidth of each note. In this study, we first recorded trills of male Neotropical singing mice (Scotinomys) to examine whether they show a similar performance trade-off, and then manipulated androgen levels to assess their role in modulating vocal performance. Lastly, we broadcast experimentally manipulated trills to females to determine whether they preferred versions resembling those of androgen-treated males. Singing mice showed a vocal performance trade-off similar to that of birds. Males treated with androgens maintained vocal performance, but castrated mice that were administered empty implants produced trills with lower performance. Females approached high-performance trills more rapidly and spent more time near corresponding speakers. Together, our results demonstrate that androgens modulate the production of physically challenging vocalizations, and the resulting signal variation influences female receiver response. (C) 2011 The Association for the Study of Animal Behaviour. Published by Elsevier Ltd. All rights reserved.
C1 [Pasch, Bret; George, Andreas S.; Campbell, Polly; Phelps, Steven M.] Univ Florida, Dept Biol, Gainesville, FL 32611 USA.
C3 State University System of Florida; University of Florida
RP Pasch, B (corresponding author), Univ Florida, Dept Biol, 220 Bartram Hall, Gainesville, FL 32611 USA.
EM bpasch@ufl.edu
RI Campbell, Polly/I-6252-2015
OI Campbell, Polly/0000-0001-7660-9814
FU Sigma Xi; American Society of Mammalogists; University of Florida;
National Science Foundation [DDIG 0909769, CAREER 0845455]; Division Of
Integrative Organismal Systems; Direct For Biological Sciences [0845455]
Funding Source: National Science Foundation
FX We thank O. Crino, M. Phillips and J. Pino for their help with trapping
and recording mice in the field, and H. Ramirez and D. del Castillo for
their guidance on surgical technique. R. Sanford assisted with scoring
of data and T. Hsieh assisted in high-speed video recording. R. Charif
and D. Hawthorne at the Bioacoustics Research Program, Cornell Lab of
Ornithology provided helpful advice on sound analysis during the initial
stages of the study. N. Santangelo and an anonymous referee provided
insightful comments that greatly improved the manuscript. We thank C.
Solano (Cuerici), M. Bennet and P. Peterson (Boquete), F. Carbonell
(Parque Internacional La Amistad), F. Gutierrez Berry (Volcan Irazu) and
M. Serrano Mora (Carpintera) for their hospitality when recording mice
in the field. The research was supported in part by grants from Sigma
Xi, the American Society of Mammalogists, the University of Florida
Alumni Fellowship (to B.P.) and the National Science Foundation (DDIG
0909769 to B.P. and S.M.P.; CAREER 0845455 to S.M.P.). We make the
following declarations about authors' contributions: the experiments
were conceived and designed by B.P. and S.M.P.; experiments were
performed by B.P. and A.G. (surgery, laboratory recordings) and by B.P.
and P.C. (field recordings); data were analysed by B.P. and S.M.P.; the
paper was written by B.P. and S.M.P.
NR 76
TC 87
Z9 97
U1 0
U2 46
PU ACADEMIC PRESS LTD- ELSEVIER SCIENCE LTD
PI LONDON
PA 24-28 OVAL RD, LONDON NW1 7DX, ENGLAND
SN 0003-3472
EI 1095-8282
J9 ANIM BEHAV
JI Anim. Behav.
PD AUG
PY 2011
VL 82
IS 2
BP 177
EP 183
DI 10.1016/j.anbehav.2011.04.018
PG 7
WC Behavioral Sciences; Zoology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Behavioral Sciences; Zoology
GA 795FX
UT WOS:000292960400003
DA 2025-03-18
ER
PT J
AU Pettersen, V
AF Pettersen, Viggo
TI Preliminary findings on the classical singer's use of the pectoralis
major muscle
SO FOLIA PHONIATRICA ET LOGOPAEDICA
LA English
DT Article
DE singing, classical; electromyography; pectoralis major;
sternocleidomastoideus; thorax, upper
ID PATTERNS; NECK
AB Objective: This study aims to further characterize the muscle activity that influences the posture and breathing utilized for classical singing. The activity in the pectoralis major (PC) muscle and the phasing of PC activity to sternocleidomastoideus (STM) activity and upper thorax (UTX) movement were investigated.
Material and Methods: Seven professional classical singers (3 sopranos, 1 mezzo, 1 tenor and 2 baritones) and 8 advanced classical singing students (4 sopranos, 1 mezzo, 1 tenor and 2 baritones) participated. Electromyographic activity was recorded from the PC and STM muscles on the right side. UTX movement was traced with a strain gauge sensor placed around the upper thorax. Different arias, freely chosen by the singers from their professional repertoire, served as singing tasks. All subjects performed their task 3 times with variation in vocal loudness (normal, forte, piano).
Results: It was observed that a majority of the singers activated the PC during inhalation and that > 50% of the singers activated it during parts of phonation. In general, however, the activity of the PC was relatively low during phonation.
Conclusion: This study shows that the PC, in idiosyncratic patterns, could be involved in the inspiratory effort recruited when positioning the UTX during inhalation and phonation.
C1 Univ Stavanger, Dept Mus & Dance, NO-4036 Stavanger, Norway.
C3 Universitetet i Stavanger
RP Pettersen, V (corresponding author), Univ Stavanger, Dept Mus & Dance, NO-4036 Stavanger, Norway.
EM viggo.pettersen@uis.no
NR 17
TC 11
Z9 14
U1 0
U2 6
PU KARGER
PI BASEL
PA ALLSCHWILERSTRASSE 10, CH-4009 BASEL, SWITZERLAND
SN 1021-7762
J9 FOLIA PHONIATR LOGO
JI Folia Phoniatr. Logop.
PY 2006
VL 58
IS 6
BP 427
EP 439
DI 10.1159/000095003
PG 13
WC Audiology & Speech-Language Pathology; Otorhinolaryngology;
Rehabilitation
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology;
Rehabilitation
GA 107JC
UT WOS:000242166000005
PM 17108700
DA 2025-03-18
ER
PT J
AU GERBRICH, J
RANDULA, P
RUZICKA, R
AF GERBRICH, J
RANDULA, P
RUZICKA, R
TI COMPUTER-PROGRAM FOR COMPOSITION AND AUTOMATIC NOTATION OF CONTEMPORARY
INSTRUMENTAL AND VOCAL MUSIC
SO COMPUTERS AND ARTIFICIAL INTELLIGENCE
LA English
DT Article
DE MUSIC COMPOSITION; COMPUTER APPLICATIONS
AB The contribution describes cooperation between computer programmers and a composer in the process of contemporary music composition. Programs for computer music composition can be used by both students of composition and professional composers. The programs help them not only reduce routine work but also choose suitable variations, write independent compositions, and find inspiration for their further work. These methods use random generation of variants and can assist research on artificial intelligence by simulating the activity of human brain.
C1 REG INST DESIGN, USTI NAD LABEM, CZECHOSLOVAKIA.
JANACEK ACAD PERFORMING ARTS, BRNO, CZECHOSLOVAKIA.
RP MASARYK UNIV BRNO, INST COMP SCI, BRNO, CZECHOSLOVAKIA.
NR 12
TC 0
Z9 0
U1 0
U2 5
PU SLOVAK ACADEMIC PRESS LTD
PI BRATISLAVA
PA PO BOX 57 NAM SLOBODY 6, 810 05 BRATISLAVA, SLOVAKIA
SN 0232-0274
J9 COMPUT ARTIF INTELL
JI Comput. Artif. Intell.
PY 1991
VL 10
IS 5
BP 487
EP 503
PG 17
WC Computer Science, Artificial Intelligence
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA GQ527
UT WOS:A1991GQ52700007
DA 2025-03-18
ER
PT J
AU Sakai, H
Ando, Y
Setoguchi, H
AF Sakai, H
Ando, Y
Setoguchi, H
TI Individual subjective preference of listeners to vocal music sources in
relation to the subsequent reverberation time of sound fields
SO JOURNAL OF SOUND AND VIBRATION
LA English
DT Article; Proceedings Paper
CT Workshop on Opera House Acoustics Held at the 16th ICA-ASA Meeting
CY JUN, 1998
CL SEATTLE, WASHINGTON
SP ICA, ASA, Tech Comm Architectural Acoust, Interuniv Ctr Acoust
AB The purpose of this study is to evaluate individual differences and intraindividual changes of subjective preference of simulated sound field, judged by listeners in changing subsequent reverberation time T-sub using a vocal source. A great deal of effort has been made studying subjective preferences by using music or speech. Subjective preference tests were conducted by changing T-sub, which is one of the four orthogonal-objective parameters of sound field. (C) 2000 Academic Press.
C1 Kobe Univ, Grad Sch Sci & Technol, Kobe, Hyogo 6578501, Japan.
Kirishima Int Concert Hall, Kagoshima 8996603, Japan.
C3 Kobe University
RP Sakai, H (corresponding author), Kobe Univ, Grad Sch Sci & Technol, Kobe, Hyogo 6578501, Japan.
NR 14
TC 5
Z9 7
U1 0
U2 4
PU ACADEMIC PRESS LTD
PI LONDON
PA 24-28 OVAL RD, LONDON NW1 7DX, ENGLAND
SN 0022-460X
J9 J SOUND VIB
JI J. Sound Vibr.
PD APR 20
PY 2000
VL 232
IS 1
BP 157
EP 169
DI 10.1006/jsvi.1999.2691
PG 13
WC Acoustics; Engineering, Mechanical; Mechanics
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Acoustics; Engineering; Mechanics
GA 313LJ
UT WOS:000087000900014
DA 2025-03-18
ER
PT S
AU Xu, CS
Maddage, NC
Tian, Q
AF Xu, CS
Maddage, NC
Tian, Q
BE Chen, YC
Chang, LW
Hsu, CT
TI Support vector machine learning for music discrimination
SO ADVANCES IN MULTIMEDIA INFORMATION PROCESSING - PCM 2002, PROCEEDING
SE LECTURE NOTES IN COMPUTER SCIENCE
LA English
DT Article; Proceedings Paper
CT 3rd IEEE Pacific Rim Conference on Multimedia (PCM 2002)
CY DEC 16-18, 2002
CL HSINCHU, TAIWAN
SP IEEE Circuits & Syst Soc, IEEE Signal Proc Soc, Natl Sci Council, Minist Educ, Inst Appl Sci & Engn Res, Acad Sinica, Sunplus Technol Co Ltd, Inst Informat Ind, Chunghwa Telecom Lab, AIPTEK Int Inc, MOE Program Promot Acad Excellence Univ, Opto Electr & Syst Lab, Ind Technol Res Inst
AB In this paper, we propose an effective algorithm to automatically identify and discriminate music content. Linear prediction coefficients, zero crossing rates and mel-frequency cepstral coefficients are calculated to characterize music content. Based on calculated features, support vector machines are applied to obtain the optimal class boundaries between vocal music and pure music by learning from training data. Experimental results of support vector machine learning show good performance in music discrimination and are more advantageous than traditional Euclidean distance based method.
C1 Informat Technol Lab, Singapore 119613, Singapore.
RP Xu, CS (corresponding author), Informat Technol Lab, 21 Heng Mui Keng Terrace, Singapore 119613, Singapore.
NR 8
TC 0
Z9 1
U1 0
U2 3
PU SPRINGER-VERLAG BERLIN
PI BERLIN
PA HEIDELBERGER PLATZ 3, D-14197 BERLIN, GERMANY
SN 0302-9743
BN 3-540-00262-6
J9 LECT NOTES COMPUT SC
PY 2002
VL 2532
BP 928
EP 935
PG 8
WC Computer Science, Artificial Intelligence; Computer Science, Information
Systems; Computer Science, Software Engineering; Imaging Science &
Photographic Technology; Telecommunications
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Imaging Science & Photographic Technology;
Telecommunications
GA BW29R
UT WOS:000181472200115
DA 2025-03-18
ER
PT J
AU Schutte, HK
Stark, JA
Miller, DG
AF Schutte, HK
Stark, JA
Miller, DG
TI Change in singing voice production, objectively measured
SO JOURNAL OF VOICE
LA English
DT Article
DE subglottal pressure; air flow rate; singing voice; tenor; measuring
procedure
ID SUB-GLOTTAL PRESSURE
AB Although subglottal pressures in conversational speech are relatively easily measured and thus known, the higher values that sometimes occur in singing (especially in tenors) have received little attention in the literature. Still more unusual is the opportunity to measure a large-scale change over decades in the application of pressure in singing production. This study compares measurements of subglottal pressure in a tenor/singing teacher (JS) at two points in his career: in his early thirties, when he was a subject in HS's dissertation study on the efficiency of voice production; and recently, in his fifties, in connection with JS's forthcoming book on the history of the pedagogy of Bel Canto. Although a single case study, its points of special interest include the high values initially measured (up to 100 cm H2O) and the reduction of this figure by more than 50% in the maximal values of the recent measurements. The study compares these values with those of other singers in the same laboratory (both with esophageal balloon and directly, with a catheter passed through the glottis) and in the literature, as well as discusses in detail the problems pertaining to the measurement (repeatability, correcting for lung volume, etc.).
As a sophisticated subject, JS makes some pertinent observations about the changes in his use of subglottal pressure.
C1 Groningen Voice Res Lab, Dept Biomed Engn, Fac Med Sci, NL-9713 AV Groningen, Netherlands.
Mt Allison Univ, Dept Mus, Sackville, NB E0A 3C0, Canada.
C3 University of Groningen; Mount Allison University
RP Groningen Voice Res Lab, Dept Biomed Engn, Fac Med Sci, Ant Deusingloan 1, NL-9713 AV Groningen, Netherlands.
EM h.k.schutte@med.rug.nl
NR 30
TC 11
Z9 13
U1 0
U2 10
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD DEC
PY 2003
VL 17
IS 4
BP 495
EP 501
DI 10.1067/S0892-1997(03)00009-2
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 758PU
UT WOS:000187660000005
PM 14740931
DA 2025-03-18
ER
PT J
AU Qu, G
Sun, YY
Han, BQ
Yu, P
Liu, JK
Yang, SM
AF Qu, Ge
Sun, Yuan-yuan
Han, Bao-qiang
Yu, Ping
Liu, Jian-kun
Yang, Shi-ming
TI Preliminary study on lyrics intelligibility at different pitches in
Chinese vocal music
SO ACTA OTO-LARYNGOLOGICA
LA English
DT Article
DE Chinese vocal music; intelligibility; Mandarin perception; sung words;
lyrics
ID SUNG; SINGERS; SPEECH
AB Background:There is still no clear experimental data on the relationship between the intelligibility of Chinese vocal lyrics and different pitch. Aims/Objective:This study aims at investigating the intelligibility of Chinese sung words at different pitch. Material and methods:A word list is created and sung by eight singers at five different pitches (C5, F4, bB4, bE5, and bA5). The intelligibility of the words is tested by listeners with and without music background. Results:The average intelligibility score in the music-listeners is 84.9% (SD = 9.5%). The score at five pitches (from low to high) is 93%, 91.7%, 89.7%, 83.1%, and 67.1%, respectively. The average score is 77.4% (SD = 10.7%) in the non-music listeners. The average score is 87%, 86%, 79.8%, 76.8%, and 57.5% at five pitches, respectively. The ratio of unidentified sung words is 19.3% (SD, 4.3%) in female singers and 11.9% (SD = 1.5%) in male singers. Conclusions:The intelligibility of Chinese sung words declines gradually with increase in pitch, and the extent of decreases gradually elevating. Generally, the identified ratio of words sung by male singers is higher than that of female singers. The listeners who had no musical background have a lower intelligibility score than those with experience.
C1 [Qu, Ge; Yu, Ping; Yang, Shi-ming] Chinese Peoples Liberat Army Gen Hosp, Dept Otorhinolaryngol Head & Neck Surg, Beijing, Peoples R China.
[Qu, Ge] Capital Normal Univ, Mus Coll, Beijing, Peoples R China.
[Sun, Yuan-yuan] Henan Polytech Univ, Mus Coll, Jiaozuo, Henan, Peoples R China.
[Han, Bao-qiang] China Conservatory Mus, Beijing, Peoples R China.
[Liu, Jian-kun] Shangqiu Normal Univ, Shangqiu, Peoples R China.
C3 Chinese People's Liberation Army General Hospital; Capital Normal
University; Henan Polytechnic University; China Conservatory of Music;
Shangqiu Normal University
RP Yang, SM (corresponding author), Peoples Liberat Army Gen Hosp, Dept Otorhinolaryngol Head & Neck Surg, Beijing 100853, Peoples R China.
EM yangsm301@163.net
RI yang, shiming/HLV-7901-2023
NR 20
TC 2
Z9 3
U1 2
U2 9
PU TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OR14 4RN, OXON, ENGLAND
SN 0001-6489
EI 1651-2251
J9 ACTA OTO-LARYNGOL
JI Acta Oto-Laryngol.
PD JUL 2
PY 2020
VL 140
IS 7
BP 558
EP 563
DI 10.1080/00016489.2019.1646926
EA JUN 2020
PG 6
WC Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Otorhinolaryngology
GA MI8KT
UT WOS:000545701300001
PM 32552233
DA 2025-03-18
ER
PT J
AU Jing, L
AF Jing, Liu
TI Application of Artificial Intelligence Algorithm and VR Technology in
Vocal Music Teaching
SO MOBILE INFORMATION SYSTEMS
LA English
DT Article
AB Traditional intelligent algorithms mainly artificially preselect the geometric features of the image and then classify and recognize the image based on these features. The geometric features of the manually selected working images are often interfered by human factors, resulting in inaccurate feature extraction and reduced classification accuracy. Aiming at the above problems, an intelligent recognition method based on artificial intelligence algorithm is proposed. We will deeply analyze the application of the core technology of the system and introduce the virtual education function of the application through relevant content. The application of this technology can effectively improve the efficiency of vocal music teaching and enable students to obtain a richer educational experience. Then, this paper finishes the other parts of the system again, realizes the functional modules of the system one by one, and elaborates the corresponding interface diagrams. Finally, a suitable testing method can be used to test the performance modules and performance conditions of the system to ensure that the system has good reliability and availability and put it into production. The voice teaching system based on virtual reality technology is more advanced and superior than other teaching systems on the market today and can provide users with a more realistic experience. In addition, users can have more choices in the process of virtual education, thereby improving the efficiency and quality of education.
C1 [Jing, Liu] Chongqing Coll Humanities Sci & Technol, Sch Art, Chongqing 401524, Peoples R China.
RP Jing, L (corresponding author), Chongqing Coll Humanities Sci & Technol, Sch Art, Chongqing 401524, Peoples R China.
EM 18404043@masu.edu.cn
RI Liu, Jing/AAB-9131-2019
NR 16
TC 3
Z9 3
U1 10
U2 28
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1574-017X
EI 1875-905X
J9 MOB INF SYST
JI Mob. Inf. Syst.
PD JUL 31
PY 2022
VL 2022
DI 10.1155/2022/2320198
PG 13
WC Computer Science, Information Systems; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Telecommunications
GA 3Q8MS
UT WOS:000838479100027
OA gold
DA 2025-03-18
ER
PT J
AU Kiss, L
Linnell, KJ
AF Kiss, Luca
Linnell, Karina J.
TI Making sense of background music listening habits: An arousal and
task-complexity account
SO PSYCHOLOGY OF MUSIC
LA English
DT Article
DE background music; listening habits; mood; arousal; task-complexity;
attention
ID PHYSIOLOGICAL AROUSAL; PERCEIVED IMPACT; VOCAL-MUSIC; PERFORMANCE;
DISTRACTION; INTROVERTS; PREFERENCE; ATTENTION; STRENGTH; TEMPO
AB Although listening to background music is common, there is no consensus about its effects on cognitive-task performance. One potential mediating factor that could resolve the inconsistency in findings is arousal. To explore the role of arousal in mediating the effect of background music, this survey study directly explored people's background music listening habits during a variety of everyday tasks varying in their complexity including studying, reading, driving, and monotonous tasks. Out of the 197 participants, most participants reported listening to background music during driving or monotonous tasks but fewer did so during studying or reading. Participants who did listen to music during studying or reading mostly reported choosing instrumental music and listening to music to calm them down. Contrarily, participants who listened to music during driving or monotonous tasks reported choosing vocal music more often and listening to music to feel energised. In sum, results revealed clearly different patterns in background music listening habits between tasks varying in their complexity that are consistent with arousal mediating the effect of background music. The results also revealed that people have an implicit awareness of the effects of background music and match the music to their needs as dictated by the specific task.
C1 [Kiss, Luca; Linnell, Karina J.] Goldsmiths Univ London, Dept Psychol, 8 Lewisham Way, London SE14 6NW, England.
C3 University of London; Goldsmiths University London
RP Kiss, L (corresponding author), Goldsmiths Univ London, Dept Psychol, 8 Lewisham Way, London SE14 6NW, England.
EM l.kiss@gold.ac.uk
RI Kiss, Luca/GPX-0742-2022
OI Kiss, Luca/0000-0001-8439-2934
NR 60
TC 14
Z9 15
U1 29
U2 110
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0305-7356
EI 1741-3087
J9 PSYCHOL MUSIC
JI Psychol. Music
PD JAN
PY 2023
VL 51
IS 1
BP 89
EP 106
AR 03057356221089017
DI 10.1177/03057356221089017
EA APR 2022
PG 18
WC Psychology, Educational; Psychology, Applied; Music; Psychology,
Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Psychology; Music
GA 7B6KU
UT WOS:000798372800001
OA Green Accepted, hybrid
DA 2025-03-18
ER
PT J
AU Pearson, L
Pouw, W
AF Pearson, Lara
Pouw, Wim
TI Gesture-vocal coupling in Karnatak music performance: A neuro-bodily
distributed aesthetic entanglement
SO ANNALS OF THE NEW YORK ACADEMY OF SCIENCES
LA English
DT Article
DE cross-modal correspondences; gesture-speech physics; gesture-vocal
coupling; South Indian music; vocal music
ID MOVEMENT; SPEECH; PITCH; ACTIVATION; MUSCLES; SYNCHRONIZATION;
COORDINATION; ENTRAINMENT; PERCEPTION; PARAMETERS
AB In many musical styles, vocalists manually gesture while they sing. Coupling between gesture kinematics and vocalization has been examined in speech contexts, but it is an open question how these couple in music making. We examine this in a corpus of South Indian, Karnatak vocal music that includes motion-capture data. Through peak magnitude analysis (linear mixed regression) and continuous time-series analyses (generalized additive modeling), we assessed whether vocal trajectories around peaks in vertical velocity, speed, or acceleration were coupling with changes in vocal acoustics (namely, F0 and amplitude). Kinematic coupling was stronger for F0 change versus amplitude, pointing to F0's musical significance. Acceleration was the most predictive for F0 change and had the most reliable magnitude coupling, showing a one-third power relation. That acceleration, rather than other kinematics, is maximally predictive for vocalization is interesting because acceleration entails force transfers onto the body. As a theoretical contribution, we argue that gesturing in musical contexts should be understood in relation to the physical connections between gesturing and vocal production that are brought into harmony with the vocalists' (enculturated) performance goals. Gesture-vocal coupling should, therefore, be viewed as a neuro-bodily distributed aesthetic entanglement.
C1 [Pearson, Lara] Max Planck Inst Empir Aesthet, Dept Mus, Gruneburgweg 14, D-60322 Frankfurt, Hessen, Germany.
[Pouw, Wim] Radboud Univ Nijmegen, Donders Inst Brain Cognit & Behav, Nijmegen, Netherlands.
[Pouw, Wim] Max Planck Inst Psycholinguist, Nijmegen, Netherlands.
C3 Radboud University Nijmegen; Max Planck Society
RP Pearson, L (corresponding author), Max Planck Inst Empir Aesthet, Dept Mus, Gruneburgweg 14, D-60322 Frankfurt, Hessen, Germany.
EM lara.pearson@ae.mpg.de
OI Pearson, Lara/0000-0002-5073-8738; Pouw, Wim/0000-0003-2729-6502
FU VENI grant - Dutch Research Council (NWO) [VI.Veni.201G.047]; Projekt
DEAL
FX We would like to thank the Karnatak vocalists, Akkarai Subhalakshmi,
Pattabhirama Pandit, Hemmige Prashanth, and Brindha Manickavasakan, who
performed for this study. Many thanks also to Rainer Polak for his
significant assistance in recording the audiovisual and motion capture
data on which this study is based, and to Nikita Kudakov for hiswork in
logging the data. Finally, wewould like to thank two anonymous reviewers
and the nonanonymous reviewer (Ramesh Balasubramaniam) for their helpful
comments for improving this paper. This research has been cofunded by a
VENI grant (VI.Veni.201G.047) awarded by the Dutch Research Council
(NWO) toWim Pouw (PI). Open access funding enabled and organized by
Projekt DEAL.
NR 86
TC 9
Z9 9
U1 0
U2 9
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0077-8923
EI 1749-6632
J9 ANN NY ACAD SCI
JI Ann. N.Y. Acad. Sci.
PD SEP
PY 2022
VL 1515
IS 1
BP 219
EP 236
DI 10.1111/nyas.14806
EA JUN 2022
PG 18
WC Multidisciplinary Sciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Science & Technology - Other Topics
GA 4T1IS
UT WOS:000813952200001
PM 35730069
OA Green Published
DA 2025-03-18
ER
PT J
AU Wang, ST
AF Wang, Shuaitong
TI The Academic Evaluation Practice of Theoretical Courses of Physical and
Vocal Music Education Major under the Concept of Quantitative Evaluation
SO MATHEMATICAL PROBLEMS IN ENGINEERING
LA English
DT Article
ID STUDENT; IMPACT; MODEL
AB Under the rapid progress of educational reform, the evaluation method of students' studies in China is only partially adjusted or even remains at the same level for a long time. There will be a growing gap between it and the existing education system and social needs. Therefore, based on the concept of quantitative evaluation, the gap and unreasonable evaluation methods of academic evaluation of theoretical courses of physical and vocal music education majors caused by unfair educational resources and physical conditions of Chinese students have been studied. Student Growth Percentile (SGP) academic evaluation model based on the current education situation in China is proposed. By analyzing the establishment process of this model and comparing it with the current two academic evaluation models, the advantages and disadvantages of the SGP model are analyzed. Then, a practical application case of the SGP model in a place is used to show the model's actual evaluation process and feedback results. Through the SGP model on the growth evaluation of group students and the teaching evaluation of teachers, the growth and problems of students in this stage and whether the teachers' teaching is effective are analyzed to obtain the pertinent results. Finally, the students and teachers are investigated, and their satisfaction with this model is 81% and 75%, respectively, proving this model's reliability and practicality.
C1 [Wang, Shuaitong] Acad Mus Dance & Fine Arts Plovdiv, Plovdiv 4000, Bulgaria.
RP Wang, ST (corresponding author), Acad Mus Dance & Fine Arts Plovdiv, Plovdiv 4000, Bulgaria.
EM wang.shuaitong@artacademyplovdiv.com
NR 19
TC 0
Z9 0
U1 0
U2 2
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1024-123X
EI 1563-5147
J9 MATH PROBL ENG
JI Math. Probl. Eng.
PD AUG 4
PY 2022
VL 2022
AR 1827125
DI 10.1155/2022/1827125
PG 8
WC Engineering, Multidisciplinary; Mathematics, Interdisciplinary
Applications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Engineering; Mathematics
GA 5P6XE
UT WOS:000873290900001
OA gold
DA 2025-03-18
ER
PT J
AU Olatunji, MO
AF Olatunji, Myke O.
TI Yabis music: an instrument of social change in Nigeria
SO JOURNAL OF AFRICAN MEDIA STUDIES
LA English
DT Article
DE Yabis; Pidgin English; Nigeria; popular music; political freedom;
cultural revival
AB When the late Nigerian Afro-beat proponent, Fela Anikulapo-Kuti (formerly known as Fela Ransome- Kuti) returned from a tour of the United States of America in 1970, his music witnessed a lot of transformation. First, he discarded with his erstwhile jazz-highlife style and came up with a new style he christened 'Afro-beat', a mixture of American jazz and Yoruba folk music. Secondly, the content of his vocal music changed tremendously from abstract themes to day-to-day happenings among the common people in Nigeria. However, the protracted military rule in Nigeria, coupled with the large scale embezzlement and looting of the nation's treasury (which undermined the democratic processes), as well as the promotion of large scale violence by the nation's military junta, provided a new theme for Fela's vocal music from the mid 1970s. Thus the stage was set for a new phenomenon among Nigerian popular music; music known as the Yabis music became a site for political engagement, through which those who governed through coercion were ridiculed and their bad policies subjected to derision in several lyrics of many Nigerian popular musicians who later joined Fela in the 1980s and after. This paper examines the role and impact of Yabis music on the Nigerian music scene, as well as her political and socio-cultural milieu.
C1 Obafemi Awolowo Univ, Dept Mus, Ife, Nigeria.
C3 Obafemi Awolowo University
RP Olatunji, MO (corresponding author), Obafemi Awolowo Univ, Dept Mus, Ife, Nigeria.
EM mykemusic2000@yahoo.com
NR 12
TC 3
Z9 5
U1 0
U2 7
PU INTELLECT LTD
PI BRISTOL
PA THE MILL, PARNALL RD, BRISTOL, BS16 3JG, ENGLAND
SN 2040-199X
EI 1751-7974
J9 J AFR MEDIA STUD
JI J. Afr. Media Stud.
PY 2009
VL 1
IS 2
BP 309
EP 328
DI 10.1386/jams.1.2.309_1
PG 20
WC Cultural Studies; Communication; Film, Radio, Television
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Cultural Studies; Communication; Film, Radio & Television
GA V17KG
UT WOS:000207935500008
DA 2025-03-18
ER
PT J
AU Sihvonen, AJ
Särkämö, T
Ripollés, P
Leo, V
Saunavaara, J
Parkkola, R
Rodríguez-Fornells, A
Soinila, S
AF Sihvonen, Aleksi J.
Sarkamo, Teppo
Ripolles, Pablo
Leo, Vera
Saunavaara, Jani
Parkkola, Riitta
Rodriguez-Fornells, Antoni
Soinila, Seppo
TI Functional neural changes associated with acquired amusia across
different stages of recovery after stroke
SO SCIENTIFIC REPORTS
LA English
DT Article
ID AUDITORY-CORTEX; CONGENITAL AMUSIA; COGNITIVE DEFICITS; MUSIC AGNOSIA;
VOCAL AMUSIA; MRI EVIDENCE; HUMAN BRAIN; PERCEPTION; PITCH; MEMORY
AB Brain damage causing acquired amusia disrupts the functional music processing system, creating a unique opportunity to investigate the critical neural architectures of musical processing in the brain. In this longitudinal fMRI study of stroke patients (N = 41) with a 6-month follow-up, we used natural vocal music (sung with lyrics) and instrumental music stimuli to uncover brain activation and functional network connectivity changes associated with acquired amusia and its recovery. In the acute stage, amusic patients exhibited decreased activation in right superior temporal areas compared to non-amusic patients during instrumental music listening. During the follow-up, the activation deficits expanded to comprise a wide-spread bilateral frontal, temporal, and parietal network. The amusics showed less activation deficits to vocal music, suggesting preserved processing of singing in the amusic brain. Compared to non-recovered amusics, recovered amusics showed increased activation to instrumental music in bilateral frontoparietal areas at 3 months and in right middle and inferior frontal areas at 6 months. Amusia recovery was also associated with increased functional connectivity in right and left frontoparietal attention networks to instrumental music. Overall, our findings reveal the dynamic nature of deficient activation and connectivity patterns in acquired amusia and highlight the role of dorsal networks in amusia recovery.
C1 [Sihvonen, Aleksi J.] Univ Turku, Fac Med, FIN-20520 Turku, Finland.
[Sihvonen, Aleksi J.; Sarkamo, Teppo; Leo, Vera] Univ Helsinki, Fac Med, Dept Psychol & Logoped, Cognit Brain Res Unit, FIN-00014 Helsinki, Finland.
[Ripolles, Pablo; Rodriguez-Fornells, Antoni] Bellvitge Biomed Res Inst IDIBELL, Cognit & Brain Plast Grp, Barcelona 08907, Spain.
[Ripolles, Pablo; Rodriguez-Fornells, Antoni] Univ Barcelona, Dept Cognit Dev & Educ Psychol, Barcelona 08035, Spain.
[Ripolles, Pablo] NYU, Dept Psychol, Poeppel Lab, 6 Washington Pl, New York, NY 10003 USA.
[Saunavaara, Jani] Turku Univ Hosp, Dept Med Phys, Turku 20521, Finland.
[Parkkola, Riitta] Turku Univ, Dept Radiol, Turku 20521, Finland.
[Parkkola, Riitta] Turku Univ Hosp, Turku 20521, Finland.
[Rodriguez-Fornells, Antoni] ICREA, Catalan Inst Res & Adv Studies, Barcelona, Spain.
[Soinila, Seppo] Turku Univ Hosp, Div Clin Neurosci, Turku 20521, Finland.
[Soinila, Seppo] Univ Turku, Dept Neurol, Turku 20521, Finland.
C3 University of Turku; University of Helsinki; Institut d'Investigacio
Biomedica de Bellvitge (IDIBELL); University of Barcelona; New York
University; University of Turku; University of Turku; University of
Turku; ICREA; University of Turku; University of Turku
RP Sihvonen, AJ (corresponding author), Univ Turku, Fac Med, FIN-20520 Turku, Finland.; Sihvonen, AJ (corresponding author), Univ Helsinki, Fac Med, Dept Psychol & Logoped, Cognit Brain Res Unit, FIN-00014 Helsinki, Finland.
EM ajsihv@utu.fi
RI Ripollés, Pablo/C-4342-2012; Rodriguez-Fornells, Antoni/L-5878-2014;
Parkkola, Riitta/AAZ-1341-2020; Saunavaara, Jani/P-3879-2017
OI Saunavaara, Jani/0000-0002-0617-1105; Leo, Vera
Vivienne/0000-0003-2638-9918; Sihvonen, Aleksi/0000-0002-4501-7338;
Ripolles, Pablo/0000-0002-8463-3723
FU Academy of Finland [1257077, 1277693]; Tyks Research Funding grant
[13944]; Finnish Brain Research and Rehabilitation Foundation; Finnish
Brain Foundation; Ella and Georg Ehrnrooth Foundation; Signe and Ane
Gyllenberg Foundation; Maire Taponen Foundation; Finnish Cultural
Foundation; National Doctoral Programme of Psychology; Jenny and Antti
Wihuri Foundation; Formacion de Profesorado Universitario program
[AP2010-4170]; Generalitat de Catalunya [2014 SGR1413]
FX This work was funded by Academy of Finland program (grants nos 1257077,
1277693), Tyks Research Funding (grant no. 13944), Finnish Brain
Research and Rehabilitation Foundation, Finnish Brain Foundation, Ella
and Georg Ehrnrooth Foundation, Signe and Ane Gyllenberg Foundation,
Maire Taponen Foundation, Finnish Cultural Foundation, National Doctoral
Programme of Psychology, Jenny and Antti Wihuri Foundation, the
Formacion de Profesorado Universitario program (AP2010-4170) and
Generalitat de Catalunya (2014 SGR1413). We thank the staff of the Tyks
Department of Clinical Neurosciences as well as professor Mari
Tervaniemi, and radiographerers Ulla Anttalainen (dagger),
Riku Luoto and Tuija Vahtera.
NR 104
TC 19
Z9 19
U1 0
U2 24
PU NATURE PORTFOLIO
PI BERLIN
PA HEIDELBERGER PLATZ 3, BERLIN, 14197, GERMANY
SN 2045-2322
J9 SCI REP-UK
JI Sci Rep
PD SEP 12
PY 2017
VL 7
AR 11390
DI 10.1038/s41598-017-11841-6
PG 19
WC Multidisciplinary Sciences
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Science & Technology - Other Topics
GA FG4ZR
UT WOS:000410297900104
PM 28900231
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU de Groot, AMB
Smedinga, HE
AF de Groot, Annette M. B.
Smedinga, Hilde E.
TI LET THE MUSIC PLAY! A Short-Term but No Long-Term
Detrimental Effect of Vocal Background Music with Familiar Language
Lyrics on Foreign Language Vocabulary Learning
SO STUDIES IN SECOND LANGUAGE ACQUISITION
LA English
DT Article
ID FOREIGN-LANGUAGE VOCABULARY; READING-COMPREHENSION; WORKING-MEMORY;
COGNITIVE PERFORMANCE; PHONOLOGICAL MEMORY; UNATTENDED SPEECH;
DISTRACTION; INTROVERTS; EXTROVERTS; RETENTION
AB Participants learned foreign vocabulary by means of the paired-associates learning procedure in three conditions: (a) in silence, (b) with vocal music with lyrics in a familiar language playing in the background, or (c) with vocal music with lyrics in an unfamiliar language playing in the background. The vocabulary to learn varied in concreteness (concrete vs. abstract) and phonological typicality of the foreign words' forms (typical vs. atypical). When tested during and immediately after training, learning outcomes were poorer in the familiar language music condition than in the unfamiliar language music and silence conditions, but this effect was short-lived, as shown in a delayed test 1 week after training, on which the effect was no longer found. Learning outcomes were better for concrete words than for abstract words and better for typical foreign forms than for atypical ones. Contrary to the adverse effects of familiar language music, the effects of concreteness and typicality were lasting. We explain the interference effect in the familiar language music condition in terms of the workings of the phonological loop, a component of working memory involved in vocabulary acquisition (e. g., Gathercole & Baddeley, 1990).
C1 [de Groot, Annette M. B.; Smedinga, Hilde E.] Univ Amsterdam, NL-1018 XA Amsterdam, Netherlands.
C3 University of Amsterdam
RP de Groot, AMB (corresponding author), Univ Amsterdam, Dept Psychol, Weesperpl 4, NL-1018 XA Amsterdam, Netherlands.
EM a.m.b.degroot@uva.nl
NR 54
TC 17
Z9 20
U1 6
U2 109
PU CAMBRIDGE UNIV PRESS
PI NEW YORK
PA 32 AVENUE OF THE AMERICAS, NEW YORK, NY 10013-2473 USA
SN 0272-2631
EI 1470-1545
J9 STUD SECOND LANG ACQ
JI Stud. Second Lang. Acquis.
PD DEC
PY 2014
VL 36
IS 4
BP 681
EP 707
DI 10.1017/S0272263114000059
PG 27
WC Linguistics
WE Social Science Citation Index (SSCI)
SC Linguistics
GA AU0WU
UT WOS:000345343700003
OA Green Published
DA 2025-03-18
ER
PT J
AU Qi, YY
Ding, D
Tashkandy, YA
Bakr, ME
Abd El-Raouf, MM
Kumar, A
AF Qi, Yingying
Ding, Dan
Tashkandy, Yusra A.
Bakr, M. E.
Abd El-Raouf, M. M.
Kumar, Anoop
TI A novel probabilistic model with properties: Its implementation to the
vocal music and reliability products
SO ALEXANDRIA ENGINEERING JOURNAL
LA English
DT Article
DE Weighted distribution; Identifiability characteristics; Distributional
properties; Simulation; Vocal music; Physical sciences; Statistical
modeling
ID PHYSICS
AB So far in the literature, numerous probabilistic models and families of probabilistic models have been suggested and put into practice. A large portion of these probabilistic models are developed and updated by introducing new parameters ranging up to five. There are only a few methods that are introduced without adding additional parameters. This paper also contributed to the development of a probabilistic model without adding additional parameters. The proposed model is introduced by incorporating the weighted distributional strategy and the weighted Ramos-Louzada distribution. Therefore, the generalized weighted Ramos-Louzada distribution is a suitable name for the newly proposed model. The derivation of the estimators based on the maximum likelihood for this novel model is presented. Certain distributional properties of the generalized weighted Ramos- Louzada distribution are derived. In order to validate the effectiveness and superiority of the generalized weighted Ramos-Louzada distribution, three applications are chosen as examples. The first two applications are considered from the physical sciences, while, the third application is taken from the musical area. We consider four statistical tests to show the validatity of the proposed model over some well-known established models. The findings from the statistical tests consistently indicate that the proposed model performs better than its rivals.
C1 [Qi, Yingying] Weifang Univ, Coll Mus & Dance, Weifang 261041, Shandong, Peoples R China.
[Ding, Dan] Weifang Univ, Sch Teacher Educ, Weifang 261041, Shandong, Peoples R China.
[Tashkandy, Yusra A.; Bakr, M. E.] King Saud Univ, Coll Sci, Dept Stat & Operat Res, POB 2455, Riyadh 11451, Saudi Arabia.
[Abd El-Raouf, M. M.] Arab Acad Sci Technol & Maritime Transport AASTMT, Basic & Appl Sci Inst, Alexandria, Egypt.
[Kumar, Anoop] Cent Univ Haryana, Fac Basic Sci, Dept Stat, Mahendergarh 123031, India.
C3 Weifang University; Weifang University; King Saud University; Egyptian
Knowledge Bank (EKB); Arab Academy for Science, Technology & Maritime
Transport; Central University of Haryana
RP Ding, D (corresponding author), Weifang Univ, Sch Teacher Educ, Weifang 261041, Shandong, Peoples R China.
EM 17865657676@163.com; wfdingdan2024@163.com; ytashkandi@ksu.edu.sa;
mmibrahim@ksu.edu.sa; m_abdelraouf85@aast.edu; anoopk@cuh.ac.in
RI Tashkandy, Yusra/GQP-6214-2022; Bakr, M. E./GLR-5973-2022
OI Bakr, Mahmoud Ibrahim/0000-0003-3493-033X; Tashkandy,
Yusra/0000-0003-2878-4460
FU King Saud University, Riyadh, Saudi Arabia [RSP2024R488]
FX This research project was supported by the Researchers Supporting
Project Number (RSP2024R488) , King Saud University, Riyadh, Saudi
Arabia.
NR 22
TC 1
Z9 1
U1 4
U2 9
PU ELSEVIER
PI AMSTERDAM
PA RADARWEG 29, 1043 NX AMSTERDAM, NETHERLANDS
SN 1110-0168
EI 2090-2670
J9 ALEX ENG J
JI Alex. Eng. J.
PD NOV
PY 2024
VL 107
BP 254
EP 267
DI 10.1016/j.aej.2024.07.035
EA JUL 2024
PG 14
WC Engineering, Multidisciplinary
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Engineering
GA ZH3F7
UT WOS:001274359500001
OA gold
DA 2025-03-18
ER
PT J
AU Mengchun, Y
Zhixin, X
AF Mengchun, Yang
Zhixin, Xu
TI Liubai Technique in the Real-time Electroacoustic Chinese Art Song 'Lang
Tao Sha' ((sic))
SO ORGANISED SOUND
LA English
DT Article
AB Liubai ((sic)(sic), literally 'leaving blankness') is a unique method of expression in Chinese classical paintings. The core spirit of the technique is inextricably linked to ancient Chinese Taoism and traditional aesthetics, which are prominently featured by simplicity and nationality. This article, taking the real-time interactive electroacoustic Chinese art song 'Lang Tao Sha' ((sic)), explores the use of the artistic technique of liubai from the perspective of a soprano singer by focusing on the three aspects of lyrics, vocal music and electroacoustic music creation, and singing performance.
C1 [Mengchun, Yang] Shenzhen Univ, Shenzhen, Peoples R China.
[Zhixin, Xu] Shanghai Jiao Tong Univ, Shanghai, Peoples R China.
C3 Shenzhen University; Shanghai Jiao Tong University
RP Mengchun, Y (corresponding author), Shenzhen Univ, Shenzhen, Peoples R China.
EM xwu@szu.edu.cn; zhixin.xu@sjtu.edu.cn
NR 25
TC 1
Z9 1
U1 2
U2 12
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 1355-7718
EI 1469-8153
J9 ORGAN SOUND
JI Organ. Sound
PD DEC
PY 2022
VL 27
IS 3
SI SI
BP 338
EP 345
AR PII S1355771822000486
DI 10.1017/S1355771822000486
EA DEC 2022
PG 8
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA AJ7G8
UT WOS:000899884600001
DA 2025-03-18
ER
PT J
AU Schneider, CM
Dennehy, CA
Saxon, KG
AF Schneider, CM
Dennehy, CA
Saxon, KG
TI Exercise physiology principles applied to vocal performance: The
improvement of postural alignment
SO JOURNAL OF VOICE
LA English
DT Article
DE exercise; postural; vocal
AB Postural alignment is not an inherent trait. Proper alignment is acquired through training postural muscle groups. This training is based on scientific principles associated with improving the physiological parameters of muscle mechanics. The purpose of this report is to describe and demonstrate the application of exercise physiology training principles to the improvement of postural alignment, which may enhance vocal performance. Specific exercise principles are explained and key concepts highlighted. Selected exercises for training postural muscles are presented to assist in establishing techniques that result in the expected adaptations. The application of training principles to postural muscles has been shown to improve postural alignment by strengthening synergistic muscles and establishing a balance between the agonistic and antagonistic activity of these muscles. Since posture has been well established as an important component of vocal performance, the application of these principles to vocal training seems to warrant the attention of vocal trainers and performers.
RP Schneider, CM (corresponding author), UNIV NO COLORADO,DEPT KINESIOL,223L BUTLER HANCOCK,GREELEY,CO 80639, USA.
NR 8
TC 18
Z9 28
U1 0
U2 2
PU LIPPINCOTT-RAVEN PUBL
PI PHILADELPHIA
PA 227 EAST WASHINGTON SQ, PHILADELPHIA, PA 19106
SN 0892-1997
J9 J VOICE
JI J. Voice
PD SEP
PY 1997
VL 11
IS 3
BP 332
EP 337
DI 10.1016/S0892-1997(97)80012-4
PG 6
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA XW130
UT WOS:A1997XW13000012
PM 9297678
DA 2025-03-18
ER
PT J
AU Kodric, KB
Tivadar, H
AF Kodric, Karmen Brina
Tivadar, Hotimir
TI Instrumental and Phonetic Analysis of Sung Vowels and the Orthoepy of
Sung Lyrics of Popular Slovene "popevka" Songs
SO MUZIKOLOSKI ZBORNIK
LA Slovak
DT Article
DE lyrics; orthoepy; sung and spoken vowel; formant; non-classical singing
AB The aim of this study is to present the use of phonetics in non-linguitic researches and sciences such as music and singing. Sung Lyrics of Slovenian songs/poetry have not been investigated phonetically, taking into consideration their quality (vowel formant frequency). The word is about musical art (lyrics), paying attention to the phonetic realization based upon the Slovene language and its norm, which show excellent articulation of the sung vowels.
C1 [Kodric, Karmen Brina] Univ Ljubljana, Fac Arts, Phonet, Ljubljana 61000, Slovenia.
[Tivadar, Hotimir] Univ Ljubljana, Fac Arts, Detp Slovene Language, Inst Czech Language & Theory Commun, Ljubljana 61000, Slovenia.
C3 University of Ljubljana; University of Ljubljana
RP Kodric, KB (corresponding author), Univ Ljubljana, Fac Arts, Phonet, Ljubljana 61000, Slovenia.
EM karmen.brina@gmail.com; hotimir.tivadar@ff.uni-lj.si
NR 45
TC 0
Z9 0
U1 0
U2 1
PU Univ Ljubljana Press
PI Ljubljana
PA Zoisova 12, Ljubljana, SLOVENIA
SN 0580-373X
EI 2350-4242
J9 MUZIKOLOSKI ZB
JI Muzikoloski Zb.
PY 2016
VL 52
IS 1
BP 147
EP 169
DI 10.4312/mz.52.1.147-169
PG 23
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA DT2SJ
UT WOS:000381330400009
OA gold
DA 2025-03-18
ER
PT J
AU Lüdemann, W
AF Ludemann, Winfried
TI Afrikaans and Music. Notes from the Sideline
SO TYDSKRIF VIR GEESTESWETENSKAPPE
LA Afrikaans
DT Article
DE Afrikaans; language domains; linguistics; intersection between language
and music; choral music; art song; genres of vocal music; Afrikaans
music; cultural diversity
AB Against the backdrop of ever present questions about the role of Afrikaans in the current South African context various apects of the relationship between Afrikaans and music are examined To begin with, the article argues for the recognition of vocal music as a distinct linguistic domain. As the intersection between musical and linguistic forces, it is a domain that functions according to principles that differ from those present in the domains of spoken language, and which are the subject of general or sociolinguistics. To illustrate this point, a general overview of the genres and compositional techniques of vocal music is provided, from medieval times up to the present. The specifically musical characteristics of the Afrikaans language are then examined and compared to those of other languages. These include aspects such as the sound and pronunciation of phonemes, principles of accentuation and characteristics of pitch distribution. They represent musical potential which can be exploited by composers if they are sensitive to such characteristics in the language they are setting to music. They are also of interest to singers. The various challenges of setting specifically Afrikaans texts to music are highlighted. It is asked whether a century of much celebrated Afrikaans literature, including the Afrikaans translation of the Bible and the Afrikaans hymnal, has resulted in an equivalent repertoire of music. Regrettably, the overall yield is quite low, despite a number of significant contributions to the art song genre by foremost composers like Arnold van Wyk and Hubert du Plessis. Consequently, it is argued that the remarkable flowering of Afrikaans literature over this period did not lead to a concomitant production of vocal music, least of all in the area of choral music. In addition, it is shown that those composers who have produced vocal music prefer the work of poets of the older generations, and it is asked why the work of younger poets generally is not considered to have the same musical potential or to generate the same degree of musical interest. Moreover, it seems that in the minds even of intellectuals who profess to have a love for Afrikaans, and have a stake in its continued existence as a language of culture, the natural musical manifestation of their language is to be found in popular music. It is lamented that the presence of Afrikaans in the genres of art song and choral music does not feature more prominently in the consciousness of speakers of the language and that composers do not provide them with sufficient suitable material to change the imbalance. An overview of the relatively small repertoire of published secular and sacred Afrikaans choral music is provided and its stylistic traits are examined. The focus is on collections of choral music published by official cultural and church organisations, because these can be seen to be broadly representative of the membership of their respective organisations. It is found that, on the whole, this repertoire of choral music is quite limited in scope as far as stylistic techniques are concerned. In the majority of examples composers do not go beyond simple arrangements of existing hymns or songs and even less do they venture into tonal territory beyond that of nineteenth-century conventions. This goes to show that composers of choral music have not yet fully realised and exploited the potential of setting Afrikaans words to music, least of all in the musical vocabulary of our time.
By contrast, the current vibrant interest in choral singing amongst many young South Africans of all cultures is mentioned. This bodes well for the future of the genre. It also provides opportunities for social and cultural interaction amongst the participants and for experimentation in concert programming. Conductors, composers, organisers and sponsors should seize this opportunity to create a culture of Afrikaans choral music that can add a worthy voice to the cultural diversity of South Africa.
C1 [Ludemann, Winfried] Univ Stellenbosch, Dept Musiek, Stellenbosch, South Africa.
C3 Stellenbosch University
RP Lüdemann, W (corresponding author), Univ Stellenbosch, Dept Musiek, Stellenbosch, South Africa.
EM wl@sun.ac.za
OI Ludemann, Winfried/0000-0003-1002-2636
NR 19
TC 0
Z9 1
U1 0
U2 5
PU SUID-AFRIKAANSE AKAD VIR WETENSKAP EN KUNS, SEKRETARIS
PI PRETORIA
PA P. O. BOX 538, PRETORIA, 00000, SOUTH AFRICA
SN 0041-4751
J9 TYDSKR GEESTESWET
JI Tydskr. Geesteswet.
PD JUN
PY 2017
VL 57
IS 2
BP 581
EP 595
DI 10.17159/2224-7912/2017/v57n2-2a6
PN 2
PG 15
WC Social Issues
WE Social Science Citation Index (SSCI)
SC Social Issues
GA FC0ZY
UT WOS:000406568400006
OA hybrid
DA 2025-03-18
ER
PT J
AU Tristano, RM
AF Tristano, Richard M.
TI Bel canto among the barricades: Rossini, his music, and history
SO FORUM ITALICUM
LA English
DT Article
DE History; opera; restoration; Risorgimento; Rossini; Second Empire;
teleological
AB Rossini is often historicized by placing him in the context of the Restoration period (1815-1848). This article uses a historical methodology to examine that assumption in order to propose new insights into Rossini, his music, and his place in Italian history, culture, and opera. Rossini's experience shows how one of the great cultural icons of the Ottocento navigated the vicissitudes of one of Italy's most tumultuous centuries. The history is in dialogue with musicological research, especially by analyzing what listeners heard in his music. His music evoked strong binaries, the opposition of German and Italian music, which is sometimes identified with teleological history, here the tendency to manipulate the musical past for some more present purpose, for example, forcing Rossini into a nationalist narrative. Noting its dangers, this study expands the context in terms of time, by considering Rossini's entire career subject to historical categories, not only the Restoration but also the Risorgimento, the French Second Empire, and especially the often-overlooked Bologna period, and Rossini's relationship to politics. It also enlarges the sources consulted to include some of his minor works, for example his Messa di Gloria (1820), Cantata in onore del Sommo Pontefice Pio Nono (1847), and Hymn a Napoleon III (1867). Finally, the study also examines how Rossini developed his own historical consciousness amid his alienation from both the 19th-century and Italian opera in particular.
C1 [Tristano, Richard M.] St Marys Univ Minnesota, Winona, MN 55987 USA.
[Tristano, Richard M.] St Marys Univ Minnesota, Hist, Winona, MN 55987 USA.
C3 Saint Marys University Minnesota; Saint Marys University Minnesota
RP Tristano, RM (corresponding author), St Marys Univ Minnesota, Hist, Winona, MN 55987 USA.
EM rtristan@smumn.edu
NR 69
TC 0
Z9 0
U1 1
U2 2
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0014-5858
EI 2168-989X
J9 FORUM ITALICUM
JI Forum Ital.
PD MAY
PY 2023
VL 57
IS 1
BP 33
EP 65
DI 10.1177/00145858221139415
PG 33
WC Language & Linguistics; Literature, Romance
WE Arts & Humanities Citation Index (A&HCI)
SC Linguistics; Literature
GA F4XS4
UT WOS:000982401100003
DA 2025-03-18
ER
PT J
AU Ragsdale, FW
Marchman, JO
Bretl, MM
Diaz, J
Rosow, DE
Anis, M
Zhang, H
Landera, MA
Lloyd, AT
AF Ragsdale, Frank W.
Marchman, Judy O.
Bretl, Michelle M.
Diaz, Jennylee
Rosow, David E.
Anis, Mursalin
Zhang, Hang
Landera, Mario A.
Lloyd, Adam T.
TI Quantifying Subjective and Objective Measures of Singing After Different
Warm-Up Durations
SO JOURNAL OF VOICE
LA English
DT Article; Proceedings Paper
CT Fall Voice Conference
CY OCT 17-19, 2019
CL Dallas, TX
DE Singing; Vocal pedagogy; Vocal warm-up; Voice; Voice perception
ID VOICE QUALITY; EXERCISE
AB Background. Performing vocal warm-ups prior to singing repertoire has been shown to change the perceived quality and acoustic parameters of the voice. To date, there are no studies that specifically compare singers' and listeners' perceptions of vocal quality after various warm-up durations.
Objective. To determine if specific warm-up durations (0, 5, 10, or 15 minutes) change subjective and objective measures of voice.
Study Design. Prospective cohort study.
Methods. Information related to demographics, singing practice, medical history, and vocal hygiene were collected. First- and second-year collegiate classical voice majors completed a series of four warm-up times, 1 week apart, prior to singing Caro mio ben in a standard key for their voice type. A modified Voice Range Profile (mVRP), and the Evaluation of the Ability to Sing Easily (EASE) scale were completed. Participants blindly rated 30-second recorded audio clips using the Auditory-Perceptual Rating Instrument for Operatic Singing. Four independent expert blinded listeners rated all audio clips for each participant in random order.
Results. Six first-year and three second-year classical vocal performance majors completed all measures. Results of the EASE scale showed decreased scores with 5- and 10-minute warm-up duration, compared to 0 and 15 minutes of warm-up (P = 0.029 for the total EASE score and P = 0.044 for Rasch score). Delayed perceptual analysis of voice yielded nearly equal medians between warm-up durations for both self and expert-listener ratings. The mVRP showed that both 5 and 10 minutes of warm-up duration led to increased highest fundamental frequency for females (P = 0.017).
Conclusion. This pilot study demonstrates the immediate self-perceived benefit for all participants and increased frequency range for females after performing 5 and 10 minutes of vocal warm-up. No significant differences were found in delayed perceptual analyses completed by the participants or the expert raters after the different warm-up durations. Future investigations should include a larger population and different levels of education and genres of singing.
C1 [Ragsdale, Frank W.; Marchman, Judy O.] Univ Miami, Frost Sch Music, North Bldg, Coral Gables, FL USA.
[Bretl, Michelle M.; Diaz, Jennylee; Rosow, David E.; Anis, Mursalin; Landera, Mario A.; Lloyd, Adam T.] Univ Miami, Dept Otolaryngol, Miami, FL USA.
[Zhang, Hang] Univ Miami, Dept Publ Hlth Sci, Miami, FL USA.
[Ragsdale, Frank W.] Univ Miami, Frost Sch Music, North Bldg,5499 San Amaro Dr, Coral Gables, FL 33146 USA.
C3 University of Miami; University of Miami; University of Miami;
University of Miami
RP Ragsdale, FW (corresponding author), Univ Miami, Frost Sch Music, North Bldg,5499 San Amaro Dr, Coral Gables, FL 33146 USA.
EM f.ragsdale@umiami.edu
FU Department of Vocal Performance in the Frost School of Music; Department
of Otolaryngology in the Miller School of Medicine
FX The authors would like to acknowledge the Department of Vocal
Performance in the Frost School of Music and the Department of
Otolaryngology in the Miller School of Medicine for their support of
this work.
NR 24
TC 2
Z9 2
U1 0
U2 9
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD SEP
PY 2022
VL 36
IS 5
DI 10.1016/j.jvoice.2020.08.005
EA SEP 2022
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Conference Proceedings Citation Index - Science (CPCI-S)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 5J5ZH
UT WOS:000869119900010
PM 32891479
DA 2025-03-18
ER
PT J
AU Biasutti, M
Concina, E
AF Biasutti, Michele
Concina, Eleonora
TI The effective music teacher: The influence of personal, social, and
cognitive dimensions on music teacher self-efficacy
SO MUSICAE SCIENTIAE
LA English
DT Article
DE music teacher effectiveness; music teacher self-efficacy; self-efficacy
predictors; teacher social skills; teaching beliefs
ID STUDENTS PERCEPTIONS; MOTIVATION; EDUCATION; BELIEFS; EXPERIENCES;
STRATEGIES
AB The profile of an effective instrumental and vocal music teacher includes many personal and professional dimensions. Among them, teacher self-efficacy plays a key role and influences the evaluation of music teachers' effectiveness. Recent studies have identified several factors that affect one's self-assessment of efficacy. However, a comprehensive model of the predictors of music teachers' self-efficacy still does not exist. The aim of the current study was to identify factors that affect music teacher self-efficacy using a quantitative approach. Three self-report questionnaires were administered to 160 instrumental and vocal music teachers in Italy. Data about their beliefs on musical ability, teacher self-efficacy, and social skills were collected to define a predictive model of teachers' self-efficacy using a stepwise regression analysis. In addition, an ANOVA was performed to examine group differences in music teacher self-efficacy and intercorrelations among questionnaire scales were computed. The findings have shown that a general score of music teacher self-efficacy can be predicted by a multidimensional model, including music teachers' personal and professional traits, such as social skills, beliefs about musical ability, teaching experience, and gender. Moreover, differences in specific aspects of teacher self-efficacy emerged in relation to participants' gender and level of expertise. The impact of these results on music teachers' education is discussed.
C1 [Biasutti, Michele; Concina, Eleonora] Univ Padua, Padua, Italy.
C3 University of Padua
RP Biasutti, M (corresponding author), Univ Padua, Dept Philosophy Sociol Educ & Appl Psychol, Via Beato Pellegrino 28, I-35139 Padua, Italy.
EM michele.biasutti@unipd.it
RI Concina, Eleonora/AAY-9532-2020; Biasutti, Michele/K-5374-2019
OI CONCINA, ELEONORA/0000-0001-8705-2732
NR 43
TC 27
Z9 42
U1 2
U2 28
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 1029-8649
EI 2045-4147
J9 MUSIC SCI
JI Music Sci.
PD JUN
PY 2018
VL 22
IS 2
BP 264
EP 279
DI 10.1177/1029864916685929
PG 16
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA GH6ER
UT WOS:000433536600007
DA 2025-03-18
ER
PT J
AU Mishra, S
Rosen, CA
Murry, T
AF Mishra, S
Rosen, CA
Murry, T
TI Acute management of the performing voice
SO OTOLARYNGOLOGIC CLINICS OF NORTH AMERICA
LA English
DT Article
AB Management of a singer's acute voice problem carries repercussions that may affect his or her career. When a vocalist develops a problem before a performance, the clinician is required to make a prompt diagnosis, determine the safety of the vocal performance, and provide treatment. The ability of the singer to fulfill the pending vocal performance is also of paramount importance. Therefore, it is important for the clinician to understand the presenting complaints, to evaluate the emergent vocal need of the singer, and to combine the art and science of laryngology to formulate the treatment plan.
C1 Univ Pittsburgh, Sch Med, Dept Otolaryngol Head & Neck Surg, Pittsburgh, PA 15261 USA.
C3 Pennsylvania Commonwealth System of Higher Education (PCSHE); University
of Pittsburgh
RP Mishra, S (corresponding author), Eye & Ear Inst Pittsburgh, Suite 500,200 Lothrop St, Pittsburgh, PA 15213 USA.
NR 14
TC 7
Z9 8
U1 0
U2 0
PU W B SAUNDERS CO
PI PHILADELPHIA
PA INDEPENDENCE SQUARE WEST CURTIS CENTER, STE 300, PHILADELPHIA, PA
19106-3399 USA
SN 0030-6665
J9 OTOLARYNG CLIN N AM
JI Otolaryngol. Clin. N. Am.
PD OCT
PY 2000
VL 33
IS 5
BP 957
EP +
DI 10.1016/S0030-6665(05)70257-7
PG 10
WC Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Otorhinolaryngology
GA 357XV
UT WOS:000089528100003
PM 10984763
DA 2025-03-18
ER
PT J
AU Mitchell, HF
Kenny, DT
AF Mitchell, Helen F.
Kenny, Dianna T.
TI Change in Vibrato Rate and Extent During Tertiary Training in Classical
Singing Students
SO JOURNAL OF VOICE
LA English
DT Article
DE Singing training; Vibrato rate; Vibrato extent
ID VOCAL VIBRATO; PARAMETERS; CRESCENDO; QUALITY; SINGERS; VOICE
AB Objectives. Vibrato is an integral and desirable feature of the classical singing voice. For elite singing students, achieving and developing vibrato may constitute one of the essential elements of their vocal training, although it is not necessarily a focus of that training.
Study Design. In this longitudinal study, we measured vibrato rate (VR) and vibrato extent (VE) and regularity (SD) of VR and VE in student singers over the course of four semesters of tertiary level voice training at a conservatorium of music to determine how these parameters changed during training.
Method. Fifteen singers completed four semesters (2 years) of training. Singers performed four sustained pitches across their vocal range. Peaks and troughs of vibrato were isolated from the fundamental frequency trace to calculate VR in hertz and VE in semitones.
Results. Analysis using linear mixed models revealed significant increases in YE and decreases in VRSD over time. VR was within expected limits for classical singers in all semesters, and small VR reductions were not statistically significant between semesters over 2 years of training. VE showed significant increases between the start of year 1 and year 2. Periodicity of singers' VR (SD) improved over training, with significant decreases to VRSD over time. There was no significant change to VESD.
Conclusions. Future studies will ascertain whether further changes to VR and VE occur over longer training periods, or whether the major changes occur early in tertiary training.
C1 [Mitchell, Helen F.; Kenny, Dianna T.] Univ Sydney, Sydney Conservatorium Mus C41, ACARMP, Sydney, NSW 2006, Australia.
C3 University of Sydney
RP Mitchell, HF (corresponding author), Univ Sydney, Sydney Conservatorium Mus C41, ACARMP, Sydney, NSW 2006, Australia.
EM h.mitchell@usyd.edu.au
RI Mitchell, Helen/HJZ-0959-2023
OI Mitchell, Helen Frances/0000-0002-3852-3419; Kenny,
Dianna/0000-0003-1934-0163
FU ARC [DP0558186]; Australian Research Council [DP0558186] Funding Source:
Australian Research Council
FX This project was funded by an ARC Discovery Grant (DP0558186) to Dianna
Kenny, Helen Mitchell, Densil Cabrera, and Michael Halliwell. Sincere
thanks to the singers at the Sydney Conservatorium of Music, University
of Sydney for taking part and to Peter Thomas, John Bassett, and Adam
Wilson for acoustic and recording advice and support.
NR 36
TC 13
Z9 23
U1 1
U2 6
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD JUL
PY 2010
VL 24
IS 4
BP 427
EP 434
DI 10.1016/j.jvoice.2008.12.003
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 622RQ
UT WOS:000279683500006
PM 19850446
DA 2025-03-18
ER
PT J
AU Li, EY
AF Li Eryong
TI The early songs from op. 6 composed by P.I. Tchaikovsky from the
performing point of view
SO VOPROSY ISTORII
LA Russian
DT Article
DE P. I. Tchaikovsky; songs; vocal music; analysis; interpretation
AB The article is devoted to the interpretation of the early songs from op. 6 composed by P. I. Tchaikovsky. The author carries out the analysis of the structure, melody, harmony, rhythm, tonal plan and content of songs from the performing point of view. The relevance of the topic of the article is determined by the increased interest in interpretology in modern musicology. The objective of this study is to conduct a performance analysis in the context of the transmission of the author's intention.
C1 [Li Eryong] Jiangxi Univ Finance & Econ, Coll Art, Nanchang, Jiangxi, Peoples R China.
C3 Jiangxi University of Finance & Economics
RP Li, EY (corresponding author), Jiangxi Univ Finance & Econ, Coll Art, Nanchang, Jiangxi, Peoples R China.
EM lieryong@yandex.by
FU social science "13th Five Year Plan" project fund of Jiangxi Province:
The empirical study of dramaticism in Tchaikovsky's songs [18YS12]
FX This paper is supported by the social science "13th Five Year Plan"
project fund of Jiangxi Province: The empirical study of dramaticism in
Tchaikovsky's songs (No 18YS12).
NR 0
TC 0
Z9 0
U1 0
U2 3
PU VOPROSY ISTORII
PI MOSCOW
PA VOPROSY ISTORII, MOSCOW, 00000, RUSSIA
SN 0042-8779
EI 1938-2561
J9 VOP ISTORII
JI Vopr. Istor.
PY 2021
VL 11
IS 2
BP 216
EP 221
DI 10.31166/VoprosyIstorii202110Statyi46
PG 6
WC History
WE Arts & Humanities Citation Index (A&HCI)
SC History
GA XN9LG
UT WOS:000729818300020
DA 2025-03-18
ER
PT J
AU Li, SP
Sun, Y
Li, Z
AF Li, Shangpeng
Sun, Yu
Li, Zheng
TI Teacher expectation effects on vocal and instrumental performance: A
focus on student gender
SO INTERNATIONAL JOURNAL OF MUSIC EDUCATION
LA English
DT Article; Early Access
DE Instrumental performance; music education; student gender; teacher
expectations; vocal performance
ID ADOLESCENT MALES; SCHOOL CHOIRS; MUSIC; SEX; PERSPECTIVES; STEREOTYPES;
MATHEMATICS; ACHIEVEMENT; PERCEPTIONS; EXPERIENCES
AB In this study, the researchers examined teachers' differential expectations for male and female students and the effects on music performance within the higher education context. The participants were 91 teachers and 480 second-year undergraduate students majoring in vocal and instrumental performance from two universities. Data of teacher expectations and students' prior achievement were collected at the beginning of the 2021-2022 school year as well as students' later achievement at the end of the school year. Researchers found that teachers held higher expectations for female students learning vocal performance than for males, and higher expectations for male students learning instrumental performance than for females. With students' prior achievement being controlled, teacher expectations had significant effects on student year-end musical performance. Furthermore, the magnitude of teacher expectations was moderated by student gender. Specifically, males learning vocal performance and females learning instrumental performance were more susceptible to teacher expectations than their counterparts. Implications for addressing gender inequity in music education were also discussed.
C1 [Li, Shangpeng] Chongqing Normal Univ, Chongqing, Peoples R China.
[Sun, Yu; Li, Zheng] Southwest Univ, Chongqiang, Peoples R China.
[Li, Shangpeng] Chongqing Normal Univ, Coll Mus, Chongqing 401331, Peoples R China.
C3 Chongqing Normal University; Southwest University - China; Chongqing
Normal University
RP Li, SP (corresponding author), Chongqing Normal Univ, Coll Mus, Chongqing 401331, Peoples R China.
EM 20141137@cqnu.edu.cn
RI Li, Zheng/LFU-7509-2024
NR 71
TC 1
Z9 1
U1 16
U2 33
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 0255-7614
EI 1744-795X
J9 INT J MUSIC EDUC
JI Int. J. Music Educ.
PD 2023 NOV 16
PY 2023
DI 10.1177/02557614231208235
EA NOV 2023
PG 14
WC Education & Educational Research; Music
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Education & Educational Research; Music
GA Y1IO8
UT WOS:001102876400001
OA hybrid
DA 2025-03-18
ER
PT J
AU Mehr, SA
Singh, M
York, H
Glowacki, L
Krasnow, MM
AF Mehr, Samuel A.
Singh, Manvir
York, Hunter
Glowacki, Luke
Krasnow, Max M.
TI Form and Function in Human Song
SO CURRENT BIOLOGY
LA English
DT Article
ID MUSIC; EVOLUTION; EMOTION; SOUND; UNIVERSALS
AB Humansuse music for a variety of social functions: we sing to accompany dance, to soothe babies, to heal illness, to communicate love, and so on. Across animal taxa, vocalization forms are shaped by their functions, including in humans. Here, we show that vocal music exhibits recurrent, distinct, and cross-culturally robust form-function relations that are detectable by listeners across the globe. In Experiment 1, internet users (n = 750) in 60 countries listened to brief excerpts of songs, rating each song's function on six dimensions (e.g., "used to soothe a baby''). Excerpts were drawn from a geographically stratified pseudorandom sample of dance songs, lullabies, healing songs, and love songs recorded in 86 mostly small-scale societies, including hunter-gatherers, pastoralists, and subsistence farmers. Experiment 1 and its analysis plan were pre-registered. Despite participants' unfamiliarity with the societies represented, the random sampling of each excerpt, their very short duration (14 s), and the enormous diversity of this music, the ratings demonstrated accurate and cross-culturally reliable inferences about song functions on the basis of song forms alone. In Experiment 2, internet users (n = 1,000) in the United States and India rated three contextual features (e.g., gender of singer) and seven musical features (e.g., melodic complexity) of each excerpt. The songs' contextual features were predictive of Experiment 1 function ratings, but musical features and the songs' actual functions explained unique variance in function ratings. These findings are consistent with the existence of universal links between form and function in vocal music.
C1 [Mehr, Samuel A.; Krasnow, Max M.] Harvard Univ, Dept Psychol, 33 Kirkland St, Cambridge, MA 02138 USA.
[Mehr, Samuel A.] Harvard Univ, Data Sci Initiat, 1350 Massachusetts Ave, Cambridge, MA 02138 USA.
[Mehr, Samuel A.] Victoria Univ Wellington, Sch Psychol, Wellington 6012, New Zealand.
[Singh, Manvir; York, Hunter] Harvard Univ, Dept Human Evolutionary Biol, Peabody Museum, 11 Divin Ave, Cambridge, MA 02138 USA.
[Glowacki, Luke] Inst Adv Study Toulouse, 21 Allee Brienne, F-31015 Toulouse, France.
[Glowacki, Luke] Penn State Univ, Dept Anthropol, 410 Carpenter Bldg, University Pk, PA 16802 USA.
C3 Harvard University; Harvard University; Victoria University Wellington;
Harvard University; Pennsylvania Commonwealth System of Higher Education
(PCSHE); Pennsylvania State University; Pennsylvania State University -
University Park; Penn State Behrend
RP Mehr, SA (corresponding author), Harvard Univ, Dept Psychol, 33 Kirkland St, Cambridge, MA 02138 USA.; Mehr, SA (corresponding author), Harvard Univ, Data Sci Initiat, 1350 Massachusetts Ave, Cambridge, MA 02138 USA.; Mehr, SA (corresponding author), Victoria Univ Wellington, Sch Psychol, Wellington 6012, New Zealand.; Mehr, SA; Singh, M (corresponding author), Harvard Univ, Dept Human Evolutionary Biol, Peabody Museum, 11 Divin Ave, Cambridge, MA 02138 USA.
EM sam@wjh.harvard.edu; manvirsingh@fas.harvard.edu
RI Singh, Manvir/K-9698-2019
OI York, Hunter/0000-0001-5084-5966; Singh, Manvir/0000-0002-6026-947X;
Mehr, Samuel/0000-0002-9400-7718
FU Harvard University Department of Psychology; National Science Foundation
Graduate Research Fellowship Program; Harvard College Research Program;
ANR - Labex IAST; Harvard Data Science Initiative; National Institutes
of Health Director's Early Independence Award [DP5OD024566]
FX This work was supported by the Harvard University Department of
Psychology (M.M.K.), the National Science Foundation Graduate Research
Fellowship Program (M.S.), the Harvard College Research Program (H.Y.),
ANR - Labex IAST (L.G.), the Harvard Data Science Initiative (S.A.M.),
and the National Institutes of Health Director's Early Independence
Award DP5OD024566 (S.A.M.). We thank the participants; J. McDermott and
K. Woods for sharing their headphone screening task and assisting us
with it; R. Howard and L. Lopez for research assistance; G. Bryant, D.
Locke, A. Lomax Wood, A. Martin, J. McDermott, J. Nemirow, T. O'Donnell,
K. Panchanathan, J. Rekedal, and E. Spelke for comments on the
manuscript; G. North and four anonymous reviewers for their constructive
feedback; and S. Pinker and the members of the Evolutionary Psychology
Laboratory at Harvard University for many productive discussions that
led to this work.
NR 40
TC 89
Z9 102
U1 0
U2 28
PU CELL PRESS
PI CAMBRIDGE
PA 50 HAMPSHIRE ST, FLOOR 5, CAMBRIDGE, MA 02139 USA
SN 0960-9822
EI 1879-0445
J9 CURR BIOL
JI Curr. Biol.
PD FEB 5
PY 2018
VL 28
IS 3
BP 356
EP +
DI 10.1016/j.cub.2017.12.042
PG 18
WC Biochemistry & Molecular Biology; Biology; Cell Biology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Biochemistry & Molecular Biology; Life Sciences & Biomedicine - Other
Topics; Cell Biology
GA FU8AX
UT WOS:000424075300019
PM 29395919
OA Green Accepted, Bronze
DA 2025-03-18
ER
PT J
AU Liu, J
Dong, H
Yuan, J
Ma, H
She, A
AF Liu, Jin
Dong, Hongyuan
Yuan, Jiahong
Ma, Haosong
She, Amanda
TI Linguistic tone in Chinese rap: an interdisciplinary approach
SO JOURNAL OF NEW MUSIC RESEARCH
LA English
DT Article
DE Rap songs; lexical tones; Mandarin Chinese; tonal congruence; tone-tune
relation
ID MANDARIN; LANGUAGE; CORPUS
AB This study, integrating linguistics, computer science, statistics, musicology, and cultural study, explores how the lexical tones of Mandarin Chinese interact with rap music. Building upon [Dong, H. Y. (2015). Musicality meets tonality: A tonal congruence index (ITG) for Chinese vocal music. In H. Y. Tao et al. (Ed.), Proceedings of the 27th North American conference on Chinese linguistics (Vol. 2, pp. 322-339).], we develop an algorithm to compute the Tonal Congruence Index (ITG), measuring the extent to which tones are preserved in vocal music. Analysis of a dataset with over 8000 syllables from Mandarin Chinese rap songs shows that the tonal congruence is related to subgenres that have evolved over time: while tones are largely preserved in the earlier boom-bap style, tonal distortion occurs more frequently in recent trap music. Moreover, we find that the falling fourth tone in standard Mandarin accounts for 38% of line-ending syllables in the lyrics of 140 rap songs and further suggests that the pre-eminence of the fourth tone may be a generic feature of Mandarin Chinese rap, particularly in boom bap. In addition, Chinese rappers have increasingly utilised English words over time to achieve musical flow. Integrating analytic findings with qualitative interviews of five national award-winning Chinese rappers, we conclude that the restriction of linguistic tones in Mandarin Chinese rap has gradually weakened over time and that there is a decreasing correlation between tone and rap with the emergence of new rap styles such as mumble rap and melodic rap.
C1 [Liu, Jin] Georgia Inst Technol, Sch Modern Languages, Atlanta, GA USA.
[Dong, Hongyuan] George Washington Univ, Dept East Asian Languages & Literatures, Washington, DC USA.
[Yuan, Jiahong] Univ Sci & Technol China, Sch Humanities & Social Sci, Hefei, Peoples R China.
[Ma, Haosong] Georgia Inst Technol, Sch Comp Sci, Sunnyvale, CA USA.
[She, Amanda] Georgia Inst Technol, Sch Comp Sci, Atlanta, GA USA.
[Liu, Jin] Swann 312,613 Cherry St, Atlanta, GA 30332 USA.
C3 University System of Georgia; Georgia Institute of Technology; George
Washington University; Chinese Academy of Sciences; University of
Science & Technology of China, CAS; University System of Georgia;
Georgia Institute of Technology; University System of Georgia; Georgia
Institute of Technology
RP Liu, J (corresponding author), Swann 312,613 Cherry St, Atlanta, GA 30332 USA.
EM jliu83@gatech.edu
OI Liu, Jin/0000-0001-6757-8008
FU Ivan Allen College of Liberal Arts 'Small Grants for Research';
Vertically Integrated Programme (VIP) at Georgia Tech; Dream Music Group
FX The authors are grateful for the two anonymous reviewers' extremely
detailed and helpful comments that significantly informed the revisions
of this article. This research is supported by Ivan Allen College of
Liberal Arts 'Small Grants for Research' funding and the Vertically
Integrated Programme (VIP) at Georgia Tech. We thank Kyle Liang for
developing an open-source tool called Tone Analyzer (see section 3.2.4)
and for doing most of the calculations. We would very much like to
express our gratitude to Mr. Liu Xiaofu (aka. Xiaoqiang shushu) and Mr.
Yu Shaohua for introducing Chinese top rappers and for facilitating the
interviews. We thank the rappers, Li Daben, Aire, Knowknow, Huang Xu,
and Ice Paper for taking time to conduct the interviews, and their music
labels, ModernSky (MDSK), Dream Music Group (D.M.G), and Free-out for
their generous support and assistance to our research.
NR 51
TC 1
Z9 1
U1 4
U2 12
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 0929-8215
EI 1744-5027
J9 J NEW MUSIC RES
JI J. New Music Res.
PD AUG 8
PY 2023
VL 52
IS 4
BP 265
EP 284
DI 10.1080/09298215.2024.2329075
EA MAR 2024
PG 20
WC Computer Science, Interdisciplinary Applications; Music
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Computer Science; Music
GA S5S9M
UT WOS:001194273500001
DA 2025-03-18
ER
PT J
AU Escoffier, N
Tillmann, B
AF Escoffier, N.
Tillmann, B.
TI The tonal function of a task-irrelevant chord modulates speed of visual
processing
SO COGNITION
LA English
DT Article
DE musical priming; audiovisual interaction; attention; music and language
ID VOCAL-MUSIC; ATTENTION; LANGUAGE; CONTEXT; MEMORY; EXPECTANCY;
PERCEPTION; MODULARITY; SYNTAX; OBJECT
AB Harmonic priming studies have provided evidence that musical expectations influence sung phoneme monitoring, with facilitated processing for phonemes sung on tonally related (expected) chords in comparison to less-related (less-expected) chords [Bigand, Tillmann, Poulin, D'Adamo, and Madurell (2001). The effect of harmonic context on phoneme monitoring in vocal music. Cognition, 81, B11-B20]. This tonal relatedness effect has suggested two interpretations: (a) processing of music and language interact at some level of processing; and (b) tonal functions of chords influence task performance via listeners' attention. Our study investigated these hypotheses by exploring whether the effect of tonal relatedness extends to the processing of visually presented syllables (Experiments I and 2) and geometric forms (Experiments 3 and 4). For Experiments 1-4, visual target identification was faster when the musical background fulfilled listeners' expectations (i.e., a related chord was played simultaneously). In Experiment 4, the addition of a baseline condition (i.e., without an established tonal center) further showed that the observed difference was due to a facilitation linked to the related chord and not to an inhibition or disruption caused by the less-related chord. This outcome suggests the influence of musical structures on attentional mechanisms and that these mechanisms are shared between auditory and visual modalities. The implications for research investigating neural correlates shared by music and language processing are discussed. (C) 2007 Elsevier B.V. All rights reserved.
C1 [Escoffier, N.; Tillmann, B.] Univ Lyon 1, CNRS, UMR 5020, IFR 19, F-69366 Lyon 07, France.
[Escoffier, N.] Univ Georgia, Dept Psychol, Athens, GA 30602 USA.
[Escoffier, N.] Natl Univ Singapore, Dept Psychol, Fac Arts & Social Sci, Singapore 117570, Singapore.
C3 Universite Claude Bernard Lyon 1; Centre National de la Recherche
Scientifique (CNRS); University System of Georgia; University of
Georgia; National University of Singapore
RP Tillmann, B (corresponding author), Univ Lyon 1, CNRS, UMR 5020, IFR 19, 50 Ave Tony Garnier, F-69366 Lyon 07, France.
EM barbara.tillmann@olfac.univ-lyon1.fr
OI Tillmann, Barbara/0000-0001-9676-5822; Escoffier,
Nicolas/0000-0002-3734-0303
NR 33
TC 24
Z9 26
U1 4
U2 9
PU ELSEVIER SCIENCE BV
PI AMSTERDAM
PA PO BOX 211, 1000 AE AMSTERDAM, NETHERLANDS
SN 0010-0277
J9 COGNITION
JI Cognition
PD JUN
PY 2008
VL 107
IS 3
BP 1070
EP 1083
DI 10.1016/j.cognition.2007.10.007
PG 14
WC Psychology, Experimental
WE Social Science Citation Index (SSCI)
SC Psychology
GA 306HK
UT WOS:000256238700014
PM 18076873
DA 2025-03-18
ER
PT J
AU Reckers, H
Donahue, E
LeBorgne, W
AF Reckers, Holly
Donahue, Erin
LeBorgne, Wendy
TI Comparison of Reported Vocal Habits of First-Year Undergraduate and
Graduate Vocal Performance Majors
SO JOURNAL OF VOICE
LA English
DT Article
DE Vocal performers; Vocal hygiene; Voice training; Vocal health; Singer
ID HYGIENE HABITS; VOICE
AB Objective. Vocal performance students at the collegiate level are faced with rigorous training pro-tocols for which they are required to maintain optimal vocal quality and function. The purpose of this study was to compare the vocal habits and hygiene practices of incoming undergraduate Bachelor of Music (BM), Master of Music (MM), Doctor of Musical Arts (DMA), and Artist Diploma (AD) vocal performance students at a tier I music conservatory. To date, no study has compared the reported vocal habits of undergraduate and graduate vocal performance students within the same music conservatory. Methods. Two-hundred and eighty six incoming vocal performance majors including undergraduate (n = 79), graduate master's candidates (n = 171), and graduate doctoral/AD candidates (n = 36) at the University of Cin-cinnati College-Conservatory of Music over a period of 9 years (2008-2017) completed a questionnaire designed to gain information about their baseline vocal patterns and hygiene practices. The intake form included questions about daily liquid intake, past voice treatment, current adverse voice symptoms, warm-up and cool-down use, average time spent singing daily, and any harmful voice hygiene practices such as phonotraumatic behaviors (ie, yelling, frequent throat clearing). This data was retrospectively analyzed for significant findings within groups and between groups. Results/Conclusions. Results from the questionnaires detailing the undergraduate voice performance partici-pants' self-reported current and past vocal symptoms, current vocal health and hygiene practices, reported voice training habits, and other pertinent factors that may lead to potential voice problems in comparison to those same factors presented in the graduate master's and doctoral/artist diploma voice performance participants' ques-tionnaires are provided. Data gained from the voice performance participants revealed that the potential for voice-related problems exists within all groups, as 45.5% of undergraduate students, 38.6% of graduate master's students, and 44.4% of graduate doctoral/artist diploma students stated at least one current voice issue or adverse symptom. The findings indicate that there is no significant difference regarding level of education in relation to percentage of subjects that reported at least one current adverse vocal symptom, current voice problem, and/or reported negative hygiene practice. The information provided in this study may be beneficial for those who are vocal performers as well as those involved in the training of collegiate-level vocal performance students.
C1 [Reckers, Holly; Donahue, Erin; LeBorgne, Wendy] ProVoice Cincinnati, Cincinnati, OH USA.
[Reckers, Holly; Donahue, Erin; LeBorgne, Wendy] Blaine Block Inst Voice Anal & Rehabil, Dayton, OH USA.
[Reckers, Holly; LeBorgne, Wendy] Univ Cincinnati, Cincinnati, OH 45221 USA.
C3 University System of Ohio; University of Cincinnati
RP Reckers, H (corresponding author), Univ Cincinnati, Cincinnati, OH 45221 USA.
EM holly.reckers@gmail.com
NR 0
TC 3
Z9 3
U1 2
U2 4
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD NOV
PY 2021
VL 35
IS 6
BP 852
EP 858
DI 10.1016/javoice.2020.04.001
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA XN9YX
UT WOS:000729854100009
PM 32446659
DA 2025-03-18
ER
PT J
AU Beibei, W
AF Beibei, Wang
TI Automatic Integration Algorithm of Vocal Performance Learning Materials
Based on Multidimensional Association Rules
SO MATHEMATICAL PROBLEMS IN ENGINEERING
LA English
DT Article
AB As computer and multimedia technology advances and as the variety of knowledge display forms expands, there are more ways for people to obtain knowledge and information. The best course in musicology is voice performance. A crucial issue is how to select and categorize valuable curriculum materials of varying quality levels. This paper implements an automatic classification and integration algorithm for vocal performance learning materials using machine learning technology and tests it on the corresponding dataset, beginning with multidimensional association rule mining technology and the premise that multimedia data contain numerous useful characteristics. Experiments demonstrate the classification precision and data integration capacity of the proposed algorithm. Vocal performance is the most engaging course in musicology. To cultivate corresponding talents, we can rely on college and university offline courses and the rapidly developing multimedia technology to train talents online. An important topic is how to efficiently select and classify curriculum materials of varying quality in order to provide them to students with different learning needs. We can achieve the automatic classification of the course content by leveraging the superior learning capabilities of artificial intelligence and machine learning technology. Consequently, this paper implements an automatic classification and integration algorithm for vocal performance learning materials using machine learning-related technology and conducts an experimental test on the corresponding dataset, beginning with multidimensional association rule mining technology and the perspective that multimedia information itself contains a large number of useful characteristics. Experiments demonstrate that the proposed algorithm has a high level of classification accuracy and data integration capability.
C1 [Beibei, Wang] Yulin Univ, Sch Art, Yulin 719000, Shaanxi, Peoples R China.
C3 Yulin University
RP Beibei, W (corresponding author), Yulin Univ, Sch Art, Yulin 719000, Shaanxi, Peoples R China.
EM wangbei@yulinu.edu.cn
FU Scientific Research Project of Shaanxi Education Department [18JK0893];
Key Scientific Research Project of Shaanxi Education Department
[18JZ069]; teaching reform project of Yulin University [JG2036]
FX This paper is one of the phased achievements of the Scientific Research
Project of Shaanxi Education Department in 2018: Research on temple Fair
sounds in Northern Shaanxi Music Culture (Project No.: 18JK0893). It is
also one of the phased achievements of the Key Scientific Research
Project of Shaanxi Education Department in 2018: Investigation of Yangko
Sounds at Temple Fair in Northern Shaanxi (Project No.: 18JZ069).
Finally, it is a teaching reform project of Yulin University in 2018:
Integration and Inheritance of Northern Shaanxi Folk Songs in National
Vocal Music Teaching (Project No.: JG2036).
NR 15
TC 0
Z9 0
U1 2
U2 6
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1024-123X
EI 1563-5147
J9 MATH PROBL ENG
JI Math. Probl. Eng.
PD JUL 19
PY 2022
VL 2022
AR 6863141
DI 10.1155/2022/6863141
PG 9
WC Engineering, Multidisciplinary; Mathematics, Interdisciplinary
Applications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Engineering; Mathematics
GA 3L9IZ
UT WOS:000835075300001
OA gold
DA 2025-03-18
ER
PT J
AU Rong, Q
AF Rong, Qian
TI Report: My Footsteps and Related Thoughts on the Systematic Construction
of Linguistics of Music in the 21st Century
SO MUSIC THEORY ONLINE
LA English
DT Article
DE linguistics of music; non-conventional methods for notation and
analysis; explicit musical signs and implicit musical signs of changci;
"yueshuO(sic)(sic)" (speaking in vocal music); analysis of the sounds of
changc & iacute;i(sic)1
AB This article derives from a speech at the 2019 forum to commemorate the 120th anniversary of Professor Y & aacute;ng Y & imacr;nlit 's birth. It contains two large sections. The first section is a brief report of how, since the beginning of the 21st century, the author has introduced modern linguistics and other non-conventional methods for notation and analysis, taking the analysis of the sounds of changci (sic)1 as the starting point for research, and contributing to the systematic construction of the cross-cutting discipline "linguistics of music" in music institutions. The section also introduces the newly published monograph Exploring Regional Charms Beyond Musical Notes: Analysis of the Sounds of changci (2020), the textbook Foundation of the Linguistics of Music (2018), and the research project "Yu & egrave;shu & Omacr; (sic)(sic) in Chinese Vocal Music" for "Unpopular and Esoteric Projects," supported by the National Social Science Fund of China (2019). The second section of the article further argues for the need for linguistics of music from three perspectives: the protection and inheritance of intangible cultural heritage, thick description of regional music, and music composition with Chinese elements. The article discusses not only the sounds of words as music but also the issue of phonetic notation in musical scores.
C1 [Rong, Qian] Cent Conservatory Mus, Dept Musicol, 43 Baoja St, Beijing 100031, Peoples R China.
C3 Central Conservatory of Music
RP Rong, Q (corresponding author), Cent Conservatory Mus, Dept Musicol, 43 Baoja St, Beijing 100031, Peoples R China.
EM qrong@ccom.edu.cn
NR 5
TC 0
Z9 0
U1 1
U2 1
PU SOC FOR MUSIC THEORY
PI CHICAGO
PA UNIV, CHICAGO, EPT MUSIC, 1010 EAST 59TH STREET, CHICAGO, IL 60637-1512
USA
SN 1067-3040
J9 MUSIC THEORY ONLINE
JI Music Theory Online
PD DEC
PY 2024
VL 30
IS 4
AR 30422
DI 10.30535/mto.30.4.22
PG 10
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA X3K8G
UT WOS:001424388100003
DA 2025-03-18
ER
PT J
AU Nittono, H
AF Nittono, H
TI Background instrumental music and serial recall
SO PERCEPTUAL AND MOTOR SKILLS
LA English
DT Article
ID SHORT-TERM-MEMORY; IRRELEVANT SPEECH; UNATTENDED SPEECH; WORKING MEMORY;
DISRUPTION; ATTENTION
AB Although speech and vocal music are consistently shown to impair serial recall for visually presented items, instrumental music does not always produce a significant disruption. This study investigated the features of instrumental music that would modulate the disruption in serial recall. 24 students were presented sequences of nine digits and required to recall the digits in order of presentation. Instrumental music was played either forward or backward during the task. Forward music caused significantly more disruption than did silence, whereas the reversed music did not. Some higher-order factor may be at work in the effect of background music on serial recall.
RP Nittono, H (corresponding author), OSAKA UNIV,FAC HUMAN SCI,DEPT GEN PSYCHOL,1-2 YAMADAOKA,SUITA,OSAKA 565,JAPAN.
RI Nittono, Hiroshi/C-4043-2009
OI Nittono, Hiroshi/0000-0001-5671-609X
NR 13
TC 30
Z9 33
U1 2
U2 42
PU PERCEPTUAL MOTOR SKILLS
PI MISSOULA
PA PO BOX 9229, MISSOULA, MT 59807
SN 0031-5125
J9 PERCEPT MOTOR SKILL
JI Percept. Mot. Skills
PD JUN
PY 1997
VL 84
IS 3
BP 1307
EP 1313
DI 10.2466/pms.1997.84.3c.1307
PN 2
PG 7
WC Psychology, Experimental
WE Social Science Citation Index (SSCI)
SC Psychology
GA XK332
UT WOS:A1997XK33200033
PM 9229452
DA 2025-03-18
ER
PT J
AU Guzman, MA
Dowdall, J
Rubin, AD
Maki, A
Levin, S
Mayerhoff, R
Jackson-Menaldi, MC
AF Guzman, Marco A.
Dowdall, Jayme
Rubin, Adam D.
Maki, Ahmed
Levin, Samuel
Mayerhoff, Ross
Jackson-Menaldi, Maria Cristina
TI Influence of Emotional Expression, Loudness, and Gender on the Acoustic
Parameters of Vibrato in Classical Singers
SO JOURNAL OF VOICE
LA English
DT Article
DE Vibrato; Emotion; Singing voice; Acoustical analysis
ID CRESCENDO
AB Objectives. Vibrato is considered one of the most essential characteristics of the classical singing voice. Vibrato can be acoustically described by the rate, extent, onset, and regularity. The aim of this study was to determine the influence of emotional expression on acoustic parameters of vibrato in classically trained singers.
Study Design. A prospective cohort study was performed.
Methods. Thirty healthy classical singers were recruited for this study, 29 singers met inclusion criteria. Inclusion criteria for this study were as follow: 1) no history of vocal pathology in the past year, 2) to have at least 5 years of classical singing training. Each subject was asked to sing the phrase "I Love You," while expressing four different emotions ( tenderness, anger, happiness, and sadness) and without emotion ( neutral state). The musical tonality of the phrase was adapted to each singer's vocal classification. Subjects were also recorded at three levels of loudness ( pianissimo, mezzo forte, and fortissimo), while expressing each emotion. Acoustical analysis was performed during the vowel /o/ of the word "Love" to determine rate of vibrato, the extent of vibrato, and vibrato jitter.
Results. Vibrato parameters did not vary significantly when different emotions were expressed. However, vibrato jitter and extent did vary significantly between different levels of loudness. Significant differences were also noted in both rate and extent of vibrato when compared between sexes.
Conclusions. Expression of emotions does not affect the acoustic parameters of vibrato, although some parameters are affected by loudness and gender.
C1 [Guzman, Marco A.] Univ Chile, Fac Med, Sch Commun Sci, Ave Independencia 1027, Santiago 7, Chile.
[Guzman, Marco A.; Rubin, Adam D.; Jackson-Menaldi, Maria Cristina] Lakeshore Ear Nose & Throat Ctr, Lakeshore Profess Voice Ctr, St Clair Shores, MI USA.
[Dowdall, Jayme; Mayerhoff, Ross; Jackson-Menaldi, Maria Cristina] Wayne State Univ, Sch Med, Dept Otolaryngol, Detroit, MI 48201 USA.
[Rubin, Adam D.] Univ Michigan, Med Ctr, Dept Otolaryngol HNS, Ann Arbor, MI USA.
[Maki, Ahmed] Michigan State Univ, POH Reg Med Ctr, E Lansing, MI 48824 USA.
[Levin, Samuel] Wayne State Univ, Sch Med, Detroit, MI USA.
C3 Universidad de Chile; Wayne State University; University of Michigan
System; University of Michigan; Michigan State University; Wayne State
University
RP Guzman, MA (corresponding author), Univ Chile, Fac Med, Sch Commun Sci, Ave Independencia 1027, Santiago 7, Chile.
EM guzmanvoz@gmail.com
RI Mayerhoff, Ross/KHY-6143-2024
OI Mayerhoff, Ross/0000-0002-3262-4737; Guzman, Marco/0000-0003-2088-4870
NR 43
TC 8
Z9 13
U1 1
U2 11
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD SEP
PY 2012
VL 26
IS 5
AR 675.e5
DI 10.1016/j.jvoice.2012.02.006
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 004HO
UT WOS:000308672400057
PM 22727122
DA 2025-03-18
ER
PT J
AU Simones, LL
AF Simones, Lilian Lima
TI A framework for studying teachers' hand gestures in instrumental and
vocal music contexts
SO MUSICAE SCIENTIAE
LA English
DT Article
DE action; categorisation; demonstration; gesture; instrumental music
teaching; teaching behaviours
ID COMMUNICATION; MELODY
AB A framework for studying teachers' hand gestures in instrumental music pedagogy is proposed, focusing on teachers' teaching behaviours as a context-dependent basis for understanding the meaning and functionality of their gestures. The application of the Teacher Behaviour and Gesture framework across instrumental music pedagogical settings (one-to-one, small and large teaching groups and across singing, woodwind, brass, strings, and other pedagogical contexts) will bring understandings on the role of teachers' gestures in their pedagogical interactions with students, with implications for student learning and instrumental music teachers' teaching and education.
C1 [Simones, Lilian Lima] Queens Univ Belfast, Belfast, Antrim, North Ireland.
C3 Queens University Belfast
RP Simones, LL (corresponding author), Queens Univ Belfast, Sch Arts English & Languages, Univ Rd, Belfast BT7 1NN, Antrim, North Ireland.
EM Lsimones01@qub.ac.uk
RI Simones, Lilian/J-3116-2019
OI Simones, Lilian/0000-0002-3848-0834
FU Department for Employment and Learning
FX Studies that enabled conceptualisation of this framework were supported
by a PhD studentship provided by the Department for Employment and
Learning, administered by Queens University Belfast, Northern Ireland.
NR 77
TC 6
Z9 6
U1 2
U2 12
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 1029-8649
EI 2045-4147
J9 MUSIC SCI
JI Music Sci.
PD JUN
PY 2019
VL 23
IS 2
BP 231
EP 249
DI 10.1177/1029864917743089
PG 19
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA IG7VE
UT WOS:000474005000007
DA 2025-03-18
ER
PT J
AU Luizard, P
Steffens, J
Weinzierl, S
AF Luizard, Paul
Steffens, Jochen
Weinzierl, Stefan
TI Singing in different rooms: Common or individual adaptation patterns to
the acoustic conditions?
SO JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA
LA English
DT Article
AB A classical singing performance occurring in different rooms is likely to vary for different reasons. This study investigates to which extent this variation is due to different acoustic conditions. To analyse the performance of four singers rendering four musical pieces in eight different rooms, room acoustical parameters were used to predict musical performance features extracted from recordings based on linear mixed-effects models. Considering the common behaviour of all singers, only a small proportion of the variance in performance can be explained. Instead, rather individual patterns indicate that each singer developed a specific strategy of adaptation to the varying acoustic environment.
C1 [Luizard, Paul; Weinzierl, Stefan] Tech Univ Berlin, Audio Commun Grp, Einsteinufer 17c, D-10587 Berlin, Germany.
[Steffens, Jochen] Dusseldorf Univ Appl Sci, Inst Sound & Vibrat Engn, Munsterstr 156, D-40476 Dusseldorf, Germany.
C3 Technical University of Berlin
RP Luizard, P (corresponding author), Tech Univ Berlin, Audio Commun Grp, Einsteinufer 17c, D-10587 Berlin, Germany.
EM paul.luizard@campus.tu-berlin.de; jochen.steffens@tu-berlin.de;
stefan.weinzierl@tu-berlin.de
RI Steffens, Jochen/AAQ-6822-2020
OI Steffens, Jochen/0000-0001-7693-1432
FU Alexander von Humboldt Foundation
FX This work was supported by a grant of the Alexander von Humboldt
Foundation. The authors would like to thank the singers for their
participation, the room managers for their collaboration, and Erik
Brauer for his support in the recording sessions.
NR 14
TC 7
Z9 8
U1 1
U2 1
PU ACOUSTICAL SOC AMER AMER INST PHYSICS
PI MELVILLE
PA STE 1 NO 1, 2 HUNTINGTON QUADRANGLE, MELVILLE, NY 11747-4502 USA
SN 0001-4966
EI 1520-8524
J9 J ACOUST SOC AM
JI J. Acoust. Soc. Am.
PD FEB
PY 2020
VL 147
IS 2
BP EL132
EP EL137
DI 10.1121/10.0000715
PG 6
WC Acoustics; Audiology & Speech-Language Pathology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Acoustics; Audiology & Speech-Language Pathology
GA KO8LP
UT WOS:000515799800004
PM 32113317
OA Bronze
DA 2025-03-18
ER
PT J
AU Herbst, CT
Ternström, S
Svec, JG
AF Herbst, Christian T.
Ternstrom, Sten
Svec, Jan G.
TI Investigation of four distinct glottal configurations in classical
singing-A pilot study
SO JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA
LA English
DT Article
DE music; physiology; speech
ID VIDEOKYMOGRAPHY
AB This study investigates four qualities of singing voice in a classically trained baritone: "naive falsetto," "countertenor falsetto," "lyrical chest" and "full chest." Laryngeal configuration and vocal fold behavior in these qualities were studied using laryngeal videostroboscopy, videokymography, electroglottography, and sound spectrography. The data suggest that the four voice qualities were produced by independently manipulating mainly two laryngeal parameters: (1) the adduction of the arytenoid cartilages and (2) the thickening of the vocal folds. An independent control of the posterior adductory muscles versus the vocalis muscle is considered to be the physiological basis for achieving these singing voice qualities.
C1 [Herbst, Christian T.; Svec, Jan G.] Palacky Univ Olomouc, Dept Expt Phys, Biophys Lab, Fac Sci, Olomouc 77146, Czech Republic.
[Ternstrom, Sten] Kungliga Tekniska Hogskolan, Dept Speech Mus & Hearing, Sch Comp Sci & Commun, SE-10044 Stockholm, Sweden.
[Herbst, Christian T.] Tolzer Knabenchor, A-5020 Salzburg, Austria.
C3 Palacky University Olomouc; Royal Institute of Technology
RP Herbst, CT (corresponding author), Palacky Univ Olomouc, Dept Expt Phys, Biophys Lab, Fac Sci, Tr Svobody 26, Olomouc 77146, Czech Republic.
EM herbst@ccrma.stanford.edu; stern@kth.se; svecjan@vol.cz
RI Herbst, Christian/D-6470-2011; Ternström, Sten/A-3424-2013; Svec, Jan
G./C-6909-2008
OI /0000-0002-3362-7518; Svec, Jan G./0000-0001-5095-7415
FU Erasmus Student Exchange Programme of the European Commission;
Wenner-Gren Foundation; Grant Agency of the Czech Republic [GACR
101/08/1155]
FX The data for this study were obtained in 2004 during the authors' stays
at the Department of Speech, Music and Hearing, KTH, Stockholm. C.
Herbst's stay was supported by the Erasmus Student Exchange Programme of
the European Commission, and J. Svec's stay was supported by an
individual grant from the Wenner-Gren Foundation. In 2008, the study was
supported by the Grant Agency of the Czech Republic, Project GACR
101/08/1155. The authors thank Hans Larsson at the Department of
Logopedics and Phoniatrics, Karolinska University Hospital at Huddinge,
Stockholm, for his help in acquiring the laryngoscopic recordings.
NR 11
TC 25
Z9 28
U1 0
U2 3
PU ACOUSTICAL SOC AMER AMER INST PHYSICS
PI MELVILLE
PA STE 1 NO 1, 2 HUNTINGTON QUADRANGLE, MELVILLE, NY 11747-4502 USA
SN 0001-4966
EI 1520-8524
J9 J ACOUST SOC AM
JI J. Acoust. Soc. Am.
PD MAR
PY 2009
VL 125
IS 3
BP EL104
EP EL109
DI 10.1121/1.3057860
PG 6
WC Acoustics; Audiology & Speech-Language Pathology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Acoustics; Audiology & Speech-Language Pathology
GA 415CL
UT WOS:000263911800004
PM 19275279
OA Bronze
DA 2025-03-18
ER
PT J
AU Heidemann, K
AF Heidemann, Kate
TI A System for Describing Vocal Timbre in Popular Song
SO MUSIC THEORY ONLINE
LA English
DT Article
DE popular song; vocal performance; vocal timbre; timbre; phenomenology;
embodied cognition; mimesis; voice physiology; Aretha Franklin
ID VOICE; MUSIC
AB This article presents a system for describing perceptions of vocal timbre via reference to four different areas of sensation involved in the sympathetic mirroring of vocal production. This approach draws from phenomenological and ecological approaches to listening and analysis, and is supported by musicological and scientific literature on the acoustic properties and perception of timbre, and the physiology of vocal production. I demonstrate this descriptive method in brief analyses of Aretha Franklin's vocal performance in the openings of her recordings of "Respect" and "(You Make Me Feel Like) A Natural Woman."
C1 [Heidemann, Kate] Colby Coll, Dept Mus, 5670 Mayflower Hill, Waterville, ME 04901 USA.
C3 Colby College
RP Heidemann, K (corresponding author), Colby Coll, Dept Mus, 5670 Mayflower Hill, Waterville, ME 04901 USA.
EM keheidem@colby.edu
NR 76
TC 28
Z9 43
U1 0
U2 3
PU SOC FOR MUSIC THEORY
PI CHICAGO
PA UNIV, CHICAGO, EPT MUSIC, 1010 EAST 59TH STREET, CHICAGO, IL 60637-1512
USA
SN 1067-3040
J9 MUSIC THEORY ONLINE
JI Music Theory Online
PD MAR
PY 2016
VL 22
IS 1
AR 22.1.2
PG 17
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA DY6XL
UT WOS:000385272600004
DA 2025-03-18
ER
PT J
AU Lisak-Gebala, D
AF Lisak-Gebala, Dobrawa
TI Second World War Poetry as an Archive of Voices
SO TEKSTY DRUGIE
LA Polish
DT Article
DE 1939-1945 Polish poetry; sound and war literature; thanatosonics; voice;
sound affectivity
AB The analysis of numerous poems from 1939-1945 requires the inclusion of their vocal dimension as they represent authors' immediate reactions to tragic experiences. This analysis must address phenomena such as the secret practice of individual subvocalization when creating and keeping poetry, vocal presentations for a closed circle of listeners, and collective recitations that evoke a community-forming "affirmative resonance." Moreover, since contrafacta and allusions in the form of "auditory ellipsis" invoke established patterns of sound affectivity, one must elucidate the relationship between selected poems, well-known genres of popular vocal music, and specific songs.
C1 [Lisak-Gebala, Dobrawa] Univ Wroclaw, Wroclaw, Poland.
C3 University of Wroclaw
RP Lisak-Gebala, D (corresponding author), Univ Wroclaw, Wroclaw, Poland.
RI Lisak-Gębala, Dobrawa/LNQ-5827-2024
NR 39
TC 0
Z9 0
U1 0
U2 0
PU POLISH ACAD SCIENCES, INST LITERARY RESEARCH
PI WARSZAWA
PA UL NOWY SWIAT 72, PALAC STASZICA, ROOM 1, WARSZAWA, 00-330, POLAND
SN 0867-0633
EI 2545-2061
J9 TEKSTY DRUGIE
JI Teksty Drugie
PY 2024
IS 3
DI 10.18318/td.2024.3.2
PG 382
WC Literature, Slavic
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA J0Y3J
UT WOS:001334408300002
OA gold
DA 2025-03-18
ER
PT J
AU Thibeault, SL
Merrill, RM
Roy, N
Gray, SD
Smith, EM
AF Thibeault, SL
Merrill, RM
Roy, N
Gray, SD
Smith, EM
TI Occupational risk factors associated with voice disorders among teachers
SO ANNALS OF EPIDEMIOLOGY
LA English
DT Article
DE voice disorders; teachers; occupational disease; risk factors
ID PREVALENCE; FREQUENCY
AB PURPOSE: This study was designed to determine the occupational risk factors associated with voice disorders among schoolteachers, a high-risk population for developing voice problems.
METHODS: Telephone interviews were completed by 1243 teachers from Utah and Iowa. Response rates were 98% and 95%, respectively. Bivariate analyses were computed and assessed using chi-square test and Cochran-Mantel-Haenszel test, and logistic regression analyses were performed and resulting odds ratios assessed using 95% confidence intervals.
RESULTS: Teachers of vocal music, drama, other performing arts and chemistry were at significantly greater risk of having a voice disorder (OR = 2.2, 95% CI: 1.2-4.0; OR = 2.1, 95% CI: 0.9-4.8; OR = 1.6, 95% CI: 1.0-2.4; OR = 2.0, 95% CI: 1.1-3.4), while teachers of special and vocational education had a significantly lower risk (OR = 0.5, 95% CI: 0.3-0.7; OR = 0.6, 95% CI: 0.4-0.9). When adjusted for the intensity of vocalization, only teachers of chemistry were significantly at risk (OR = 2.0, 95% CI: 1.1-3.5) while teachers of special education continued to have less of a risk (OR = 0.5, 95% Cl: 0.4-0.8). Chronic voice disorders were more prevalent among teachers of vocal music (OR = 4.1, 95% CI: 2.2-7.9) and less prevalent among teachers of vocational education (OR = 0.29, 95% CI: 0.09-0.95).
CONCLUSIONS: These findings suggest that teachers of specific courses are at greater risk of developing a voice disorder. (C) 2004 Elsevier Inc. All rights reserved.
C1 Univ Utah, Dept Surg, Div Otolaryngol Head & Neck Surg, Sch Med, Salt Lake City, UT 84132 USA.
Brigham Young Univ, Dept Hlth Sci, Provo, UT 84602 USA.
Univ Utah, Dept Commun Sci & Disorders, Salt Lake City, UT 84112 USA.
Univ Iowa, Coll Publ Hlth, Iowa City, IA USA.
C3 Utah System of Higher Education; University of Utah; Brigham Young
University; Utah System of Higher Education; University of Utah;
University of Iowa
RP Thibeault, SL (corresponding author), Univ Utah, Dept Surg, Div Otolaryngol Head & Neck Surg, Sch Med, 3C120,30 N 1900 E, Salt Lake City, UT 84132 USA.
EM susan.thibeault@hsc.utah.edu
OI Roy, Nelson/0000-0001-8017-805X
FU NIDCD NIH HHS [R01-DC2285] Funding Source: Medline
NR 32
TC 118
Z9 153
U1 0
U2 23
PU ELSEVIER SCIENCE INC
PI NEW YORK
PA 360 PARK AVE SOUTH, NEW YORK, NY 10010-1710 USA
SN 1047-2797
J9 ANN EPIDEMIOL
JI Ann. Epidemiol.
PD NOV
PY 2004
VL 14
IS 10
BP 786
EP 792
DI 10.1016/j.annepidem.2004.03.004
PG 7
WC Public, Environmental & Occupational Health
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Public, Environmental & Occupational Health
GA 872UV
UT WOS:000225235100009
PM 15519901
DA 2025-03-18
ER
PT J
AU Echternach, M
Burk, F
Burdumy, M
Herbst, CT
Köberlein, M
Döllinger, M
Richter, B
AF Echternach, Matthias
Burk, Fabian
Burdumy, Michael
Herbst, Christian T.
Koeberlein, Marie
Doellinger, Michael
Richter, Bernhard
TI The Influence of Vocal Fold Mass Lesions on the Passaggio Region of
Professional Singers
SO LARYNGOSCOPE
LA English
DT Article
DE Singers; high-speed digital imaging; vocal fold mass lesions
ID SOUND PRESSURE LEVEL; FUNDAMENTAL-FREQUENCY; REGISTER TRANSITIONS;
VOICE; PHONATION; VIBRATIONS; NODULES; INSTABILITIES; DYNAMICS; PITCH
AB Objectives/Hypothesis: In professional classical singing, an even voice quality throughout the entire singing voice range is essential. Transitions between vocal registers (passaggio) are the technically most challenging aspects in classical singing. It is hypothesized that they are most affected by vocal fold mass lesions (VFML).
Study Design: Cohort study.
Methods: In this study, the effect of VFML on vocal fold vibration in the passaggio regions was analyzed in four female and three male singers suffering from organic dysphonia. The singers were asked to sing an ascending glissando through the passaggio regions, before and after treatment. The vocal fold vibration was documented with transnasal endoscopic high-speed imaging recordings at 20,000 frames per second, supplemented by synchronized acoustic and electroglottographic recordings.
Results: Major irregularities were found in the passaggio region of four singers before treatment, whereas the respective phonations below the passaggio were almost regular. In two female singers only the upper, but not the lower passaggio was affected. In all four of these participants, the passaggio region was more regular after treatment. In the remaining three participants, the VFML showed no effect on the passaggio region. However, the singers' ability to reach higher pitches was impaired, but was resolved after treatment.
Conclusions: The data in this case study strongly suggest that the passaggio region could be affected by VFML, even if phonation outside the passaggio regions is unimpaired. When planning surgical procedures for professional singers, clinical examination protocols should therefore include phonatory tests across the passaggio regions.
C1 [Echternach, Matthias; Burk, Fabian; Koeberlein, Marie; Richter, Bernhard] Freiburg Univ, Med Ctr, Inst Musicians Med, Breisacher Str 60, D-79106 Freiburg, Germany.
[Burdumy, Michael] Freiburg Univ, Med Ctr, Dept Med Phys, Div Radiol, Freiburg, Germany.
[Herbst, Christian T.] Univ Vienna, Dept Cognit Biol, Lab Bioacoust, Vienna, Austria.
[Doellinger, Michael] Univ Hosp Erlangen, Sch Med, Dept Otorhinolaryngol Head & Neck Surg, Div Phoniatr & Pediat Audiol, Erlangen, Germany.
C3 University of Freiburg; University of Freiburg; University of Vienna;
University of Erlangen Nuremberg
RP Echternach, M (corresponding author), Freiburg Univ, Med Ctr, Inst Musicians Med, Breisacher Str 60, D-79106 Freiburg, Germany.
EM matthias.echternach@uniklinik-freiburg.de
RI Echternach, Matthias/IAP-7667-2023; Herbst, Christian/D-6470-2011;
Burdumy, Michael/M-6212-2017
OI Burk, Fabian/0009-0003-1353-5688; Doellinger,
Michael/0000-0003-2717-4820; Burdumy, Michael/0000-0003-4577-5515;
Echternach, Matthias/0000-0003-0095-5360
FU Deutsche Forschungsgemeinschaft [Ec409/1-1, Ri1050/4-1, Ri1050/4-3, DO
1247/6-1]
FX This work was supported by the Deutsche Forschungsgemeinschaft (M.E.,
Ec409/1-1; B.R., Ri1050/4-1, Ri1050/4-3; M.D., DO 1247/6-1).
NR 58
TC 11
Z9 14
U1 0
U2 6
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0023-852X
EI 1531-4995
J9 LARYNGOSCOPE
JI Laryngoscope
PD JUN
PY 2017
VL 127
IS 6
BP 1392
EP 1401
DI 10.1002/lary.26332
PG 10
WC Medicine, Research & Experimental; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Research & Experimental Medicine; Otorhinolaryngology
GA EY1ZP
UT WOS:000403768100032
PM 27753103
DA 2025-03-18
ER
PT J
AU Hu, WL
AF Hu, Wanli
TI Self-management of stage fright by vocal music performers: which
techniques are the most effective?
SO CURRENT PSYCHOLOGY
LA English
DT Article
DE Performance anxiety; Self-management; Relaxation techniques; Stage
fright; Music education; Vocal music performers
ID ANXIETY
AB The prospect of singing on stage in front of an audience is often a source of excessive anxiety and stress, but there are various ways of addressing these emotional states. This study aims to identify factors that influence students' perception of the effectiveness of various techniques for dealing with stage fright. The study involved 112 students who studied academic vocals. The participants had no medical indications for regular use of psychotherapy or medication interventions. The first stage of the study was a preliminary online interview with all study participants in order to determine the current typical level of stage fright and the most common methods of dealing with stage fright used by participants, as well as factors affecting their subjective perception of these methods. The second stage was a controlled experiment, which included the use of four techniques by students of the intervention group: progressive muscle relaxation, deep breathing, success visualization, and positive thinking training. At the end of the intervention, the students were re-interviewed to determine changes in stage fright levels. The comparison revealed a significant reduction in the level of stage fright reported by the students (from 75.01 to 60.45, with no significant change in the control group; t = 2.32, p < 0.05). The results of the structured interview allowed the authors to scrutinize the peculiarities of students' perception of the effectiveness of the proposed techniques. Deep breathing exercises and positive self-talk were labelled the most effective in alleviating the symptoms of performance anxiety.
C1 [Hu, Wanli] Huanghuai Univ, 76 Kaiyuan Ave, Zhumadian 463000, Peoples R China.
C3 Huanghuai University
RP Hu, WL (corresponding author), Huanghuai Univ, 76 Kaiyuan Ave, Zhumadian 463000, Peoples R China.
EM wanlihu834@gmx.com
NR 32
TC 0
Z9 0
U1 8
U2 8
PU SPRINGER
PI NEW YORK
PA ONE NEW YORK PLAZA, SUITE 4600, NEW YORK, NY, UNITED STATES
SN 1046-1310
EI 1936-4733
J9 CURR PSYCHOL
JI Curr. Psychol.
PD NOV
PY 2024
VL 43
IS 42
BP 33105
EP 33114
DI 10.1007/s12144-024-06849-x
EA OCT 2024
PG 10
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA P1W8T
UT WOS:001340526500008
DA 2025-03-18
ER
PT J
AU Mayr, A
AF Mayr, Alexander
TI Investigating the Voce Faringea: Physiological and Acoustic
Characteristics of the Bel Canto Tenor's Forgotten Singing Practice
SO JOURNAL OF VOICE
LA English
DT Article
DE voix mixte; falsetto; register; vocal technique; electroglottography
ID GLOTTAL AIR-FLOW; FOLD CONTACT; ELECTROGLOTTOGRAPHIC SIGNALS; OPEN
QUOTIENT; CRITERIA; SINGERS
AB Several historical sources from the first half of the 19th century mention a distinct third register mechanism particular to tenor voices of that period. This so-called voce faringea-often described as an "intermediate" register-is a virtually forgotten historical singing practice used to extend the upper range of the voice, where the singer modifies falsetto, typically a weak and often feminine sound, into a more powerful, tenor-like vocal quality. Based on an evaluation of historical voice register theories, training strategies, and the sound ideals of the historical period, an informed discussion of that technique is developed. For this study, acoustic and electroglottographic signals for tones produced on the vowel /a/ by a professional tenor/countertenor in different vocal register mechanisms-voce faringea, falsetto, chest register, and mezza voce-were recorded using the VoceVista system. Analysis of the electroglottography (EGG) and audio data revealed specific characteristics of the voce faringea with regard to both the laryngeal mechanism and the sound spectrum, including high EGG contact quotient and low speed quotient values. EGG pulses were skewed significantly to the left and displayed a distinct knee shape during the de-contacting phase of the vocal folds, which consequently indicates a vibration with a clear mucosal wave. The long-term average spectrum and power spectrum exposed a considerable amplification and dislocation of F-2 in the direction of high frequencies, thus boosting the third harmonic and showing a strong concentration of acoustic energy in the area of the singer's formant cluster.
C1 [Mayr, Alexander] Univ Mus & Performing Arts, Thorvaldsengasse 40-11, A-1120 Vienna, Austria.
RP Mayr, A (corresponding author), Univ Mus & Performing Arts, Thorvaldsengasse 40-11, A-1120 Vienna, Austria.
EM mayr-a@mdw.ac.at
NR 83
TC 5
Z9 5
U1 1
U2 14
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAR
PY 2017
VL 31
IS 2
AR UNSP 255.e13
DI 10.1016/j.jvoice.2016.06.010
PG 11
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA EQ2RT
UT WOS:000397918800058
PM 27430862
DA 2025-03-18
ER
PT J
AU Freer, P
Elorriaga Llor, A
AF Freer, Patrick
Elorriaga Llor, Alfonso
TI Toward a pedagogy informed by research about the boy's changing voice
SO REVISTA ESPANOLA DE PEDAGOGIA
LA Spanish
DT Article
DE Choral singing; boy's changing voice; adolescence
AB The changing voices of adolescent boys were included within the broad aims of vocal music education during mid-20th century. During these years, teachers gradually shifted the focus of their work from detailed representation of their own teaching experiences to increasingly rigorous research studies. This research has collectively yielded many findings important for choral teachers and their students. With this knowledge, choral teacher-conductors can confidently guide all boys with all kinds of differences. Ultimately, the goal is for these boys to understand their own voices and expand their musicianship, so that they can partake in choral singing throughout their lifetimes, whenever and wherever they choose.
C1 [Freer, Patrick] Univ Estado Georgia, Atlanta, GA 30302 USA.
[Elorriaga Llor, Alfonso] Univ Int La Rioja, Logrono, Spain.
C3 Universidad Internacional de La Rioja (UNIR)
RP Freer, P (corresponding author), Univ Estado Georgia, Atlanta, GA 30302 USA.
EM pfreer@gsu.edu; alfonso.elorriaga@unir.net
NR 47
TC 0
Z9 0
U1 0
U2 6
PU UNIV INT RIOJA-UNIR
PI LOGRONO
PA RECTORADO, AVENIDA DE LA PAZ, 137, LOGRONO, 26006, SPAIN
SN 0034-9461
EI 2174-0909
J9 REV ESP PEDAGOG
JI Rev. Esp. Pedagog.
PD SEP-OCT
PY 2017
VL 75
IS 268
BP 463
EP 480
DI 10.22550/REP75-3-2017-01
PG 18
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA FI3ZI
UT WOS:000411908300006
OA gold, Green Submitted
DA 2025-03-18
ER
PT J
AU Zhang, XX
AF Zhang, Xiaoxing
TI Multi-sensory research of singing visualization in pre-school music
education
SO INTERACTIVE LEARNING ENVIRONMENTS
LA English
DT Article
DE Solfeggio teaching; multimedia method of teaching vocal music; audio
visualization; pyAudio classifier
AB The research aim was to develop a visual training simulator with real-time audio correction using the Python programing language and reference audio files classified library. Depending on the melody perception and playback level, the learning pace increases from the minimum. The desired result is affected by the repetitions number. The designed simulator having real-time visualization option allows estimating results and errors. The proposed methodology practical value can be effective for preschool educational institutions music teaching and other music schools and universities music subjects. Further research will be devoted to this technique improvement using virtual reality methods.
C1 [Zhang, Xiaoxing] Huzhou Univ, Sch Teacher Educ, 759 East 2nd Rd, Huzhou 313000, Peoples R China.
C3 Huzhou University
RP Zhang, XX (corresponding author), Huzhou Univ, Sch Teacher Educ, 759 East 2nd Rd, Huzhou 313000, Peoples R China.
EM xiaoxing881@yahoo.com
FU 2020 Zhejiang Province Educational Science Planning Project Study on
Multisensory Linkage of Visual Singing Visualization in Music Courses of
Preschool Education [2020SCG036]
FX This work was supported by 2020 Zhejiang Province Educational Science
Planning Project Study on Multisensory Linkage of Visual Singing
Visualization in Music Courses of Preschool Education [grant number
2020SCG036].
NR 46
TC 10
Z9 10
U1 4
U2 50
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1049-4820
EI 1744-5191
J9 INTERACT LEARN ENVIR
JI Interact. Learn. Environ.
PD JUL 4
PY 2023
VL 31
IS 5
BP 2830
EP 2840
DI 10.1080/10494820.2021.1912107
EA APR 2021
PG 11
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA M0ZM6
UT WOS:000640554600001
DA 2025-03-18
ER
PT J
AU Collyer, S
Kenny, DT
Archer, M
AF Collyer, Sally
Kenny, Dianna T.
Archer, Michaele
TI Listener Perception of the Effect of Abdominal Kinematic Directives on
Respiratory Behavior in Female Classical Singing
SO JOURNAL OF VOICE
LA English
DT Article
DE Perception; Breathing; Singing; Pedagogy
ID VOICE QUALITY; DIAPHRAGMATIC ACTIVITY; DYSPHONIA; PATTERNS; SUPPORT;
SINGERS
AB 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.
C1 [Collyer, Sally; Kenny, Dianna T.; Archer, Michaele] Univ Sydney, Sydney Conservatorium Mus, Sydney, NSW 2006, Australia.
C3 University of Sydney
RP Collyer, S (corresponding author), POB 156, Box Hill, Vic 3128, Australia.
EM sallycollyer@yahoo.com.au
RI Collyer, Sally/HZI-6509-2023
OI Kenny, Dianna/0000-0003-1934-0163
FU Australian Research Council Discovery Grant [DP066559]
FX The authors are grateful to the participants and to Dr Helen Mitchell
for her advice on data collection. This study was supported by an
Australian Research Council Discovery Grant (DP066559) to Professor
Dianna T. Kenny and Dr C. William Thorpe.
NR 41
TC 7
Z9 9
U1 1
U2 10
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD JAN
PY 2011
VL 25
IS 1
BP E15
EP E24
DI 10.1016/j.jvoice.2009.10.006
PG 10
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 992LG
UT WOS:000307777000003
PM 20456913
DA 2025-03-18
ER
PT J
AU Frainier, M
AF Frainier, Margaret
TI A Tale of Three Rusalkas: Krasnopol'sky, Pushkin, and
Dargomyzhsky
SO NINETEENTH CENTURY MUSIC
LA English
DT Article
DE adaptation; nationalism; Dargomyzhsky; Pushkin; bel canto
AB Conventional histories of Russian opera mark Mikhail Glinka's 1836 opera Zhizn' za tsarya (A Life for the Tsar) as the point of origin for Russian nationalist opera that quickly burst into full bloom, yet by the middle of the century homegrown opera had fallen out of performance repertory in favor of Western European and particularly Italian imports. It was around this time that a group of amateur composers later known as the kuchka (the "Mighty Handful" or "Mighty Five") re-ignited the debate around creating a uniquely Russian genre of opera; however, their efforts only obscured Russian opera's European roots rather than establish a completely separate genre. Yet their critical campaign proved successful, and the idea of Russian opera as a uniquely nationalist genre remains especially prevalent. This article examines Aleksandr Dargomyzhsky's Rusalka (1856), one of the earliest examples of this new type of Russian nationalist opera, and how it responds to the dominance of Italian opera in Russia during the mid-century by embedding Italian operatic conventions into the score itself. Rusalka also inaugurated the operatic trend of adapting literary works by Aleksandr Pushkin, the writer often cited as the father of Russian literature. This article illustrates how both Pushkin's dramatic Rusalka and Dargomyzhsky's operatic adaptation of it a generation later imitated Western European literary and theatrical conventions. Paradoxically, the ways in which Pushkin and Dargomyzhsky would conceal these Western parallelisms would later be hailed as markers of a uniquely "Russian" literary and operatic style in a critical campaign designed to erase Russia's long history of artistic dialogue with the wider Continent.
NR 0
TC 0
Z9 0
U1 0
U2 0
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0148-2076
J9 NINETEEN CENT MUSIC
JI Ninet. Century Music
PD FAL
PY 2021
VL 45
IS 2
BP 167
EP 182
DI 10.1525/ncm.2021.45.2.167
PG 16
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA YB6UZ
UT WOS:000739146100004
DA 2025-03-18
ER
PT J
AU Baldwin, O
Wilson, T
AF Baldwin, Olive
Wilson, Thelma
TI KITTY CLIVE: HER BIRTH AND MARRIAGE DATES
SO THEATRE NOTEBOOK
LA English
DT Article
AB Olive Baldwin and Thelma Wilson have written extensively on seventeenth and eighteenth century singers and theatre performers for journals and for Grove's Dictionary of Music and Musicians. They were Research Associates of the Oxford Dictionary of National Biography, for which they wrote over 60 articles, and have edited facsimile editions of the Complete Songs of Richard Leveridge and of the Monthly Mask of Vocal Music 1702-1711. Recent articles include "Nancy Dawson, her Hornpipe and her Posthumous Reputation" (Restoration and Eighteenth-Century Theatre Research, 2016),"Thomas Arne as a teacher of singers" (A Handbook for Studies in 18m-Century English Music, 2018), "New light on the Baroness" (Theatre Notebook, 2019) and "Sorting out the Stoppelaers" (A Handbook for Studies in 18th-Century English Music, 2019).
NR 2
TC 0
Z9 0
U1 0
U2 0
PU SOC THEATRE RES
PI LONDON
PA PO BOX 53971, LONDON SW15 6UL, ENGLAND
SN 0040-5523
J9 THEATRE NOTEBOOK
JI Theatre Noteb.
PY 2020
VL 74
IS 1
BP 2
EP 7
PG 6
WC Theater
WE Arts & Humanities Citation Index (A&HCI)
SC Theater
GA SH0KR
UT WOS:000653827400001
DA 2025-03-18
ER
PT J
AU Brosch, S
Bennett, JDC
Pirsig, W
AF Brosch, S
Bennett, JDC
Pirsig, W
TI Singing and evil in visual art
SO FOLIA PHONIATRICA ET LOGOPAEDICA
LA English
DT Article; Proceedings Paper
CT 5th Pan European Voice Conference
CY AUG, 2003
CL Graz, AUSTRIA
DE singing; voice; art; history
AB Surprisingly, singing and music sometimes are connected with poor or even lethal outcomes. One example is personified in the legend of Orpheus, who through the power of his songs, succeeded in leading the wild Thracians into the Greek religion. This did not save him, however, from being murdered by Thracian women probably because of his paedophilic tendency. The scene has been illustrated since 490 BC on Attic red-figure vases. The Sirens, with the body of a bird and the head of a female and dwelling in the Sicilian Sea, were creatures who attracted sailors by their song and devoured the unhappy wretches who had been unable to resist their seductive singing. This topic has also been depicted on ancient Greek vases as part of the Odyssey. The idea that beautiful singing with an instrument can also be a symbol of sin and a sign of the devil is deeply rooted in Christian thinking. This aspect of music as the power of evil is extensively depicted in Dutch and Flemish genre paintings where singing and playing string instruments were also common symbols of lust and vices, seduction and, therefore, moral decay. Some examples of the power of evil in singing in representative art are presented in this article.
C1 Univ Tubingen, ENT Clin, Sect Phoniatr & Pedaudiol, DE-72076 Tubingen, Germany.
Univ Ulm, ENT Clin, D-89069 Ulm, Germany.
So Illinois Univ, ENT Dept, Carbondale, IL 62901 USA.
So Illinois Univ, ENT Dept, Edwardsville, IL 62026 USA.
C3 Eberhard Karls University of Tubingen; Ulm University; Southern Illinois
University System; Southern Illinois University; Southern Illinois
University System; Southern Illinois University Edwardsville
RP Brosch, S (corresponding author), Univ Tubingen, ENT Clin, Sect Phoniatr & Pedaudiol, Elfriede Aulhorn Str 5, DE-72076 Tubingen, Germany.
EM sibylle.brosch@med.uni-tuebingen.de
NR 7
TC 3
Z9 3
U1 0
U2 7
PU KARGER
PI BASEL
PA ALLSCHWILERSTRASSE 10, CH-4009 BASEL, SWITZERLAND
SN 1021-7762
J9 FOLIA PHONIATR LOGO
JI Folia Phoniatr. Logop.
PY 2005
VL 57
IS 5-6
BP 239
EP 245
DI 10.1159/000087077
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology;
Rehabilitation
WE Conference Proceedings Citation Index - Science (CPCI-S); Conference Proceedings Citation Index - Social Science & Humanities (CPCI-SSH); Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology;
Rehabilitation
GA 980TE
UT WOS:000233040300002
PM 16280627
DA 2025-03-18
ER
PT J
AU Low, MY
Lacson, C
Zhang, FQ
Kesslick, A
Bradt, J
AF Low, Ming Yuan
Lacson, Clarissa
Zhang, Fengqing
Kesslick, Amy
Bradt, Joke
TI Vocal Music Therapy for Chronic Pain: A Mixed Methods Feasibility Study
SO JOURNAL OF ALTERNATIVE AND COMPLEMENTARY MEDICINE
LA English
DT Article
DE music therapy; pain management; clinical trials
ID CHRONIC MUSCULOSKELETAL PAIN; SELF-CARE COMPLEMENTARY; INTEGRATIVE
MEDICINE; MANAGEMENT; EFFICACY
AB Objective: The purpose of this study was to determine the feasibility and preliminary effects of a vocal music therapy (VMT) program on chronic pain management. Design: A mixed methods intervention design was used in which qualitative data were embedded within a randomized controlled trial. Setting: An urban nurse-management health center on the East Coast of the United States. Subjects: Participants (N = 43) were predominantly Black (79%) and female (76.7%) with an average pain duration of 10 years. Intervention: Participants were randomly allocated to a 12-week VMT program or a waitlist control. Outcome measures: We tracked consent rate (percentage of participants enrolled out of total number screened), attrition rate, and treatment adherence. We used PROMIS (R) (Patient Reported Outcomes Measurement Information System) tools to measure pain interference, pain-related self-efficacy, pain intensity, depression, anxiety, positive effect, and well-being, ability to participate in social activities, and satisfaction with social roles at baseline and week 12. VMT participants also completed the Patient Global Impression of Change Scale. We conducted semistructured interviews to better understand participants' experience of the intervention. Results: The consent rate was 56%. The attrition rate was 23%. Large treatment effects (partial eta squared) were obtained for self-efficacy (0.20), depression (0.26), and ability to participate in social activities (0.24). Medium effects were found for pain intensity (0.10), anxiety (0.06), positive effect, and well-being (0.06), and small effects for pain interference (0.03) and satisfaction with social roles (0.03). On average, participants felt moderately better after completion of the VMT program (M = 4.93, standard deviation = 1.98). Qualitative findings suggest that VMT resulted in better self-management of pain, enhanced psychological well-being, and stronger social and spiritual connections. Conclusions: Recruitment into the 12-week program was challenging, but quantitative and qualitative findings suggest significant benefits of VMT for chronic pain management.
C1 [Low, Ming Yuan; Lacson, Clarissa; Bradt, Joke] Drexel Univ, Dept Creat Arts Therapies, 1601 Cherry St, Philadelphia, PA 19104 USA.
[Zhang, Fengqing] Drexel Univ, Dept Psychol, Philadelphia, PA 19104 USA.
[Kesslick, Amy] Drexel Univ, Stephen & Sandra Sheller 11th St Family Hlth Serv, Philadelphia, PA 19104 USA.
C3 Drexel University; Drexel University; Drexel University
RP Low, MY (corresponding author), Drexel Univ, Dept Creat Arts Therapies, 1601 Cherry St, Philadelphia, PA 19104 USA.
EM ml3337@drexel.edu
RI bradt, joke/C-5930-2014; Low, Ming Yuan/KAZ-9205-2024
OI Low, Ming Yuan/0000-0002-9835-1970; Bradt, Joke/0000-0001-7313-9829
FU National Endowment for the Arts Research Labs program
FX This work was supported through a cooperative agreement with the
National Endowment for the Arts Research Labs program.
NR 35
TC 21
Z9 29
U1 4
U2 25
PU MARY ANN LIEBERT, INC
PI NEW ROCHELLE
PA 140 HUGUENOT STREET, 3RD FL, NEW ROCHELLE, NY 10801 USA
SN 1075-5535
EI 1557-7708
J9 J ALTERN COMPLEM MED
JI J. Altern. Complement Med.
PD FEB 1
PY 2020
VL 26
IS 2
BP 113
EP 122
DI 10.1089/acm.2019.0249
EA NOV 2019
PG 10
WC Integrative & Complementary Medicine
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Integrative & Complementary Medicine
GA KI3UH
UT WOS:000497705700001
PM 31750726
OA Green Published, hybrid
DA 2025-03-18
ER
PT J
AU Pettersen, V
AF Pettersen, V
TI Muscular patterns and activation levels of auxiliary breathing muscles
and thorax movement in classical singing
SO FOLIA PHONIATRICA ET LOGOPAEDICA
LA English
DT Article
DE classical singing; upper trapezius; sternocleidomastoideus; neck
muscles; abdominal; thorax; breathing
ID LARYNGEAL MUSCLES; ELECTROMYOGRAPHY; SPEECH; VOICE; INTENSITY; POSITION;
TENSION
AB 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 counter force 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.
C1 Univ Stavanger, Dept Mus & Dance, NO-4036 Stavanger, Norway.
C3 Universitetet i Stavanger
RP Univ Stavanger, Dept Mus & Dance, NO-4036 Stavanger, Norway.
EM viggo.pettersen@uis.no
NR 63
TC 20
Z9 26
U1 0
U2 5
PU KARGER
PI BASEL
PA ALLSCHWILERSTRASSE 10, CH-4009 BASEL, SWITZERLAND
SN 1021-7762
EI 1421-9972
J9 FOLIA PHONIATR LOGO
JI Folia Phoniatr. Logop.
PY 2005
VL 57
IS 5-6
BP 255
EP 277
DI 10.1159/000087079
PG 23
WC Audiology & Speech-Language Pathology; Otorhinolaryngology;
Rehabilitation
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology;
Rehabilitation
GA 980TE
UT WOS:000233040300004
PM 16280629
DA 2025-03-18
ER
PT J
AU Gregg, JW
Scherer, TC
AF Gregg, Jean Westerman
Scherer, Tronald C.
TI Vowel intelligibility in classical singing
SO JOURNAL OF VOICE
LA English
DT Article
DE singing; vowel intelligibility; pitch; gender; fundamental frequency;
vowel migration; formants; acoustic spectrum; singing pedagogy
ID SUNG VOWELS
AB Vowel intelligibility during singing is an important aspect of communication during performance. The intelligibility of isolated vowels sung by Western classically trained singers has been found to be relatively low, in fact, decreasing as pitch rises, and it is lower for women than for men. The lack of contextual cues significantly deteriorates vowel intelligibility. It was postulated in this study that the reduced intelligibility of isolated sung vowels may be partly from the vowels used by the singers in their daily vocalises. More specifically, if classically trained singers sang only a few American English vowels during their vocalises, their intelligibility for American English vowels would be less than for those classically trained singers who usually vocalize on most American English vowels. In this study, there were 21 subjects (15 women, 6 men), all Western classically trained performers as well as teachers of classical singing. They sang 11 words containing 11 different American English vowels, singing on two pitches a musical fifth apart. Subjects were divided into two groups, those who normally vocalize on 4, 5, or 6 vowels, and those who sing all 11 vowels during their daily vocalises. The sung words were cropped to isolate the vowels, and listening tapes were created. Two listening groups, four singing teachers and five speech-language pathologists, were asked to identify the vowels intended by the singers. Results suggest that singing fewer vowels during daily vocalises does not decrease intelligibility compared with singing the 11 American English vowels. Also, in general, vowel intelligibility was lower with the higher pitch, and vowels sung by the women were less intelligible than those sung by the men. Identification C accuracy was about the same for the singing teacher listeners and the speech-language pathologist listeners except for the lower pitch, where the singing teachers were more accurate.
C1 Bowling Green State Univ, Dept Commun Disorders, Bowling Green, OH 43403 USA.
C3 University System of Ohio; Bowling Green State University
RP Gregg, JW (corresponding author), 11 Old Quarry Rd, Woodbridge, CT 06525 USA.
EM drbob007@skybridge.com
NR 16
TC 18
Z9 21
U1 1
U2 16
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JUN
PY 2006
VL 20
IS 2
BP 198
EP 210
DI 10.1016/j.jvoice.2005.01.007
PG 13
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 047KG
UT WOS:000237877600004
PM 16139988
DA 2025-03-18
ER
PT J
AU Barry, B
AF Barry, Barbara
TI Multiple 'Personas' in Parallel Worlds: Shakespeare's Ghosts and
the Return of Schubert's 'Doppelganger'
SO INTERNATIONAL REVIEW OF THE AESTHETICS AND SOCIOLOGY OF MUSIC
LA English
DT Article
DE Parallel worlds; Alternative realities; Contested territory; Haunting;
Hugh Everett; Christopher Marlowe; William Shakespeare; Franz Schubert
AB Based on the theory of parallel worlds in contemporary physics, the alternative realities in today's world of sci-fi, computer graphics and fantasy fiction have effectively become the mind-set of 21st century existence. Within these multiple strands of reality, a prevalent theme is the dislocation of existing order by invasion from another realm. Such disruptive conflicts, though, have striking precedents in many of Shakespeare plays where ghosts intrude into the action, crossing the boundary between physical existence and the distorted world of dreams. Intrusion from a different zone and dislocation of order accordingly provide both historical precedent and contemporary perspective on examples of Schubert's instrumental as well as vocal music.
C1 [Barry, Barbara] Univ London, Inst Adv Studies, Mus, London, England.
C3 University of London
RP Barry, B (corresponding author), Univ London, Inst Adv Studies, Mus, London, England.
EM babar42@hotmail.com
NR 31
TC 0
Z9 0
U1 1
U2 1
PU CROATIAN MUSICOLOGICAL SOC
PI ZAGREB
PA OPATICKA 18, HR-71000 ZAGREB, CROATIA
SN 0351-5796
J9 INT REV AESTHET SOC
JI Int. Rev. Aesthet. Sociol. Music
PD DEC
PY 2017
VL 48
IS 2
BP 187
EP 206
PG 20
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA FV8QS
UT WOS:000424852500002
DA 2025-03-18
ER
PT J
AU Wilbiks, JMP
Hutchins, S
AF Wilbiks, Jonathan M. P.
Hutchins, Sean
TI Musical training improves memory for instrumental music, but not vocal
music or words
SO PSYCHOLOGY OF MUSIC
LA English
DT Article
DE Memory; transfer effects; training; short term memory; cognition
ID LANGUAGE
AB In previous research, there exists some debate about the effects of musical training on memory for verbal material. The current research examines this relationship, while also considering musical training effects on memory for musical excerpts. Twenty individuals with musical training were tested and their results were compared to 20 age-matched individuals with no musical experience. Musically trained individuals demonstrated a higher level of memory for classical musical excerpts, with no significant differences for popular musical excerpts or for words. These findings are in support of previous research showing that while music and words overlap in terms of their processing in the brain, there is not necessarily a facilitative effect between training in one domain and performance in the other.
C1 [Wilbiks, Jonathan M. P.] Univ New Brunswick, Fredericton, NB, Canada.
[Wilbiks, Jonathan M. P.] Mt Allison Univ, Sackville, NB, Canada.
[Hutchins, Sean] Royal Conservatory, Toronto, ON, Canada.
C3 University of New Brunswick; Mount Allison University
RP Wilbiks, JMP (corresponding author), Univ New Brunswick, Dept Psychol, 100 Tucker Pk Rd, St John, NB E2L 4L5, Canada.
EM jwilbiks@unb.ca
OI Wilbiks, Jonathan/0000-0002-6882-5215
FU Margaret and Wallace McCain Postdoctoral Fellowship
FX The authors disclosed receipt of the following financial support for the
research, authorship, and/or publication of this article: This work was
supported by a Margaret and Wallace McCain Postdoctoral Fellowship to
the first author.
NR 20
TC 5
Z9 5
U1 2
U2 15
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0305-7356
EI 1741-3087
J9 PSYCHOL MUSIC
JI Psychol. Music
PD JAN
PY 2020
VL 48
IS 1
BP 150
EP 159
DI 10.1177/0305735618785452
PG 10
WC Psychology, Educational; Psychology, Applied; Music; Psychology,
Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Psychology; Music
GA JR4CK
UT WOS:000499574700010
DA 2025-03-18
ER
PT J
AU Aura, M
Geneid, A
Bjorkoy, K
Rantanen, M
Laukkanen, AM
AF Aura, Maarit
Geneid, Ahmed
Bjorkoy, Kare
Rantanen, Marita
Laukkanen, Anne-Maria
TI A Nasoendoscopic Study of "Head Resonance" and "Imposto" in Classical
Singing
SO JOURNAL OF VOICE
LA English
DT Article
DE Vocal pedagogy; Nasal muscles; Epilaryngeal tube; Voice source- tract
interaction
ID VOCAL-TRACT; VOICE; SINGERS; FORMANT
AB Background. Classical singing pedagogy uses many concepts which lack precise definition and whose acoustic and physiologic correlates are unclear. This study focuses on the concepts "head resonance" and "imposto."
In singing guidebooks, head resonance has been described as causing vibratory sensations on the face and head, auditively it has been described as a bright color especially predominating in the higher pitch range.
"Imposto" has been related to the sensation of "air flow" or "sympathetic resonance vibrations" on or over the upper bridge of nose, and it also has been pursued using a "closing mechanism of the upper respiratory track" (activation of nasalis muscle).
Study Design. Experimental cross-sectional study.
Method. Five subjects (three classical singers, one amateur singer, and a nonsinger) were investigated with nasofiberoscopy during phonation. The singers were instructed to sing [i:] on one comfortable self-cho sen pitch in three ways: (1) without head resonance, (2) with head resonance, and (3) using imposto (exploiting the nasalis muscle). The nonsinger was investigated without phonation, while just holding his breath after inhalation first normally and then while producing imposto. The following measurements were made on the fiberoscopic images: (1) height of soft palate, (2) area of the hypopharynx, (3) area of the epilaryngeal tube inlet.
Results. The singers raised the soft palate and narrowed the epilaryngeal inlet during head resonance and even more during imposto. The pharynx to epilarynx ratio increased. Similar narrowing of the epilaryngeal tube inlet was observed in the nonsinger when constricting the nasalis,
Conclusions. The results suggest that both the head resonance and imposto are related to control of the pharyn-geal space and epilaryngeal tube, and that the nasal muscles may be used as an aid in regulating the epilaryngeal tube width, which in turn, improves the voice-source-tract interaction.
C1 [Aura, Maarit; Laukkanen, Anne-Maria] Tampere Univ, Speech & Voice Res Lab, Akerlundinkatu 5, Tampere 33100, Finland.
[Geneid, Ahmed] Helsinki Univ Hosp, Dept Otolaryngol & Phoniatr Head & Neck Surg, Helsinki, Finland.
[Geneid, Ahmed] Univ Helsinki, Helsinki, Finland.
[Bjorkoy, Kare] Norwegian Univ Technol & Sci, Mus Dept, Trondheim, Norway.
[Rantanen, Marita] Mus Sch Pirkanmaan Musiikkiopisto, Tampere, Finland.
C3 Tampere University; University of Helsinki; Helsinki University Central
Hospital; University of Helsinki; Norwegian University of Science &
Technology (NTNU)
RP Aura, M (corresponding author), Tampere Univ, Speech & Voice Res Lab, Akerlundinkatu 5, Tampere 33100, Finland.
EM aura.maarit@gmail.com
RI Laukkanen, Anne-Maria/GRS-5359-2022; Geneid, Ahmed/L-7974-2015
OI Geneid, Ahmed/0000-0003-1617-1181; , Anne-Maria/0009-0004-7236-4636
NR 34
TC 6
Z9 6
U1 1
U2 4
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JAN
PY 2022
VL 36
IS 1
BP 83
EP 90
DI 10.1016/j.jvoice.2020.04.013
EA JAN 2022
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA YE2FM
UT WOS:000740945600014
PM 32513553
DA 2025-03-18
ER
PT J
AU Sundberg, J
La, FMB
Gill, BP
AF Sundberg, Johan
La, Filipa M. B.
Gill, Brian P.
TI Professional male singers' formant tuning strategies for the vowel /a/
SO LOGOPEDICS PHONIATRICS VOCOLOGY
LA English
DT Article
DE Formant tuning; harmonics; male singers; spectrum
ID VOCAL-TRACT; PHONATION; VOICE
AB Certain spectrum characteristics have been identified as important for register equalization around the male passaggio, an effect ascribed to formant tuning although descriptions of formant tuning diverge. Eight professional singers sang scales including their passaggio range on different vowels, applying two formant tuning strategies as found in ( 1) classical and ( 2) non-classical singing. Formant frequencies were measured using inverse filtering. Results revealed differences between the two strategies. For the classical formant tuning, systematic changes of formant frequencies with pitch were observed. For the highest note sung on /a/, F1 was below the second partial and F2 in the vicinity of the third. Similar spectrum characteristics were achieved by different F1 and F2 values between singers.
C1 [Sundberg, Johan] KTH Royal Inst Technol, Dept Speech, Sch Comp Sci & Commun, Stockholm, Sweden.
[La, Filipa M. B.] Univ Aveiro, Dept Commun & Arts, P-3800 Aveiro, Portugal.
[Gill, Brian P.] NYU, Steinhardt Sch Culture Educ & Human Dev, Dept Mus & Performing Arts Profess, New York, NY USA.
C3 Royal Institute of Technology; Universidade de Aveiro; New York
University
RP Sundberg, J (corresponding author), KTH, S-10044 Stockholm, Sweden.
EM johan.sundberg@musikakustik.se
RI La, Filipa M.B./M-7767-2013
OI La, Filipa M.B./0000-0001-5560-7406
FU Gomes Teixeira Foundation
FX The kind co-operation of the singers is gratefully acknowledged. A
preliminary version of this investigation was presented at the
Physiology and Acoustics of Singing conference at KTH, Stockholm, in
August 2010. The authors are indebted to the Schering Health Care Ltd
and Bayer Portugal for providing the means to acquire the equipment, and
to the Gomes Teixeira Foundation for support.
NR 18
TC 20
Z9 25
U1 0
U2 9
PU INFORMA HEALTHCARE
PI NEW YORK
PA 52 VANDERBILT AVE, NEW YORK, NY 10017 USA
SN 1401-5439
J9 LOGOP PHONIATR VOCO
JI Logop. Phoniatr. Vocology.
PD DEC
PY 2011
VL 36
IS 4
BP 156
EP 167
DI 10.3109/14015439.2011.587448
PG 12
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 852JP
UT WOS:000297354200004
PM 21756222
DA 2025-03-18
ER
PT J
AU Fuchs, M
Oeken, J
Hotopp, T
Täschner, R
Hentschel, B
Behrendt, W
AF Fuchs, M
Oeken, J
Hotopp, T
Täschner, R
Hentschel, B
Behrendt, W
TI Similarity in monozygotic twins regarding vocal performance and acoustic
features and their possible clinical relevance
SO HNO
LA German
DT Article; Proceedings Paper
CT 15th Scientific Meeting of the
Deutschen-Gesellschaft-fur-Phoniatrie-and-Padaudiologie
CY 1998
CL GOTTINGEN, GERMANY
SP Deutsch Gesell Phoniatr & Padaudiol
DE monozygotic twins; identical twins; vocal performance; acoustic
features; similarity of voices
AB Auditory similarities in voices of monozygotic twins have already been described in the literature. However, is there a clinical relevance! Thus, the present study was designed to identify parameters of vocal performance and acoustic features which are significantly more similar in monozygotic twins than in non-related persons. In our hypothesis, comparable prerequisites for an increased vocal load in a profession or in an artistic education of the voice could be due to these similarities. We compared intra-pair differences with data from a control group. Moreover,we examined the correlation of intra-pair differences with the age of the monozygotic twins. A greater difference in older twin pairs than in younger pairs could show the effect of an exogene influence. In addition to the few phoniatric studies in twins in the literature, we used current methods for acoustic analysis. We examined seven parameters of vocal performance and three acoustic features in 31 monozygotic twin pairs (median age 36 years, range 18-75 years) and compared them with 30 control group pairs, which consisted of non-related persons of the same age and sex, newly combined from the group of monozygotic twins ("statistical twins"). We found significant differences in seven of ten parameters (vocal range, highest and lowest vocal fundamental frequency,fundamental speaking frequency, maximum voice intensity, number of partials, vibrate of intensity; U-test by Mann-Whitney). No correlation of the differences of the identical twins with age was found in the examined parameters. The voices of identical twins are significantly more similar than those of non-related persons regarding the above mentioned features. Thus, the suitability of the voices of monozygotic twins for professions with a high demand on voice is comparable. Results of the group comparison correlate largely with the literature. The missing correlation with age could be due to the fact that the environmental effects were not measurable, and/or the development of the voice is more influenced by genetic effects.
C1 Univ Leipzig, Klin & Poliklin Hals Nasen Ohrenheilkunde & Plast, D-7010 Leipzig, Germany.
C3 Leipzig University
RP Univ Leipzig, Klin & Poliklin Hals Nasen Ohrenkrankheiten & Pla, Liebigstr 18 A, D-04103 Leipzig, Germany.
EM fuchsm@server3.medizin.uni-leipzig.de
NR 20
TC 9
Z9 10
U1 1
U2 7
PU SPRINGER
PI NEW YORK
PA 233 SPRING ST, NEW YORK, NY 10013 USA
SN 0017-6192
EI 1433-0458
J9 HNO
JI HNO
PD JUN
PY 2000
VL 48
IS 6
BP 462
EP 469
DI 10.1007/s001060050598
PG 8
WC Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Conference Proceedings Citation Index - Science (CPCI-S)
SC Otorhinolaryngology
GA 334UK
UT WOS:000088203900008
PM 10929228
DA 2025-03-18
ER
PT J
AU Cairns, P
Daffern, H
Kearney, G
AF Cairns, Patrick
Daffern, Helena
Kearney, Gavin
TI Parametric Evaluation of Ensemble Vocal Performance Using an Immersive
Network Music Performance Audio System
SO JOURNAL OF THE AUDIO ENGINEERING SOCIETY
LA English
DT Article
ID SYNCHRONIZATION
AB This paper describes an immersive audio Network Music Performance (NMP) system de-signed for group singing. A prototype of this design (audio only) was deployed to ten singers across Europe, who participated in a duet vocal performance study, operating the system from their home networks. Parametric evaluation of these vocal performances was conducted in order to provide characterization of musical interactivity between performers and explore the challenges and opportunities presented for immersive audio NMP systems in practical use-case settings. Results demonstrate that it is possible to achieve performance that conforms to expectations of live interactivity and estimate the conditions under which this may be achieved. Significant effect of latency, and in one case virtual room "type," is observed across performances. Informal questionnaire responses present discussion of the potential for virtual acoustics and latency to impact the perceptual experience of networked performers.
C1 [Cairns, Patrick; Daffern, Helena; Kearney, Gavin] Univ York, AudioLab, York, N Yorkshire, England.
C3 University of York - UK
RP Cairns, P (corresponding author), Univ York, AudioLab, York, N Yorkshire, England.
EM pc1095@york.ac.uk; helena.daffern@york.ac.uk; gavin.kearney@york.ac.uk
OI Kearney, Gavin Cyril/0000-0002-0692-236X
FU XR Stories, University of York
FX The authors would like to express their gratitude to the participants
who took part in this study and Kronlachner VST and JackTrip developers
for providing high-quality and open-source resources that were used in
this study. This study was supported by XR Stories, University of York.
NR 0
TC 8
Z9 8
U1 0
U2 1
PU AUDIO ENGINEERING SOC
PI NEW YORK
PA 60 E 42ND ST, NEW YORK, NY 10165-2520 USA
SN 1549-4950
J9 J AUDIO ENG SOC
JI J. Audio Eng. Soc.
PD DEC
PY 2021
VL 69
IS 12
BP 924
EP 933
DI 10.17743/jaes.2021.0040
PG 10
WC Acoustics; Engineering, Multidisciplinary
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Acoustics; Engineering
GA XN8RJ
UT WOS:000729765900004
OA Green Accepted
DA 2025-03-18
ER
PT S
AU Bella, SD
Tremblay-Champoux, A
Berkowska, M
Peretz, I
AF Bella, Simone Dalla
Tremblay-Champoux, Alexandra
Berkowska, Magdalena
Peretz, Isabelle
GP Annals NY Acad Sci
TI Memory disorders and vocal performance
SO NEUROSCIENCES AND MUSIC IV: LEARNING AND MEMORY
SE Annals of the New York Academy of Sciences
LA English
DT Article; Proceedings Paper
CT Conference on Neurosciences and Music-IV - Learning and Memory
CY JUN 09-12, 2011
CL Univ Edinburgh, Edinburgh, SCOTLAND
SP Mariani Fdn, Inst Mus Human & Social Dev
HO Univ Edinburgh
DE amusia; vocal performance; memory disorders; music performance
ID TONE-DEAFNESS; CONGENITAL AMUSIA; PITCH; MUSIC; AREA; PROFICIENCY;
PERCEPTION; SPEECH; FMRI
AB The ability to carry a tune, natural for the majority, is underpinned by a complex functional system (i.e., the vocal sensorimotor loop, VSL). The VSL involves various components, including perceptual mechanisms, auditory-motor mapping, motor control, and memory. The malfunction of one of these components can bring about poor-pitch singing. So far, disturbed perception and deficient sensorimotor mapping have been treated as important causes of poor singing. Yet, memory has been paid relatively little attention. Here, we review results obtained from both occasional singers and individuals suffering from congenital amusia, who were asked to produce from memory or imitate a well-known melody under conditions with different memory loads. The findings point to memory as a relevant source of impairment in poor-pitch singing and to imitation as a useful aid for poor singers.
C1 [Bella, Simone Dalla] Univ Montpellier I, Movement Hlth Lab M2H, EuroMov, F-34090 Montpellier, France.
[Bella, Simone Dalla; Berkowska, Magdalena] Univ Finance & Management, Dept Cognit Psychol, Warsaw, Poland.
[Bella, Simone Dalla; Tremblay-Champoux, Alexandra; Peretz, Isabelle] Int Lab Brain Mus & Sound Res BRAMS, Montreal, PQ, Canada.
C3 Universite de Montpellier; University of Finance & Management Warsaw;
Universite de Montreal
RP Bella, SD (corresponding author), Univ Montpellier I, Movement Hlth Lab M2H, EuroMov, 700 Ave Pic St Loup, F-34090 Montpellier, France.
EM simone.dalla-bella@univ-montp1.fr
OI Dalla Bella, Simone/0000-0001-9813-7408; Berkowska,
Magdalena/0000-0001-6803-7377; Berkowska, Magdalena/0000-0002-5812-495X
FU European Commission; Natural Sciences and Engineering Research Council
of Canada; Canadian Institutes of Health Research; Canada Research Chair
FX This research was supported by a grant from the European Commission to
S.D.B., and by grants from the Natural Sciences and Engineering Research
Council of Canada, the Canadian Institutes of Health Research, and a
Canada Research Chair to I.P.
NR 39
TC 6
Z9 7
U1 2
U2 22
PU BLACKWELL SCIENCE PUBL
PI OXFORD
PA OSNEY MEAD, OXFORD OX2 0EL, ENGLAND
SN 0077-8923
BN 978-1-57331-841-9
J9 ANN NY ACAD SCI
JI Ann.NY Acad.Sci.
PY 2012
VL 1252
BP 338
EP 344
DI 10.1111/j.1749-6632.2011.06424.x
PG 7
WC Multidisciplinary Sciences; Neurosciences; Psychology
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED)
SC Science & Technology - Other Topics; Neurosciences & Neurology;
Psychology
GA BAU07
UT WOS:000305518900044
PM 22524377
DA 2025-03-18
ER
PT J
AU Gao, Y
Ma, S
AF Gao Yuan
Ma Sai
TI The phenomenon of vocal lyrics in Chinese and Russian musical culture of
the 19th - 20th centuries: issues of poetics and aesthetics
SO VOPROSY ISTORII
LA Russian
DT Article
DE music; author's song; vocal lyrics; China; Russia; songs; musical
culture
AB The evolution of Chinese and Russian vocal art of the period of the 19th -20th centuries is considered as the main direction of research within theframework of this article. The theoretical basis of the combination of poetry and music in the artistic songs of China and Russia is being studied. Representative works of vocal lyrics from different eras, key national characteristics of poetic and aesthetic categories of singing art of two musical cultures are discussed.
C1 [Gao Yuan] Zhengzhou Univ Light Ind, Zhengzhou, Peoples R China.
[Ma Sai] Changan Univ, Xian, Peoples R China.
C3 Zhengzhou University of Light Industry; Chang'an University
RP Ma, S (corresponding author), Changan Univ, Xian, Peoples R China.
EM yuangao2838@gmail.com; ma-sai@mail.ru
NR 6
TC 0
Z9 0
U1 7
U2 36
PU VOPROSY ISTORII
PI MOSCOW
PA VOPROSY ISTORII, MOSCOW, 00000, RUSSIA
SN 0042-8779
EI 1938-2561
J9 VOP ISTORII
JI Vopr. Istor.
PY 2022
VL 10
IS 1
BP 128
EP 137
DI 10.31166/VoprosyIstorii202210Statyi06
PG 10
WC History
WE Arts & Humanities Citation Index (A&HCI)
SC History
GA 6A1NR
UT WOS:000880427800012
DA 2025-03-18
ER
PT J
AU Ming, L
Boiko, AN
AF Ming, Li
Boiko, A. N.
TI Distribution of European-style Sichuan local opera in China at the
beginning of the 21st century
SO VOPROSY ISTORII
LA Russian
DT Article
DE China; vocal art; European-style Sichuan local opera; Sichuan province
AB The article examines the development of the Sichuan local opera of the European type in China at the beginning of the 21st century. It was found that it was widespread in such Sichuan cities as Chengdu, Nanchong, Zigong, as well as outside the province. General brief information about these cities is provided. The operas "God of Salt", "Coming of Spring with Wind and Rain", "A Man Who Catches His Dream", "Chen Shou writes a book about three countries" and others became very famous.
C1 [Ming, Li; Boiko, A. N.] China West Normal Univ, Music Coll, Nanchong, Peoples R China.
C3 China West Normal University
RP Ming, L (corresponding author), China West Normal Univ, Music Coll, Nanchong, Peoples R China.
EM liming111917@163.com; boyko_anechka@inbox.ru
NR 7
TC 0
Z9 0
U1 3
U2 5
PU VOPROSY ISTORII
PI MOSCOW
PA VOPROSY ISTORII, MOSCOW, 00000, RUSSIA
SN 0042-8779
EI 1938-2561
J9 VOP ISTORII
JI Vopr. Istor.
PY 2023
VL 5
IS 1
BP 230
EP 235
DI 10.31166/VoprosyIstorii202305Statyi05
PG 6
WC History
WE Arts & Humanities Citation Index (A&HCI)
SC History
GA H2SB9
UT WOS:000994506200025
DA 2025-03-18
ER
PT J
AU Joncus, B
AF Joncus, Berta
TI 'To Propagate Sound for Sense': Music for Diversion and Seduction at
Ranelagh Gardens
SO LONDON JOURNAL
LA English
DT Article
DE Arcadia; ballad; feminine; John Beard; music; Ranelagh
AB Through its music, Ranelagh Gardens became a soundscape as well as a landscape. Characteristic of the vocal music performed at its Rotunda, Europe's first purpose-built concert space, was the projection - through words, orchestration, and pairings of singers - of the pastoral myth that the Gardens laboured to evoke. Pastoral-themed masquerades and their musical conceits offered visitors the chance to enact, as well as witness, an Arcadia-themed erotic abandonment, as when a maid of honour to the Princess of Wales appeared at a masquerade half-naked in the character of Iphegenia, the event lampooned in a vocal cantata by Thomas Arne. By working 'to propagate sound for sense', as Defoe had it, music helped overpower visitors' rationality at this 'Grand Seminary of Luxury'.
C1 Univ London, London WC1E 7HU, England.
C3 University of London
RP Joncus, B (corresponding author), Univ London, London WC1E 7HU, England.
NR 85
TC 3
Z9 5
U1 1
U2 6
PU MANEY PUBLISHING
PI LEEDS
PA STE 1C, JOSEPHS WELL, HANOVER WALK, LEEDS LS3 1AB, W YORKS, ENGLAND
SN 0305-8034
J9 LOND J
JI Lond. J.
PD MAR
PY 2013
VL 38
IS 1
BP 34
EP 66
DI 10.1179/0305803412Z.00000000020
PG 33
WC Area Studies; History
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Area Studies; History
GA 104QE
UT WOS:000316008600003
DA 2025-03-18
ER
PT J
AU Lasheras, RG
AF Guijarro Lasheras, Rodrigo
TI On Imaginary Content Analogies in Musico-Literary Imitation
SO CLCWEB-COMPARATIVE LITERATURE AND CULTURE
LA English
DT Article
AB In his article "On Imaginary Content Analogies in Musico-Literary Imitation," Rodrigo Guijarro Lasheras analyzes "imaginary content analogy," a term often used in musico-literary studies to describe a type of imitation of music in literature. His paper aims to examine and characterize this important concept, establishing several of its features that musico-literary criticism has not normally paid attention to, such as its static or dynamic character, its implicit or explicit musical correlate, and its relation to vocal music. He argues that all imaginary content analogies must have a correlate, and that, despite the fact that we normally think of them as dynamic, there is also a static version of this phenomenon. This may open up a set of questions eventually leading to a better understanding of many musical novels, including works by Huxley, Joyce, Proust, Mann and Forster.
C1 [Guijarro Lasheras, Rodrigo] Univ Complutense Madrid, Dept Romance Studies, Madrid, Spain.
C3 Complutense University of Madrid
RP Lasheras, RG (corresponding author), Univ Complutense Madrid, Dept Romance Studies, Madrid, Spain.
EM rguijarr@ucm.es
RI Lasheras, Rodrigo/AAA-2211-2021
OI Guijarro Lasheras, Rodrigo/0000-0002-6279-1309
NR 35
TC 1
Z9 2
U1 0
U2 0
PU PURDUE UNIV PRESS
PI W LAFAYETTE
PA 1207 SOUTH CAMPUS COURTS-E, W LAFAYETTE, IN 47907-1207 USA
SN 1481-4374
J9 CLCWEB-COMP LIT CULT
JI CLCWEB-Comp. Lit. Cult.
PD JUN
PY 2019
VL 21
IS 4
AR 3
DI 10.7771/1481-4374.3152
PG 8
WC Literature
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA IT2VD
UT WOS:000482710800003
OA gold
DA 2025-03-18
ER
PT J
AU Joks, E
Raju, M
AF Joks, Eerik
Raju, Marju
TI THE ESTONIAN LANGUAGE AND ITS INFLUENCE ON MUSIC: A COGNITIVE SCIENCES
APPROACH
SO FOLKLORE-ELECTRONIC JOURNAL OF FOLKLORE
LA English
DT Article
DE idiomatic singing; language; music-language link
ID PERFORMANCE; RHYTHM
AB Musicology may seem a specific small sector of humanitarian scholarship to the layman, but it hides variety within from highly theoretical subjects such as music theory to the fieldwork with indigenous repertoires and their performance, as found in ethnomusicology. There is a shift in contemporary musicology, its focus moving more towards studies of musical performances and the use of empirical study designs to complement the analysis of musical scores. These interdisciplinary empirical studies cross the border of humanitarian scholarship and apply the methods of the natural sciences, for example spectrogram analysis of singing and the measurement of the temporal structure of recorded music. The cognitive sciences of music (CSM) can be looked at as an umbrella term for branches of musicology that use empirical research methods and draw their research questions from music related individual and group processes. One of the major topics of CSM relates to research in linguistics. Music and language, as well as speech, are closely linked as the human voice is a natural part of vocal music and is considered a quintessential element in musical thinking, vocal and instrumental alike. The music-language-speech relationship intrigues Estonian musicologists as research questions focusing on related topics arise in different fields of musicology, including natural settings and functional songs (musical development, spontaneous singing, runosong, ecclesiastical singing) to the vocal art music performed by professional singers (some chronological examples: Ross & Lehiste 2001; Raju 2015; Lippus & Ross 2017; Joks 2021; Vurma et al. 2022). The purpose of this referative overview article is to introduce a selection of previous research and discuss the results. The endeavour of the authors is to find an abstract common denominator of selected CSM research projects to establish the most estimable useful knowledge that Estonian CSM has to offer to the international scholarly community, as well as to follow-up research in Estonia. Although we can see the results of that support, and we can see the universal perception and cognitive processes of language and music in Estonian research, there are also several interesting prosodic-musical differences relating to the fact that Estonian belongs to the Uralic language family, more specifically Western Finnish language group. Indo-Germanic (mainly German, Russian, Latin, Italian, and English) language related prosody and singing culture does not necessarily support the natural language usage and therefore represses emotional and spontaneous involvement in singing. It seems that in the process in which Estonian scholars deal with their distinctive mother tongue, indigenous musical repertoires, and idiomatic singing, intuition - more precisely a scholarly intuition -, might play an important role.
C1 [Joks, Eerik] Estonian Acad Mus & Theatre, Musicol, Washington, DC 20001 USA.
[Raju, Marju] Researcher Estonian Acad Mus & Theatre, Washington, DC 20001 USA.
RP Joks, E (corresponding author), Estonian Acad Mus & Theatre, Musicol, Washington, DC 20001 USA.
EM eerik.joks@eamt.ee; marju.raju@eamt.ee
RI Raju, Marju/AAH-9341-2020
OI Joks, Eerik/0000-0002-7471-9793
FU Centre of Excellence in Estonian Studies (CEES, European Regional
Development Fund)
FX This research has been supported by the Centre of Excellence in Estonian
Studies (CEES, European Regional Development Fund).
NR 63
TC 0
Z9 0
U1 3
U2 3
PU ESTONIAN LITERARY MUSEUM
PI TARTU
PA FOLK BELIEF & MEDIA GRP, VANEMUISE 42-235, TARTU, 51003, ESTONIA
SN 1406-0957
EI 1406-0949
J9 FOLKLORE-EL J FOLKL
JI Folklore-Electron. J. Folk.
PY 2023
IS 90
BP 109
EP 136
DI 10.7592/FEJF2023.90.joks_raju
PG 28
WC Folklore
WE Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics
GA DN8B5
UT WOS:001132808800004
OA gold
DA 2025-03-18
ER
PT J
AU Sun, L
AF Sun, Lian
TI Enhancing Vocal Performance using Variational Onsager Neural Network and
Optimized with Golden Search Optimization Algorithm
SO APPLIED ARTIFICIAL INTELLIGENCE
LA English
DT Article
ID SPEECH
AB The Singing Muscle Ability Training System (SMATS) represents a cutting-edge technological solution dedicated to honing an individual's vocal prowess. By employing a sophisticated combination of techniques, exercises, and methodologies, this system strategically targets and cultivates the muscle groups integral to singing. In its innovative approach, SMATS integrates Artificial Intelligence (AI) to elevate vocal capabilities further. The proposed SMATS-AI-VONN-GSOA stands out by incorporating the Variational Onsager Neural Network (VONN) alongside the Golden Search Optimization Algorithm (GSOA). This amalgamation tailors training routines based on the user's progress and preferences, emphasizing the development of muscle memory and control for enhanced vocal performance. Noteworthy is the system's capacity to analyze data through AI, enabling the creation of personalized training plans. In comparative evaluations, the SMATS-AI-VONN-GSOA method demonstrates a significant performance boost, surpassing existing methods like SMATS-AI-CNN, SMATS-AI-DNN, and SMATS-AI-DNN-HSV by 26.78%, 29.55%, and 21.41% in accuracy, respectively.
C1 [Sun, Lian] Capital Normal Univ, Dept Elect & Commun Engn, Kede Coll, Beijing, Peoples R China.
C3 Capital Normal University
RP Sun, L (corresponding author), Capital Normal Univ, Dept Elect & Commun Engn, Kede Coll, Beijing, Peoples R China.
EM sl1208@126.com
NR 24
TC 0
Z9 0
U1 6
U2 13
PU TAYLOR & FRANCIS INC
PI PHILADELPHIA
PA 530 WALNUT STREET, STE 850, PHILADELPHIA, PA 19106 USA
SN 0883-9514
EI 1087-6545
J9 APPL ARTIF INTELL
JI Appl. Artif. Intell.
PD DEC 31
PY 2024
VL 38
IS 1
AR 2340389
DI 10.1080/08839514.2024.2340389
PG 24
WC Computer Science, Artificial Intelligence; Engineering, Electrical &
Electronic
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering
GA OM3V6
UT WOS:001207660300001
OA gold
DA 2025-03-18
ER
PT J
AU Deary, IJ
Webb, A
MacKenzie, K
Wilson, JA
Carding, PN
AF Deary, IJ
Webb, A
MacKenzie, K
Wilson, JA
Carding, PN
TI Short, self-report voice symptom scales: psychometric characteristics of
the Voice Handicap Index-10 and the Vocal Performance Questionnaire
SO OTOLARYNGOLOGY-HEAD AND NECK SURGERY
LA English
DT Article
AB OBJECTIVE. Short, self-report symptom questionnaires are useful in routine clinical situations for assessing the progress of disorders and the influence of interventions. The Voice Handicap Index-10 (VHI-10) and Vocal Performance Questionnaire (VPQ) are brief self-reported assessments of voice pathology, apparently useful in the general voice clinic population. Little is known of the structure or internal consistency of either tool, nor whether they correlate. This study carried out a substantial, systematic evaluation of their performance in the Laryngology office setting.
STUDY DESIGN AND SETTING: 330 adult (222 women, 108 men) voice clinic attenders completed the VHI and the VPQ.
RESULTS: The VHI-10 and VPQ each had a large, single principal component, high internal consistency, and were highly correlated (dis-attenuated r = 0.91).
CONCLUSION: The VHI-10 and the VPQ are similar, short, convenient, internally-consistent, unidimensional tools.
SIGNIFICANCE: The total VHI-10 or VPQ score is a good overall indicator of the severity of voice disorders.
C1 Newcastle Univ, Freeman Rd Hosp, Dept Otolaryngol Head & Neck Surg, Newcastle Upon Tyne NE7 7DN, Tyne & Wear, England.
Univ Edinburgh, Dept Psychol, Edinburgh, Midlothian, Scotland.
Glasgow Royal Infirm, Dept Otorhinolaryngol Head & Neck Surg, Glasgow G4 0SF, Lanark, Scotland.
C3 Newcastle Freeman Hospital; Newcastle University - UK; University of
Edinburgh; University of Glasgow
RP Newcastle Univ, Freeman Rd Hosp, Dept Otolaryngol Head & Neck Surg, Newcastle Upon Tyne NE7 7DN, Tyne & Wear, England.
EM paul.carding@ncl.ac.uk
RI ; Deary, Ian/C-6297-2009
OI Wilson, Janet Ann/0000-0002-6416-5870; Carding,
Paul/0000-0002-4206-1827; Deary, Ian/0000-0002-1733-263X
NR 10
TC 90
Z9 96
U1 0
U2 6
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 0194-5998
EI 1097-6817
J9 OTOLARYNG HEAD NECK
JI Otolaryngol. Head Neck Surg.
PD SEP
PY 2004
VL 131
IS 3
BP 232
EP 235
DI 10.1016/j.otohns.2004.02.048
PG 4
WC Otorhinolaryngology; Surgery
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Otorhinolaryngology; Surgery
GA 860PS
UT WOS:000224356100014
PM 15365541
DA 2025-03-18
ER
PT J
AU Jäncke, L
Brügger, E
Brummer, M
Scherrer, S
Alahmadi, N
AF Jaencke, Lutz
Bruegger, Eliane
Brummer, Moritz
Scherrer, Stephanie
Alahmadi, Nsreen
TI Verbal learning in the context of background music: no influence of
vocals and instrumentals on verbal learning
SO BEHAVIORAL AND BRAIN FUNCTIONS
LA English
DT Article
ID COGNITIVE TEST-PERFORMANCE; MEMORY; ATTENTION; CORTEX; NOISE;
INTROVERTS; EXTROVERTS
AB Background: Whether listening to background music enhances verbal learning performance is still a matter of dispute. In this study we investigated the influence of vocal and instrumental background music on verbal learning.
Methods: 226 subjects were randomly assigned to one of five groups (one control group and 4 experimental groups). All participants were exposed to a verbal learning task. One group served as control group while the 4 further groups served as experimental groups. The control group learned without background music while the 4 experimental groups were exposed to vocal or instrumental musical pieces during learning with different subjective intensity and valence. Thus, we employed 4 music listening conditions (vocal music with high intensity: VOC_HIGH, vocal music with low intensity: VOC_LOW, instrumental music with high intensity: INST_HIGH, instrumental music with low intensity: INST_LOW) and one control condition (CONT) during which the subjects learned the word lists. Since it turned out that the high and low intensity groups did not differ in terms of the rated intensity during the main experiment these groups were lumped together. Thus, we worked with 3 groups: one control group and two groups, which were exposed to background music (vocal and instrumental) during verbal learning. As dependent variable, the number of learned words was used. Here we measured immediate recall during five learning sessions (recall 1 - recall 5) and delayed recall for 15 minutes (recall 6) and 14 days (recall 7) after the last learning session.
Results: Verbal learning improved during the first 5 recall sessions without any strong difference between the control and experimental groups. Also the delayed recalls were similar for the three groups. There was only a trend for attenuated verbal learning for the group passively listened to vocals. This learning attenuation diminished during the following learning sessions.
Conclusions: The exposure to vocal or instrumental background music during encoding did not influence verbal learning. We suggest that the participants are easily able to cope with this background stimulation by ignoring this information channel in order to focus on the verbal learning task.
C1 [Jaencke, Lutz; Bruegger, Eliane; Brummer, Moritz; Scherrer, Stephanie] Univ Zurich, Inst Psychol, Dept Neuropsychol, Zurich, Switzerland.
[Jaencke, Lutz; Alahmadi, Nsreen] King Abdulaziz Univ, Dept Special Educ, Program Higher Educ Studies, Jeddah 21589, Saudi Arabia.
[Jaencke, Lutz] Univ Zurich, CH-8050 Zurich, Switzerland.
C3 University of Zurich; King Abdulaziz University; University of Zurich
RP Jäncke, L (corresponding author), Univ Zurich, Inst Psychol, Dept Neuropsychol, Zurich, Switzerland.
EM lutz.jaencke@uzh.ch
RI Alahmadi, Nsreen/AAS-7302-2021; Jancke, Lutz/D-2910-2013
OI Alahmadi, Nsreen/0000-0001-8389-8562; Jancke, Lutz/0000-0003-2110-9067
NR 27
TC 27
Z9 31
U1 5
U2 73
PU BIOMED CENTRAL LTD
PI LONDON
PA 236 GRAYS INN RD, FLOOR 6, LONDON WC1X 8HL, ENGLAND
SN 1744-9081
J9 BEHAV BRAIN FUNCT
JI Behav. Brain Funct.
PD MAR 26
PY 2014
VL 10
AR 10
DI 10.1186/1744-9081-10-10
PG 7
WC Behavioral Sciences; Neurosciences
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Behavioral Sciences; Neurosciences & Neurology
GA AF1EL
UT WOS:000334457100001
PM 24670048
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Frühholz, S
Trost, W
Constantinescu, I
Grandjean, D
AF Fruehholz, Sascha
Trost, Wiebke
Constantinescu, Irina
Grandjean, Didier
TI Neural Dynamics of Karaoke-Like Voice Imitation in Singing Performance
SO FRONTIERS IN HUMAN NEUROSCIENCE
LA English
DT Article
DE voice; singing; auditory system; plasticity; neural network
ID VOCAL EXPRESSIONS; PROFICIENCY; BRAIN; SOUND
AB Beyond normal and non-imitative singing, the imitation of the timbre of another singer's voice, such as in Karaoke singing, involves the demanding reproduction of voice quality features and strongly depends on singing experience and practice. We show that precise voice imitation in a highly proficient and experienced vocal imitator, even in the absence of external auditory voice feedback, largely drew on internal cortico-subcortical auditory resources to control voicing errors based on imagined voice performance. Compared to the experienced vocal imitator, singers of a control group without experience in voice imitation used only sensorimotor feedback and demanding monitoring resources for imitation in the absence of voice feedback, a neural strategy that led, however, to a significantly poorer vocal performance. Thus, only long-term vocal imitation experience allows for the additional use of internal auditory brain resources, which result from training-induced brain plasticity, and which enable accurate vocal performance even under difficult performance conditions.
C1 [Fruehholz, Sascha; Trost, Wiebke] Univ Zurich, Dept Psychol, Zurich, Switzerland.
[Fruehholz, Sascha] Univ Zurich, Neurosci Ctr Zurich, Zurich, Switzerland.
[Fruehholz, Sascha] Swiss Fed Inst Technol, Zurich, Switzerland.
[Fruehholz, Sascha] Univ Oslo, Dept Psychol, Oslo, Norway.
[Fruehholz, Sascha; Grandjean, Didier] Univ Geneva, Swiss Ctr Affect Sci, Geneva, Switzerland.
[Constantinescu, Irina] Univ Hosp Geneva, Dept Neurol, Geneva, Switzerland.
[Grandjean, Didier] Univ Geneva, Dept Psychol, Geneva, Switzerland.
C3 University of Zurich; University of Zurich; Swiss Federal Institutes of
Technology Domain; ETH Zurich; University of Oslo; University of Geneva;
University of Geneva; University of Geneva
RP Frühholz, S (corresponding author), Univ Zurich, Dept Psychol, Zurich, Switzerland.; Frühholz, S (corresponding author), Univ Zurich, Neurosci Ctr Zurich, Zurich, Switzerland.; Frühholz, S (corresponding author), Swiss Fed Inst Technol, Zurich, Switzerland.; Frühholz, S (corresponding author), Univ Oslo, Dept Psychol, Oslo, Norway.; Frühholz, S (corresponding author), Univ Geneva, Swiss Ctr Affect Sci, Geneva, Switzerland.
EM sascha.fruehholz@uzh.ch
OI Trost, Wiebke/0000-0003-4885-1042
FU Swiss National Science Foundation [SNSF PP00P1_157409/1]; NCCR in
Affective Sciences at the University of Geneva [SNSF 51NF40-104897]
FX This study was supported by the Swiss National Science Foundation (SNSF
PP00P1_157409/1) and by the NCCR in Affective Sciences at the University
of Geneva (SNSF 51NF40-104897).
NR 29
TC 0
Z9 0
U1 1
U2 3
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
SN 1662-5161
J9 FRONT HUM NEUROSCI
JI Front. Hum. Neurosci.
PD APR 28
PY 2020
VL 14
AR 135
DI 10.3389/fnhum.2020.00135
PG 11
WC Neurosciences; Psychology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Neurosciences & Neurology; Psychology
GA LO1MN
UT WOS:000533392300001
PM 32410970
OA gold, Green Published
DA 2025-03-18
ER
PT J
AU Li, HS
AF Li, Hesheng
TI Fuzzy Control Based Stage Phobia Analysis System for Vocal Performers
SO INTERNATIONAL JOURNAL ON ARTIFICIAL INTELLIGENCE TOOLS
LA English
DT Article
DE Fuzzy control; vocal performance; stage phobia; psychology
ID IMAGE ENCRYPTION SCHEME; SENTIMENT CLASSIFICATION; VOICE
AB This paper integrates wavelet sound wave analysis with a fuzzy control method to develop a stage phobia analysis system for vocal performers in order to enhance the psychological efficiency of vocal performers and reduce the effect of stage phobia on vocal performance. To achieve howling signal filtering, the frequency sub-band with howling is reversed and then superimposed with the original signal in audio processing. Furthermore, this paper incorporates the actual requirements for processing the vocal audio spectrum and builds the corresponding practical modules. Furthermore, this paper integrates the research needs of vocal performers' stage phobia to create system function modules, and investigates the psychological activities of vocal performers using the fuzzy control system, discovers the factors that influence stage performances, and improves the psychological output of vocal performers. Finally, this paper proposes experiments to test and evaluate the system's results. The research findings indicate that the system described in this paper has a significant impact.
C1 [Li, Hesheng] East China Jiaotong Univ, Nanchang 330013, Jiangxi, Peoples R China.
C3 East China Jiaotong University
RP Li, HS (corresponding author), East China Jiaotong Univ, Nanchang 330013, Jiangxi, Peoples R China.
EM lhs1979420@163.com
NR 33
TC 1
Z9 1
U1 1
U2 5
PU WORLD SCIENTIFIC PUBL CO PTE LTD
PI SINGAPORE
PA 5 TOH TUCK LINK, SINGAPORE 596224, SINGAPORE
SN 0218-2130
EI 1793-6349
J9 INT J ARTIF INTELL T
JI Int. J. Artif. Intell. Tools
PD DEC
PY 2021
VL 30
IS 06N08
AR 2140009
DI 10.1142/S0218213021400091
PG 22
WC Computer Science, Artificial Intelligence; Computer Science,
Interdisciplinary Applications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA XV4LF
UT WOS:000734914600010
DA 2025-03-18
ER
PT J
AU Zheng, JY
Zhang, YY
Zhang, SS
AF Zheng, Jiayao
Zhang, Yiyao
Zhang, Shanshan
TI Audio-visual aesthetic teaching methods in college students' vocal music
teaching by deep learning
SO SCIENTIFIC REPORTS
LA English
DT Article
DE STEAM education; Deep learning; Audio-visual aesthetic; Three-stage
teaching; Teaching reform
ID EDUCATION; STEAM
AB In recent times, characterized by the rapid advancement of science and technology, the educational system has continuously evolved. Within this modern educational landscape, Science, Technology, Engineering, Arts, and Mathematics (STEAM) education has emerged as a prominent pedagogical paradigm, gaining substantial popularity in college-level instruction and capturing widespread societal attention. Notably, the cultivation of audio-visual aesthetic proficiency occupies a central role within this educational approach, prioritizing the enhancement of aesthetic sensibilities. By ingeniously amalgamating scientific knowledge with emotional expression, this research assumes a crucial facet in the holistic development of individuals. The research aims to explore the cultivation of students' audio-visual aesthetic abilities in university-level vocal music education by integrating deep learning and STEAM education principles. Drawing upon an extensive review of relevant literature, this research synthesizes the principles of STEAM education with those of deep learning, while considering the current cultural and societal context and the distinct realities faced by contemporary college students. Consequently, this research posits a novel conceptual framework for curriculum design and proposes a three-stage teaching process model. To substantiate the efficacy of this innovative educational model, an empirical investigation employing a questionnaire survey is conducted to assess its teaching effectiveness, confirming the marked superiority of this pioneering pedagogical approach. The results demonstrate that the new teaching model has led to notable enhancements in students' audio-visual aesthetic abilities, self-confidence in learning, and learning efficiency. Additionally, compared to traditional educational methods, the curriculum primarily, which focused on STEAM education with the project as its core, emphasizes the logic of the learning process and its connection with other disciplines. In conclusion, the three-stage educational model combining STEAM education and deep learning fully considers students' learning situations and utilizes the analytical capabilities of computers for educational purposes. This learner-centric approach significantly augments teaching efficiency and flexibility. Finally, the research concludes by summarizing its contributions and limitations, offering practical recommendations for the field. This research provides new insights and references for the practice and improvement of audio-visual aesthetic education in higher education institutions.
C1 [Zheng, Jiayao; Zhang, Yiyao] Beijing Normal Univ, Sch Arts & Commun, Beijing 100875, Peoples R China.
[Zhang, Shanshan] Sookmyung Womens Univ, Coll Mus, Seoul 04310, South Korea.
C3 Beijing Normal University; Sookmyung Women's University
RP Zhang, SS (corresponding author), Sookmyung Womens Univ, Coll Mus, Seoul 04310, South Korea.
EM 11112018044@bnu.edu.cn
RI Shanshan, Zhang/ABE-4702-2020
NR 38
TC 0
Z9 0
U1 16
U2 16
PU NATURE PORTFOLIO
PI BERLIN
PA HEIDELBERGER PLATZ 3, BERLIN, 14197, GERMANY
SN 2045-2322
J9 SCI REP-UK
JI Sci Rep
PD NOV 26
PY 2024
VL 14
IS 1
AR 29386
DI 10.1038/s41598-024-80640-7
PG 18
WC Multidisciplinary Sciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Science & Technology - Other Topics
GA O2S1O
UT WOS:001369681700008
PM 39592803
OA gold
DA 2025-03-18
ER
PT J
AU He, JX
AF He Jinxu
TI Study on the Relationship Between Chinese Opera and Opera Music Record
SO AGRO FOOD INDUSTRY HI-TECH
LA English
DT Article
DE Chinese opera; western opera; traditional opera; singing plate
AB Chinese national opera is a new type of Chinese dramatic art, and also a product of foreign art forms that combine traditional music. In the traditional art heritage, Chinese traditional drama and Chinese opera elements lay the foundation for the development of Chinese national operas. Under this background, development process and characteristics of Western drama were studied and analyzed; its impact on the Chinese development of opera and the development of Chinese opera were introduced; with the analysis of singing and opera plate features, combining the actual Chinese opera, the integration and application of traditional Chinese opera plates were analyzed; relationship between Chinese drama and opera music record was investigated with the hope to promote the study on the opera of Chinese national opera and the development of national vocal music teaching systems.
C1 [He Jinxu] Zhengzhou Inst Technol, Zhengzhou, Peoples R China.
C3 Henan University of Technology
RP He, JX (corresponding author), Zhengzhou Inst Technol, Zhengzhou, Peoples R China.
NR 15
TC 1
Z9 1
U1 8
U2 78
PU TEKNOSCIENZE PUBL
PI MILANO
PA VIALE BRIANZA 22, 20127 MILANO, ITALY
SN 1722-6996
EI 2035-4606
J9 AGRO FOOD IND HI TEC
JI Agro Food Ind. Hi-Tech
PD JAN-FEB
PY 2017
VL 28
IS 1
BP 858
EP 861
PG 4
WC Biotechnology & Applied Microbiology; Food Science & Technology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Biotechnology & Applied Microbiology; Food Science & Technology
GA FB2RY
UT WOS:000405992100198
DA 2025-03-18
ER
PT J
AU Glatthorn, A
AF Glatthorn, Austin
TI THE LEGACY OF 'ARIADNE' AND THE MELODRAMATIC SUBLIME
SO MUSIC & LETTERS
LA English
DT Article; Proceedings Paper
CT Conference on Operas Canonic Entanglements
CY JUN 20-24, 2017
CL Cesky Krumlov, CZECH REPUBLIC
ID AESTHETICS
AB Georg Benda's Ariadne auf Naxos (1775) was an immediate success. By the end of the century, not only was it in the repertory of nearly every German theatre, but it was also one of the few German-language pieces translated for performances across Europe. Central to this melodrama-traditionally defined as an alternation of emotional declamation and pantomime with instrumental music-is its evocation of the sublime. Though scholars have posited Ariadne and its defining aesthetics as a model employed in subsequent Romantic opera, such teleological readings overlook reform melodramas that embraced vocal music and localized sublime moments. I argue that these works, rather than Ariadne, pushed melodrama's generic boundaries to the verge of opera and in the process provided instrumental music with the power to express the sublime without the aid of text. This exploration offers fresh insight into melodrama's music-text relations, generic hybridity, and aesthetic entanglements with opera and symphonic music.
C1 [Glatthorn, Austin] Univ Durham, Durham, England.
C3 Durham University
RP Glatthorn, A (corresponding author), Univ Durham, Durham, England.
EM austin.j.glatthorn@durham.ac.uk
FU Social Sciences and Humanities Research Council of Canada
FX This research was generously supported by the Social Sciences and
Humanities Research Council of Canada. Life dates are given where
possible. All translations are my own.
NR 80
TC 2
Z9 2
U1 0
U2 1
PU OXFORD UNIV PRESS
PI OXFORD
PA GREAT CLARENDON ST, OXFORD OX2 6DP, ENGLAND
SN 0027-4224
EI 1477-4631
J9 MUSIC LETT
JI Music Lett.
PD MAY
PY 2019
VL 100
IS 2
BP 233
EP 270
DI 10.1093/ml/gcy116
PG 38
WC Music
WE Arts & Humanities Citation Index (A&HCI); Conference Proceedings Citation Index - Social Science & Humanities (CPCI-SSH)
SC Music
GA JI3WK
UT WOS:000493399400004
OA Bronze
DA 2025-03-18
ER
PT J
AU Spener, D
AF Spener, David
TI A Song in Movement: "We Shall Not Be Moved" in the United States, Spain,
and Chile in the 19th and 20th Centuries
SO HISTORIA CRITICA
LA Spanish
DT Article
DE social movement; transcultural analysis; vocal music; protest movement;
globalization
AB This article presents the results of a study that examines the history of the song "We Shall Not Be Moved" and the singing of it in different cultural and sociopolitical contexts over the course of two centuries. The song originated in the religious practices of African slaves in the United States in the 19th century. In the 20th century it was adopted as an anthem by labor union movements and the civil rights movement in the United States. It later arrived in Spain, where it played a role in the resistance against the Franco regime before being sung in Chile to defend the socialist project of Salvador Allende. Various theoretical concepts are used in the analysis, including those of transculturation, cosmopolitanism, and transcultural capital.
C1 Trinity Univ, Dept Sociol & Antropol, San Antonio, TX 78212 USA.
C3 Trinity University
RP Spener, D (corresponding author), Trinity Univ, Dept Sociol & Antropol, San Antonio, TX 78212 USA.
EM dspener@trinity.edu
NR 48
TC 3
Z9 3
U1 1
U2 10
PU UNIV ANDES
PI Bogota
PA Cra. 1 #18a-12, Bogota, COLOMBIA
SN 0121-1617
EI 1900-6152
J9 HIST CRITICA
JI Hist. Crit.
PD JUL-SEP
PY 2015
IS 57
BP 55
EP 74
DI 10.7440/histcrit57.2015.04
PG 20
WC History
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC History
GA CR2MK
UT WOS:000361164000005
OA Green Submitted, gold
DA 2025-03-18
ER
PT J
AU Zuccarini, C
AF Zuccarini, Carlo
TI Hearing Voices: Neuropsychoanalysis and Opera
SO INTERDISCIPLINARY SCIENCE REVIEWS
LA English
DT Article
DE Opera; Neuropsychoanalysis; Voice; Gaze; Synaesthesia
ID MUSIC; SCIENCE
AB Opera essentially combines three layers - drama, music and singing that have one thing in common: language. As neuroscience continues to explore how music is processed in the brain, similarities with language processing are becoming increasingly apparent. Listening to music involves the activation of numerous brain regions, including the so-called reward and pleasure centres, as well as some of the same areas associated with language processing. However, these findings do not explain why some people experience intense emotion, feel choked up or tearful, upon hearing an operatic voice. With language as a common denominator, Lacanian theory may provide some insight into this particular relationship between operatic vocal music and emotion. Therefore, a neuropsychoanalytic approach, combining current neuroscientific knowledge and psychoanalytic theory, may contribute to a deeper understanding of how and why the operatic voice is capable of evoking such powerful emotion.
C1 Brunel Univ, London, England.
C3 Brunel University
RP Zuccarini, C (corresponding author), Brunel Univ, London, England.
EM Carlo.Zuccarini@brunel.ac.uk
NR 29
TC 0
Z9 0
U1 0
U2 6
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 0308-0188
EI 1743-2790
J9 INTERDISCIPL SCI REV
JI Interdiscip. Sci. Rev.
PD JUN
PY 2010
VL 35
IS 2
SI SI
BP 154
EP 165
DI 10.1179/030801810X12723585301156
PG 12
WC Multidisciplinary Sciences; Social Sciences, Interdisciplinary
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Science & Technology - Other Topics; Social Sciences - Other Topics
GA 619SD
UT WOS:000279449700005
DA 2025-03-18
ER
PT J
AU Wuyts, FL
Heylen, L
Mertens, F
Du Caju, M
Rooman, R
Van de Heyning, PH
De Bodt, M
AF Wuyts, FL
Heylen, L
Mertens, F
Du Caju, M
Rooman, R
Van de Heyning, PH
De Bodt, M
TI Effects of age, sex, and disorder on voice range profile characteristics
of 230 children
SO ANNALS OF OTOLOGY RHINOLOGY AND LARYNGOLOGY
LA English
DT Article
DE age effect; child; normal voice; sex effect; vocal fold pathology; voice
range profile
ID SOUND PRESSURE LEVEL; FUNDAMENTAL-FREQUENCY; PHONETOGRAMS; FEATURES
AB In this study, the effect of age, sex, and disorder on the vocal performance of 230 children 6 to 11 years of age was investigated by means of the voice range profile (VRP). Ninety-four control children and 136 children with disorders were studied. The VRPs were quantitatively described by frequency and intensity characteristics, as well as by morphological characteristics. Significant differences between healthy children and children with disorders were found. Age has a different effect in girls than in boys regarding vocal performance. Most of the characteristics for the healthy girls change gradually over the period from 6 to 11 years. For the healthy boys, however, two age groups can be identified: one below and one above 8 years of age. It is hypothesized that the androgen dehydroepiandrosterone (DHEA) and its sulfate may play a role in this phenomenon.
C1 Univ Antwerp, Univ Hosp, Dept Otolaryngol Head & Neck Surg, B-2650 Edegem, Belgium.
Univ Antwerp, Univ Hosp, Dept Commun Disorders, B-2650 Edegem, Belgium.
Univ Antwerp, Univ Hosp, Dept Pediat, B-2650 Edegem, Belgium.
Turnhout, Logopaed Serv, Antwerp, Belgium.
C3 University of Antwerp; University of Antwerp; University of Antwerp
RP Wuyts, FL (corresponding author), Univ Antwerp, Univ Hosp, Dept Otolaryngol Head & Neck Surg, Wilrijkstr 10, B-2650 Edegem, Belgium.
RI DE BODT, MARC/AAF-2724-2021; Wuyts, Floris/AAE-3478-2020; DE BODT,
Marc/E-3800-2017; Van de Heyning, Paul/I-8278-2017
OI DE BODT, Marc/0000-0001-6478-8739; Van de Heyning,
Paul/0000-0002-8424-3717
NR 43
TC 19
Z9 25
U1 0
U2 2
PU ANNALS PUBL CO
PI ST LOUIS
PA 4507 LACLEDE AVE, ST LOUIS, MO 63108 USA
SN 0003-4894
J9 ANN OTO RHINOL LARYN
JI Ann. Otol. Rhinol. Laryngol.
PD JUN
PY 2003
VL 112
IS 6
BP 540
EP 548
DI 10.1177/000348940311200611
PG 9
WC Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Otorhinolaryngology
GA 689MR
UT WOS:000183497600011
PM 12834124
DA 2025-03-18
ER
PT J
AU Temperley, D
AF Temperley, David
TI The origins of syncopation in American popular music
SO POPULAR MUSIC
LA English
DT Article
ID JAZZ
AB The origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation - the focus of the current study - seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.
C1 [Temperley, David] Eastman Sch Mus, 26 Gibbs St, Rochester, NY 14604 USA.
C3 University of Rochester
RP Temperley, D (corresponding author), Eastman Sch Mus, 26 Gibbs St, Rochester, NY 14604 USA.
EM dtemperley@esm.rochester.edu
OI Temperley, David/0000-0002-0569-7877
NR 89
TC 7
Z9 9
U1 1
U2 4
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 0261-1430
EI 1474-0095
J9 POP MUSIC
JI Pop. Music
PD FEB
PY 2021
VL 40
IS 1
BP 18
EP 41
AR PII S0261143021000283
DI 10.1017/S0261143021000283
PG 24
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA SM7SP
UT WOS:000657800600002
DA 2025-03-18
ER
PT J
AU Chen, DW
Guo, X
AF Chen, Dawei
Guo, Xu
TI Application of Multiacoustic Data in Feature Extraction of Anemometer
SO COMPLEXITY
LA English
DT Article
AB The acoustic characteristics of wind instruments are a major feature in the field of vocal music. This paper studies the application effect of wind power instrument feature extraction based on multiacoustic data. Combined with the acoustic data training model, the classification algorithm based on deep trust network is used to process multiple acoustic data. Using multiple acoustic data for feature extraction, the recognition and matching between multiple acoustic data and wind measuring instrument are realized. The experiment not only evaluates the error of the network classification algorithm but also describes the evaluation function of the deep belief network classification algorithm in the system. The traditional SNR evaluation method is used to improve the deficiency of evaluation function. Through the deep belief network classification algorithm for self-learning, the instrument recognition method with strong applicability is established. Finally, the effectiveness of multiacoustic data in wind power instrument feature extraction is verified.
C1 [Chen, Dawei; Guo, Xu] Qiqihar Univ, Sch Mus & Dance, Qiqihar 161000, Heilongjiang, Peoples R China.
C3 Qiqihar University
RP Guo, X (corresponding author), Qiqihar Univ, Sch Mus & Dance, Qiqihar 161000, Heilongjiang, Peoples R China.
EM wanghui10@post.eurasia.edu
RI Chen, Dawei/HTL-9154-2023
FU Art Science Planning Project of Heilongjiang Province [2020B052]
FX This research was supported by Art Science Planning Project of
Heilongjiang Province: Research on the develop (No. 2020B052).
NR 23
TC 1
Z9 1
U1 0
U2 15
PU WILEY-HINDAWI
PI LONDON
PA ADAM HOUSE, 3RD FL, 1 FITZROY SQ, LONDON, WIT 5HE, ENGLAND
SN 1076-2787
EI 1099-0526
J9 COMPLEXITY
JI Complexity
PD JUL 24
PY 2021
VL 2021
AR 7955909
DI 10.1155/2021/7955909
PG 10
WC Mathematics, Interdisciplinary Applications; Multidisciplinary Sciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Mathematics; Science & Technology - Other Topics
GA TX6CZ
UT WOS:000683178700001
OA gold
DA 2025-03-18
ER
PT J
AU Stanyon, M
AF Stanyon, Miranda
TI The Changes, or Plus ca change? Newburgh Hamilton's Early
Writings and the Politics of Handel's Librettos
SO JOURNAL OF THE ROYAL MUSICAL ASSOCIATION
LA English
DT Article
ID HISTORY; OPERA
AB This article examines the early writings of one of Handel's English librettists, Newburgh Hamilton. It describes what seems to be Hamilton's first publication, the little-studied Tory satire The Changes (1711), sets it alongside other early publications and biographical details, and reads this material alongside two of Hamilton's librettos for Handel, Alexander's Feast (1736) and Samson (1743). Hamilton's early writings are approached less as contexts for the oratorios than as texts with their own interest, and as intertexts to be set in dialogue with later productions. The article seeks to contribute to debate over the politics of Handel's vocal music, debate provoked not least by the difficulties of defining the sphere and meanings of politics in eighteenth-century culture, and of conceptualizing the collaborative endeavours and multiple sites of composition, patronage, business, performance and reception that make up Handel's oratorios.
C1 [Stanyon, Miranda] Kings Coll London, Comparat Literature, London, England.
C3 University of London; King's College London
RP Stanyon, M (corresponding author), Kings Coll London, Comparat Literature, London, England.
EM miranda.stanyon@kcl.ac.uk
NR 118
TC 1
Z9 1
U1 0
U2 1
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 0269-0403
EI 1471-6933
J9 J ROY MUSIC ASSN
JI J. Roy. Music. Assoc.
PY 2017
VL 142
IS 2
BP 221
EP 255
DI 10.1080/02690403.2017.1361171
PG 35
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA FK9PJ
UT WOS:000413843000001
OA Green Submitted
DA 2025-03-18
ER
PT J
AU Simones, LL
AF Simones, Lilian Lima
TI Beyond expectations in music performance modules in higher education:
rethinking instrumental and vocal music pedagogy for the twenty-first
century
SO MUSIC EDUCATION RESEARCH
LA English
DT Article
DE Instrumental music teaching; vocal teaching; expectations; music higher
education; instrumental and vocal teacher professional accreditation
ID UNIVERSITY; ATTITUDES; TEACHERS; GESTURE
AB Music performance in the higher educational context is shaped by a reciprocal chain of interactions between students, part-time tutors and full-time teaching staff, each with specific expectations about the teaching and learning process. Such expectations can provide valuable insights not only for designing and implementing meaningful educational strategies but also for defining higher education (HE) institutions' specific mission, inside and outside departmental boundaries. Drawing on an empirical investigation about the dynamics of the expectations of the above stakeholders regarding the integration of instrumental/vocal tuition into the HE learning environment, this article discusses the need for developing teaching excellence in instrumental and vocal tuition across the UK, arguing that HE environments have a crucial role to play in such process.
C1 [Simones, Lilian Lima] Queens Univ, Son Arts Res Ctr, Belfast, Antrim, North Ireland.
C3 Queens University Belfast
RP Simones, LL (corresponding author), Queens Univ, Son Arts Res Ctr, Belfast, Antrim, North Ireland.
EM lsimones01@qub.ac.uk
RI Simones, Lilian/J-3116-2019
OI Simones, Lilian/0000-0002-3848-0834
FU Higher Education Academy (HEA), Northern Ireland Enhancement Fund [DCE
605]
FX This work was supported by a grant from the Higher Education Academy
(HEA), Northern Ireland Enhancement Fund [DCE 605] administered by the
University of Ulster.
NR 44
TC 13
Z9 16
U1 3
U2 19
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1461-3808
EI 1469-9893
J9 MUSIC EDUC RES
JI Music Educ. Res.
PY 2017
VL 19
IS 3
BP 252
EP 262
DI 10.1080/14613808.2015.1122750
PG 11
WC Education & Educational Research; Music
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Education & Educational Research; Music
GA FB0FW
UT WOS:000405821400003
DA 2025-03-18
ER
PT J
AU Chang, HKH
AF Chang, Hyun Kyong Hannah
TI Colonial circulations: Japan's classroom songbooks in Korea, 1910-1945
SO ETHNOMUSICOLOGY FORUM
LA English
DT Article
DE Korea; Japan; colonial period; school songs; East Asia
AB The rise of Japan as a regional empire and a model of Asian modernity in the late nineteenth century set in motion the diffusion of particular forms of vocal music across East Asia. In this article, I examine one important material channel within this intra-regional circulation of music: classroom songbooks published by the Japanese colonial government in Korea for use in its elementary schools throughout Korea. I analyse the contents and sourcing patterns of authorised songbooks that represent the three distinct phases of the colonial rule (1910-1945), exploring how they crystallised the colonial government's shifting stance on Korean assimilation and difference. I also situate these textbooks within a broader ecosystem of published songbooks in Japan and Korea, which I argue constituted a multifaceted nexus between the metropole and the colony, one that demonstrates the interrelationship of coloniality and modernity in early twentieth-century East Asia.
C1 [Chang, Hyun Kyong Hannah] Yale Univ, Inst Sacred Mus, 409 Prospect St, New Haven, CT 06511 USA.
C3 Yale University
RP Chang, HKH (corresponding author), Yale Univ, Inst Sacred Mus, 409 Prospect St, New Haven, CT 06511 USA.
EM hyunkyong.chang@yale.edu
FU Institute of Sacred Music at Yale University
FX This article has benefited from the support and advice of a number of
scholars. My greatest debt is to Hyun Kyung Chae, director of the Ewha
Music Research Institute, whose leadership of and vision for a digital
database of modern East Asian music materials has allowed me to collect
and analyse the data for this article. I am also indebted to discussions
with scholars at the Ewha Music Research Institute, especially Seung im
Seo, SaRang Kim, and Jeeyeon Huh. Joshua D. Pilzer provided invaluable
comments on the manuscript during the final stages. I thank the
anonymous reviewers for their useful suggestions and also thank Jeong
Min Jin, Ena Kajino, Michael Prentice, and Lester Hu, who helped smooth
the challenging path of multilingual research. The Institute of Sacred
Music at Yale University provided support while I was finishing the
manuscript. I alone am responsible for any errors in the article. An
earlier version of this article was presented at the 20th Congress of
the International Musicological Society in Tokyo, Japan in 2017.
NR 49
TC 8
Z9 9
U1 0
U2 2
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1741-1912
EI 1741-1920
J9 ETHNOMUSICOL FORUM
JI Ethnomusicol. Forum
PY 2018
VL 27
IS 2
BP 157
EP 183
DI 10.1080/17411912.2018.1506941
PG 27
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA GX3NO
UT WOS:000447631700004
DA 2025-03-18
ER
PT J
AU SCHERER, KR
AF SCHERER, KR
TI EXPRESSION OF EMOTION IN VOICE AND MUSIC
SO JOURNAL OF VOICE
LA English
DT Article
DE AFFECT VOCALIZATION; EMOTIONAL EXPRESSION; PROSODY; SINGING; NONVERBAL
COMMUNICATION; EMOTION EFFECTS ON VOICE
AB Vocal communication of emotion is biologically adaptive for socially living species and has therefore evolved in a phylogenetically continuous manner. Human affect bursts or interjections can be considered close parallels to animal affect vocalizations. The development of speech, unique to the human species, has relied on the voice as a carrier signal, and thus emotion effects on the voice become audible during speech. This article reviews (a) the evidence on listeners' ability to accurately identify a speaker's emotion from voice cues alone, (b) the research efforts trying to isolate the acoustic features that determine listener judgments, and (c) the findings on actual acoustic concomitants of a speaker's emotional state (real or portrayed by actors). Finally, based on speculations about the joint origin of speech and vocal music in nonlinguistic affect vocalizations, similarities of emotion expression in speech and music are discussed.
RP SCHERER, KR (corresponding author), UNIV GENEVA,DEPT PSYCHOL,9 ROUTE DRIZE,CH-1227 CAROUGE,SWITZERLAND.
NR 0
TC 273
Z9 321
U1 1
U2 75
PU LIPPINCOTT-RAVEN PUBL
PI PHILADELPHIA
PA 227 EAST WASHINGTON SQ, PHILADELPHIA, PA 19106
SN 0892-1997
J9 J VOICE
JI J. Voice
PD SEP
PY 1995
VL 9
IS 3
BP 235
EP 248
DI 10.1016/S0892-1997(05)80231-0
PG 14
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA RP997
UT WOS:A1995RP99700002
PM 8541967
OA Green Published
DA 2025-03-18
ER
PT J
AU Tsou, J
AF Tsou, Judy
TI AN ARCHIVE AND A COLLECTION OF RARE MUSIC SCORES: THE WILLIAM CRAWFORD
III COLLECTIONS
SO NOTES
LA English
DT Article
AB William (Bill) Crawford III (1932-2013), a collector of first-edition printed music, left his prized collection and its accompanying papers to the University of Washington's Music Library. The collection focuses on vocal music, especially opera piano-vocal scores. The collection spans six centuries, beginning with Palestrina's second book of madrigals (1586), and ends with Peter Schickele's Music for Judy (2013). The bulk of the publications, however, date from the nineteenth and twentieth centuries. The accompanying materials include purchase records and research on the items in the collection; collected letters including some from Rossini, Puccini, and Britten; photographs of performers; and photographs taken during the Spoleto Festival (Italy) when Crawford was manager. The paper highlights some of the treasures of the collection, the acquisition history and Crawford's collection plan, and the principles on which the archival collection is arranged.
[GRAPHICS]
.
C1 [Tsou, Judy] Univ Washington, Mus Lib, Seattle, WA 98195 USA.
C3 University of Washington; University of Washington Seattle
RP Tsou, J (corresponding author), Univ Washington, Mus Lib, Seattle, WA 98195 USA.
NR 0
TC 1
Z9 1
U1 0
U2 3
PU MUSIC LIBRARY ASSOC
PI MIDDLETON
PA C/O A-R EDITIONS, INC, 8551 RESEARCH WAY, STE 180, MIDDLETON, WI 53562
USA
SN 0027-4380
EI 1534-150X
J9 NOTES
JI Notes
PD JUN
PY 2017
VL 73
IS 4
BP 673
EP 697
DI 10.1353/not.2017.0037
PG 25
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA FN0OV
UT WOS:000415678800003
DA 2025-03-18
ER
PT J
AU Shoffel-Havakuk, H
Lava, CX
Hapner, ER
O'Dell, K
Reder, L
Johns, MM
AF Shoffel-Havakuk, Hagit
Lava, Christian X.
Hapner, Edie R.
O'Dell, Karla
Reder, Lindsay
Johns, Michael M., III
TI The Singer's and the Clinician's Perspective on Vitamin B12
Treatment for Vocal Benefits
SO JOURNAL OF VOICE
LA English
DT Article
DE Singing; Vocal performance; Cobalamin; Vitamin B-12; Complementary
medicine
ID FOLATE; HOMOCYSTEINE; DEFICIENCY; COBALAMIN; PATHOPHYSIOLOGY;
DEPRESSION; WOMEN
AB Introduction. 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.
Objectives. To assess the prevalence of vitamin B-12 use among singers and their beliefs regarding vitamin B-12 therapy.
Methods. Anonymous online survey administered to singers, singing-teachers, speech-language pathologists, and laryngologists.
Results. 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).
Conclusions. 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.
C1 [Shoffel-Havakuk, Hagit; Hapner, Edie R.; O'Dell, Karla; Reder, Lindsay; Johns, Michael M., III] Univ Southern Calif, Dept Otolaryngol Head & Neck Surg, USC Voice Ctr, 1540 Alcazar Suite 204M, Los Angeles, CA 90033 USA.
[Lava, Christian X.] Univ Southern Calif, Los Angeles, CA 90033 USA.
C3 University of Southern California; University of Southern California
RP Johns, MM (corresponding author), Univ Southern Calif, Dept Otolaryngol Head & Neck Surg, USC Voice Ctr, 1540 Alcazar Suite 204M, Los Angeles, CA 90033 USA.
EM Michael.Johns@med.usc.edu
NR 27
TC 1
Z9 1
U1 0
U2 0
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAY
PY 2019
VL 33
IS 3
BP 352
EP 356
DI 10.1016/j.jvoice.2017.10.021
PG 5
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA HX6TX
UT WOS:000467537300015
PM 29306524
DA 2025-03-18
ER
PT J
AU Sundberg, J
La, FMB
Himonides, E
AF Sundberg, Johan
La, Filipa M. B.
Himonides, Evangelos
TI Intonation and Expressivity: A Single Case Study of Classical Western
Singing
SO JOURNAL OF VOICE
LA English
DT Article
DE Intonation; Sharpening; Expressivity; Western classical singing;
Phase-peak tones
AB 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.
C1 [Sundberg, Johan] KTH, Dept Speech Mus & Hearing, Sch Comp Sci & Commun, SE-10044 Stockholm, Sweden.
[La, Filipa M. B.] Univ Aveiro, INET MD, Dept Commun & Arts, P-3800 Aveiro, Portugal.
[Himonides, Evangelos] Univ London, Inst Educ, London WC1N 1AZ, England.
C3 Royal Institute of Technology; Universidade de Aveiro; University of
London; University College London; UCL Institute of Education
RP Sundberg, J (corresponding author), KTH, Dept Speech Mus & Hearing, SE-10044 Stockholm, Sweden.
EM pjohan@speech.kth.se
RI La, Filipa M.B./M-7767-2013; Himonides, Evangelos/I-2884-2015
OI La, Filipa M.B./0000-0001-5560-7406; Himonides,
Evangelos/0000-0002-8749-0799
NR 18
TC 11
Z9 15
U1 0
U2 4
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAY
PY 2013
VL 27
IS 3
BP 391
EP +
AR 391.e1
DI 10.1016/j.jvoice.2012.11.009
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 149IX
UT WOS:000319313400023
PM 23453592
DA 2025-03-18
ER
PT J
AU Tomchuk, D
Schneider, K
Bascomb-Harrison, J
AF Tomchuk, David
Schneider, Kyle
Bascomb-Harrison, Jacklyn
TI COVID-19 Symptom Reporting Compliance Rates Among University Performing
Arts Majors
SO MEDICAL PROBLEMS OF PERFORMING ARTISTS
LA English
DT Article
DE Infectious disease; public health; disease transmission;
self-monitoring; COVID-19; college students
ID UNITED-STATES; RECOMMENDATIONS
AB AIMS: The COVID-19 pandemic negatively affected the performing arts sector by temporarily closing venues. As venues reopened, COVID-19 symptom self-reporting and monitoring were one tool to identify potentially symptomatic cast and crew, who would then undergo contact tracing, testing, or isolation to prevent spreading COVID-19. However, the compliance rates for submitting a COVID-19 self-monitoring checklist among undergraduate performing art majors remain unknown. METHODS: This retrospective medical chart review investigated 282 cast and crew (68 males and 214 females) regarding their daily COVID-19 symptom report documents across the genres of dance, musical theater, and vocal performance throughout the production runs of 11 performances at a midwestern United States university's integrated performing arts campus. Compliance regarding the completion of the COVID-19 symptom checklist was compared between gender identity, performance semester, and performance type throughout the 20202021 academic year. RESULTS: There was no statistically significant difference on masking compliance when comparing males (mean 73.6%) and females (73.8%). The completion of the symptom self-reporting during the fall 2020 semester was statistically significantly higher than in the spring 2021 semester (F = 6.065, t = 4.485, df = 229.661, p = 0.014, d = 0.52). Additionally, those participating in musical theater were more compliant than those in vocal performance (F(2,280) = 4.410, p = 0.013, d = 0.031). There was no statistically significant difference between dance and musical theater or vocal performance and dance genres regarding overall compliance. CONCLUSIONS: These findings can help understand the groups of performing artists who would comply with the public health measure of completing a daily symptom checklist for COVID-19 or similar communicable nicable diseases.
C1 [Tomchuk, David; Schneider, Kyle] Southeast Missouri State Univ, Dept Kinesiol Nutr & Recreat, Cape Girardeau, MO USA.
[Schneider, Kyle; Bascomb-Harrison, Jacklyn] Southeast Missouri State Univ River Campus, Clin Hlth Arts CHART Clin, Cape Girardeau, MO USA.
[Bascomb-Harrison, Jacklyn] Southeast HLTH Orthoped & Sports Med, Cape Girardeau, MO USA.
[Schneider, Kyle] Southeast Missouri State Univ, Dep Kinesiol Nutr & Recreat, One Univ Plaza,MS 7650, Cape Girardeau, MO 63701 USA.
RP Schneider, K (corresponding author), Southeast Missouri State Univ, Dep Kinesiol Nutr & Recreat, One Univ Plaza,MS 7650, Cape Girardeau, MO 63701 USA.
EM kschneider@semo.edu
RI Tomchuk, David/ABD-7740-2021; Tomchuk, David/AAM-2116-2021
OI Tomchuk, David/0000-0003-3629-9596
NR 44
TC 0
Z9 0
U1 0
U2 1
PU SCIENCE & MEDICINE INC
PI NARBERTH
PA PO BOX 313, NARBERTH, PA 19072 USA
SN 0885-1158
EI 1938-2766
J9 MED PROBL PERFORM AR
JI Med. Probl. Perform. Artist.
PD JUN
PY 2023
VL 38
IS 2
BP 89
EP 96
DI 10.21091/mppa.2023.2011
PG 8
WC Medicine, General & Internal; Music
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC General & Internal Medicine; Music
GA K9JW9
UT WOS:001019536400003
PM 37260216
DA 2025-03-18
ER
PT J
AU Ferguson, S
Kenny, DT
Mitchell, HF
Ryan, M
Cabrera, D
AF Ferguson, Sam
Kenny, Dianna T.
Mitchell, Helen F.
Ryan, Maree
Cabrera, Densil
TI Change in Messa di Voce Characteristics During 3 Years of
Classical Singing Training at the Tertiary Level
SO JOURNAL OF VOICE
LA English
DT Article
DE Singing; Longitudinal; Messa di voce; Vibrato
ID SOUND PRESSURE LEVEL; VOICE-QUALITY; AVERAGE-SPECTRA; POWER RATIO;
VIBRATO; SINGERS; FORMANT; PARAMETERS; PROJECTION; CRESCENDO
AB A 3-year longitudinal study was conducted to investigate changes in vocal quality as a result of singing training at a tertiary level conservatorium in Australia. Singers performed a messa di voce (MDV) at intervals of 6 months over the 3-year period of training. The study investigated the evolving acoustic features of the singers' voices exhibited during the MDV, including sound pressure level (SPL), short-term energy ratio (STER), duration, and vibrato parameters of the fundamental frequency (F-0), SPL, and STER. The maximum SPL exhibited a marginal systematic increase over the training period, but the maximum STER did not systematically change. F-0 vibrato extent increased significantly, whereas the extent of SPL and STER vibrato did not change significantly.
C1 [Ferguson, Sam] Univ Technol Sydney, Sch Software, Fac Engn & Informat Technol, Sydney, NSW 2007, Australia.
[Kenny, Dianna T.] Univ Sydney, Fac Arts & Social Sci, Australian Ctr Appl Res Mus Performance, Sydney, NSW 2006, Australia.
[Mitchell, Helen F.; Ryan, Maree] Univ Sydney, Sydney Conservatorium Mus, Sydney, NSW 2006, Australia.
[Cabrera, Densil] Univ Sydney, Fac Architecture Design & Planning, Sydney, NSW 2006, Australia.
C3 University of Technology Sydney; University of Sydney; University of
Sydney; University of Sydney
RP Ferguson, S (corresponding author), Univ Technol Sydney, Sch Software, Fac Engn & Informat Technol, Sydney, NSW 2007, Australia.
EM Samuel.Ferguson@uts.edu.au
RI Mitchell, Helen/HJZ-0959-2023; Cabrera, Densil/AFK-8548-2022
OI Mitchell, Helen Frances/0000-0002-3852-3419; Cabrera,
Densil/0000-0003-2966-0371
FU Australian Research Council [DP0558186]; Australian Research Council
[DP0558186] Funding Source: Australian Research Council
FX Support for this research was provided by an Australian Research Council
Discovery Grant to D.T.K., H.M., D.C., and Michael Halliwell
(DP0558186).
NR 47
TC 7
Z9 8
U1 0
U2 8
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JUL
PY 2013
VL 27
IS 4
AR 523.e35
DI 10.1016/j.jvoice.2013.01.013
PG 14
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 178HD
UT WOS:000321435900020
PM 23769004
DA 2025-03-18
ER
PT J
AU Cannady, K
AF Cannady, Kimberly
TI Rimur in the Nuclear Age: Sveinbjörn Beinteinsson and Icelandic
Traditional Music
SO ETHNOMUSICOLOGY
LA English
DT Article
AB In this article, I examine Sveinbjorn Beinteinsson's performances of Icelandic traditional vocal music, or kve5a music, in Reykjavik's early 1980s punk-rock scene. Sveinbjorn was an unlikely participant in the Reykjavik scene as a rural farmer in his late fifties and the first high priest of the asatra religion, yet he developed strong personal relationships with many of the younger musicians. Nearly twenty years later, Sveinbjorn's legacy and vocality inspired the postrock band Sigur Ros's collaborations with Steindor Andersen, another influential kveaa musician. I argue that Sveinbjorn's performances in the 1980s offered a culturally intimate bridge between the past and present during an unsettling time of social, political, and economic transitions for many Icelanders. This material draws on archival and ethnographic research, and I offer new interventions in terminology and translation of Icelandic traditional music studies.
C1 [Cannady, Kimberly] Te Herenga Waka Victoria Univ Wellington, Wellington, New Zealand.
RP Cannady, K (corresponding author), Te Herenga Waka Victoria Univ Wellington, Wellington, New Zealand.
FU Te Herenga Waka-Victoria University of Wellington's Returning Carers'
Research Fund
FX Thank you to everyone named throughout the article, and thank you
especially to Bara Grimsdottir, Chris Foster, Linus Orri Gunnarsson
Cederborg, Rosa Porsteinsdottir, Magnea Einarsdottir, and Sigurour
Siguroarson for including me in your musical and personal lives. Thank
you to Thor Magnusson and Halldor & Uacute;lfarsson for pushing me in
Sveinbjoern's direction. A thousand thanks and more to Porbjoerg Daphne
Hall for help throughout the research process right through to the final
editing of this article. Thank you to Colin Gioia Connors for completing
the beautiful poetic translations used in this text and for the
inspiring conversations about issues in translation. Thank you to Tore
Storvold, Ailsa Lipscombe, Konstantine Vlasis, and the anonymous peer
reviewers for your helpful comments on this article and to Kate Brucher
for your guidance throughout the publishing process. This research was
completed thanks to funding from Te Herenga Waka-Victoria University of
Wellington's Returning Carers' Research Fund.
NR 48
TC 0
Z9 0
U1 0
U2 0
PU SOC ETHNOMUSICOLOGY INC
PI BLOOMINGTON
PA MORRISON HALL, ROOM 005 INDIANA UNIVERSITY, BLOOMINGTON, IN 47405 USA
SN 0014-1836
EI 2156-7417
J9 ETHNOMUSICOLOGY
JI Ethnomusicology
PY 2023
VL 67
IS 3
BP 383
EP 405
PG 23
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA JE0R9
UT WOS:001171375200014
DA 2025-03-18
ER
PT J
AU Echternach, M
Popeil, L
Traser, L
Wienhausen, S
Richter, B
AF Echternach, Matthias
Popeil, Lisa
Traser, Louisa
Wienhausen, Sascha
Richter, Bernhard
TI Vocal Tract Shapes in Different Singing Functions Used in Musical
Theater Singing - A Pilot Study
SO JOURNAL OF VOICE
LA English
DT Article
DE Musical Theater; Belting; Vocal tract; Magnetic resonance imaging;
Vibrato; Chest voice; Head voice; Modal register
ID CONFIGURATIONS; VOICE; FORMANT; SINGERS
AB Objective. Singing styles in Musical Theater singing might differ in many ways from Western Classical singing. However, vocal tract adjustments are not understood in detail.
Material and Methods. Vocal tract shapes of a single professional Music Theater female subject were analyzed concerning different aspects of singing styles using dynamic real-time magnetic resonance imaging technology with a frame rate of 8 fps. The different tasks include register differences, belting, and vibrato strategies.
Results. Articulatory differences were found between head register, modal register, and belting. Also, some vibrato strategies ("jazzy" vibrato) do involve vocal tract adjustments, whereas others (classical vibrato) do not.
Conclusions. Vocal tract shaping might contribute to the establishment of different singing functions in Musical Theater singing.
C1 [Echternach, Matthias; Traser, Louisa; Richter, Bernhard] Univ Freiburg, Ctr Med, Inst Musicians Med, D-79106 Freiburg, Germany.
[Popeil, Lisa] Voiceworks, Los Angeles, CA USA.
[Traser, Louisa] Univ Freiburg, Dept Otorhinolaryngol, D-79106 Freiburg, Germany.
[Wienhausen, Sascha] Osnabruck Univ Appl Sci, Inst Mus, Osnabruck, Germany.
C3 University of Freiburg; University of Freiburg
RP Echternach, M (corresponding author), Univ Freiburg, Ctr Med, Inst Musicians Med, D-79106 Freiburg, Germany.
EM matthias.echternach@uniklinik-freiburg.de
RI Echternach, Matthias/E-3464-2010; Traser, Louisa/ISV-0900-2023
OI Echternach, Matthias/0000-0003-0095-5360
FU Deutsche Forschungsgesellschaft (DFG) [Ri1050/4-1]
FX This work was supported by the Deutsche Forschungsgesellschaft (DFG),
Grant Ri1050/4-1.
NR 28
TC 21
Z9 24
U1 1
U2 20
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD SEP
PY 2014
VL 28
IS 5
AR 653.e1
DI 10.1016/j.jvoice.2014.01.011
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA AO5WS
UT WOS:000341417700022
PM 24810998
DA 2025-03-18
ER
PT J
AU Kiik-Salupere, V
Ross, J
AF Kiik-Salupere, Vaike
Ross, Jaan
TI TRIPARTITE UNITY: WHAT STUDENTS EXPECT FROM THEIR TEACHER AND
ACCOMPANIST DURING INDIVIDUAL SINGING LESSONS
SO TRAMES-JOURNAL OF THE HUMANITIES AND SOCIAL SCIENCES
LA English
DT Article
DE vocal pedagogy; teaching; learning; classical singing; individual
tuition
AB A successful singing lesson requires coordinated efforts from the three parties involved: student, teacher, and accompanist. Results are reported of a survey in which 32 statements were rated on a 5-point Likert scale by high-school students, university students, and professional singers from an opera chorus. The statements were related to students' expectations of their teacher and accompanist during individual singing lessons. Participants were also able to add their own comments to the questionnaire. Results demonstrate that students expect a partnership to develop between the three parties in a singing lesson. The teacher is expected to have a positive attitude, professional and up-to-date skills, and the ability to motivate students to work more efficiently. Alongside progress in musical terms, students expect to receive assistance from their teacher in how better to cope with increasingly stressful situations during a public performance.
C1 [Kiik-Salupere, Vaike] Tallinn Univ, Tallinn, Estonia.
C3 Tallinn University
RP Ross, J (corresponding author), Koidu 122-61, EE-10139 Tallinn, Estonia.
EM jaan.ross@gmail.com
NR 18
TC 2
Z9 4
U1 0
U2 11
PU ESTONIAN ACAD PUBLISHERS
PI TALLINN
PA 6 KOHTU, TALLINN 10130, ESTONIA
SN 1406-0922
EI 1736-7514
J9 TRAMES-J HUMANIT SOC
JI TRAMES-J. Humanit. Soc. Sci.
PY 2011
VL 15
IS 4
BP 404
EP 421
DI 10.3176/tr.2011.4.05
PG 18
WC Humanities, Multidisciplinary; Social Sciences, Interdisciplinary
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics; Social Sciences - Other Topics
GA 868LX
UT WOS:000298525900005
OA gold
DA 2025-03-18
ER
PT J
AU Austin, SF
AF Austin, SF
TI Movement of the velum during speech and singing in classically trained
singers
SO JOURNAL OF VOICE
LA English
DT Article; Proceedings Paper
CT 23rd Annual Symposium: Care of the Professional Voice
CY JUN 06-11, 1994
CL PHILADELPHIA, PA
DE voice; nasality; singing voice; velopharyngeal port
AB The present study addresses two questions: (a) Is the action and/or posture of the velopharyngeal valve conducive to allow significant resonance during Western tradition classical singing? (b) How do the actions of the velopharyngeal valve observed in this style of singing compare with normal speech? A photodetector system was used to observe the area function of the velopharyngeal port during speech and classical style singing. Identical speech samples were produced by each subject in a normal speaking voice and then in the low, medium, and high singing ranges. Results indicate that in these four singers the velopharyngeal port was closed significantly longer in singing than in speaking samples. The amount of time the velopharyngeal port was opened was greatest in speech and diminished as the singer ascended in pitch. In the high voice condition, little or no opening of the velopharyngeal port was measured.
RP Austin, SF (corresponding author), LOUISIANA STATE UNIV,SCH MUS 305,LAB RES SINGING VOICE,BATON ROUGE,LA 70803, USA.
NR 22
TC 27
Z9 34
U1 0
U2 3
PU LIPPINCOTT-RAVEN PUBL
PI PHILADELPHIA
PA 227 EAST WASHINGTON SQ, PHILADELPHIA, PA 19106
SN 0892-1997
J9 J VOICE
JI J. Voice
PD JUN
PY 1997
VL 11
IS 2
BP 212
EP 221
DI 10.1016/S0892-1997(97)80080-X
PG 10
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA XC820
UT WOS:A1997XC82000016
PM 9181545
DA 2025-03-18
ER
PT J
AU Ferguson, S
Kenny, DT
Cabrera, D
AF Ferguson, Sam
Kenny, Dianna T.
Cabrera, Densil
TI Effects of Training on Time-Varying Spectral Energy and Sound Pressure
Level in Nine Male Classical Singers
SO JOURNAL OF VOICE
LA English
DT Article
DE Singing quality; Singer's formant; Long-term average spectrum
ID SINGING POWER RATIO; VOICE-QUALITY; AVERAGE-SPECTRA; SOLO
AB The male classical singing voice is a musical instrument that is very important in western Culture. It has many acoustic features which should change and improve over the period in which the singer trains. In this study we compare nine singers in different stages of training, from University level students through to international soloists. Typically, Energy Ratio (ER; a measure of mean spectral slope) and mean sound pressure level (SPL) may be calculated to Summarize an entire singing sample. We investigate ail alternative approach, by calculating the time-varying ER and SPL. The inspection of the distribution of these descriptors over ail aria's time period yields a more detailed picture of the strategies for high-frequency energy production used by singers with different levels of training.
C1 [Ferguson, Sam; Cabrera, Densil] Univ Sydney, Fac Architecture Design & Planning, Acoust Res Lab, Sydney, NSW 2006, Australia.
[Kenny, Dianna T.] Univ Sydney, ACARMP, Sydney Conservatorium Mus, Sydney, NSW 2006, Australia.
C3 University of Sydney; University of Sydney
RP Ferguson, S (corresponding author), Univ Sydney, Fac Architecture Design & Planning, Acoust Res Lab, Wilkinson Bldg,148 City Rd, Sydney, NSW 2006, Australia.
EM sferguson@arch.usyd.edu.au
RI Cabrera, Densil/AFK-8548-2022
OI Kenny, Dianna/0000-0003-1934-0163; Cabrera, Densil/0000-0003-2966-0371
FU Australian Research Council [DP0558186]; Australian Postgraduate Award;
Australian Research Council [DP0558186] Funding Source: Australian
Research Council
FX This research was carried out with the technical assistance of Robert
Sazdov and Peter Thomas. A conversation with Thomas Millhouse and
comments from two anonymous reviewers are gratefully acknowledged. This
research was Supported under the Australian Research Council's Discovery
Projects funding scheme (project number DP0558186). The first author was
supported by an Australian Postgraduate Award. We are most grateful to
the nine singers who gave their time to participate in this study.
NR 30
TC 9
Z9 14
U1 0
U2 3
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JAN
PY 2010
VL 24
IS 1
BP 39
EP 46
DI 10.1016/j.jvoice.2008.05.002
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 544FC
UT WOS:000273637600005
PM 19185455
DA 2025-03-18
ER
PT J
AU Yilmaz, C
Bostanci, Ö
Eken, Ö
Alkahtani, R
Aldhahi, MI
AF Yilmaz, Coskun
Bostanci, Ozgur
Eken, Ozgur
Alkahtani, Rania
Aldhahi, Monira I.
TI Maximizing phonation: impact of inspiratory muscle strengthening on
vocal durations and pitch range
SO BMC PULMONARY MEDICINE
LA English
DT Article
DE Inspiratory muscle warm-up; Music; Respiratory muscle strength;
Pulmonary function; Vocal performance
ID ACTIVITY WARM-UP; THRESHOLD PRESSURE; EXERCISE; SINGERS; MUSIC
AB BackgroundThis study investigated the acute effects of inspiratory muscle warm-up (IWU) on vocal performance in singers. Proper vocal and respiratory warm-up can enhance vocal range, quality, and endurance. The aim was to determine whether IWU improves maximum phonation time and pitch range, contributing to better voice production efficiency (vocal efficiency) and reduced fatigue. Materials and methodsSingers were selected from the Samsun State Opera and the Ballet Directorate (n = 16). This cross-sectional study aimed to investigate the acute effects. The singers in the control group (SC = 8) performed only one session of routine voice warm-up, and the experimental group (SE = 8) conducted an inspiratory muscle warm-up (IWU) of 2 sets, 30 times/set at 40% maximal inspiratory pressure (MIP) in addition to routine voice warm-up. Subsequently, All participants were then required to perform pre- and post- pulmonary function tests, maximal inspiratory pressure (MIP) and maximal expiratory pressure (MEP), and voice recordings (note high pitch, note low pitch, high pitch durations and low pitch durations sustained with one breath, and maximum phonation duration). ResultsAll pulmonary function and muscle strength parameters improved in the SE group, with the highest increases in MIP (22.9%) and MEP (14.7%). No significant improvements were noted in the SC group (p > 0.05). The Borg Rating of Perceived Exertion showed that the SE group experienced less difficulty with their vocal performance after IWU (-11.6%, p = 0.006), while no significant change was observed in the SC group (p = 0.316). Both warm-up methods used in the study significantly affected the frequencies of high-pitch sounds (SE = 17.8%, SC = 10.9%, p = 0.003); however, the frequency of low-pitch sounds was not significantly affected (p = 0.437). IWU significantly affected the high-pitched note duration (p < 0.001; 32.17%), low-pitched note duration (p < 0.001; 27.11%), and maximum phonation time (p < 0.001; 21%), while routine voice warm-up did not significantly affect any parameter (p > 0.05). ConclusionsThe combination of IWU with the general body and voice warm-up protocol can acutely improve vocal performance in terms of maximum phonation time, phonation times of the highest and lowest pitched sounds in a single breath, and vocal range levels.
C1 [Yilmaz, Coskun] Gumushane Univ, Kelkit Aydin Dogan Vocat Sch, Gumushane, Turkiye.
[Bostanci, Ozgur] Ondokuz Mayis Univ, Dept Phys Educ & Sport Teaching, Yasar Dogu Sports Sci Fac, Samsun, Turkiye.
[Eken, Ozgur] Inonu Univ, Fac Sport Sci, Dept Phys Educ & Sport Teaching, Malatya, Turkiye.
[Alkahtani, Rania] Princess Nourah Bint Abdulrahman Univ, Coll Hlth & Rehabil Sci, Dept Hlth Commun Sci, POB 84428, Riyadh 11671, Saudi Arabia.
[Aldhahi, Monira I.] Princess Nourah Bint Abdulrahman Univ, Coll Hlth & Rehabil Sci, Dept Rehabil Sci, POB 84428, Riyadh 11671, Saudi Arabia.
C3 Gumushane University; Ondokuz Mayis University; Inonu University;
Princess Nourah bint Abdulrahman University; Princess Nourah bint
Abdulrahman University
RP Aldhahi, MI (corresponding author), Princess Nourah Bint Abdulrahman Univ, Coll Hlth & Rehabil Sci, Dept Rehabil Sci, POB 84428, Riyadh 11671, Saudi Arabia.
EM coskun.yilmaz@gumushane.edu.tr; bostanci@omu.edu.tr;
ozgur.eken@inonu.edu.tr; raaalkahtani@pnu.edu.sa; mialdhahi@pnu.edu.sa
RI YILMAZ, Coşkun/JDD-0671-2023
OI yilmaz, Coskun/0000-0002-2826-1566
FU Princess Nourah bint Abdulrahman University, Riyadh, Saudi Arabia
[PNURSP2025R286]
FX We would like to thank Princess Nourah bint Abdulrahman University
Researchers Supporting Project number (PNURSP2025R286), Princess Nourah
bint Abdulrahman University, Riyadh, Saudi Arabia.
NR 48
TC 0
Z9 0
U1 1
U2 1
PU BMC
PI LONDON
PA CAMPUS, 4 CRINAN ST, LONDON N1 9XW, ENGLAND
SN 1471-2466
J9 BMC PULM MED
JI BMC Pulm. Med.
PD JAN 12
PY 2025
VL 25
IS 1
AR 15
DI 10.1186/s12890-024-03471-2
PG 9
WC Respiratory System
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Respiratory System
GA S3V7C
UT WOS:001397545600001
PM 39800711
DA 2025-03-18
ER
PT J
AU Cenni, A
AF Cenni, Alessandra
TI A MYSTERIOUS RECALL. THE UNPUBLISHED LETTERS OF EUGENIO MONTALE TO
MARGHERITA DALMATI (1956-1974)
SO ITALIANISTICA-RIVISTA DI LETTERATURA ITALIANA
LA Italian
DT Article
AB As I was researching a research for the Thessaloniki University in the Athens Archive of the poet and musician Margherita Dalmati (Maria-Nike Zoroyannidi, 1921-2009). I have found the corpus of 59 typewritten and unpublished letters of Eugenio Montale (1896-1981) together with several books dedicated to her and some crayon paintings gifted by the poet, all of them dated from 1956 to 1974: this is a very important period for the Montale's literary activity, coincident with the poetic laboratory of Satura (1971) and Diario del '71 e del '72. Margherita Dalmati translator of the most important Greek authors in Italian language and the Italian ones in Greek, connects the poet with the cultural world of Modern Greece by sending him precious information and translations directly from the original textes of Kavafis, and Seferis because Montale does not speak the Greek language. Thanks to these letters we can appreciate the singularity and continuity of this amitie amoureuse in which an emotional and intellectual exchange takes place on every level: from the discussions on the contemporary poets or the musical tastes - as Margherita Dalmati was also an expert of the Barroc music and harpichordist and Montale, lover of the bel canto, was a musical critic for the Milan Scala - to the political debates on the second postwar period in Italy, from which Montale ironically detaches himself. These letters result brilliant, humorius, communicative as well as tell us a lot about Montale in private: a philosopher and self-deprecating man. Having reached indeed the maximum of success in his literary career (in 1974 he receives the Nobel prize) and being in conflict with the cultural trends of the moment, he is suffering for his wife's Mosca loss in 1963, but he is also keeping a corrispondence with his Greek friend, going on for almost 20 years, making her the last and maybe the most akin among his Muses. These letters offer us new interpretative keys on the not clear or well documented biography motives, standing behind the full of surprises creative turn during the second part of the poet's life.
C1 [Cenni, Alessandra] Univ Aristotele Salonicco, Thessaloniki, Greece.
RP Cenni, A (corresponding author), Univ Aristotele Salonicco, Thessaloniki, Greece.
EM alessandracenni@virgilio.it
NR 38
TC 0
Z9 0
U1 0
U2 0
PU FABRIZIO SERRA EDITORE
PI PISA
PA PO BOX NO,1, SUCC NO. 8, PISA, I-56123, ITALY
SN 0391-3368
EI 1724-1677
J9 ITALIANISTICA
JI Italianistica
PD JAN-APR
PY 2018
VL 47
IS 1
BP 239
EP 256
DI 10.19272/201801301015
PG 18
WC Literature, Romance
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA GK7VK
UT WOS:000436418900016
DA 2025-03-18
ER
PT J
AU Hao, JH
AF Hao, Jianhong
TI Optimizing the Design of a Vocal Teaching Platform Based on Big Data
Feature Analysis of the Audio Spectrum
SO WIRELESS COMMUNICATIONS & MOBILE COMPUTING
LA English
DT Article
AB With the development of electronics and communication technology, digital audio processing technologies such as digital audio broadcasting and multimedia communication have been widely used in society, and their influence on people's lives has become increasingly profound. At present, the real-time and accuracy of musical instrument tuners on the market need to be improved, which hinders the design of vocal music teaching system. Based on the BP neural network algorithm and fast Fourier transform algorithm in FPGA, this paper designs a real-time and efficient audio spectrum analysis system, which realizes the spectrum analysis function of music signal. The methods to calculate fast discrete Fourier transform are the FFT algorithm based on time extraction and the FFT algorithm based on frequency extraction. The characteristic of BP neural network algorithm is that it can not only obtain the corresponding estimation results by forward propagation of the input data but also carry out back propagation from the output layer according to the error between the estimation results and the actual results, so as to optimize the connection weight between each layer. This paper proposes to add Nios II system to FPGA processor and adopt cyclone IV in the hardware design of the system, which can be better compatible with the system designed in this paper. In the software part, WM8731 is used to process the audio data. WM8731 consumes very little power to the system, which will effectively improve the processing efficiency of the system. Compared with the original system, the data model obtained after screening and processing of the system model designed in this paper has an algorithm accuracy of more than 90%, among which the audio spectrum clarity of vocal music can reach 95%. Based on the above, the circuit of each module is tested, and in the specific experimental process, the audio frequency spectrum under different conditions is analyzed and data processed. The system can complete the collection and analysis of various music signals in real time, overcome the limitation of single function of traditional tuner, improve the utilization rate of tuner and the clarity of timbre, and also tune a variety of musical instruments and greatly improve the intonation of musical instruments and the utilization rate of tuner, which has a certain practical value.
C1 [Hao, Jianhong] Weifang Coll, Acad Mus, Weifang City 261061, Shandong, Peoples R China.
RP Hao, JH (corresponding author), Weifang Coll, Acad Mus, Weifang City 261061, Shandong, Peoples R China.
EM 14211020437@stu.cpu.edu.cn
RI Hao, Jianhong/AAW-1071-2020
NR 24
TC 0
Z9 0
U1 0
U2 11
PU WILEY-HINDAWI
PI LONDON
PA ADAM HOUSE, 3RD FL, 1 FITZROY SQ, LONDON, WIT 5HE, ENGLAND
SN 1530-8669
EI 1530-8677
J9 WIREL COMMUN MOB COM
JI Wirel. Commun. Mob. Comput.
PD MAY 9
PY 2022
VL 2022
AR 9972223
DI 10.1155/2022/9972223
PG 9
WC Computer Science, Information Systems; Engineering, Electrical &
Electronic; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering; Telecommunications
GA 1Q6SK
UT WOS:000802814700009
OA gold
DA 2025-03-18
ER
PT J
AU McBride, NR
AF McBride, Nicholas Ryan
TI Critical Moments: Gay Male Choral Directors and the Taking Up of Gender
Discourse
SO BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION
LA English
DT Article
ID POSSIBLE SELVES; MUSIC
AB The problem of "missing males" in school choral programs is an issue that has plagued music teachers for nearly a century. To remedy this problem, some choral directors employ traditional notions of masculinity as a way to attract more male singers. Such strategies align perceptions of vocal music with stereotypically masculine activities, such as school athletics. As a consequence, researchers have examined and made problematic the nature of these so-called solutions. But too little remains known about how gender-norming narratives influence gay male choral teachers. This study explores how 2 self-identified gay male choral directors-closeted at school, but "out" to friends at home-take up, perform, construct, and enact gender within the choral classroom. Through acts of both normative masculine fidelity and subversive expressions of gendering, the participants embody extreme variations of conflict and conformity, all of which play out in the sociocultural and political context of the public school.
C1 [McBride, Nicholas Ryan] Columbia Univ, Teachers Coll, New York, NY 10027 USA.
C3 Columbia University; Columbia University Teachers College
RP McBride, NR (corresponding author), Columbia Univ, Teachers Coll, New York, NY 10027 USA.
NR 32
TC 9
Z9 14
U1 0
U2 3
PU UNIV ILLINOIS PRESS
PI CHAMPAIGN
PA 1325 S OAK ST, CHAMPAIGN, IL 61820-6903 USA
SN 0010-9894
EI 2162-7223
J9 B COUN RES MUSIC ED
JI Bull. Counc. Res. Mus. Educ.
PD WIN-SPR
PY 2016
IS 207-08
BP 63
EP 79
DI 10.5406/bulcouresmusedu.207-208.0063
PG 17
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA EP7YX
UT WOS:000397594200005
DA 2025-03-18
ER
PT J
AU Liebowitz, M
Tucker, MS
Frontz, M
Mulholland, S
AF Liebowitz, Marian
Tucker, Mark Steven
Frontz, Melanie
Mulholland, Shaila
TI Participatory choral music as a means of engagement in a veterans'
mental health and addiction treatment setting
SO ARTS & HEALTH
LA English
DT Article
DE vocal music; mental health; substance abuse; rehabilitation; veterans
ID THERAPY; BEHAVIOR
AB Background: the purpose of this study was to investigate how participation in a music-based performance and instruction program influenced the sense of engagement experienced by participants at a residential setting for at-risk veterans. Methods: semi-structured interviews were conducted with participants in a veterans' choir program conducted at the facility. Results: prominent themes that emerged from the interview included (1) the veterans' personal motivations for participating; (2) emotions associated with participation; and (3) perceptions of intragroup dynamics. Conclusions: primary conclusions drawn include: (1) opportunities to connect with others through shared interests may contribute to sense of engagement; (2) connections forged with other residents of the facility extended beyond relationships established in the choir through increased recognition associated with performances; and (3) the choir represented a diversion from pressing concerns and may have served as a means of facilitating adjustment to change at a measured pace.
C1 [Liebowitz, Marian] San Diego State Univ, Sch Mus & Dance, San Diego, CA 92182 USA.
[Tucker, Mark Steven; Mulholland, Shaila] San Diego State Univ, Dept Adm Rehabil & Postsecondary Educ, San Diego, CA 92182 USA.
[Frontz, Melanie] San Diego State Univ, Dept Commun, San Diego, CA 92182 USA.
C3 California State University System; San Diego State University;
California State University System; San Diego State University;
California State University System; San Diego State University
RP Tucker, MS (corresponding author), San Diego State Univ, Dept Adm Rehabil & Postsecondary Educ, San Diego, CA 92182 USA.
EM mtucker@interwork.sdsu.edu
NR 32
TC 5
Z9 7
U1 0
U2 7
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1753-3015
EI 1753-3023
J9 ARTS HEALTH
JI Arts Health
PY 2015
VL 7
IS 2
BP 137
EP 150
DI 10.1080/17533015.2014.999246
PG 14
WC Public, Environmental & Occupational Health
WE Social Science Citation Index (SSCI)
SC Public, Environmental & Occupational Health
GA CM4TS
UT WOS:000357678300005
DA 2025-03-18
ER
PT J
AU Piotrowska, AG
AF Piotrowska, Anna G.
TI Tsyganshchina and Romani Musicians in Tsarist, Soviet and Post-Soviet
Russia: Change and Continuity
SO EUROPEAN HISTORY QUARTERLY
LA English
DT Article
DE 'Gypsy choir'; 'Gypsy romance'; Roma in Russia; Romani musicians
AB The main goal of this paper is to recognize and explain the specificity of the public presence of Romani musicians in Russia, predominantly in the long nineteenth century as well as in the new (Soviet and post-Soviet) political situation of the twentieth century. The article offers a historically oriented outline of the Romani musical traditions deeply embedded into the cultural, political and economic situation of the country. A special focus is placed on the phenomenon of the so-called 'Gypsy choirs' and their reception in Russia both by Russians and by foreigners, the latter being often surprised that while in Central and Western Europe Romani musicians were known for instrumental music, in Russia their vocal music (particularly so-called 'Gypsy romances') gained considerable popularity. The paper argues that Romani musicians from 'Gypsy choirs' identified and learnt to address the Russian aesthetics and thus managed to secure and sustain their unique position within the Russian culture.
C1 [Piotrowska, Anna G.] Jagiellonian Univ, Krakow, Poland.
C3 Jagiellonian University
RP Piotrowska, AG (corresponding author), Jagiellonian Univ, Krakow, Poland.
EM agpiotrowska@interia.pl
RI Piotrowska, Anna/P-4584-2019
FU HERA Joint Research Programme; AoF; NCN; AHRC; AEI; European Commission
FX The research for this publication is framed in the project BESTROM,
financially supported by the HERA Joint Research Programme
(www.heranet.info) which is co-funded by AoF, NCN, AHRC, AEI and the
European Commission through Horizon 2020.
NR 54
TC 2
Z9 2
U1 1
U2 3
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 0265-6914
EI 1461-7110
J9 EUR HIST Q
JI Eur. Hist. Q.
PD OCT
PY 2022
VL 52
IS 4
SI SI
BP 554
EP 571
DI 10.1177/02656914221097293
PG 18
WC History; Political Science
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC History; Government & Law
GA 4Z0UR
UT WOS:000861935000003
OA hybrid
DA 2025-03-18
ER
PT J
AU Bedoya, D
Arias, P
Rachman, L
Liuni, M
Canonne, C
Goupil, L
Aucouturier, JJ
AF Bedoya, D.
Arias, P.
Rachman, L.
Liuni, M.
Canonne, C.
Goupil, L.
Aucouturier, J-J
TI Even violins can cry: specifically vocal emotional behaviours also drive
the perception of emotions in non-vocal music
SO PHILOSOPHICAL TRANSACTIONS OF THE ROYAL SOCIETY B-BIOLOGICAL SCIENCES
LA English
DT Article
DE voice; music; emotions
ID NONLINEAR PHENOMENA; SPEECH PROSODY; EXPRESSION; CUES; REPRESENTATIONS;
COMMUNICATION; RECOGNITION; SPEAKING; CONTEXT; SOUND
AB A wealth of theoretical and empirical arguments have suggested that music triggers emotional responses by resembling the inflections of expressive vocalizations, but have done so using low-level acoustic parameters (pitch, loudness, speed) that, in fact, may not be processed by the listener in reference to human voice. Here, we take the opportunity of the recent availability of computational models that allow the simulation of three specifically vocal emotional behaviours: smiling, vocal tremor and vocal roughness. When applied to musical material, we find that these three acoustic manipulations trigger emotional perceptions that are remarkably similar to those observed on speech and scream sounds, and identical across musician and non-musician listeners. Strikingly, this not only applied to singing voice with and without musical background, but also to purely instrumental material. This article is part of the theme issue 'Voice modulation: from origin and mechanism to social impact (Part I)'.
C1 [Bedoya, D.; Arias, P.; Canonne, C.] Sorbonne Univ, Sci & Technol Mus & Sound, CNRS, IRCAM, Paris, France.
[Arias, P.] Lund Univ, Dept Cognit Sci, Lund, Sweden.
[Rachman, L.] Univ Groningen, Fac Med Sci, Groningen, Netherlands.
[Liuni, M.] Alta Voce SAS, Houilles, France.
[Goupil, L.] Univ East London, BabyDevLab, London, England.
[Aucouturier, J-J] Univ Bourgogne Franche Comte, FEMTO ST Inst, CNRS, Besancon, France.
C3 Centre National de la Recherche Scientifique (CNRS); Sorbonne
Universite; Lund University; University of Groningen; University of East
London; Centre National de la Recherche Scientifique (CNRS); Universite
de Technologie de Belfort-Montbeliard (UTBM); Universite de
Franche-Comte
RP Aucouturier, JJ (corresponding author), Univ Bourgogne Franche Comte, FEMTO ST Inst, CNRS, Besancon, France.
EM aucouturier@gmail.com
RI Bedoya, Daniel/IVV-2933-2023; Goupil, Louise/AAJ-9207-2021
OI Aucouturier, Jean-Julien/0000-0002-4477-4812; Goupil,
Louise/0000-0003-4342-9408; Arias Sarah, Pablo/0000-0002-4868-120X
FU European Research Council [335634]; Agence Nationale de la Recherche
grant; Fondation Pour l'Audition (FPA) [RD-2018-2]
FX This study was funded by a European Research Council Starting Grant
(CREAM 335634), an Agence Nationale de la Recherche grant (REFLETS,
SEPIA), and Fondation Pour l'Audition (FPA RD-2018-2).
NR 69
TC 8
Z9 10
U1 2
U2 12
PU ROYAL SOC
PI LONDON
PA 6-9 CARLTON HOUSE TERRACE, LONDON SW1Y 5AG, ENGLAND
SN 0962-8436
EI 1471-2970
J9 PHILOS T R SOC B
JI Philos. Trans. R. Soc. B-Biol. Sci.
PD DEC 20
PY 2021
VL 376
IS 1840
AR 20200396
DI 10.1098/rstb.2020.0396
PG 12
WC Biology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Life Sciences & Biomedicine - Other Topics
GA WP4VY
UT WOS:000713132600006
PM 34719254
OA Green Published, hybrid
DA 2025-03-18
ER
PT J
AU Goetschius, MA
Smith, TD
AF Goetschius, Melissa A.
Smith, Tawnya D.
TI The identity reconciliation of five elementary students across their
landscapes of musical practice
SO MUSIC EDUCATION RESEARCH
LA English
DT Article
DE Landscape of musical practice; community of practice; musical identity;
elementary musicians
AB Elementary-aged students likely participate in an in-school Community of Musical Practice (CoMP) in addition to CoMPs outside of school. Therefore, knowing a student's entire Landscape of Musical Practice (LoMP) can help music teachers align in-school music practices with those outside of school to support students' developing musical identities. We studied five students at an elementary school in the mid-Atlantic region of the United States, along with five parents and one vocal music teacher, to determine to what extent, if any, the students' musical identities were reconciled, renegotiated, or modulated by participating in multiple practices across their landscape. The students participated in multiple CoMPs across a LoMP and their musical identities were reconciled, negotiated, or modulated by competing demands. This study revealed theoretical terms that can aid in the understanding of how children inhabit and journey across a LoMP - the imaginary CoMP, the dabbler, and the steward.
C1 [Goetschius, Melissa A.; Smith, Tawnya D.] Boston Univ, Mus Educ, Boston, MA 02215 USA.
[Smith, Tawnya D.] Boston Univ, Coll Fine Arts, Mus Educ, 855 Commonwealth Ave, Boston, MA 02215 USA.
C3 Boston University; Boston University
RP Smith, TD (corresponding author), Boston Univ, Coll Fine Arts, Mus Educ, 855 Commonwealth Ave, Boston, MA 02215 USA.
EM tdsmith7@bu.edu
OI Goetschius, Melissa/0000-0003-4013-9499; Smith,
Tawnya/0000-0002-7592-1870
NR 27
TC 0
Z9 0
U1 2
U2 6
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1461-3808
EI 1469-9893
J9 MUSIC EDUC RES
JI Music Educ. Res.
PD OCT 20
PY 2023
VL 25
IS 5
BP 485
EP 495
DI 10.1080/14613808.2023.2254321
EA SEP 2023
PG 11
WC Education & Educational Research; Music
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Education & Educational Research; Music
GA AH4O9
UT WOS:001069408000001
DA 2025-03-18
ER
PT J
AU Wang, N
AF Wang, Ning
TI The role of psychotherapy apps during teaching solo vocals: The
specifics of students' psychological preparation for performing in front
of an audience
SO ACTA PSYCHOLOGICA
LA English
DT Article
DE AI; K-MPAI; MPA; Performance experience; Psychological self-help;
Self-efficacy
ID MUSIC PERFORMANCE; SELF-EFFICACY; ANXIETY; SENSITIVITY; PUNISHMENT;
DISORDERS
AB This study aimed to determine the effectiveness of a self-help application to reduce performance-related excitement in students of solo vocals in higher education institutions. The study participants (n = 219) used the mobile application during 6 weeks. Statistically significant effect of the intervention was achieved by Negative cognitions, Psychological vulnerability, and Anxiety perception constructs. The study also examines the influence of sociodemographic and personal characteristics on anxiety. Gender, graduate status, and self-efficacy were statistically significant variables when using the psychological self-help application. The investigation failed to disclose any significant impact of performance experience. Psychological self-help applications can be used in vocal/music education as a low-threshold intervention to reduce anxiety symptoms. The findings of the study introduce new data into approaches to the treatment of anxiety and expand the understanding of the characteristic features of singer training.
C1 [Wang, Ning] Henan Normal Univ, Coll Mus & Dance, 46 Jianshe East Rd, Xinxiang 453007, Henan, Peoples R China.
C3 Henan Normal University
RP Wang, N (corresponding author), Henan Normal Univ, Coll Mus & Dance, 46 Jianshe East Rd, Xinxiang 453007, Henan, Peoples R China.
EM 2021179@htu.edu.cn
NR 45
TC 0
Z9 0
U1 5
U2 5
PU ELSEVIER
PI AMSTERDAM
PA RADARWEG 29, 1043 NX AMSTERDAM, NETHERLANDS
SN 0001-6918
EI 1873-6297
J9 ACTA PSYCHOL
JI Acta Psychol.
PD SEP
PY 2024
VL 249
AR 104417
DI 10.1016/j.actpsy.2024.104417
EA AUG 2024
PG 8
WC Psychology, Experimental
WE Social Science Citation Index (SSCI)
SC Psychology
GA C9G1U
UT WOS:001292365700001
PM 39121613
OA gold
DA 2025-03-18
ER
PT J
AU Rapoport, E
AF Rapoport, E
TI Schoenberg-Hartleben's Pierrot Lunaire: Speech - Poem - Melody - Vocal
performance
SO JOURNAL OF NEW MUSIC RESEARCH
LA English
DT Article
DE Schoenberg; Pierrot Lunaire; sprechgesang; speech intonation; voice; FFT
analysis; vocal performance
AB This work presents detailed examination of the various aspects of the vocal part of Pierrot Lunaire: literary, linguistic, melodic, acoustic, and vocal performance, and their interrelations. An examination of Hartleben's German translation reveals the decisive role of characteristic linguistic features in the German language in shaping rhythms in Schoenberg's "Sprechmelodies". Vocal analysis of speech intonation contours in the spoken texts, as read aloud by two persons of German native language, brings experimental evidence and elucidates the origin of Schoenberg's "Sprechmelodies" in intonation in German speech. Intonation patterns in excerpts of Schoenberg's own speech, recorded in 1931 and 1936, also subjected to such analysis, reveal typical intonation patterns in German speech, of relevance to his "Sprechmelodies" in Pierrot Lunaire.
Singing-reciting of four poems by five artists: Erika Stiedry Wagner (recorded 1941), Jan de Gaetani (rec. similar to1969), Yvonne Minton (1976), Marianne Pousseur (1992), and Christine Schaefer (1997), in Schoenberg's Pierrot Lunaire is analyzed and compared, by analysis of their Fast Fourier Transform (FFT) spectrograms. These performances, spanning almost sixty years, reflect a variety of styles and approaches to this extraordinary work. A large variety of types and (temporal) structures of vocal tones were encountered-reflecting the vocal means the artists designed (mentally) in order to capture and express the unique atmosphere of the texts, and the music, in Schoenberg's unique style of Sprechgesang. These vocal tones are decomposed into elementary units and a special notation was devised for their description and classification. This forms the basis of a detailed analysis on the microlevel of a single tone and a single syllable. Analysis of the melodic phrases of Schoenberg's "Sprechmelodien" (speech melodies) in terms of melodic segment contours by means of this notation is also described. Thus, this special notation enables a symbolic representation, or transcription, of speech intonation, singing, and "Sprechgesang" melodic contours.
C1 Bar Ilan Univ, Dept Mus, IL-52900 Ramat Gan, Israel.
C3 Bar Ilan University
RP Rapoport, E (corresponding author), Bar Ilan Univ, Dept Mus, IL-52900 Ramat Gan, Israel.
EM rapopoe@ashur.os.biu.ac.il
NR 50
TC 6
Z9 10
U1 1
U2 5
PU SWETS ZEITLINGER PUBLISHERS
PI LISSE
PA P O BOX 825, 2160 SZ LISSE, NETHERLANDS
SN 0929-8215
J9 J NEW MUSIC RES
JI J. New Music Res.
PD MAR
PY 2004
VL 33
IS 1
BP 71
EP 111
DI 10.1076/jnmr.33.1.71.35393
PG 41
WC Computer Science, Interdisciplinary Applications; Music
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Computer Science; Music
GA 851XB
UT WOS:000223718700007
DA 2025-03-18
ER
PT J
AU Heero, A
AF Heero, Aigi
TI Poetry and music. On the intermediality in the early writings of Robert
Schumann
SO TRAMES-JOURNAL OF THE HUMANITIES AND SOCIAL SCIENCES
LA German
DT Article
DE Schumann; 19th century; Romanticism; intermediality; synesthesia;
literature and music; autobiography
AB Robert Schumann, son of a bookseller, showed an early interest in composing as well as literature. In his first poems ("Prolog"), diaries, autobiographical writings ("Meine Biographie...") and essays ("Juniusabende und Julytage", "Die Tonwelt", "Das Leben des Dichters") Schumann reflects on the role of literature and music and their influence on a creative human being. According to Schumann, literature and music are equivalents, expressed through different semantical systems. Thus, a perfect literary work or composition includes both elements: the abstract language of music and the visible handcraft of literature. This blending of a literary idea with its musical illustration may be clearly seen in Schumann's vocal music, especially in the song cycles (such as "Lieder-kreis", op. 24), presenting the relations between the singer and the piano, suggesting a split self' and the presence of the 'Other'. The coherent and organic whole, the fusion of poetry and music is Schumann's aesthetic ideal for his late essays and compositions.
C1 Tallinn Univ, EE-10120 Tallinn, Estonia.
C3 Tallinn University
RP Heero, A (corresponding author), Tallinn Univ, Nava Mnt 29, EE-10120 Tallinn, Estonia.
EM aheero@hot.ee
NR 55
TC 2
Z9 3
U1 0
U2 9
PU ESTONIAN ACAD PUBLISHERS
PI TALLINN
PA 6 KOHTU, TALLINN 10130, ESTONIA
SN 1406-0922
EI 1736-7514
J9 TRAMES-J HUMANIT SOC
JI TRAMES-J. Humanit. Soc. Sci.
PY 2007
VL 11
IS 1
BP 15
EP 34
PG 20
WC Humanities, Multidisciplinary; Social Sciences, Interdisciplinary
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics; Social Sciences - Other Topics
GA 309GG
UT WOS:000256448100002
DA 2025-03-18
ER
PT J
AU Lee, D
Cabrera, D
Martens, WL
AF Lee, Doheon
Cabrera, Densil
Martens, William L.
TI The effect of loudness on the reverberance of music: Reverberance
prediction using loudness models
SO JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA
LA English
DT Article
ID TIME
AB This study examines the auditory attribute that describes the perceived amount of reverberation, known as "reverberance." Listening experiments were performed using two signals commonly heard in auditoria: excerpts of orchestral music and western classical singing. Listeners adjusted the decay rate of room impulse responses prior to convolution with these signals, so as to match the reverberance of each stimulus to that of a reference stimulus. The analysis examines the hypothesis that reverberance is related to the loudness decay rate of the underlying room impulse response. This hypothesis is tested using computational models of time varying or dynamic loudness, from which parameters analogous to conventional reverberation parameters (early decay time and reverberation time) are derived. The results show that listening level significantly affects reverberance, and that the loudness-based parameters outperform related conventional parameters. Results support the proposed relationship between reverberance and the computationally predicted loudness decay function of sound in rooms. (C) 2012 Acoustical Society of America. [DOI: 10.1121/1.3676602]
C1 [Lee, Doheon; Cabrera, Densil; Martens, William L.] Univ Sydney, Fac Architecture Design & Planning, Sydney, NSW 2006, Australia.
C3 University of Sydney
RP Lee, D (corresponding author), Univ Sydney, Fac Architecture Design & Planning, Sydney, NSW 2006, Australia.
EM dlee7117@uni.sydney.edu.au
RI Martens, William/AAJ-3964-2021; Cabrera, Densil/AFK-8548-2022
OI Martens, William/0000-0003-3962-8965; Cabrera,
Densil/0000-0003-2966-0371; Lee, Do Heon/0000-0002-4650-3805
FU University of Sydney; Global CoE CER-IES, Tohoku University
FX The authors thank the experiment participants, and Yoiti Suzuki, Yukio
Iwaya, Shuichi Sakamoto, Takuma Okamoto, and members of their laboratory
for hosting experiment II. The visit to Tohoku University was supported
by a University of Sydney Internationalization Program Development Fund
grant, and a grant by the Global CoE program CER-IES, Tohoku University.
NR 34
TC 19
Z9 23
U1 0
U2 6
PU ACOUSTICAL SOC AMER AMER INST PHYSICS
PI MELVILLE
PA STE 1 NO 1, 2 HUNTINGTON QUADRANGLE, MELVILLE, NY 11747-4502 USA
SN 0001-4966
EI 1520-8524
J9 J ACOUST SOC AM
JI J. Acoust. Soc. Am.
PD FEB
PY 2012
VL 131
IS 2
BP 1194
EP 1205
DI 10.1121/1.3676602
PN 1
PG 12
WC Acoustics; Audiology & Speech-Language Pathology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Acoustics; Audiology & Speech-Language Pathology
GA 895ID
UT WOS:000300488800039
PM 22352494
DA 2025-03-18
ER
PT J
AU Davidson, JW
AF Davidson, Jane W.
TI The activity and artistry of solo vocal performance: Insights from
investigative observations and interviews with western classical singers
SO MUSICAE SCIENTIAE
LA English
DT Article; Proceedings Paper
CT Conference on Performance Matters
CY SEP, 2005
CL Coll Educ, Polytech Inst, Music Dept, Porto, PORTUGAL
SP European Soc Cognit Sci Music, Soc Educ, Music Psychol Res, Res Ctr Psychol Music & Music Educ
HO Coll Educ, Polytech Inst, Music Dept
ID PERCEPTION; MUSIC
AB This paper draws on data collected from four professional solo classical singers as they prepared and performed the same piece, each working with the same accompanist. It examines their thoughts and feelings - inner mental states - as recalled and expressed in interview, and their perceptible outer states as observed in their physical behaviours. Data were collected from both talk-aloud reflections on the activities of practice, rehearsal and performance, and observer evaluations of rehearsals and performance as observed in video recordings. The aims of these reflections were to investigate: i) the nature of mental and bodily action for technical and expressive musical communication; ii) the nature of social interaction within the rehearsal and performing contexts; iii) overall, this work is undertaken to broaden knowledge and understanding of how an expert vocal performance is prepared, delivered and perceived. Results suggest that a subtle interplay of social and musical communication is necessary to achieve a "good performance". These ideas are discussed in terms of a social theory relating to how inner and outer mental states are displayed through the body in musical performance.
C1 Univ Sheffield, Sheffield S10 2TN, S Yorkshire, England.
Univ Western Australia, Nedlands, WA 6009, Australia.
C3 University of Sheffield; University of Western Australia
RP Davidson, JW (corresponding author), Univ Sheffield, Sheffield S10 2TN, S Yorkshire, England.
EM j.w.davidson@sheffield.ac.uk
OI Davidson, Jane/0000-0003-4941-9518
NR 56
TC 0
Z9 1
U1 1
U2 7
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 1029-8649
EI 2045-4147
J9 MUSIC SCI
JI Music Sci.
PY 2007
SI 2
BP 109
EP 140
PG 32
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI); Conference Proceedings Citation Index - Social Science & Humanities (CPCI-SSH)
SC Music; Psychology
GA 218DR
UT WOS:000249996700006
DA 2025-03-18
ER
PT J
AU Schneider-Stickler, B
Knell, C
Aichstill, B
Jocher, W
AF Schneider-Stickler, Berit
Knell, Christina
Aichstill, Birgitta
Jocher, Werner
TI Biofeedback on Voice Use in Call Center Agents in Order to Prevent
Occupational Voice Disorders
SO JOURNAL OF VOICE
LA English
DT Article
DE Call center agents; Occupational voice disorders; Vocal hypofunction;
Biofeedback; Voice use
ID STRESS
AB Background. Call center agents (CCAs) are at high risk of voice disorders because of high-demanding vocal load and work-related stress factors. Goal of this prospective study was to examine the voice use at work and to introduce biofeedback software into real-life workplace situation to improve vocal performance. Individual fundamental frequency, sound pressure level (SPL) of speaking voice, and syllables per second should be optimized by visualization on-screen. Further, its impact on vocal attrition and vocal constitution should be investigated.
Methods. Over a period of 6 months, 76 call center advisors voluntarily participated in this study (37 female, 39 male, mean age 29.3 years). At the beginning of the study, all the subjects received voice range profile (VRP) measurements and acoustic voice analyses at the beginning and at the end of shift. Additionally, several questionnaires have been completed. The subjects were classified into either the study group (group 1) or the control group (group 2). Group I had open access to results of the biofeedback software program at their workplace, and group 2 did not. The VRP measurements, questionnaires, and acoustic voice analyses were repeated 4 weeks later again at the beginning and at the end of shift.
Results. All the subjects confirmed a rather high vocal load. In contrast, almost none of the subjects received any voice training before entering the floor. The percentage of voice-related hoarseness and regular throat clearing was rather high in both groups. The statistical analyses revealed a significant improvement of vocal performance in subjects with vocal fatigue in the study group when compared with the control group after a 4-week biofeedback intervention. All the subjects with vocal hypofunction defined as maximum SPLs lower than 90 dB in VRP measurements improved to normal voice constitution at the end of the study in contrast to the control group.
Conclusion. Biofeedback is a suitable method to improve vocal awareness and vocal performance of CCAs.
C1 [Schneider-Stickler, Berit; Knell, Christina; Aichstill, Birgitta] Med Univ Vienna, Dept Otorhinolaryngol, Div Phoniatr Logoped, A-1090 Vienna, Austria.
[Jocher, Werner] Anton Bruckner Private Univ, Linz, Austria.
C3 Medical University of Vienna
RP Schneider-Stickler, B (corresponding author), Med Univ Vienna, Dept Otorhinolaryngol, Div Phoniatr Logoped, Wachringer Guertel 18-20, A-1090 Vienna, Austria.
EM berit.schneider@meduniwien.ac.at
FU telecommunication company "mobilkom Austria"
FX The authors cordially thank the team "yellow" and "white" of the
telecommunication company "mobilkom Austria" for their support to
realize this study.
NR 21
TC 19
Z9 27
U1 1
U2 12
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JAN
PY 2012
VL 26
IS 1
BP 51
EP 62
DI 10.1016/j.jvoice.2010.10.001
PG 12
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 879SM
UT WOS:000299352500009
PM 21429709
DA 2025-03-18
ER
PT J
AU Toles, LE
Ortiz, AJ
Marks, KL
Mehta, DD
Van Stan, JH
Hillman, RE
AF Toles, Laura E.
Ortiz, Andrew J.
Marks, Katherine L.
Mehta, Daryush D.
Van Stan, Jarrad H.
Hillman, Robert E.
TI Amount and Characteristics of Speaking and Singing Voice Use in Vocally
Healthy Female College Student Singers During a Typical Week
SO JOURNAL OF VOICE
LA English
DT Article
DE Ambulatory monitoring; Vocal dose; Singer; Vocal health guidelines;
Vocal behavior
ID PHONOTRAUMATIC LESIONS; FUNDAMENTAL-FREQUENCY; DOSE MEASURES; VIBRATION;
HYPERFUNCTION; PREVALENCE; DISORDERS; TEACHERS; FEATURES; NODULES
AB Objectives. Singers, college students, and females are groups known to be at an elevated risk of developing functional/hyperfunctional voice disorders; therefore, female college students majoring in vocal performance may be at an even higher risk. To mitigate this risk, it would be helpful to know the "safe limits" for voice use that would help maintain vocal health in this vulnerable group, but there is a paucity of high-quality objective information upon which to base such limits. This study employed weeklong ambulatory voice monitoring in a large group of vocally healthy female college student singers to begin providing the types of objective data that could be used to help develop improved vocal health guidelines.
Methods. Participants included 64 vocally healthy females currently enrolled in a vocal performance or similar program at a college or university. An ambulatory voice monitor recorded neck-surface acceleration throughout a typical week. A singing classifier was applied to the data to separate singing from speech. Weeklong vocal dose measures and distributional characteristics for standard voice measures were computed separately for singing and speech, and for both types of phonation combined.
Results. Participants spent 6.2% of the total monitoring time speaking and 2.1% singing (with total phonation time being 8.4%). Singing had a higher f(o) mode, more pitch variability, higher average sound pressure level (SPL), negatively skewed SPL distributions, lower average CPP, and higher H-1-H-2 values than speaking.
Conclusions. These results provide a basis for beginning to establish vocal health guidelines for female students enrolled in college-level vocal performance programs and for future studies of the types of voice disorders that are common in this group. Results also demonstrate the potential value that ambulatory voice monitoring may have in helping to objectively identify vocal behaviors that could contribute to voice problems in this population.
C1 [Toles, Laura E.; Ortiz, Andrew J.; Marks, Katherine L.; Mehta, Daryush D.; Van Stan, Jarrad H.; Hillman, Robert E.] Massachusetts Gen Hosp, Ctr Laryngeal Surg & Voice Rehabil, Boston, MA 02114 USA.
[Toles, Laura E.; Marks, Katherine L.; Mehta, Daryush D.; Van Stan, Jarrad H.; Hillman, Robert E.] MGH Inst Hlth Profess, Rehabil Sci, Charlestown, MA USA.
[Mehta, Daryush D.; Van Stan, Jarrad H.; Hillman, Robert E.] Harvard Med Sch, Dept Surg, Boston, MA 02115 USA.
C3 Harvard University; Harvard University Medical Affiliates; Massachusetts
General Hospital; Harvard University; Harvard University Medical
Affiliates; Massachusetts General Hospital; MGH Institute of Health
Professions; Harvard University; Harvard Medical School
RP Toles, LE (corresponding author), MGH Voice Ctr, 1 Bowdoin Sq,11th Floor, Boston, MA 02114 USA.
EM lauratoles@gmail.com
OI Toles, Laura/0000-0002-2665-3283
FU National Institutes of Health (NIH) National Institute on Deafness and
Other Communication Disorders [R33 DC011588, P50 DC015446]
FX This work was supported by the National Institutes of Health (NIH)
National Institute on Deafness and Other Communication Disorders under
grants R33 DC011588 and P50 DC015446.
NR 41
TC 13
Z9 15
U1 0
U2 2
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAR
PY 2022
VL 36
IS 2
BP 203
EP 211
DI 10.1016/j.jvoice.2020.04.029
EA MAR 2022
PG 9
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 4X0EL
UT WOS:000860525600007
PM 32451254
OA Green Accepted
DA 2025-03-18
ER
PT J
AU Weiss, MW
Trehub, SE
Schellenberg, EG
AF Weiss, Michael W.
Trehub, Sandra E.
Schellenberg, E. Glenn
TI Something in the Way She Sings: Enhanced Memory for Vocal Melodies
SO PSYCHOLOGICAL SCIENCE
LA English
DT Article
DE memory; melody; music; timbre; voice
ID TEMPORAL-LOBE; PITCH MEMORY; MUSIC; PERCEPTION; ABSOLUTE; EXPOSURE;
RECOGNITION; MONKEYS; LIKING; TIMBRE
AB Across species, there is considerable evidence of preferential processing for biologically significant signals such as conspecific vocalizations and the calls of individual conspecifics. Surprisingly, music cognition in human listeners is typically studied with stimuli that are relatively low in biological significance, such as instrumental sounds. The present study explored the possibility that melodies might be remembered better when presented vocally rather than instrumentally. Adults listened to unfamiliar folk melodies, with some presented in familiar timbres (voice and piano) and others in less familiar timbres (banjo and marimba). They were subsequently tested on recognition of previously heard melodies intermixed with novel melodies. Melodies presented vocally were remembered better than those presented instrumentally even though they were liked less. Factors underlying the advantage for vocal melodies remain to be determined. In line with its biological significance, vocal music may evoke increased vigilance or arousal, which in turn may result in greater depth of processing and enhanced memory for musical details.
C1 [Weiss, Michael W.; Trehub, Sandra E.; Schellenberg, E. Glenn] Univ Toronto, Mississauga, ON L5L 1C6, Canada.
C3 University of Toronto; University Toronto Mississauga
RP Trehub, SE (corresponding author), Univ Toronto, Dept Psychol, Mississauga, ON L5L 1C6, Canada.
EM sandra.trehub@utoronto.ca
OI Schellenberg, Glenn/0000-0003-3681-6020
NR 30
TC 66
Z9 74
U1 1
U2 36
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0956-7976
J9 PSYCHOL SCI
JI Psychol. Sci.
PD OCT
PY 2012
VL 23
IS 10
BP 1074
EP 1078
DI 10.1177/0956797612442552
PG 5
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA 083XP
UT WOS:000314499600003
PM 22894936
DA 2025-03-18
ER
PT J
AU Hart, H
AF Hart, Heidi
TI Against "Collective Caruso": Male Vulnerability in Hanns Eisler's Early
Choruses
SO GERMAN QUARTERLY
LA English
DT Article
DE Hanns Eisler; vocal music; Weimar Germany; right-wing politics;
masculinity
AB Composer Hanns Eisler (1898-1962), best known for his collaborations with Bertolt Brecht, engaged with the German Mannerchor tradition in complex ways in 1925. Having broken with his teacher Schoenberg and in the process of moving from Vienna to Berlin, Eisler fragmented and set three political poems by Heinrich Heine for male voices. These choruses satirize the nationalist bombast of right-wing choirs in Weimar Germany (in forced male voices Eisler criticized as "collective Caruso"). At the same time, this music voices masculine vulnerability in a period of still only partly processed post-World-War-I trauma. Particularly in the first chorus, "Tendenz," extremes of vocal range combined with musical tropes such as the Baroque "step of sorrow" result in music that push the male voice to its limits and encode more collective mourning than ideological zeal. Where Eisler cuts Heine's more explicitly critical lines of text, the musical score voices what the words do not: rather than what Helmut Lethen has called the Weimar-era culture of "coolness," a collective voice emerges, both parodic and pained.
C1 [Hart, Heidi] Utah State Univ, Logan, UT 84322 USA.
C3 Utah System of Higher Education; Utah State University
RP Hart, H (corresponding author), Utah State Univ, Logan, UT 84322 USA.
NR 27
TC 0
Z9 0
U1 2
U2 3
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0016-8831
EI 1756-1183
J9 GER QUART
JI Ger. Q.
PD FAL
PY 2018
VL 91
IS 4
SI SI
BP 436
EP 446
DI 10.1111/gequ.12086
PG 11
WC Language & Linguistics; Literature, German, Dutch, Scandinavian
WE Arts & Humanities Citation Index (A&HCI)
SC Linguistics; Literature
GA HA4OI
UT WOS:000450242000007
DA 2025-03-18
ER
PT J
AU Juntunen, ML
AF Juntunen, Marja-Leena
TI Teacher educators' visions of pedagogical training within instrumental
higher music education. A case in Finland
SO BRITISH JOURNAL OF MUSIC EDUCATION
LA English
DT Article
ID CONSERVATOIRE; PERCEPTIONS; IDENTITY
AB The purpose of this study was to examine the visions of teacher educators of instrumental pedagogy (n = 12) in higher music education regarding good' teaching and instrumental student teacher preparation. The theoretical basis for the study was research on teachers' visions (Hammerness, 2006): teachers' own conceptions of ideal teaching practices. The data were gathered through semi-structured interviews and analysed by qualitative content analysis. The interviewed teachers' visions of good teaching of instrumental pedagogy were closely related to their visions of good teaching of instrumental or vocal music, which they attempted to communicate to their student teachers. The process of teacher development was primarily understood as acquiring a package of skills and knowledge that are partly instrument specific, partly generic, and strongly influenced by the labour market. Teaching practice was considered essential, and was perceived as building connections between theory and practical application. The findings support prior research within Nordic teacher education (Hammerness, 2012), in that faculty members' visions related to teaching are individual and only partly negotiated with their colleagues.
C1 [Juntunen, Marja-Leena] Univ Arts Helsinki, Sibelius Acad, Helsinki, Finland.
C3 University of the Arts Helsinki
RP Juntunen, ML (corresponding author), Leiviskatie 3 B 16, Helsinki 00440, Finland.
EM majuntun@siba.fi
NR 62
TC 14
Z9 16
U1 1
U2 19
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 0265-0517
EI 1469-2104
J9 BRIT J MUSIC EDUC
JI Brit. J. Music Educ.
PD JUL
PY 2014
VL 31
IS 2
BP 157
EP 177
DI 10.1017/S0265051714000102
PG 21
WC Education & Educational Research; Music
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Education & Educational Research; Music
GA AJ8GE
UT WOS:000337940000004
OA Green Published
DA 2025-03-18
ER
PT J
AU Loukas, S
Filippa, M
de Almeida, JS
Boehringer, AS
Tolsa, CB
Barcos-Munoz, F
Grandjean, DM
van de Ville, D
Hüppi, PS
AF Loukas, Serafeim
Filippa, Manuela
de Almeida, Joana Sa
Boehringer, Andrew S.
Tolsa, Cristina Borradori
Barcos-Munoz, Francisca
Grandjean, Didier M.
van de Ville, Dimitri
Huppi, Petra S.
TI Newborn's neural representation of instrumental and vocal music as
revealed by fMRI: A dynamic effective brain connectivity study
SO HUMAN BRAIN MAPPING
LA English
DT Article
DE instrumental music; music perception; newborns; prematurity; vocal music
ID SPEECH; PERCEPTION; LANGUAGE; EMOTION; TOPOGRAPHY; RESPONSES; NETWORKS;
PITCH; VOICE; GYRUS
AB Music is ubiquitous, both in its instrumental and vocal forms. While speech perception at birth has been at the core of an extensive corpus of research, the origins of the ability to discriminate instrumental or vocal melodies is still not well investigated. In previous studies comparing vocal and musical perception, the vocal stimuli were mainly related to speaking, including language, and not to the non-language singing voice. In the present study, to better compare a melodic instrumental line with the voice, we used singing as a comparison stimulus, to reduce the dissimilarities between the two stimuli as much as possible, separating language perception from vocal musical perception. In the present study, 45 newborns were scanned, 10 full-term born infants and 35 preterm infants at term-equivalent age (mean gestational age at test = 40.17 weeks, SD = 0.44) using functional magnetic resonance imaging while listening to five melodies played by a musical instrument (flute) or sung by a female voice. To examine the dynamic task-based effective connectivity, we employed a psychophysiological interaction of co-activation patterns (PPI-CAPs) analysis, using the auditory cortices as seed region, to investigate moment-to-moment changes in task-driven modulation of cortical activity during an fMRI task. Our findings reveal condition-specific, dynamically occurring patterns of co-activation (PPI-CAPs). During the vocal condition, the auditory cortex co-activates with the sensorimotor and salience networks, while during the instrumental condition, it co-activates with the visual cortex and the superior frontal cortex. Our results show that the vocal stimulus elicits sensorimotor aspects of the auditory perception and is processed as a more salient stimulus while the instrumental condition activated higher-order cognitive and visuo-spatial networks. Common neural signatures for both auditory stimuli were found in the precuneus and posterior cingulate gyrus. Finally, this study adds knowledge on the dynamic brain connectivity underlying the newborns capability of early and specialized auditory processing, highlighting the relevance of dynamic approaches to study brain function in newborn populations.
Newborns listened to a vocal or instrumental melody. During the vocal condition, sensorimotor and salience network were activated, while during instrumental condition, visual and superior frontal cortex. Common neural signatures for vocal and instrumental melodies were also found, indicating a perceived musicality of the sound stimuli. image
C1 [Loukas, Serafeim; Filippa, Manuela; de Almeida, Joana Sa; Boehringer, Andrew S.; Tolsa, Cristina Borradori; Huppi, Petra S.] Univ Geneva, Dept Pediat, Div Dev & Growth, Geneva, Switzerland.
[Loukas, Serafeim; van de Ville, Dimitri] Ecole Polytech Fed Lausanne EPFL, Inst Bioengn, Lausanne, Switzerland.
[Filippa, Manuela; Grandjean, Didier M.] Univ Geneva, Swiss Ctr Affect Sci, Dept Psychol & Educ Sci, Geneva, Switzerland.
[Boehringer, Andrew S.] Univ Geneva, Leman Neurosci Doctoral Sch, Geneva, Switzerland.
[Barcos-Munoz, Francisca] Univ Hosp Geneva, Dept Women Children & Adolescents, Div Pediat Intens Care & Neonatol, Geneva, Switzerland.
[van de Ville, Dimitri] Univ Geneva, Dept Radiol & Med Informat, Geneva, Switzerland.
C3 University of Geneva; Swiss Federal Institutes of Technology Domain;
Ecole Polytechnique Federale de Lausanne; University of Geneva;
University of Geneva; University of Geneva; University of Geneva
RP Hüppi, PS (corresponding author), Univ Geneva, Dept Pediat, Div Dev & Growth, Geneva, Switzerland.
RI Loukas, Serafeim/AAL-4621-2020; Huppi, Petra S./A-4079-2009
OI Barcos Munoz, Francisca/0000-0001-7143-6117; Loukas,
Serafeim/0000-0002-1878-7054; Huppi, Petra S./0000-0002-7383-6648
FU Swiss National Science Foundation [32473B_135817/1, 324730-163084]; Dora
Foundation; Fondation Art-Therapie; Fondation Recherche enperinatalite
FReP; Fondation Prim'Enfance
FX Swiss National Science Foundation, Grant/Award Numbers:
32473B_135817/1,324730-163084; Dora Foundation; Fondation Art-Therapie;
Fondation Recherche enperinatalite FReP; Fondation Prim'Enfance
NR 61
TC 1
Z9 1
U1 7
U2 9
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 1065-9471
EI 1097-0193
J9 HUM BRAIN MAPP
JI Hum. Brain Mapp.
PD JUL 15
PY 2024
VL 45
IS 10
AR e26724
DI 10.1002/hbm.26724
PG 12
WC Neurosciences; Neuroimaging; Radiology, Nuclear Medicine & Medical
Imaging
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Neurosciences & Neurology; Radiology, Nuclear Medicine & Medical Imaging
GA YE0Z7
UT WOS:001266705400001
PM 39001584
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Tan, DE
Diaz, FM
Miksza, P
AF Tan, Daphne
Diaz, Frank M.
Miksza, Peter
TI Expressing emotion through vocal performance: Acoustic cues and the
effects of a mindfulness induction
SO PSYCHOLOGY OF MUSIC
LA English
DT Article
DE acoustic cues; emotion; expression; mindfulness; vocal performance
ID MUSIC PERFORMANCE; COMMUNICATION; CONNOTATIONS; ATTENTION; SCALE
AB Previous research suggests that musicians modulate a predictable set of acoustic cues to convey distinct emotions. The current study focuses on singers, testing the validity of cues previously reported for a wide range of instruments. The study also asks: What effect might a musician's mindfulness have on their expressive performance? Two groups of highly skilled vocalists recorded performances of a novel melody with four distinct emotions. Prior to the performance task, an experimental group took part in a guided mindfulness induction, while a control group engaged in a self-selected relaxation activity; state mindfulness was assessed immediately after. Recordings were analyzed for tempo, temporal variation, intensity, mean centroid, vibrato rate, vibrato extent, and attack slope; individual notes with particular scale-degree functions were also compared. Results show that the two groups of participants had similar cue usage, although those in the experimental condition had higher mindfulness scores and attributed improvements in focus and awareness to the induction task. Participants as a whole used cues in the predicted directions, and significant differences were found on all acoustical measures, except vibrato rate, as a function of expressed emotion. Results also indicate that participants modified intonation to distinguish between positive and negative emotions.
C1 [Tan, Daphne] Indiana Univ, Jacobs Sch Mus, Bloomington, IN USA.
[Diaz, Frank M.; Miksza, Peter] Indiana Univ, Jacobs Sch Mus, Mus Educ Dept, Bloomington, IN USA.
C3 Indiana University System; Indiana University Bloomington; Indiana
University System; Indiana University Bloomington
RP Tan, DE (corresponding author), Univ Toronto, Fac Mus, 80 Queens Pk Crescent, Toronto, ON M5S 2C5, Canada.
EM daphne.tan@utoronto.ca
NR 47
TC 4
Z9 6
U1 0
U2 6
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0305-7356
EI 1741-3087
J9 PSYCHOL MUSIC
JI Psychol. Music
PD JUL
PY 2020
VL 48
IS 4
BP 495
EP 512
DI 10.1177/0305735618809873
PG 18
WC Psychology, Educational; Psychology, Applied; Music; Psychology,
Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Psychology; Music
GA MG1KV
UT WOS:000545792700003
DA 2025-03-18
ER
PT J
AU Ornoy, E
Cohen, S
AF Ornoy, Eitan
Cohen, Shai
TI The effect of mindfulness meditation on the vocal proficiencies of music
education students
SO PSYCHOLOGY OF MUSIC
LA English
DT Article
DE mindfulness meditation; music performance; vocal training; singing
proficiency
ID PERFORMANCE ANXIETY; SELF-REPORT; VOICE; SINGERS; INTERVENTION;
PERCEPTION; SOLO; FREQUENCY; BENEFITS; GENDER
AB Mindfulness meditation (MM) has been found to positively affect various aspects related to music performance, yet very few studies have investigated its impact on music performance quality. This study examined whether short-term MM activity would improve vocal skills in regard to pitch intonation, dynamics transmission, and vocal resonation. Experiment and control groups comprising music education students (N = 55) made pre- and post-intervention recordings of a specially designed solo vocal music excerpt. Intervention consisted of a short-term online MM course covering the main elements exercised in mindfulness practice. Performance evaluation employed novel methods based on both automatic assessment strategies and expert judgments. Statistical analysis failed to indicate a significant effect. However, trends were detected for improvement in dynamics transmission and vocal resonation. Results might attest to MM praxis' limited influence on music performance quality. The observed trends could, however, evince to the shortcomings of the treatment design. The implications regarding MM's effect on music performance quality are discussed.
C1 [Ornoy, Eitan] Levinsky Coll Educ, Fac Mus Educ, 15 Shoshana Persits St, IL-6937808 Tel Aviv, Israel.
[Cohen, Shai] Bar Ilan Univ, Dept Mus, Ramat Gan, Israel.
C3 Bar Ilan University
RP Ornoy, E (corresponding author), Levinsky Coll Educ, Fac Mus Educ, 15 Shoshana Persits St, IL-6937808 Tel Aviv, Israel.
EM eitan.ornoy@levinsky.ac.il
OI Cohen, Shai/0000-0002-4163-4523; Ornoy, Eitan/0000-0002-0071-8122
FU MOFET Institute; President of the Levinsky College of Education Fund
FX The author(s) disclosed receipt of the following financial support for
the research, authorship, and/or publication of this article: This work
was supported by the MOFET Institute and by the President of the
Levinsky College of Education Fund.
NR 102
TC 4
Z9 5
U1 2
U2 16
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0305-7356
EI 1741-3087
J9 PSYCHOL MUSIC
JI Psychol. Music
PD SEP
PY 2022
VL 50
IS 5
BP 1676
EP 1695
AR 03057356211062262
DI 10.1177/03057356211062262
EA DEC 2021
PG 20
WC Psychology, Educational; Psychology, Applied; Music; Psychology,
Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Psychology; Music
GA 4J9ZO
UT WOS:000738486000001
DA 2025-03-18
ER
PT J
AU Ammirante, P
Russo, FA
AF Ammirante, Paolo
Russo, Frank A.
TI LOW-SKIP BIAS: THE DISTRIBUTION OF SKIPS ACROSS THE PITCH RANGES OF
VOCAL AND INSTRUMENTAL MELODIES IS VOCALLY CONSTRAINED
SO MUSIC PERCEPTION
LA English
DT Article
DE skips; pitch range; vocal; instrumental; composition
ID PRINCIPLES; INTERVALS; SIZE
AB SICIPS ARE RELATIVELY INFREQUENT IN DIATONIC melodies and are compositionally treated in systematic ways. This treatment has been attributed to deliberate compositional strategies that are also subject to certain constraints. Study 1 showed that ease of vocal production may be accommodated compositionally. Number of skips and their distribution within a melody's pitch range were compared between diverse statistical samples of vocal and instrumental melodies. Skips occurred less frequently in vocal melodies. Skips occurred more frequently in melodies' lower and upper ranges, but there were more low skips than high ("low-skip bias"), especially in vocal melodies. Study 2 replicated these findings in the vocal and instrumental melodies of a single composition (Bach's Mass in B minor). Study 3 showed that among the instrumental melodies of classical composers, low-skip bias was correlated with the proportion of vocal music within composers' total output. We propose that, to varying degrees, composers apply a vocal template to instrumental melodies.
C1 [Ammirante, Paolo; Russo, Frank A.] Ryerson Univ, Toronto, ON M5B 2K3, Canada.
C3 Toronto Metropolitan University
RP Ammirante, P (corresponding author), Ryerson Univ, Dept Psychol, 350 Victoria St, Toronto, ON M5B 2K3, Canada.
EM paolo.ammirante@ryerson.ca
RI Russo, Frank/H-3748-2019
OI Russo, Frank/0000-0002-2939-6358
NR 32
TC 8
Z9 10
U1 1
U2 5
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0730-7829
J9 MUSIC PERCEPT
JI Music Percept.
PD APR
PY 2015
VL 32
IS 4
BP 355
EP 363
DI 10.1525/MP.2015.32.4.355
PG 9
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA CG5XF
UT WOS:000353368500004
DA 2025-03-18
ER
PT J
AU Andrade, PA
Svec, JG
AF Andrade, Pedro Amarante
Svec, Jan G.
TI Observational study of differences in head position for high notes in
famous classical and non-classical male singers
SO LOGOPEDICS PHONIATRICS VOCOLOGY
LA English
DT Article
DE head elevation; non-classical posture; head protraction; singing; head
retraction; singing technique; head position; head depression; Classical
ID VERTICAL LARYNGEAL POSITION; MUSCULAR TENSION; VOCAL FREQUENCY; MELODIC
CONTOUR; MUSCLE-ACTIVITY; BODY POSITION; VOICE; POSTURE; NECK; PHONATION
AB Introduction. Differences in classical and non-classical singing are due primarily to aesthetic style requirements. The head position can affect the sound quality. This study aimed at comparing the head position for famous classical and non-classical male singers performing high notes.
Method. Images of 39 Western classical and 34 non-classical male singers during live performances were obtained from YouTube. Ten raters evaluated the frontal rotational head position (depression versus elevation) and transverse head position (retraction versus protraction) visually using a visual analogue scale.
Results. The results showed a significant difference for frontal rotational head position.
Discussion and conclusion. Most non-classical singers in the sample elevated their heads for high notes while the classical singers were observed to keep it around the neutral position. This difference may be attributed to different singing techniques and phonatory system adjustments utilized by each group.
C1 [Andrade, Pedro Amarante; Svec, Jan G.] Palacky Univ, Fac Sci, Dept Biophys, Voice Res Lab, CR-77146 Olomouc, Czech Republic.
C3 Palacky University Olomouc
RP Andrade, PA (corresponding author), Palacky Univ, Fac Sci, Dept Biophys, 17 Listopadu 12, CR-77146 Olomouc, Czech Republic.
EM pedroamarante@hotmail.com
RI Amarante Andrade, Pedro/M-3383-2014; Svec, Jan G./C-6909-2008
OI Svec, Jan G./0000-0001-5095-7415
FU European Social Fund [OPVK CZ.1.07/2.3.00/20.0057,
CZ.1.07/2.4.00/17.0009]; Palacky University [PrF_2013_017, PrF_2014_029]
FX The research has been supported in the Czech Republic by the European
Social Fund Projects, OPVK CZ.1.07/2.3.00/20.0057 and
CZ.1.07/2.4.00/17.0009, and by the Palacky University student's
projects, PrF_2013_017 and PrF_2014_029.
NR 56
TC 2
Z9 2
U1 0
U2 9
PU TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OR14 4RN, OXON, ENGLAND
SN 1401-5439
EI 1651-2022
J9 LOGOP PHONIATR VOCO
JI Logop. Phoniatr. Vocology.
PD APR 2
PY 2016
VL 41
IS 2
BP 77
EP 84
DI 10.3109/14015439.2014.988290
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA DI9QX
UT WOS:000373838600003
PM 25530456
OA Green Submitted
DA 2025-03-18
ER
PT J
AU Kabisch, T
AF Kabisch, Thomas
TI Kodaly's Works for Piano: Comments on Technical Features and Historical
Contexts
SO STUDIA MUSICOLOGICA
LA English
DT Article
DE Kodaly; works for piano; autonomous instrumental music; Musical
Modernism
AB There is a gap separating Kodaly's Seven Pieces for Piano, op. 11 from his Nine Pieces for Piano, op. 3. The differences of style, structure, and texture cannot he explained in terms of development, let alone progress in any sense. With op. 11, Kodaly undertakes a shift of paradigms from instrumental principles to a kind of vocal orientation within instrumental music. Op. 3 stands in the tradition of autonomous instrumental music, of Liszt and French music in particular, and displays similarities to early piano works by Bartok. In op. 11, that instrumental paradigm and its core principle of indirect expression are called into question. Instead Kodaly aims at direct expression, vocality on the piano. Since a piano cannot sing, the pieces op. 11 can be seen as failing in terms of Classical-Romantic composing standards. This paper argues that in dealing with the distinction between instrumental and vocal music, Kodaly takes up a major topic of Musical Modernism (Carl Dahlhaus) and exposes himself deliberately to the risky question of "When is Art?" (Nelson Goodman).
C1 [Kabisch, Thomas] Staatliche Hsch Mus, Sthultheiss Koch Pl 3, D-78647 Trossingen, Germany.
RP Kabisch, T (corresponding author), Staatliche Hsch Mus, Sthultheiss Koch Pl 3, D-78647 Trossingen, Germany.
EM Th.Kabisch@t-online.de
NR 16
TC 1
Z9 1
U1 0
U2 6
PU AKADEMIAI KIADO ZRT
PI BUDAPEST
PA BUDAFOKI UT 187-189-A-3, H-1117 BUDAPEST, HUNGARY
SN 1788-6244
EI 1789-2422
J9 STUD MUSICOL
JI Stud. Musicol.
PD JUN
PY 2018
VL 59
IS 1-2
BP 41
EP 54
DI 10.1556/6.2018.59.1-2.3
PG 14
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA IW2CX
UT WOS:000484782800003
OA Green Accepted
DA 2025-03-18
ER
PT J
AU Talbot, M
AF Talbot, Michael
TI Diogenio Bigaglia and His Dixit Dominus
SO EIGHTEENTH-CENTURY MUSIC
LA English
DT Article
DE Diogenio Bigaglia; Venetian music; sacred vocal music; Benedictine order
AB In his own time Diogenio Bigaglia (1678-1745) was viewed as the equal of Venice's three great amateur musicians active during the first half of the eighteenth century (Tomaso Albinoni, Alessandro Marcello and Benedetto Marcello), but he is largely forgotten today. Part of the reason is the secluded, uneventful life he led as a Benedictine monk at the abbey of San Giorgio Maggiore. This article analyses an impressive early work: a twelve-movement Dixit Dominus probably composed between 1700 and 1710. This work occupies the borderland between late seventeenth-century musical practice and the more progressive musical forms, styles and techniques introduced in the early eighteenth century. It survives in a late eighteenth-century copy by the Venetian copisteria of Giuseppe Baldan that probably passed via Domenico Dragonetti to Vincent Novello, who donated it to the British Museum in 1843. The music contains many attractive features, including an imaginative use of the instruments and dextrous counterpoint, pointing the way forward to the choral masterpieces of Bigaglia's maturity.
C1 [Talbot, Michael] Univ Liverpool, Dept Mus, Liverpool, Merseyside, England.
C3 University of Liverpool
RP Talbot, M (corresponding author), Univ Liverpool, Dept Mus, Liverpool, Merseyside, England.
EM mtalbot@liverpool.ac.uk
NR 30
TC 0
Z9 0
U1 0
U2 0
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 1478-5706
EI 1478-5714
J9 EIGHTEENTH-CENT MUSI
JI Eighteenth-Century Music
PD SEP
PY 2022
VL 19
IS 2
BP 151
EP 172
AR PII S1478570622000045
DI 10.1017/S1478570622000045
PG 22
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA 3N0HU
UT WOS:000835836900006
OA Bronze
DA 2025-03-18
ER
PT J
AU Maddage, NC
Sim, KC
Li, HZ
AF Maddage, Namunu C.
Sim, Khe Chai
Li, Haizhou
TI Word Level Automatic Alignment of Music and Lyrics Using Vocal Synthesis
SO ACM TRANSACTIONS ON MULTIMEDIA COMPUTING COMMUNICATIONS AND APPLICATIONS
LA English
DT Article
DE Algorithms; Experimentation; Performance; Music-lyrics alignment; rhythm
analysis; music indexing; music information modeling; singing voice
synthesis
AB We propose a signal-based approach instead of the commonly used model-based approach, to automatically align vocal music with text lyrics at the word level. In this approach, we use a text-to-speech system to synthesize the singing voice according to the lyrics. In this way, aligning the music signal with the corresponding text lyrics becomes the alignment of two audio signals. This study uses the results of music information modeling and singing voice synthesis. In music information modeling, we study different music representation strategies for music segmentation, music region indexing and region content descriptions; in singing voice synthesis, we generate singing voice by making use of music knowledge to approximate the target vocal line in terms of tempo. The experimental results on a 20-song database show 26.3% and 36.1% word level alignment error rates at eighth note and sixteenth note alignment tolerances respectively. The proposed approach presents an alternative and effective solution to music-lyrics alignment which may require less training dataset.
C1 [Maddage, Namunu C.] RMIT Univ, Melbourne, Vic 3001, Australia.
[Maddage, Namunu C.; Sim, Khe Chai; Li, Haizhou] Inst Infocomm Res, Singapore 138632, Singapore.
C3 Royal Melbourne Institute of Technology (RMIT); Agency for Science
Technology & Research (A*STAR); A*STAR - Institute for Infocomm Research
(I2R)
RP Maddage, NC (corresponding author), RMIT Univ, Melbourne, Vic 3001, Australia.
EM namunu.maddage@rmit.edu.au; kcsim@i2r.a-star.edu.sg;
hli@i2r.a-star.edu.sg
RI Li, Haizhou/Q-6438-2019
OI Li, Haizhou/0000-0001-9158-9401
NR 35
TC 2
Z9 3
U1 0
U2 5
PU ASSOC COMPUTING MACHINERY
PI NEW YORK
PA 2 PENN PLAZA, STE 701, NEW YORK, NY 10121-0701 USA
SN 1551-6857
J9 ACM T MULTIM COMPUT
JI ACM Trans. Multimed. Comput. Commun. Appl.
PD AUG
PY 2010
VL 6
IS 3
SI SI
AR 19
DI 10.1145/1823746.1823753
PG 16
WC Computer Science, Information Systems; Computer Science, Software
Engineering; Computer Science, Theory & Methods
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA 649UL
UT WOS:000281799300008
DA 2025-03-18
ER
PT J
AU Bullack, A
Büdenbender, N
Roden, I
Kreutz, G
AF Bullack, Antje
Buedenbender, Niklas
Roden, Ingo
Kreutz, Gunter
TI PSYCHOPHYSIOLOGICAL RESPONSES TO "HAPPY'' AND "SAD'' MUSIC: A
REPLICATION STUDY
SO MUSIC PERCEPTION
LA English
DT Article
DE music listening; psychophysiology; auto-nomic activity; emotions;
replication study
ID AUTONOMIC NERVOUS-SYSTEM; EMOTIONAL RESPONSES; SEX-DIFFERENCES;
PHYSIOLOGICAL-RESPONSES; GENDER-DIFFERENCES; FACIAL REACTIONS;
EXPERIENCE; PERCEPTION; EXPERTISE; EXPOSURE
AB LUNDQVIST, CARLSSON, HILMERSSON, AND JUSLIN (2009) presented evidence of differential autonomic emotional responses to "happy'' and "sad'' music in healthy adult listeners. The present study sought to replicate and extend these findings by employing a similar research design and measurement instruments. Therefore, we used instrumental film music instead of vocal music, and assessed listeners' music expertise. The present results show similarities and differences in patterns of psychological and physiological responses as compared to the previous work. Happy music evoked more happiness, higher skin conductance level, higher respiratory rate, and more zygomatic facial muscle activity than sad music, whereas sad music generated higher corrugator muscle activity than happy music. Influences of music sophistication as well as of sex were negligible. Taken together, these results further support the hypothesis that music induces differential autonomic emotional responses in healthy listeners. They also highlight the importance of replication or multi-site studies to strengthen the empirical basis of fundamental issues in music psychological research.
C1 [Bullack, Antje; Buedenbender, Niklas; Roden, Ingo; Kreutz, Gunter] Carl von Ossietzky Univ Oldenburg, Oldenburg, Germany.
C3 Carl von Ossietzky Universitat Oldenburg
RP Bullack, A (corresponding author), Carl von Ossietzky Univ Oldenburg, Dept Mus, Ammerlander Heerstr 114-118, D-26111 Oldenburg, Germany.; Kreutz, G (corresponding author), Dept Mus, Ammerlander Heerstr 114-118, D-26111 Oldenburg, Germany.
EM antje.bullack@uni-oldenburg.de; gunter.kreutz@uni-oldenburg.de
RI Kreutz, Gunter/J-1451-2019
OI Roden, Ingo/0000-0002-5691-793X
NR 83
TC 16
Z9 19
U1 2
U2 46
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0730-7829
J9 MUSIC PERCEPT
JI Music Percept.
PD APR
PY 2018
VL 35
IS 4
BP 502
EP 517
DI 10.1525/MP.2018.35.4.502
PG 16
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA GA9DT
UT WOS:000428642200006
DA 2025-03-18
ER
PT J
AU Prior, BR
Cursiol, JA
Prado, MYD
Ricz, LNA
AF Prior, Bruna Rodrigues
Cursiol, Jonatas Augusto
Prado, Maria Yuka de Almeida
Ricz, Lilian Neto Aguiar
TI Effect of COVID-19 Quarantine on Voice Handicap Index in Female
Classical Singers
SO JOURNAL OF VOICE
LA English
DT Article
DE Classical singer; Voice; COVID-19; Vocal Handicap Index
ID HABITS; HEALTH
AB Objective. This study aimed to verify the impact of vocal deviation in the quality of life of classical female singers over the quarantine imposed by the COVID-19 pandemic through self-assessments. Methods. Fifty five professional classical female singers filled out an online questionnaire including general questions such as identification, age, professional experience time, vocal classification, time of singing, and rehearsal studies. They all answered the protocol Classical Singing Handicap Index, adapted for this research, which analyses three subscales: Disability, Handicap, and Impairment. Results. There was no significant difference in the perceived total handicap index score (40% of 120 points). Regarding the three domains analyzed, Disability was significantly higher than Impairment (P = 0.012). In addition, the correlation with the variables identified that Impairment subscale showed a negative correlation with the variable hours of rehearsal (r =-0.335, P = 0.040). Conclusions. The COVID-19 quarantine does not seem to cause a significant impact on the voice of professional classical female singers probably due to their degree of experience and vocal preparation.
C1 [Prior, Bruna Rodrigues] Univ Sao Paulo, Ribeirao Preto Med Sch, Dept Ophthalmol Otolaryngol & Head & Neck Surg, Ribeirao Preto, Brazil.
[Cursiol, Jonatas Augusto] Univ Sao Paulo, Sch Phys Educ & Sport Ribeirao Preto, Ribeirao Preto, Brazil.
[Prado, Maria Yuka de Almeida] Univ Sao Paulo, Fac Philosophy Sci & Letters Ribeirao Preto, Dept Mus, Ribeirao Preto, Brazil.
[Ricz, Lilian Neto Aguiar] Univ Sao Paulo, Ribeirao Preto Med Sch, Dept Ophthalmol Otolaryngol & Head & Neck Surg, Ribeirao Preto, Brazil.
[Ricz, Lilian Neto Aguiar] Univ Sao Paulo, Ribeirao Preto Med Sch, Dept Ophthalmol Otorhinolaryngol & Head & Neck Sur, Ave Bandeirantes, 3900 Monte Alegre, BR-14048900 Ribeirao Preto, SP, Brazil.
C3 Universidade de Sao Paulo; Universidade de Sao Paulo; Universidade de
Sao Paulo; Universidade de Sao Paulo; Universidade de Sao Paulo
RP Ricz, LNA (corresponding author), Univ Sao Paulo, Ribeirao Preto Med Sch, Dept Ophthalmol Otorhinolaryngol & Head & Neck Sur, Ave Bandeirantes, 3900 Monte Alegre, BR-14048900 Ribeirao Preto, SP, Brazil.
EM liricz@fmrp.usp.br
NR 30
TC 3
Z9 3
U1 2
U2 4
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JAN
PY 2023
VL 37
IS 1
DI 10.1016/j.jvoice.2020.11.020
EA JAN 2023
PG 6
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA M5PE5
UT WOS:001030728200001
PM 33358293
OA Green Published
DA 2025-03-18
ER
PT J
AU Fahey, H
AF Fahey, Hannah
TI Stylistic pluralism and the experiences of classically trained teachers
of singing in the Republic of Ireland
SO INTERNATIONAL JOURNAL OF MUSIC EDUCATION
LA English
DT Article
DE Habitus; singing teaching; stylistic pluralism; vocal pedagogy
ID MUSIC; EDUCATION
AB Throughout much of the 20th century, the Western classical vocal aesthetic dominated tertiary singing training in the Republic of Ireland. At the turn of the 21st century, and reflecting similar movements internationally, Irish institutions, examining boards and private teaching studios diversified to include musical theatre and popular styles of singing in degree programmes and syllabi. The purpose of this study was to further understand voice teacher perceptions of these shifts in pedagogical culture. This research questioned how classically trained teachers of singing negotiate teaching across styles in popular music genres, and also questioned if implicit, embodied cultural ideas about classical singing defined their educative approaches to popular music vocals. Data were collected through in-depth qualitative interviews with classically trained teachers of singing in the Republic of Ireland. Analysis of interview data revealed a number of themes which are discussed within a theoretical framework drawn from the work of Bourdieu, revealing that the participant teachers are involved in processes of negotiation and re-negotiation of personal and institutional habitus.
C1 [Fahey, Hannah] Univ Limerick, Limerick V94 T9PX, Ireland.
C3 University of Limerick
RP Fahey, H (corresponding author), Univ Limerick, Limerick V94 T9PX, Ireland.
EM hannah.fahey@ul.ie
OI Fahey, Hannah/0000-0003-2340-3155
NR 40
TC 2
Z9 2
U1 1
U2 6
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 0255-7614
EI 1744-795X
J9 INT J MUSIC EDUC
JI Int. J. Music Educ.
PD AUG
PY 2021
VL 39
IS 3
BP 301
EP 312
AR 0255761421991247
DI 10.1177/0255761421991247
EA FEB 2021
PG 12
WC Education & Educational Research; Music
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Education & Educational Research; Music
GA TS5GT
UT WOS:000618496300001
OA Green Submitted, Bronze
DA 2025-03-18
ER
PT J
AU Abankwa, J
Mikkilä-Erdmann, M
AF Abankwa, Julia
Mikkila-Erdmann, Mirjamaija
TI Piano teacher education in Finland and Germany: Targeted competencies
and respective learning environments of two cases
SO INTERNATIONAL JOURNAL OF MUSIC EDUCATION
LA English
DT Article
DE Higher education programme development; higher music education;
instrumental music teacher education; music education; piano pedagogy;
piano teacher education
ID STUDENTS LEARN; MUSIC; VISIONS
AB The investigation of targeted competencies and respective learning environments in two cases of piano teacher education aimed to identify themes for higher music education programme development. Application of the model of six instrumental/vocal music teacher roles resulted in the conceptual understanding of these roles in four permeable spheres of activity: artistic individuality; pedagogical interaction; professional reflection; and contextual communication. Findings indicate that the targeted competencies were similar in both cases, and were found congruent with the role descriptions of the model, while the provided respective learning environments presented notable differences. Through the comparison of these differences several issues emerged that propose themes for discussion in piano teacher education development. Programme developers should consider to facilitate accessibility of teacher qualification and education, to increase, enhance and broaden practical experiences for student teachers, and to promote closer cooperation and intensified exchange with working life, that is, local professionals and institutions.
C1 [Abankwa, Julia; Mikkila-Erdmann, Mirjamaija] Univ Turku, Turku, Finland.
C3 University of Turku
RP Abankwa, J (corresponding author), Univ Turku, Fac Educ, Turku 20014, Finland.
EM julaba@utu.fi
NR 13
TC 7
Z9 7
U1 4
U2 14
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 0255-7614
EI 1744-795X
J9 INT J MUSIC EDUC
JI Int. J. Music Educ.
PD NOV
PY 2018
VL 36
IS 4
BP 616
EP 629
DI 10.1177/0255761418775130
PG 14
WC Education & Educational Research; Music
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Education & Educational Research; Music
GA HA5TI
UT WOS:000450340600011
DA 2025-03-18
ER
PT J
AU Savan, J
AF Savan, Jamie
TI Revoicing a "choice eunuch': the cornett and historical models of
vocality
SO EARLY MUSIC
LA English
DT Article
DE cornett; cornetto; zink; vocality; soprano; transposition; solmization;
articulation; rhetoric
ID MONTEVERDI
AB Imitate the human voice' is a familiar exhortation to instrumentalists in the pedagogical literature of the 16th and 17th centuries. In 1584 Girolamo Dalla Casa stated that the cornett is the most excellent of all wind instruments precisely on account of its ability to imitate the human voice. But what does it mean to imitate the voice in practical terms? To what extent does the vocality' of the cornett extend beyond a simple comparison of tone-quality with that of a boy's voice' (Luigi Zenobi, c.1600) or a choice eunuch' (Roger North, 1676)? This article explores ways in which different models and understandings of vocality inform the literature and pedagogy of instrumental performance practice in the 16th and early 17th centuries. It also explores ways in which techniques connected with vocal music such as solmization and transposition practices are embodied in the design and construction of historical instruments, which often have significantly different characteristics from the generic modern' cornetts more commonly played today.
C1 [Savan, Jamie] Birmingham City Univ, Royal Birmingham Conservatoire, Performance Led Res Mus, Birmingham, W Midlands, England.
[Savan, Jamie] Gonzaga Band, New Oscott, England.
[Savan, Jamie] His Majestys Sagbutts & Cornetts, London, England.
[Savan, Jamie] English Baroque Soloists, London, England.
C3 Birmingham City University
RP Savan, J (corresponding author), Birmingham City Univ, Royal Birmingham Conservatoire, Performance Led Res Mus, Birmingham, W Midlands, England.; Savan, J (corresponding author), Gonzaga Band, New Oscott, England.; Savan, J (corresponding author), His Majestys Sagbutts & Cornetts, London, England.; Savan, J (corresponding author), English Baroque Soloists, London, England.
EM jamie.savan@bcu.ac.uk
OI Savan, Jamie/0000-0002-2928-3417
NR 61
TC 3
Z9 3
U1 0
U2 1
PU OXFORD UNIV PRESS
PI OXFORD
PA GREAT CLARENDON ST, OXFORD OX2 6DP, ENGLAND
SN 0306-1078
EI 1741-7260
J9 EARLY MUSIC
JI Early Music
PD NOV
PY 2018
VL 46
IS 4
BP 561
EP 578
DI 10.1093/em/cay068
PG 18
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA HO0SZ
UT WOS:000460615900003
OA Green Accepted
DA 2025-03-18
ER
PT J
AU Solander, T
AF Solander, Tove
TI The Takarazuka Opera Company? On the Persistent Ties between the
Takarazuka Revue and Opera
SO CAMBRIDGE OPERA JOURNAL
LA English
DT Article
DE The Takarazuka Revue; Trouser roles; Otokoyaku; Music theatre; Musical;
Japanese theatre
ID BEAUTIFUL; BOYS; LOVE
AB Although the Takarazuka Revue is technically a musical company, its founder's ambition was to create a uniquely Japanese form of opera or operetta, merging elements from Western and Japanese forms. Like opera, and unlike musicals in general, trouser roles play a central part in the all-female Takarazuka Revue, and are typically cited as its main appeal. Research from a Japanese-studies perspective tends to discuss the Takarazuka Revue trouser roles, otokoyaku, as a gender-reversal of all-male kabuki, or put them in the context of androgynous or cross-dressing Japanese idols. This article addresses their connection to trouser roles in non-Japanese music theatre, specifically opera. It does so through three lenses: first, the Takarazuka Revue's opera loans and adaptations; second, the shared aesthetic appeal of trouser roles in these two theatre forms; and finally, the singing styles employed in the Takarazuka Revue, including their change over time and relation to classical singing.
C1 [Solander, Tove] Univ Stockholm, Gender Studies, Stockholm, Sweden.
C3 Stockholm University
RP Solander, T (corresponding author), Univ Stockholm, Gender Studies, Stockholm, Sweden.
EM tove.solander@gender.su.se
OI Solander, Tove/0000-0002-1015-7664
NR 37
TC 0
Z9 0
U1 1
U2 5
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 0954-5867
EI 1474-0621
J9 CAMB OPERA J
JI Camb. Opera J.
PD MAR
PY 2021
VL 33
IS 1-2
BP 109
EP 128
AR PII S0954586722000076
DI 10.1017/S0954586722000076
EA MAY 2022
PG 20
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA 2B3PV
UT WOS:000792220200001
OA hybrid
DA 2025-03-18
ER
PT J
AU Gill, BP
Lee, J
La, FMB
Sundberg, J
AF Gill, Brian P.
Lee, Jessica
La, Filipa M. B.
Sundberg, Johan
TI Spectrum Effects of a Velopharyngeal Opening in Singing
SO JOURNAL OF VOICE
LA English
DT Article
DE Nasalization; Long-term average spectrum; Nasal airflow; Vowel sequence;
Nasal sound amplitude
ID SUBGLOTTAL PRESSURE; NASAL; VELUM
AB The question whether or not a velopharyngeal opening is advantageous in singing has been discussed for a very long time among teachers of singing. The present investigation analyzes the acoustic consequences of a large, a narrow, and a nonexistent velopharyngeal opening (VPO). A divided flow mask (nasal and oral) connected to flow transducers recorded the nasal and oral DC flows in four female and four male classically trained singers while they sang vowel sequences at different pitches under these three experimental conditions. Acoustic effects were analyzed in three long-term average spectra parameters: (i) the sound level at the fundamental frequency, (ii) the level of the highest peak below 1 kHz, and (iii) the level of the highest peak in the 2-4 kHz region. For a narrow VPO, an increase in the level of the highest peak in the 2-4 kHz region was observed. As this peak is an essential voice component in the classical singing tradition, a narrow VPO seems beneficial in this type of singing.
C1 [Gill, Brian P.] Univ Indiana Bloomington, Jacob Sch Mus, Bloomington, IN USA.
[Lee, Jessica] NYU, Steinhardt Sch, New York, NY USA.
[La, Filipa M. B.] Univ Coimbra, Ctr Social Sci, Coimbra, Portugal.
[La, Filipa M. B.] Univ Coimbra, Inst Interdisciplinary Res, Coimbra, Portugal.
[Sundberg, Johan] KTH Stockholm, Sch Elect Engn & Comp Sci, Dept Speech Mus Hearing, Stockholm, Sweden.
[Sundberg, Johan] Univ Coll Mus Educ, Stockholm, Sweden.
C3 Indiana University System; Indiana University Bloomington; New York
University; Universidade de Coimbra; Universidade de Coimbra; Royal
Institute of Technology
RP Sundberg, J (corresponding author), KTH Stockholm, Sch Elect Engn & Comp Sci, Dept Speech Mus Hearing, Stockholm, Sweden.
EM jsu@kth.se
RI La, Filipa M.B./M-7767-2013
OI La, Filipa M.B./0000-0001-5560-7406; Lee, Jessica/0000-0002-7557-7213
NR 24
TC 8
Z9 11
U1 0
U2 4
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAY
PY 2020
VL 34
IS 3
BP 346
EP 351
DI 10.1016/j.jvoice.2018.11.014
PG 6
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA LY9SK
UT WOS:000540867600004
PM 30587334
DA 2025-03-18
ER
PT J
AU Lewis, MC
Hendricks, KS
AF Lewis, Megan C.
Hendricks, Karin S.
TI "It's your body, it's part of who you are!": Influences upon collegiate
vocalists' performance self-efficacy beliefs
SO INTERNATIONAL JOURNAL OF MUSIC EDUCATION
LA English
DT Article
DE Affective states; physiological states; sources of self-efficacy;
student-teacher relationships; vocal performance
ID PERCEPTIONS
AB Fostering accurate musical self-perceptions may be particularly challenging when developing singing technique, where self-assessment is complicated by the close physiological and emotional relationship between the performer and the body-instrument. The aim of the present study was to investigate how vocal students' beliefs in their performance capabilities were influenced by the four sources of self-efficacy and other personal/contextual factors. Nine vocalists at a private university in the western United States completed the Vocal Performance Self-Efficacy Survey, participated in two follow-up interviews, and provided written reflections about experiences that fostered or hindered their performance belief. Participants reported that they moved from a reliance on external assessments of capability to self-appraisal as they (a) refined technique through practice and performance, (b) observed coping and master models, (c) managed feedback from others, (d) attuned to physiological and emotional sensations, and (e) exercised cognitive self-regulation. Eight of nine interview participants reported that physiological and affective states most affected their performance belief. Findings indicate the importance of nurturing vocal students' performance beliefs by utilizing the four sources of self-efficacy, fostering qualities of persistence and resilience, teaching agentic causation, fostering productive student/teacher relationships, and creating emotionally safe learning and performance environments.
C1 [Lewis, Megan C.] Utah Valley Univ, MS 165,800 W Univ Pkwy, Orem, UT 84058 USA.
[Hendricks, Karin S.] Boston Univ, Boston, MA 02215 USA.
C3 Utah System of Higher Education; Utah Valley University; Boston
University
RP Lewis, MC (corresponding author), Utah Valley Univ, MS 165,800 W Univ Pkwy, Orem, UT 84058 USA.
EM megansinger10@gmail.com
OI Hendricks, Karin/0000-0003-2471-4668
NR 34
TC 4
Z9 14
U1 2
U2 13
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 0255-7614
EI 1744-795X
J9 INT J MUSIC EDUC
JI Int. J. Music Educ.
PD NOV
PY 2022
VL 40
IS 4
BP 514
EP 529
AR 02557614221074057
DI 10.1177/02557614221074057
EA JAN 2022
PG 16
WC Education & Educational Research; Music
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Education & Educational Research; Music
GA 5K5QU
UT WOS:000752976600001
DA 2025-03-18
ER
PT J
AU Zhuravlev, AL
Pavlova, ND
AF Zhuravlev, A. L.
Pavlova, N. D.
TI THE EXPRESSIVENESS OF HUMAN SPEECH AND VOICE: ON THE 95th ANNIVERSARY OF
THE BIRTH OF VP MOROZOV
SO PSIKHOLOGICHESKII ZHURNAL
LA Russian
DT Article
DE history of psychology; VP Morozov; nonverbal communication; speech
perception; emotional hear- ing; vocal speech; artistic type of man
AB The article analyzes the professional path of Vladimir Petrovich Morozov, the author of fundamental works in the field of psychophysiology and psychoacoustics of speech and voice, non-verbal communication, scientific foundations of vocal art. The main directions of his scientific activity are highlighted, their connection with the trends in the development of modern science, high relevance and interdisciplinary demand are shown. The special style of Morozov's scientific creativity is emphasized, manifested in a combination of original theoretical ideas with the solution of practical problems, addressing borderline issues of psychology and musical art. The most important milestones of the scientist's professional path and achievements in the methodology and theory of speech and voice psychology, as well as in experimental research, are described.
C1 [Zhuravlev, A. L.; Pavlova, N. D.] Russian Acad Sci, Inst Psychol, Yaroslavskaya Str,13,Bldg 1, Moscow 129366, Russia.
[Zhuravlev, A. L.] Acad RAS, Inst Psychol, Moscow, Russia.
[Pavlova, N. D.] Lab Speech Psychol & Psycholinguist, Moscow, Russia.
C3 Institute of Psychology of Russian Academy of Sciences; Russian Academy
of Sciences
RP Zhuravlev, AL (corresponding author), Russian Acad Sci, Inst Psychol, Yaroslavskaya Str,13,Bldg 1, Moscow 129366, Russia.; Zhuravlev, AL (corresponding author), Acad RAS, Inst Psychol, Moscow, Russia.
EM alzhuravlev2018@yandex.ru; pavlovand@ipran.ru
RI Pavlova, Natalya/AAD-9517-2019
NR 26
TC 0
Z9 0
U1 0
U2 0
PU Russian Acad Sciences, State Acad Univ Humanities (GAUGN)
PI Moscow
PA Leninsky prospekt 14, Moscow, RUSSIA
SN 0205-9592
J9 PSIKHOL ZH
JI Psikhologicheskii Zhurnal
PD JAN-FEB
PY 2024
VL 45
IS 1
BP 107
EP 113
DI 10.31857/S0205959224010107
PG 7
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA F4F0W
UT WOS:001309381900008
DA 2025-03-18
ER
PT J
AU Barthes, R
AF Barthes, Roland
TI The Grain of the Voice
SO NOVOE LITERATURNOE OBOZRENIE
LA Russian
DT Article
DE music; voice; singing; body; phenotext; genotext
AB Observing the inadequacy of current approaches to discussing music (including musical criticism), Roland Barthes suggests changing the musical object itself as a subject of discussion and crossing over to another level of perceiving and thinking about it, thereby dislocating the line of contact between music and language. He introduces the term "grain of the voice" a product of the collision of voice and music (foremost in vocal art), which communicates an authentic individuality, the expression and materiality of the body that produces it, beyond the bounds of rationalization and cultural forms. The experience of a "grain of the voice" in a musical work inevitably creates for the listener a new hierarchy of values that is inevitably individual and a new relationship to the performer's body, which is erotic but not "subjective" insofar as it arises beyond the psychological subject and leads instead to its loss.
NR 0
TC 2
Z9 2
U1 0
U2 4
PU NOVOE LITERATURNOE OBOZRENIE-NEW LITERARY OBSERVER
PI MOSCOW
PA 13-1 TVERSKOY BOULEVARD, MOSCOW, 123104, RUSSIA
SN 0869-6365
J9 NOV LIT OBOZR
JI Nov. Lit. Obozr.
PY 2017
IS 148
BP 77
EP 84
PG 8
WC Literary Theory & Criticism; Literature, Slavic
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA FR2DN
UT WOS:000418877300010
DA 2025-03-18
ER
PT J
AU Chang, HKH
AF Chang, Hyun Kyong Hannah
TI Transcending the Past: Singing and the Lingering Cold War in the Korean
Christian Diaspora
SO TWENTIETH-CENTURY MUSIC
LA English
DT Article
ID HAN
AB Protestant music in South Korea has received little attention in ethnomusicology despite the fact that Protestant Christianity was one of the most popular religions in twentieth-century Korea. This has meant a missed opportunity to consider the musical impact of a religious institution that mediated translocal experiences between South Korea and the United States during the Cold War period (1950s-1980s). This article explores the politics of music style in South Korean diasporic churches through an ethnography of a church choir in California. I document these singers' preference for European-style choral music over neotraditional pieces that incorporate the aesthetics of suffering from certain Korean traditional genres. I argue that their musical judgement must be understood in the context of their lived and remembered experience of power inequalities between the United States and South Korea. Based on my interviews with the singers, I show that they understand hymns and related Euro-American genres as healing practices that helped them overcome a difficult past and hear traditional vocal music as sonic icons of Korea's sad past. The article outlines a pervasive South Korean/Korean diasporic historical consciousness that challenges easy conceptions of identity and agency in music studies.
C1 [Chang, Hyun Kyong Hannah] Univ Sheffield, Korean Studies, Sheffield, S Yorkshire, England.
[Chang, Hyun Kyong Hannah] NYU, Mus, New York, NY 10003 USA.
[Chang, Hyun Kyong Hannah] Yale Inst Sacred Mus, New Haven, CT USA.
C3 University of Sheffield; New York University; Yale University
RP Chang, HKH (corresponding author), Univ Sheffield, Korean Studies, Sheffield, S Yorkshire, England.
EM hyun.chang@sheffield.ac.uk
FU AHRC [AH/V013157/1] Funding Source: UKRI
NR 37
TC 0
Z9 1
U1 0
U2 3
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 1478-5722
EI 1478-5730
J9 TWENT-CENTURY MUSIC
JI Twent.-Century Music
PD OCT
PY 2021
VL 18
IS 3
BP 447
EP 467
DI 10.1017/S1478572221000207
PG 21
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA XQ9PX
UT WOS:000731873900009
OA Green Accepted
DA 2025-03-18
ER
PT J
AU ZAZA, C
AF ZAZA, C
TI PLAYING-RELATED HEALTH-PROBLEMS AT A CANADIAN MUSIC SCHOOL
SO MEDICAL PROBLEMS OF PERFORMING ARTISTS
LA English
DT Article
AB This article describes the results of a study of 300 university instrumental music as well as vocal music students studying at a leading music school in Canada. The primary objectives of the study were to discover the extent to which music students experienced playing-related health problems (PRHPs) and to assess the students' knowledge of PRHPs. The secondary objectives were to describe the students' practice habits and to examine the students' familiarity with techniques for body awareness, relaxation, and body movement that are commonly used by musicians. Forty-three percent of the students reported having been affected by a PRHP at some time during their study of music; however, most of their problems were considered mild according to specified criteria. Only 15% of the students experienced a PRHP that lasted longer than a week. Females were affected significantly more than males (X2 = 4.81, p = 0.03; odds ratio = 1.98, confidence interval = 0.993-3.851). Although 69% of the students stated they knew the meaning of tendinitis (200/292), only 29% gave a correct definition (54/189). The results of this study are consistent with findings from other studies of musicians.
RP ZAZA, C (corresponding author), UNIV WATERLOO,DEPT HLTH STUDIES,WATERLOO N2L 3G1,ONTARIO,CANADA.
NR 0
TC 67
Z9 75
U1 0
U2 1
PU HANLEY & BELFUS INC
PI PHILADELPHIA
PA 210 S 13TH ST, PHILADELPHIA, PA 19107
SN 0885-1158
J9 MED PROBL PERFORM AR
JI Med. Probl. Perform. Artist.
PD JUN
PY 1992
VL 7
IS 2
BP 48
EP 51
PG 4
WC Medicine, General & Internal; Music
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC General & Internal Medicine; Music
GA JB503
UT WOS:A1992JB50300005
DA 2025-03-18
ER
PT J
AU Hunter, BC
AF Hunter, BC
TI Singing as a therapeutic agent, in The Etude, 1891-1949
SO JOURNAL OF MUSIC THERAPY
LA English
DT Article
AB The Etude music magazine, founded by Theodore Presser, was one of a number of popular music magazines published in the years prior to the establishment of the music therapy profession in 1950. During its publication run from 1883 to 1957, over 100 music therapy related articles appeared, including 13 on the health benefits of singing published between 1891 and 1949. Written by authors with diverse backgrounds, such as the famous Battle Creek, Michigan physician John Harvey Kellogg and Boston music critic Louis C. Elson, the articles contained consistent and adamant support regarding the health benefits of singing. The advantages described were both physical and psychological, and were recommended prophylactically for well persons and therapeutically for ill persons. Although the articles varied in perspective, from philosophical to theoretical to pedagogical, there is a consistent holistic medicine theme that appeared almost ahead of its time and no doubt linked to the push for vocal music education in that era. The importance of The Etude in promulgating ideas that helped shape the early practice of music therapy should not be underestimated. For much of its publication run the Etude was the largest music periodical in print, reaching its peak circulation of 250,000 copies per month in 1924.
C1 Nazareth Coll, Rochester, NY USA.
RP Hunter, BC (corresponding author), Nazareth Coll, Rochester, NY USA.
NR 36
TC 12
Z9 15
U1 0
U2 2
PU NATL ASSOC MUSIC THERAPY INC
PI SILVER SPRING
PA 8455 COLESVILLE RD, STE 1000, SILVER SPRING, MD 20910 USA
SN 0022-2917
J9 J MUSIC THER
JI J. Music Ther.
PD SUM
PY 1999
VL 36
IS 2
BP 125
EP 143
DI 10.1093/jmt/36.2.125
PG 19
WC Music; Rehabilitation
WE Social Science Citation Index (SSCI)
SC Music; Rehabilitation
GA 214EW
UT WOS:000081316500003
PM 10519848
DA 2025-03-18
ER
PT J
AU Stallings, SN
AF Stallings, Stephanie N.
TI Aesthetic Wit(h)nessing in Anti-lynching Songs by Silvestre Revueltas
and Carlos Chavez
SO JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
LA English
DT Article
DE Carlos Chavez; Silvestre Revueltas; Mexico; lynching; Harlem
Renaissance; vocal music
ID REVUELTAS,SILVESTRE; POLITICS; CHICAGO; MEXICO; MUSIC
AB Mexican composers Silvestre Revueltas and Carlos Chavez each wrote one song that execrates the lynching-murder of Black persons in the United States. In them, the composers pit a Mexican aesthetics of death against violent spectacle and social inequities to assert a universal dignity of life and to situate an antiracist position within the context of a broader international class struggle. In the process of airing fresh interpretations of the songs, I imply that the composers' divergent experiences in the United States-Chavez's relative proximity to establishment structures of power and Revueltas's intimacy with working-class struggle and race-based discrimination-informed their translation of Black suffering into the (differently historically colonized) context of Mexico. Both composers effected an artful indirection: a displaced deictic center from which to mediate their social thought concerning Mexico's own problems of penal excess and extrajudicial lynching. Bracha Ettinger's aesthetically activated Matrixial dimension sets a theoretical and analytical stage for an exploration of these anti-lynching songs and offers a way of understanding aesthetic expressions of allyship in a transhistorical mode.
C1 [Stallings, Stephanie N.] Flagstaff Symphony Orchestra, Flagstaff, AZ 86001 USA.
RP Stallings, SN (corresponding author), Flagstaff Symphony Orchestra, Flagstaff, AZ 86001 USA.
NR 69
TC 0
Z9 0
U1 0
U2 0
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0003-0139
EI 1547-3848
J9 J AM MUSIC SOC
JI J. Am. Musicicol. Soc.
PD SUM
PY 2023
VL 76
IS 2
BP 463
EP 501
DI 10.1525/jams.2023.76.2.463
PG 39
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA R9KZ6
UT WOS:001067481700004
DA 2025-03-18
ER
PT J
AU Bohak, C
Marolt, M
AF Bohak, Ciril
Marolt, Matija
TI Transcription of Polyphonic Vocal Music with a Repetitive Melodic
Structure
SO JOURNAL OF THE AUDIO ENGINEERING SOCIETY
LA English
DT Article
ID AUTOMATIC TRANSCRIPTION
AB This paper presents a novel method for transcription of folk music that exploits its specifics to improve transcription accuracy. In contrast to most commercial music, folk music recordings may contain various inaccuracies as they are usually performed by amateur musicians and recorded in the field. If we use standard approaches for transcription, these inaccuracies are reflected in erroneous pitch estimates. On the other hand, the structure of western folk music is usually simple as songs are often composed of repeated melodic parts. In our approach we make use of these repetitions to increase transcription robustness and improve its accuracy. The proposed method fuses three sources of information: (1) frame-based multiple FO estimates, (2) song structure, and (3) pitch drift estimates. It first selects a representative segment of the analyzed song and aligns all the other segments to it considering temporal as well as frequency deviations. Information from all segments is summarized and used in a two-layer probabilistic model based on explicit duration HMMs, to segment frame-based information into notes. The method is evaluated with state-of-the-art transcription methods where we show that significant improvement in accuracy can be achieved.
C1 [Bohak, Ciril; Marolt, Matija] Univ Ljubljana, Fac Comp & Informat Sci, Ljubljana, Slovenia.
C3 University of Ljubljana
RP Bohak, C (corresponding author), Univ Ljubljana, Fac Comp & Informat Sci, Ljubljana, Slovenia.
OI Bohak, Ciril/0000-0002-9015-2897
NR 34
TC 2
Z9 2
U1 0
U2 2
PU AUDIO ENGINEERING SOC
PI NEW YORK
PA 60 E 42ND ST, NEW YORK, NY 10165-2520 USA
SN 1549-4950
J9 J AUDIO ENG SOC
JI J. Audio Eng. Soc.
PD SEP
PY 2016
VL 64
IS 9
SI SI
BP 664
EP 672
DI 10.17743/jaes.2016.0033
PG 9
WC Acoustics; Engineering, Multidisciplinary
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Acoustics; Engineering
GA DY9TK
UT WOS:000385477800005
DA 2025-03-18
ER
PT J
AU Long, MK
AF Long, Megan Kaes
TI Reassessing the Plagal Cadence in Byrd and Morley
SO MUSIC THEORY ONLINE
LA English
DT Article
DE plagal cadence; cadence; clausula vera; Phrygian cadence; clausula in
mi; half cadence; Thomas Morley; William Byrd; Orazio Tigrini
ID MODE
AB Many sixteenth-century contrapuntal works include prominent "plagal" cadences-phrase-and section-ending passages with bass descent by fourth or ascent by fifth. But these plagal cadences lack the characteristic melodic formulas that were essential for defining other cadences. Accordingly, sixteenth-century theorists mostly declined to describe them, and they remain problematic for contemporary analysts who have not reached consensus on the origins, purpose, or tonal focus of these cadences. This article presents new evidence from the vocal music of William Byrd and the theoretical writings of Thomas Morley of a nascent theory of plagality in late-sixteenth-century England. Morley's extensive catalog of cadences-famously copied from Tigrini-includes a number of plagal cadences that were not found in his source. Instead, Morley's supplementary plagal cadences reflect the variety of cadential structures in contemporary practice, as exemplified by the music of Byrd, Morley's teacher. The article identifies three distinct uses of plagality in Byrd's corpus: terminal plagal cadences, terminal cadences to the fifth degree, and phrase-bisecting cadences to the fifth degree.
C1 [Long, Megan Kaes] Oberlin Coll, Kohl Bldg,77 W Coll St, Oberlin, OH 44074 USA.
C3 University System of Ohio; Oberlin College
RP Long, MK (corresponding author), Oberlin Coll, Kohl Bldg,77 W Coll St, Oberlin, OH 44074 USA.
EM megan.long@oberlin.edu
NR 44
TC 0
Z9 0
U1 1
U2 1
PU SOC FOR MUSIC THEORY
PI CHICAGO
PA UNIV, CHICAGO, EPT MUSIC, 1010 EAST 59TH STREET, CHICAGO, IL 60637-1512
USA
SN 1067-3040
J9 MUSIC THEORY ONLINE
JI Music Theory Online
PD SEP
PY 2022
VL 28
IS 3
PG 13
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA E4RN6
UT WOS:000975431600005
DA 2025-03-18
ER
PT J
AU Szakál, D
Cao, X
Fehér, O
Gere, A
AF Szakal, Dorina
Cao, Xu
Feher, Orsolya
Gere, Attila
TI How do ethnically congruent music and meal drive food choices?
SO CURRENT RESEARCH IN FOOD SCIENCE
LA English
DT Article
DE Eye-tracking; Consumer decision; Music; Sensory marketing; Ethnic group
ID BACKGROUND MUSIC; COGNITIVE PERFORMANCE; VOCAL-MUSIC; PERCEPTION;
ACCEPTABILITY; ATTENTION; SELECTION; MOZART
AB Playing ethnic music in restaurants increases consumer experience. Studies show, furthermore, that ethnic congruence of music and food affects food selection but not the liking of customers. An eye-tracking study was completed with 104 participants to uncover if there is an effect of ethnic music on selecting ethnic foods. German, Hungarian, Italian, and Spanish ethnic music was played while participants choose congruent starters, main dishes, and desserts. Results show that visual attention decreased when any background music was played. However, when played, the highest visual attention was recorded during Spanish music. Similarly, the most visual attention was recorded on Spanish dishes. Food choice frequencies showed no differences among the four nations. However, after aggregating German-Hungarian and Italian-Spanish music and dishes, it turned out that participants chose congruent music and food. Choice predictions were also completed on data with and without ethnic music. The performance of prediction models significantly increased when music was played. These findings highlight a clear link between music and food choices, and that music helped participants complete their choices and decide faster.
C1 [Szakal, Dorina] Budapest Business Sch, Dept Hospitality, Fac Commerce Hospitality & Tourism, Alkotmany Utca 9-11, H-1054 Budapest, Hungary.
[Szakal, Dorina; Feher, Orsolya] Hungarian Univ Agr & Life Sci, Inst Agribusiness, Villanyi Ut 29-31, H-1118 Budapest, Hungary.
[Cao, Xu; Gere, Attila] Hungarian Univ Agr & Life Sci, Inst Food Sci & Technol, Villanyi Ut 29-31, H-1118 Budapest, Hungary.
C3 Budapest Business University; Hungarian University of Agriculture & Life
Sciences; Hungarian University of Agriculture & Life Sciences
RP Gere, A (corresponding author), Hungarian Univ Agr & Life Sci, Inst Food Sci & Technol, Villanyi Ut 29-31, H-1118 Budapest, Hungary.
EM gere.attila@uni-mate.hu
RI Gere, Attila/GWD-0122-2022
OI Gere, Attila/0000-0003-3075-1561
FU Doctoral School of Economic and Regional Sciences, Hungarian University
of Agriculture and Life Sciences; Doctoral School of Food Sciences,
Hungarian University of Agriculture and Life Sciences; Janos Bolyai
Research Scholarship of the Hungarian Academy of Sciences; National
Research, Development, and Innovation Office of Hungary (OTKA) [K
134260]; [FK 137577]
FX DSz thanks the support of the Doctoral School of Economic and Regional
Sciences, Hungarian University of Agriculture and Life Sciences. XC
thanks the support of the Doctoral School of Food Sciences, Hungarian
University of Agriculture and Life Sciences. AG thanks the support of
the Janos Bolyai Research Scholarship of the Hungarian Academy of
Sciences. The authors thank the support of the National Research,
Development, and Innovation Office of Hungary (OTKA, contracts No FK
137577 and K 134260) .
NR 47
TC 3
Z9 3
U1 5
U2 25
PU ELSEVIER
PI AMSTERDAM
PA RADARWEG 29, 1043 NX AMSTERDAM, NETHERLANDS
EI 2665-9271
J9 CURR RES FOOD SCI
JI Curr. Res. Food Sci.
PY 2023
VL 6
AR 100508
DI 10.1016/j.crfs.2023.100508
EA MAY 2023
PG 9
WC Food Science & Technology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Food Science & Technology
GA Q2DB7
UT WOS:001055663900001
PM 37188317
OA Green Published, Green Accepted, gold
DA 2025-03-18
ER
PT J
AU Weiss, MW
Peretz, I
AF Weiss, Michael W.
Peretz, Isabelle
TI Ability to process musical pitch is unrelated to the memory advantage
for vocal music
SO BRAIN AND COGNITION
LA English
DT Article
DE Amusia; Recognition memory; Timbre; Voice; Pitch
ID ENHANCED MEMORY; DISCRIMINATION; AMUSIA
AB Listeners remember vocal melodies better than instrumental melodies, but the origins of the effect are unclear. One explanation for the 'voice advantage' is that general perceptual mechanisms enhance processing of con specific signals. An alternative possibility is that the voice, by virtue of its expressiveness in pitch, simply provides more musical information to the listener. Individuals with congenital amusia provide a unique opportunity to disentangle the effects of conspecific status and vocal expressiveness because they cannot readily process subtleties in musical pitch. Forty-one participants whose musical pitch discrimination ability ranged from congenitally amusic to typical were tested. Participants heard vocal and instrumental melodies during an exposure phase, and heard the same melodies intermixed with timbre-matched foils in a recognition phase. Memory was better for vocal than instrumental melodies, but the magnitude of the advantage was unrelated to musical pitch discrimination or memory overall. The voice enhances melodic memory regardless of music perception ability, ruling out the role of pitch expressiveness in the voice advantage. More importantly, listeners across a wide range of musical ability can benefit from the privileged status of the voice.
C1 [Peretz, Isabelle] Int Lab Brain Mus & Sound Res, Montreal, PQ, Canada.
[Weiss, Michael W.; Peretz, Isabelle] Univ Montreal, Dept Psychol, Marie Victorin Bldg,POB 6128,Ctr Ville STN, Montreal, PQ H3C 3J7, Canada.
C3 Universite de Montreal; Universite de Montreal
RP Weiss, MW (corresponding author), Univ Montreal, Dept Psychol, Marie Victorin Bldg,POB 6128,Ctr Ville STN, Montreal, PQ H3C 3J7, Canada.
EM michael.weiss@umontreal.ca
FU Canadian Institutes of Health Research; program of Canada Research
Chairs; Quebec Research Fund - Nature and Technologies
FX Funded by the Canadian Institutes of Health Research and from the
program of Canada Research Chairs (IP) and the Quebec Research Fund -
Nature and Technologies (MWW).
NR 21
TC 9
Z9 10
U1 2
U2 19
PU ACADEMIC PRESS INC ELSEVIER SCIENCE
PI SAN DIEGO
PA 525 B ST, STE 1900, SAN DIEGO, CA 92101-4495 USA
SN 0278-2626
EI 1090-2147
J9 BRAIN COGNITION
JI Brain Cogn.
PD FEB
PY 2019
VL 129
BP 35
EP 39
DI 10.1016/j.bandc.2018.11.011
PG 5
WC Neurosciences; Psychology, Experimental
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Neurosciences & Neurology; Psychology
GA HH8HJ
UT WOS:000455972200005
PM 30522778
DA 2025-03-18
ER
PT J
AU Foxe, DM
AF Foxe, David M.
TI Saarinen's Shell Game: Tensions, Structures, and Sounds at MIT
SO NEXUS NETWORK JOURNAL
LA English
DT Article
DE Eero Saarinen; Kresge Auditorium; MIT Chapel; music; acoustics;
religious buildings; auditorium; shell/membrane design; structural
design; graphic statics; interdisciplinary; student life; Massachusetts
Institute of Technology
AB For all of the criticism of Eero Saarinen's Kresge Auditorium and MIT Chapel, they exist as a highly focused moment of deliberate experimentation with geometric form in materials old and new which both contrasted the typical forms of rational modernism and resonated deeply with the modernist quest for the incorporation of novel structures. This paper explores the metaphorical and literal tensions through three dichotomies: geometrical ones with implications for acoustics, programmatic ones with implications for use, and structural ones between the appearances and actual structural actions of the architecture. I seek to illuminate how the geometric issues of both buildings relate to structural optimization. I also approach the Auditorium and Chapel from the roles of having been a performer and composer of instrumental and vocal music for both spaces while earning degrees at MIT in architecture. The simple act of listening defies one's typical expectations in both spaces, and the dichotomies of geometry, use, and structure illuminate the relationship of sound to place in these architectural spaces.
RP Foxe, DM (corresponding author), 125 Warren St, Newton Ctr, MA 02459 USA.
EM dmfoxe@yahoo.com
NR 25
TC 0
Z9 1
U1 3
U2 7
PU KIM WILLIAMS BOOKS
PI TORINO
PA CORSO REGINA MARGHERITA, 72, TORINO, 10153, ITALY
SN 1590-5896
J9 NEXUS NETW J
JI Nexus Netw. J.
PD JUL
PY 2010
VL 12
IS 2
BP 191
EP 211
DI 10.1007/s00004-010-0027-3
PG 21
WC Architecture; History & Philosophy Of Science
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Architecture; History & Philosophy of Science
GA 627ZM
UT WOS:000280083500003
OA Bronze
DA 2025-03-18
ER
PT J
AU Hapner, E
Gilman, M
AF Hapner, Edie
Gilman, Marina
TI The Vocal Load of Reform Jewish Cantors in the USA
SO JOURNAL OF VOICE
LA English
DT Article
DE Occupational voice; Singers; Cantors; Vocal load
ID VOICE DISORDERS; GENERAL-POPULATION; RISK-FACTORS; SINGERS; HEALTH;
PREVALENCE; TEACHERS
AB Objective. Jewish cantors comprise a subset of vocal professionals that is not well understood by vocal health professionals. This study aimed to document the vocal demands, vocal training, reported incidence of voice problems, and treatment-seeking behavior of Reform Jewish cantors.
Methods. The study used a prospective observational design to anonymously query Reform Jewish cantors using a 35-item multiple-choice survey distributed online. Demographic information, medical history, vocal music training, cantorial duties, history of voice problems, and treatment-seeking behavior were addressed.
Results. Results indicated that many of the commonly associated risk factors for developing voice disorders were present in this population, including high vocal demands, reduced vocal downtime, allergies, and acid reflux. Greater than 65% of the respondents reported having had a voice problem that interfered with their ability to perform their duties at some time during their careers.
Conclusion. Reform Jewish cantors are a population of occupational voice users who may be currently unidentified and underserved by vocal health professionals. The results of the survey suggest that Reform Jewish cantors are occupational voice users and are at high risk for developing voice disorders.
C1 [Hapner, Edie; Gilman, Marina] Emory Univ, Dept Otolaryngol Head & Neck Surg, Emory Voice Ctr, Atlanta, GA 30322 USA.
C3 Emory University
RP Hapner, E (corresponding author), Emory Univ, Emory Voice Ctr, Dept Otolaryngol, 550 Peachtree St NE,Suite 9-4400, Atlanta, GA 30308 USA.
EM ehapner@emory.edu
RI Gilman, Marina/HRC-4256-2023
OI Hapner, Edie/0000-0001-9666-911X
NR 13
TC 20
Z9 21
U1 0
U2 0
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD MAR
PY 2012
VL 26
IS 2
BP 201
EP 204
DI 10.1016/j.jvoice.2011.01.003
PG 4
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 913MJ
UT WOS:000301881800010
PM 21621383
DA 2025-03-18
ER
PT J
AU Pettersen, V
Bjorkoy, K
AF Pettersen, Viggo
Bjorkoy, Kare
TI Consequences From Emotional Stimulus on Breathing for Singing
SO JOURNAL OF VOICE
LA English
DT Article
DE Emotional stimulus; Breathing; Electromyography; Muscles; Abdomen;
Thorax; Classical singing
ID THORAX MOVEMENT; PATTERNS; SINGERS; MUSCLE; VOICE; NECK
AB This study aimed to investigate the effect from emotional stimulus on the correlation between intercostal (INT)/abdominal (rectus abdominis [RC], lateral abdomen [OBL], and lower lateral abdomen [LOBL]) muscle activity and trunk wall (upper thorax [UTX], lower thorax [LTX], and abdomen [ABD]) movement. An electromyographic (EMG) activity was recorded from the TNT, RC, OBL, and LOBL sites. UTX, LTX, and ABD movement were traced with three strain gauge sensors. Recordings were compared between singing with emotional Stimulus (ES) and without emotional Stimulus (NES). Muscle activity was recorded by use of an ambulatory four-channel monitoring system (Physiometer PHY 400, Premed, Norway). Seven advanced Student singers (three males and four females) participated as subjects. Four sample performances were performed: (1) extreme tones, (2) swell tones, (3) arpeggio, and (4) glissando. All sample performances were sung on the vowel /a:/. We conclude that classical singers change their breathing pattern when they vocalize using ES compared with using NES. The results imply that vocalizing using ES facilitates a more prominent role for LOBL activity in the positioning of the abdominal wall and thorax than observed when vocalizing using NES.
C1 [Pettersen, Viggo] Univ Stavanger, Dept Mus & Dance, N-4036 Stavanger, Norway.
[Bjorkoy, Kare] Norwegian Univ Sci & Technol, N-7034 Trondheim, Norway.
[Bjorkoy, Kare] Royal Acad Mus, Aarhus, Denmark.
C3 Universitetet i Stavanger; Norwegian University of Science & Technology
(NTNU)
RP Pettersen, V (corresponding author), Univ Stavanger, Dept Mus & Dance, N-4036 Stavanger, Norway.
EM viggo.pettersen@uis.no
NR 19
TC 6
Z9 12
U1 0
U2 4
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAY
PY 2009
VL 23
IS 3
BP 295
EP 303
DI 10.1016/j.jvoice.2007.08.006
PG 9
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 448IT
UT WOS:000266257000005
PM 18346867
DA 2025-03-18
ER
PT J
AU Zhu, K
Yang, DD
Ke, ZJ
AF Zhu, Kai
Yang, Dong Dong
Ke, Zhong Jie
TI TRANSCENDENCE AND TRANSFORMATION: PHILOSOPHICAL INSIGHTS IN BEETHOVEN'S
VOCAL SUITES AND THEIR DIALOGIC INTERPLAY BETWEEN CLASSICISM AND
ROMANTICISM
SO EUROPEAN JOURNAL FOR PHILOSOPHY OF RELIGION
LA English
DT Article
DE Beethoven's Vocal Suites; Philosophical Thought; Classicism;
Romanticism; Characteristics of Musical Composition; Spiritual Values;
Vocal Suites from the Gellert Collection of Religious Songs
AB The exploration of philosophical ideas within Beethoven's vocal suites provides a vital lens through which one can better understand his musical oeuvre, particularly in the debate between classicism and romanticism. This study dissects Beethoven's compositional evolution across three distinct phases: the formative years (1782-1801), the middle period (1802-1812), and the late stage (1813-1827), each marked by varying degrees of engagement with philosophical themes such as Enlightenment, heroism, and idealism. These themes are not merely aesthetic choices but reflect deep spiritual and existential inquiries prevalent during Beethoven's time. Specifically, the Gellert Collection of Religious Songs, an essential work from Beethoven's repertoire, is scrutinized to uncover how it encapsulates the spiritual values and philosophical dialogues between classicism, emphasising order and rationality, and romanticism, which champions emotion and individualism. This analysis reveals how Beethoven's vocal music serves as a medium for philosophical reflection and spiritual expression, mirroring the broader cultural shifts towards individual moral and spiritual autonomy that characterized the transition from Enlightenment ideals to Romantic values.
C1 [Zhu, Kai; Ke, Zhong Jie] Dankook Univ, Mus Coll, Dept Vocal, Gyeonggi do 16890, South Korea.
[Yang, Dong Dong] Moscow State Pedag Univ, Mus Arts Coll, Moscow 119991, Russia.
C3 Dankook University; Moscow State University of Education
RP Yang, DD (corresponding author), Moscow State Pedag Univ, Mus Arts Coll, Moscow 119991, Russia.
EM YANGDONGDONG933@163.COM
RI yang, dongdong/IUO-5278-2023
NR 16
TC 0
Z9 0
U1 2
U2 2
PU EUROPEAN JOURNAL PHILOSOPHY RELIGION
PI INNSBRUCK
PA C/O UNIV INNSBRUCK, INST CHRISTLICHE PHILOSOPHIE, KARL-RAHNER-PLATZ 1,
INNSBRUCK, A-6020, AUSTRIA
SN 1689-8311
J9 EUR J PHILOS RELIG
JI Eur. J. Philos. Relig.
PY 2024
VL 16
IS 2
BP 384
EP 393
DI 10.24204/EJPR.2024.4457
PG 10
WC Philosophy; Religion
WE Arts & Humanities Citation Index (A&HCI)
SC Philosophy; Religion
GA G8B1L
UT WOS:001318816200010
DA 2025-03-18
ER
PT J
AU Kelmendi, A
Nimani, H
AF Kelmendi, Arsim
Nimani, Hysen
TI Musical Folklore of Rugova: Insights into Song, Dance, and Cultural
Heritage in Kosovo's Highlanders
SO MUSICA HODIE
LA English
DT Article
DE cultural expressions; folkloric rituals; intergenerational transmission;
ethnic traditions
AB In light of globalization's impact on cultural homogenization, understanding the distinct musical heritage of ethnic groups like the Kosovo highlanders gains significance. This study aims to uncover the nuances of Kosovo highlanders' national musical creativity, focusing on aspects such as vocal, dance, theatrical, and gaming traditions. Employing analysis, comparison, and synthesis methods, this research scrutinized original song texts and choreographic recordings, delving into the multifaceted aspects of Rugova's oral traditional musical arts. The investigation unveiled the unique content and stylistic diversity across various folk art forms, including songwriting, choreography, theatrical performances, and traditional games. It identified key categories within each folklore branch, elucidating Rugova's vocal music features, such as monodic texture, pentatonic scale, and distinctive instrumentation. Additionally, attention was drawn to the specificity and functionality of traditional costumes, which offer comfort and protection in Rugova's challenging climate. The study presents Rugova's oral traditional creativity as an integrated system comprising multiple components, thus offering novel insights into Kosovo highlanders' cultural heritage. Its practical implications extend to fields like musicology, cultural studies, folk performance, and ethnography.
C1 [Kelmendi, Arsim; Nimani, Hysen] Haxhi Zeka Univ, Dept Mus, Peja, Kosovo.
C3 University Haxhi Zeka
RP Kelmendi, A (corresponding author), Haxhi Zeka Univ, Dept Mus, Peja, Kosovo.
EM kelmendiarsim139@gmail.com; hysennimani3@hotmail.com
NR 34
TC 0
Z9 0
U1 0
U2 0
PU UNIV FEDERAL GOIAS
PI GOIANIA
PA Av. Esperanca, s/n - Chacaras de Recreio Samambaia, GOIANIA, GOIAS,
BRAZIL
SN 1676-3939
EI 2317-6776
J9 MUSICA HODIE
JI Musica Hodie
PY 2024
VL 24
AR e77208
DI 10.5216/mh.v24.77208
PG 29
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA J6V0X
UT WOS:001338412800001
OA gold
DA 2025-03-18
ER
PT J
AU Hernandez-Reif, M
Diego, M
Field, T
AF Hernandez-Reif, Maria
Diego, Miguel
Field, Tiffany
TI Instrumental and vocal music effects on EEG and EKG in neonates of
depressed and non-depressed mothers
SO INFANT BEHAVIOR & DEVELOPMENT
LA English
DT Article
DE neonates; depressed and non-depressed mothers; instrumental music
ID INFANTS; NEWBORNS; HABITUATION; PERCEPTION; ASYMMETRY; SCALE
AB Neonates (M age = 16 days) born to depressed and non-depressed mothers were randomly assigned to hear an audiotaped lullaby of instrumental music with vocals or without vocals. Neonatal EEG and EKG were recorded for 2 min (baseline) of silence and for 2 min of one or the other music presentation. Neonates of non-depressed mothers showed greater relative right frontal EEG asymmetry to both types of music, suggesting a withdrawal response. Neonates of depressed mothers on the other hand showed greater relative left frontal EEG asymmetry to the instrumental without vocal segment, suggesting an approach response, and greater relative right frontal EEG asymmetry to the instrumental with vocal segment, suggesting a withdrawal response. Heart rate decelerations occurred following the music onset for both groups of infants. however, compared to infants of non-depressed mothers, infants of depressed mothers showed a delayed heart rate deceleration, suggesting slower processing and/or delayed attention. These findings suggest that neonates of depressed and non-depressed mothers show different EKG and EEG responses to instrumental music with versus without vocals. (c) 2006 Published by Elsevier Inc.
C1 Univ Miami, Sch Med, Dept Pediat, Touch Res Inst, Miami, FL 33101 USA.
C3 University of Miami
RP Hernandez-Reif, M (corresponding author), Univ Miami, Sch Med, Dept Pediat, Touch Res Inst, POB 016820 D-820, Miami, FL 33101 USA.
FU NCCIH NIH HHS [AT 000370-S2, AT 000370] Funding Source: Medline; NIMH
NIH HHS [MH00331, MH46586] Funding Source: Medline
NR 23
TC 16
Z9 20
U1 2
U2 22
PU ELSEVIER SCIENCE INC
PI NEW YORK
PA STE 800, 230 PARK AVE, NEW YORK, NY 10169 USA
SN 0163-6383
EI 1879-0453
J9 INFANT BEHAV DEV
JI Infant Behav. Dev.
PD DEC
PY 2006
VL 29
IS 4
BP 518
EP 525
DI 10.1016/j.infbeh.2006.07.008
PG 8
WC Psychology, Developmental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Psychology
GA 118ZN
UT WOS:000242982100004
PM 17138304
DA 2025-03-18
ER
PT J
AU Guzman, M
Angadi, V
Croake, D
Catalan, C
Romero, C
Acuña, G
Quezada, C
Andreatta, R
Stemple, J
AF Guzman, Marco
Angadi, Vrushali
Croake, Daniel
Catalan, Christopher
Romero, Constanza
Acuna, Gabriela
Quezada, Camilo
Andreatta, Richard
Stemple, Joseph
TI Does a Systematic Vocal Exercise Program Enhance the Physiologic Range
of Voice Production in Classical Singing Graduate-Level Students?
SO JOURNAL OF SPEECH LANGUAGE AND HEARING RESEARCH
LA English
DT Article
ID PROFILES; DISORDERS; TEACHERS; SPECTRUM; FEATURES; SINGERS
AB Purpose: The purpose of this study was to assess the effects of vocal function exercises (VFEs) on the physiologic range of the operatic voice. The primary outcome measure was total voice range profile (VRP) area.
Method: Forty graduate-level opera majors were randomly assigned to experimental (training with VFE + vocal hygiene) and control (vocal hygiene only) groups. All participants underwent an acoustic voice assessment (modified VRP) pre and post 10 weeks of the assigned intervention. VRP total area was calculated and compared between and within the two groups. The total VRP area was subsequently divided into three area thirds (low, medium, and high).
Results: A significant improvement (increase) was observed in the VFE group for the primary outcome measure of VRP area when pre- and postvoice conditions were compared for total area, upper third, and middle third. No significant improvement was found in the vocal hygiene-only group.
Conclusion: Vocal training with VFEs over a 10-week period demonstrated positive effects on physiologic voice range as evidenced by an increase in the total VRP area and therefore may enhance the potential of those who already have professional voice training.
C1 [Guzman, Marco] Univ Los Andes, Dept Commun Sci & Disorders, Santiago, Chile.
[Angadi, Vrushali; Andreatta, Richard; Stemple, Joseph] Univ Kentucky, Dept Commun Sci & Disorders, Lexington, KY USA.
[Croake, Daniel] Blaine Block Inst Voice Anal & Rehabil, Dayton, OH USA.
[Catalan, Christopher] Hosp Dr Luis Calvo Mackena, Serv Otorrinolaringol, Santiago, Chile.
[Romero, Constanza; Acuna, Gabriela] Univ Chile, Dept Commun Sci & Disorders, Santiago, Chile.
[Quezada, Camilo] Univ Chile, Fac Med, Dept Fonoaudiol, Santiago, Chile.
C3 Universidad de los Andes - Chile; University of Kentucky; Universidad de
Chile; Universidad de Chile
RP Guzman, M (corresponding author), Univ Los Andes, Dept Commun Sci & Disorders, Santiago, Chile.
EM guzmann.marcoa@gmail.com
RI Angadi, Vrushali/AAM-1620-2020
OI Guzman, Marco/0000-0003-2088-4870
FU CONICYT [FONDECYT 11180291]
FX This research was supported by grants from CONICYT (Grant FONDECYT
11180291, awarded to Marco Guzman).
NR 37
TC 6
Z9 8
U1 1
U2 11
PU AMER SPEECH-LANGUAGE-HEARING ASSOC
PI ROCKVILLE
PA 2200 RESEARCH BLVD, #271, ROCKVILLE, MD 20850-3289 USA
SN 1092-4388
EI 1558-9102
J9 J SPEECH LANG HEAR R
JI J. Speech Lang. Hear. Res.
PD APR
PY 2020
VL 63
IS 4
BP 1044
EP 1052
DI 10.1044/2020_JSLHR-19-00362
PG 9
WC Audiology & Speech-Language Pathology; Linguistics; Rehabilitation
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Linguistics; Rehabilitation
GA ND2UP
UT WOS:000561760500009
PM 32293967
DA 2025-03-18
ER
PT J
AU Roberts, H
AF Roberts, Helen
TI New light on the 17th-century English cathedral wind band: a
(fragmentary) Canterbury tale
SO EARLY MUSIC
LA English
DT Article
DE Canterbury Cathedral; performance practice; cornett; sackbut; wind band;
17th century; practice-led research; waits; soundscape; Reformation
AB Despite the long-acknowledged and widespread association of wind instrumentalists with English cathedrals in the late 16th and 17th centuries, and the continued performance tradition enjoyed by sacred vocal music of the period, the performance practices of English cathedral wind bands during this time have been strangely neglected in the existing literature. Drawing on a combination of traditional musicological and archival research and bespoke practice-led research methodologies, this article discusses some possible solutions to the question of how wind instrumentalists may have been employed in the day-to-day enactment of Prayer Book services during a turbulent period of English history. New archival evidence surrounding the life of William Mather, cornettist at Canterbury Cathedral in the years before the suspension of sung worship in 1642, sheds new light on the interplay between civic and ecclesiastical music-making in the city, contributing to our knowledge of the historical and social contexts of the people and practices involved, and offering a tantalizing glimpse into life in the 17th-century gig economy.
C1 [Roberts, Helen] Birmingham City Univ, Royal Birmingham Conservatoire, Birmingham, W Midlands, England.
C3 Birmingham City University
RP Roberts, H (corresponding author), Birmingham City Univ, Royal Birmingham Conservatoire, Birmingham, W Midlands, England.
EM helen.roberts@bcu.ac.uk
OI Roberts, Helen/0000-0002-4379-5216
NR 48
TC 0
Z9 0
U1 0
U2 1
PU OXFORD UNIV PRESS
PI OXFORD
PA GREAT CLARENDON ST, OXFORD OX2 6DP, ENGLAND
SN 0306-1078
EI 1741-7260
J9 EARLY MUSIC
JI Early Music
PD DEC 30
PY 2022
VL 50
IS 4
BP 493
EP 510
DI 10.1093/em/caac049
EA NOV 2022
PG 18
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA H4LT4
UT WOS:000878758600001
DA 2025-03-18
ER
PT J
AU Oates, JM
Bain, B
Davis, P
Chapman, T
Kenny, T
AF Oates, JM
Bain, B
Davis, P
Chapman, T
Kenny, T
TI Development of an auditory-perceptual rating instrument for the operatic
singing voice
SO JOURNAL OF VOICE
LA English
DT Article
DE auditory-perceptual voice analysis; Western operatic voice; opera;
classical singing voice
ID SUNG VOWELS; QUALITY; SINGERS; RELIABILITY; SPEECH; SCALE
AB Although considerable progress has been made in the development of acoustic and physiological measures of operatic singing, voice. there is still no widely accepted objective tool for the evaluation of its multidimensional features. Auditory-perceptual evaluation. therefore, remains ail important evaluation method for singing pedagogues. voice scientists, and clinicians who work with opera singers. Few investigators, however, have attempted to develop standard auditory-perceptual tools for evaluation of the operatic voice. This study aimed to pilot test a new auditory-perceptual rating instrument for operatic singing voice. Nine expert teachers of operatic singing used the instrument to rate the singing voices of 21 professional opera chorus artists from a national opera company. The findings showed that the instrument has good face validity, that it can be legitimately treated as a psychometrically sound scale, and that raters can use the scale consistently, both between and within judges. This new instrument, therefore, has the potential to allow opera singers, their teachers, voice care clinicians, and researchers to evaluate the important auditory-perceptual features of operatic voice quality.
C1 La Trobe Univ, Sch Human Commun Sci, Bundoora, Vic 3086, Australia.
Univ Sydney, Australian Ctr Appl Res Mus Performance, Sydney, NSW 2006, Australia.
C3 La Trobe University; University of Sydney
RP Oates, JM (corresponding author), La Trobe Univ, Sch Human Commun Sci, Bundoora, Vic 3086, Australia.
EM j.oates@latrobe.edu.au
OI Oates, Jennifer/0000-0001-9340-938X; Kenny, Dianna/0000-0003-1934-0163
NR 30
TC 28
Z9 38
U1 0
U2 4
PU MOSBY, INC
PI ST LOUIS
PA 11830 WESTLINE INDUSTRIAL DR, ST LOUIS, MO 63146-3318 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD MAR
PY 2006
VL 20
IS 1
BP 71
EP 81
DI 10.1016/j.jvoice.2005.01.006
PG 11
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 022LQ
UT WOS:000236057700008
PM 16051464
DA 2025-03-18
ER
PT J
AU Vurma, A
Meister, E
Meister, L
Ross, J
Raju, M
Kala, V
Dede, T
AF Vurma, Allan
Meister, Einar
Meister, Lya
Ross, Jaan
Raju, Marju
Kala, Veeda
Dede, Tuuri
TI The intensities of vowels and plosive bursts and their impact on text
intelligibility in singing
SO JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA
LA English
DT Article
ID SUNG; PSYTOOLKIT; PITCH
AB In classical singing, there are often problems with the intelligibility of sung text. The present study aims to test the hypotheses that (1) in loud operatic singing, compared with speaking, the intensity of voiceless plosives increases less than the intensity of vowels, leading to poorer recognition of plosives; and (2) pronouncing the plosive bursts with greater intensity improves their recognition. The acoustic analysis of nine opera arias in Italian from the Classical and Romantic periods performed by ten classically trained singers showed that the average difference in the intensity of vowels when sung and spoken was 14.6 dB [standard deviation (SD) = 7.2 dB], while the difference in the intensity of voiceless plosive bursts was only 6.6 dB (SD = 6 dB). In a perception test with 73 participants, increasing the intensity of the plosive bursts generally improved the recognition of plosives in the sung /a-plosive-a/ sequences, but mainly when reverberation and/or pink noise imitating instrumental accompaniments were added to the stimuli. At the same time, recognition of plosives was often better than chance even when the plosive burst was missing and replaced by silence. (c) 2023 Acoustical Society of America.
C1 [Vurma, Allan; Ross, Jaan; Raju, Marju; Kala, Veeda; Dede, Tuuri] Estonian Acad Mus & Theatre, EE-10116 Tallinn, Estonia.
[Meister, Einar; Meister, Lya] Tallinn Univ Technol, EE-19086 Tallinn, Estonia.
C3 Estonian Academy of Music & Theatre; Tallinn University of Technology
RP Vurma, A (corresponding author), Estonian Acad Mus & Theatre, EE-10116 Tallinn, Estonia.
EM allan.vurma@eamt.ee
RI Raju, Marju/AAH-9341-2020; Meister, Einar/C-1842-2014; Meister,
Lya/C-1543-2019; Vurma, Allan/H-2638-2018
OI Meister, Einar/0000-0002-2179-735X; Kala, Veeda/0009-0001-3170-425X;
Meister, Lya/0000-0001-8815-9566; Ross, Jaan/0000-0003-0457-0265; Vurma,
Allan/0000-0002-0654-7870; Raju, Marju/0000-0002-1479-680X
FU This study was supported by the Estonian Research Council Grant No.
PRG1552, and by the European Union, European Regional Development Fund
(Centre of Excellence in Estonian Studies). The authors have no
conflicts of interest to disclose. This research was [PRG1552]; Estonian
Research Council; European Union; European Regional Development Fund
(Centre of Excellence in Estonian Studies)
FX This study was supported by the Estonian Research Council Grant No.
PRG1552, and by the European Union, European Regional Development Fund
(Centre of Excellence in Estonian Studies). The authors have no
conflicts of interest to disclose. This research was approved by the
Research Ethics Committee of the University of Tartu. Informed consent
was obtained from all participants. The data that support the findings
of this study are available on request from the corresponding author.
The data are not publicly available due to privacy.
NR 47
TC 0
Z9 0
U1 5
U2 6
PU ACOUSTICAL SOC AMER AMER INST PHYSICS
PI MELVILLE
PA STE 1 NO 1, 2 HUNTINGTON QUADRANGLE, MELVILLE, NY 11747-4502 USA
SN 0001-4966
EI 1520-8524
J9 J ACOUST SOC AM
JI J. Acoust. Soc. Am.
PD OCT
PY 2023
VL 154
IS 4
BP 2653
EP 2664
DI 10.1121/10.0021968
PG 12
WC Acoustics; Audiology & Speech-Language Pathology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Acoustics; Audiology & Speech-Language Pathology
GA X0ZA0
UT WOS:001095805800004
DA 2025-03-18
ER
PT J
AU Burk, F
Traser, L
Burdumy, M
Richter, B
Echternach, M
AF Burk, Fabian
Traser, Louisa
Burdumy, Michael
Richter, Bernhard
Echternach, Matthias
TI Dynamic changes of vocal tract dimensions with sound pressure level
during messa di voce
SO JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA
LA English
DT Article
ID SUBGLOTTAL PRESSURE; LUNG-VOLUME; PHONATION; FREQUENCY; SYMMETRY;
SINGERS; PITCH; MRI
AB The messa di voce (MdV), which consists of a continuous crescendo and subsequent decrescendo on one pitch is one of the more difficult exercises of the technical repertoire of Western classical singing. With rising lung pressure, regulatory adjustments both on the level of the glottis and the vocal tract are required to keep the pitch stable. The dynamic changes of vocal tract dimensions with the bidirectional variation of sound pressure level (SPL) during MdV were analyzed by two-dimensional real-time magnetic resonance imaging (25 frames/s) and synchronous audio recordings in 12 professional singer subjects. Close associations in the respective articulatory kinetics were found between SPL and lip opening, jaw opening, pharynx width, uvula elevation, and vertical larynx position. However, changes in vocal tract dimensions during plateaus of SPL suggest that perceived loudness could have been varied beyond the dimension of SPL. Further multimodal investigation, including the analysis of sound spectra, is needed for a better understanding of the role of vocal tract resonances in the control of vocal loudness in human phonation. (c) 2023 Acoustical Society of America.
C1 [Burk, Fabian] SRH Wald Klinikum Gera, Dept Otorhinolaryngol & Plast Surg, Gera, Germany.
[Burk, Fabian; Traser, Louisa; Richter, Bernhard] Univ Med Ctr Freiburg, Inst Musicians Med, Freiburg, Germany.
[Burdumy, Michael] Univ Med Ctr Freiburg, Dept Radiol, Med Phys, Freiburg, Germany.
[Echternach, Matthias] Munich Univ Hosp LMU, Dept Otorhinolaryngol, Div Phoniatr & Pediat Audiol, Munich, Germany.
C3 University of Freiburg; University of Freiburg; University of Munich
RP Burk, F (corresponding author), SRH Wald Klinikum Gera, Dept Otorhinolaryngol & Plast Surg, Gera, Germany.; Burk, F (corresponding author), Univ Med Ctr Freiburg, Inst Musicians Med, Freiburg, Germany.
EM fabian.burk@gmx.de
RI Traser, Louisa/ISV-0900-2023; Echternach, Matthias/IAP-7667-2023;
Burdumy, Michael/M-6212-2017
OI Traser, Louisa/0000-0001-5747-7967; Burk, Fabian/0009-0003-1353-5688;
Burdumy, Michael/0000-0003-4577-5515; Echternach,
Matthias/0000-0003-0095-5360
FU German Research Foundation [Ri 1050/4-1]
FX This work was supported by the German Research Foundation (Grant No. Ri
1050/4-1). The authors thank Hansjoerg Mast for his help in recording
the MRI sequences. Author contributions were as follows:
conceptualization, M.E., L.T., and F.B.; methodology, F.B. and M.B.;
software, F.B. and M.B.; validation, F.B., M.E., L.T., and B.R.; formal
analysis, F.B.; investigation, F.B., M.E., L.T., and M.B.; data
curation, F.B.; writing original draft of the manuscript, F.B.; review
and editing of the final manuscript, F.B., L.T., M.E., B.R., and M.B;
visualization, F.B.; project administration, M.E. and B.R.; funding
acquisition, M.E. and B.R.
NR 48
TC 1
Z9 1
U1 1
U2 4
PU ACOUSTICAL SOC AMER AMER INST PHYSICS
PI MELVILLE
PA STE 1 NO 1, 2 HUNTINGTON QUADRANGLE, MELVILLE, NY 11747-4502 USA
SN 0001-4966
EI 1520-8524
J9 J ACOUST SOC AM
JI J. Acoust. Soc. Am.
PD DEC
PY 2023
VL 154
IS 6
BP 3595
EP 3603
DI 10.1121/10.0022582
PG 9
WC Acoustics; Audiology & Speech-Language Pathology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Acoustics; Audiology & Speech-Language Pathology
GA Z5LW6
UT WOS:001112498800008
PM 38038612
DA 2025-03-18
ER
PT J
AU Mürbe, D
Zahnert, T
Kuhlisch, E
Sundberg, J
AF Murbe, Dirk
Zahnert, Thomas
Kuhlisch, Eberhard
Sundberg, Johan
TI Effects of professional singing education on vocal vibrato -: A
longitudinal study
SO JOURNAL OF VOICE
LA English
DT Article; Proceedings Paper
CT 31st Annual Voice-Foundation Symposium on Care of the Professional Voice
CY JUN, 2002
CL Philadelphia, PA
SP Voice Fdn
DE singing; vocal vibrato; training
ID SINGERS
AB Vocal vibrato is regarded as one of the essential characteristics of voice quality in classical singing. Professional singers seem to develop vibrato automatically, without actively striving to acquire it. In this longitudinal investigation, the vocal vibrato of 22 singing students was examined at the beginning of and after 3 years of professional singing education. Subjects sang an ascending-descending triad pattern in slow tempo on vowel [a:] at a comfortable pitch level twice at soft (piano) and twice at medium (mezzo-forte) loudness. The top note of the triad pattern was sustained for approximately 5 s. The mean and the standard deviation (SD) of the vibrato rate were measured for this note. Results revealed that after 3 years of training, voices with vibrato slower than 5.2 Hz were found to have a faster vibrato, and voices with vibrato faster than 5.8 Hz were found to have a slower vibrato. Standard deviation of vibrato rate was higher in soft than in medium loudness, particularly before the education. Also high values of SD of vibrato rate, exceeding 0.65 Hz, had decreased after the education. These findings confirm that vibrato characteristics can be affected by singing education.
C1 Tech Univ Dresden, Dept Otorhinolaryngol, D-01307 Dresden, Germany.
Coll Music Carl Maria Weber, Voice Res Lab, Dresden, Germany.
Tech Univ Dresden, Dept Biomath & Stat, D-8027 Dresden, Germany.
Royal Inst Technol, Dept Speech Music & Hearing, Stockholm, Sweden.
C3 Technische Universitat Dresden; Technische Universitat Dresden; Royal
Institute of Technology
RP Mürbe, D (corresponding author), Tech Univ Dresden, Dept Otorhinolaryngol, Fetscherstr 74, D-01307 Dresden, Germany.
EM dirk.muerbe@mailbox.tu-dresden.de
OI Kuhlisch, Eberhard/0000-0003-2777-6522
NR 13
TC 26
Z9 36
U1 0
U2 14
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD NOV
PY 2007
VL 21
IS 6
BP 683
EP 688
DI 10.1016/j.jvoice.2006.06.002
PG 6
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 235FI
UT WOS:000251218500005
PM 16876980
DA 2025-03-18
ER
PT J
AU Hamdan, AL
Sibal, T
Moukarbel, RV
Deeb, R
AF Hamdan, Abdul-Latif
Sibal, Tabla
Moukarbel, Roger V.
Deeb, Reem
TI Laryngeal biomechanics in Middle Eastern singing
SO JOURNAL OF VOICE
LA English
DT Article
DE biomechanics; laryngeal; Middle Eastern-singing
AB We would like to describe the muscle tension patterns observed in Middle Eastern singing and correlate these findings with demographic data. Material: A total of 42 candidates were included in this study. The medical charts and video records of their fiberoptic nasopharyngeal laryngoscopy were reviewed. Demographic information included age, sex, history of smoking, history of reflux, history of voice overuse/abuse, status in singing (professional vs. amateur), and style of singing (classical vs pop). Each frame was analyzed for each of the four muscle tension patterns (MTPs): MTP I, MTP II, MTP III, and MTP IV. Statistical method: Nonparametric Mann-Whitney U test was conducted. Results: Twenty-six subjects were professional singers and half sang classical singing. The mean MTP total score for all subjects was 35.58 +/- 21.98% (+/- standard deviation). The highest muscle tension score was obtained for type III pattern followed by type II. There were no statistical differences in the mean MTP total, MTP II, and MTP III scores among the professional singers versus the amateurs. Similar results were obtained when MTP scores were compared by style of singing. Conclusion: The vocal technique and status of singing did not seem to affect the muscle tension score.
C1 Amer Univ Beirut, Dept Otolaryngol Head & Neck Surg, Beirut, Lebanon.
Amer Univ Beirut, Med Ctr, Dept Epidemiol & Populat Hlth, Beirut, Lebanon.
Amer Univ Beirut, Sch Arts & Sci, Dept Civilizat Sequence, Beirut, Lebanon.
C3 American University of Beirut; American University of Beirut; American
University of Beirut
RP Hamdan, AL (corresponding author), Amer Univ Beirut, Dept Otolaryngol, POB 110236, Beirut 11072020, Lebanon.
EM alhamdan@svclb.com
OI Sibai, Abla/0000-0002-1851-5606
NR 11
TC 6
Z9 7
U1 0
U2 2
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD DEC
PY 2006
VL 20
IS 4
BP 579
EP 584
DI 10.1016/j.jvoice.2005.07.003
PG 6
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 117LZ
UT WOS:000242876000008
PM 16360303
DA 2025-03-18
ER
PT J
AU COHN, JR
SATALOFF, RT
SPIEGEL, JR
FISH, JE
KENNEDY, K
AF COHN, JR
SATALOFF, RT
SPIEGEL, JR
FISH, JE
KENNEDY, K
TI AIRWAY REACTIVITY-INDUCED ASTHMA IN SINGERS (ARIAS)
SO JOURNAL OF VOICE
LA English
DT Article
DE SINGERS; ASTHMA; PULMONARY DISEASE; OBSTRUCTIVE PULMONARY DISEASE
AB Professional singers are particularly attuned to changes in airflow that can alter their ability to perform. We describe four singers who complained primarily of performance-related vocalization problems, but who had normal larynges and fundamentally good voice technique. All had normal or near-normal spirometry. Subsequent studies revealed evidence of increased airway reactivity, either by response to bronchodilators or to methacholine. All responded to treatment with bronchodilators with improvement in vocal performance. This represents a form of airway reactivity-induced asthma in singers similar to that found with exercise or hyperventilation.
RP COHN, JR (corresponding author), THOMAS JEFFERSON UNIV,SUITE 4016,111 S 11TH ST,PHILADELPHIA,PA 19107, USA.
NR 0
TC 14
Z9 14
U1 0
U2 1
PU LIPPINCOTT-RAVEN PUBL
PI PHILADELPHIA
PA 227 EAST WASHINGTON SQ, PHILADELPHIA, PA 19106
SN 0892-1997
J9 J VOICE
JI J. Voice
PD DEC
PY 1991
VL 5
IS 4
BP 332
EP 337
DI 10.1016/S0892-1997(05)80065-7
PG 6
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA GR650
UT WOS:A1991GR65000009
DA 2025-03-18
ER
PT J
AU Thomas, ME
AF Thomas, Margaret E.
TI Text and Temporality: Toward an Understanding of Rhythmic Irregularities
in the Music of Tom Waits
SO MUSIC THEORY ONLINE
LA English
DT Article
DE Tom Waits; rhythm; hypermeter; popular music; lyrics; rhythmic
irregularity; voice
AB This article considers phrase structure, hypermeter, and lyrics in three songs by Tom Waits, examining the particular ways that temporal regularity and irregularity interact with poetic structure, musical style, and vocal performance in Waits's music. Subtle and ambiguous hypermetrical shifts are uncovered in "Green Grass," whereas "Black Wings" utilizes conspicuously conflicting phrase lengths to enhance its textural meaning. In "Dead and Lovely" Waits creates temporal disturbances by shifting the placement of four-measure phrases relative to hypermetrical downbeats and upbeats.
C1 [Thomas, Margaret E.] Connecticut Coll, Dept Mus, 270 Mohegan Ave, New London, CT 06320 USA.
C3 Connecticut College
RP Thomas, ME (corresponding author), Connecticut Coll, Dept Mus, 270 Mohegan Ave, New London, CT 06320 USA.
EM metho@conncoll.edu
NR 37
TC 3
Z9 5
U1 0
U2 2
PU SOC FOR MUSIC THEORY
PI CHICAGO
PA UNIV, CHICAGO, EPT MUSIC, 1010 EAST 59TH STREET, CHICAGO, IL 60637-1512
USA
SN 1067-3040
J9 MUSIC THEORY ONLINE
JI Music Theory Online
PD DEC
PY 2016
VL 22
IS 4
PG 14
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA EJ3UE
UT WOS:000393136800005
DA 2025-03-18
ER
PT J
AU García, J
Laiolo, P
Suárez-Seoane, S
AF Garcia, Javier
Laiolo, Paola
Suarez-Seoane, Susana
TI Song complexity is associated with habitat quality in an upland
passerine
SO IBIS
LA English
DT Article
DE adaptation; Luscinia svecica; morphology; sexual selection
ID BIRD-SONG; SEXUAL SELECTION; BODY-SIZE; LUSCINIA-SVECICA;
SPATIAL-ANALYSIS; DARWINS FINCHES; EVOLUTION; DIVERGENCE; WARBLER; SOUND
AB Understanding the influence of intrinsic (genetic and morphological) and extrinsic (geographical, environmental and social) factors on the performance and spatial differentiation of sexual signals, such as bird song, can help identify behavioural indicators of individual quality, habitat degradation and social environment. We used the Iberian Bluethroat Luscinia svecica azuricollis, a migratory bird that breeds in fragmented landscapes dominated by shrublands, as a case study to: (1) assess how a set of acoustic indicators of song performance are driven by intrinsic and extrinsic factors; and (2) contrast deterministic (adaptations to the environmental context and morphological constraints) vs. stochastic (differentiation by geographical isolation) explanations for song differentiation patterns. We explored acoustic indicators of song performance (spectral, temporal and song complexity) in relation to parameters related to genetic structure, body size, habitat type, habitat quality (assessed through a spatially explicit modelling approach) and social context (population abundance and songbird community composition). Then, we explored the contribution of genetic, geographical and environmental dissimilarity to song diversification across space. Our results highlight an association of song spectral variables with genetic structure and a significant connection between song complexity and duration with habitat quality. We found no relationship between social features and acoustic variables, or between song differentiation and genetic or geographical distances. There was, however, a correlation between song differentiation and environmental dissimilarity. We recommend the consideration of song complexity as an indicator of habitat quality.
C1 [Garcia, Javier; Suarez-Seoane, Susana] Univ Leon, Dept Biodivers & Environm Management, Campus Vegazana s-n, Leon 24071, Spain.
[Laiolo, Paola; Suarez-Seoane, Susana] Univ Oviedo, Biodivers Res Inst, CSIC Principal Asturias, Campus Mieres,Res Bldg,5th Floor,C Gonzalo Gutierr, Mieres 33600, Asturias, Spain.
C3 Universidad de Leon; University of Oviedo
RP García, J (corresponding author), Univ Leon, Dept Biodivers & Environm Management, Campus Vegazana s-n, Leon 24071, Spain.
EM javier.garcia.fernandez@gmail.com
RI ; Laiolo, Paola/B-6566-2014; Suarez-Seoane, Susana/D-8246-2015
OI Garcia, Javier/0000-0001-9641-0028; Laiolo, Paola/0000-0002-2009-6797;
Suarez-Seoane, Susana/0000-0001-7656-4214
FU University of Leon [2009/00131/00]; CSIC/MICINN [201030I019]; Regional
Government of the Principality of Asturias/FICYT [AYUD/2021/51261];
Swedish Research Council [2009-00131] Funding Source: Swedish Research
Council; Vinnova [2009-00131] Funding Source: Vinnova; Formas
[2009-00131] Funding Source: Formas
FX This work was partially funded by the University of Leon
(2009/00131/00), the CSIC/MICINN (201030I019) and the Regional
Government of the Principality of Asturias/FICYT (AYUD/2021/51261).
NR 79
TC 1
Z9 1
U1 0
U2 8
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0019-1019
EI 1474-919X
J9 IBIS
JI Ibis
PD APR
PY 2024
VL 166
IS 2
BP 682
EP 693
DI 10.1111/ibi.13257
EA JUL 2023
PG 12
WC Ornithology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Zoology
GA MA6D9
UT WOS:001035598300001
DA 2025-03-18
ER
PT J
AU Zhang, X
Cross, I
AF Zhang, Xi
Cross, Ian
TI Singers' Realizations of Linguistic Tone in Chaozhou Song
SO ETHNOMUSICOLOGY
LA English
DT Article
DE tone language; Chaozhou song; lexical tone realization; note-internal
pitch change; linguistics
ID 1ST YEAR; PERCEPTION
AB This article explores singers' realization of linguistic tones of Chaozhou, a Southern Chinese tone language, in song performance. Analysis of a folk song sung by five singers reveals consistent realization of falling tones with a descending pitch within individual notes. The result suggests that Chaozhou singers may incorporate their spoken language experience into the notes they sing, irrespective of the different routes of learning to sing the song. Additionally, the realization of the phonetic distinctions of the language may also reflect an effort to delineate cultural boundaries and assert a cultural identity of Chaozhou.
C1 [Zhang, Xi; Cross, Ian] Univ Cambridge, Fac Mus, Ctr Mus & Sci, Cambridge, England.
C3 University of Cambridge
RP Zhang, X (corresponding author), Univ Cambridge, Fac Mus, Ctr Mus & Sci, Cambridge, England.
RI Cross, Ian/HJH-7802-2023
FU Faculty of Music, University of Cambridge
FX LPPM of Universitas AndalasThe fieldwork was partly funded by the
Faculty of Music, University of Cambridge. We thank Chaozhou musician
Wang Peiyu (1.3 (sic)) for introducing us to Chaozhou singers and thank
all the singers for providing firsthand materials. We are grateful to
Richard Widdess for sharing his thoughts on an earlier version of the
manuscript and to two anonymous reviewers for their com- ments, which
greatly improved the article. We would also like to pay tribute to the
late Chaozhou musician and researcher Yu Yiwen (1938-2017) for his early
influence on the present subject and valuable insights into the study of
Chaozhou songs.
NR 67
TC 0
Z9 0
U1 0
U2 0
PU SOC ETHNOMUSICOLOGY INC
PI BLOOMINGTON
PA MORRISON HALL, ROOM 005 INDIANA UNIVERSITY, BLOOMINGTON, IN 47405 USA
SN 0014-1836
EI 2156-7417
J9 ETHNOMUSICOLOGY
JI Ethnomusicology
PD SPR-SUM
PY 2024
VL 68
IS 2
BP 247
EP 275
PG 29
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA A5Y0Z
UT WOS:001283276300003
DA 2025-03-18
ER
PT J
AU McHenry, M
Evans, J
Powitzky, E
AF McHenry, Monica
Evans, Joseph
Powitzky, Eric
TI Singers' Phonation Threshold Pressure and Ratings of Self-Perceived
Effort on Vocal Tasks
SO JOURNAL OF VOICE
LA English
DT Article
DE Singers; Self-rating; Vocal effort; Soft phonation; Phonatory threshold
pressure
AB Objectives/Hypothesis. 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.
Study Design. A multiple regression analysis was performed with PTP as the predicted variable and self-ratings on four phonatory tasks as the predictor variables.
Methods. 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).
Results. 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.
Conclusions. 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.
C1 [McHenry, Monica] Univ Houston, Dept Commun Sci & Disorders, Houston, TX 77204 USA.
[Evans, Joseph] Univ Houston, Moores Sch Mus, Houston, TX 77204 USA.
[Powitzky, Eric] Ctr ENT, Houston, TX USA.
C3 University of Houston System; University of Houston; University of
Houston System; University of Houston
RP McHenry, M (corresponding author), Univ Houston, Houston, TX 77204 USA.
EM mmchenry@uh.edu
OI Powitzky, Eric/0000-0002-1747-9439
NR 10
TC 6
Z9 9
U1 1
U2 5
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAY
PY 2013
VL 27
IS 3
BP 295
EP 298
DI 10.1016/j.jvoice.2012.12.013
PG 4
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 149IX
UT WOS:000319313400006
PM 23462685
DA 2025-03-18
ER
PT J
AU Warren, RA
Curtis, ME
AF Warren, Richard A.
Curtis, Meagan E.
TI THE ACTUAL VS. PREDICTED EFFECTS OF INTONATION ACCURACY ON VOCAL
PERFORMANCE QUALITY
SO MUSIC PERCEPTION
LA English
DT Article
DE intonation; music perception; performance quality; singing; vibrato
ID MUSICAL EXPERIENCE; PERCEPTION; PITCH; TONES; DISCRIMINATION; MUSICIANS;
INTERVALS; TIMBRE; BAD
AB THE BELIEF THAT INTONATION ACCURACY IS A KEY determinant of musical performance quality is ubiquitous in music pedagogy; nonetheless, empirical validation of this belief is lacking. We investigated the effects of intonation accuracy on perceived performance quality and assessed whether music professionals' beliefs about the importance of intonation are consistent with these effects. In Experiments 1 and 2, participants listened to vocal performances that were in tune, moderately out of tune, or severely out of tune. Only severe mistunings caused decreases in performance quality ratings for intonation insensitive listeners (those who performed poorly on a mistuning detection prescreening). However, both moderate and severe mistunings were detrimental to the ratings of intonation sensitive listeners. These results indicate that moderate mistunings exert a negative influence on the perceived quality of a performance only if the listener can explicitly detect the mistunings. If a listener cannot explicitly detect the mistunings, those mistunings do not implicitly exert a negative influence on the perception of the performance. In Experiment 3, music professionals heard samples of performances from Experiments 1 and 2 in each intonation condition and were asked to estimate the impact of the mistunings on listeners' ratings of performance quality. Their predictions were compared to the actual performance quality ratings obtained in Experiment 2. Music professionals overestimated the impact of moderate mistunings for both intonation sensitive and insensitive listeners, suggesting that music professionals may hold inaccurate beliefs about the importance of intonation accuracy in vocal performance.
C1 [Warren, Richard A.; Curtis, Meagan E.] SUNY Coll Purchase, Purchase, NY USA.
C3 State University of New York (SUNY) System
RP Warren, RA (corresponding author), Columbia Univ, Hammer Hlth Sci Ctr, 701 West 168th St,Room 501, New York, NY 10032 USA.
EM raw2163@columbia.edu
OI Warren, Richard/0000-0002-5335-0691
NR 28
TC 7
Z9 7
U1 1
U2 13
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0730-7829
J9 MUSIC PERCEPT
JI Music Percept.
PD DEC
PY 2015
VL 33
IS 2
BP 135
EP 146
DI 10.1525/MP.2015.33.2.135
PG 12
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA DC7YW
UT WOS:000369438100001
DA 2025-03-18
ER
PT J
AU Tillmann, B
Janata, P
Birk, J
Bharucha, JJ
AF Tillmann, Barbara
Janata, Petr
Birk, Jeffrey
Bharucha, Jamshed J.
TI Tonal centers and expectancy: Facilitation or inhibition of chords at
the top of the harmonic hierarchy?
SO JOURNAL OF EXPERIMENTAL PSYCHOLOGY-HUMAN PERCEPTION AND PERFORMANCE
LA English
DT Article
DE musical priming; facilitation-inhibition; tonal knowledge
ID WORD RECOGNITION; MUSICAL EXPECTANCY; SENTENCE CONTEXTS; VOCAL-MUSIC;
PITCH; REPRESENTATION; ORGANIZATION; PERCEPTION; ACTIVATION; MECHANISMS
AB Harmonic priming studies have shown that a musical context with its tonal center influences target chord processing. In comparison with targets following baseline contexts, which do not establish a specific tonal center, processing is facilitated for a strongly related target functioning as the tonic, but inhibited for unrelated (out-of-key) and less related (subdominant) targets. This study investigated cost and benefit patterns for the processing of the 3 most important chords of the harmonic hierarchy. Response time patterns reflected the chords' ranking: Processing was fastest for the tonic, followed by the dominant, and then the subdominant. The comparison with baseline contexts replicated the benefit of processing for tonic targets (Experiments 1 and 3) and the cost of processing for subdominant targets (Experiment 3), while dominant targets were situated at baseline level (Experiments 1 to 3). Findings indicate that listeners implicitly understand fine differences in tonal stabilities and confirm the special status of the tonic being the most expected and solely facilitated chord at the end of a tonal context. Findings are discussed with references to sensory and cognitive approaches of music perception.
C1 [Tillmann, Barbara] Univ Lyon 1, CNRS, UMR Neurosci Sensorielles Comportement Cognit 502, Sensory Neurosci Behav Cognit Lab, F-69366 Lyon 07, France.
[Janata, Petr] Univ Calif Davis, Dept Psychol, Davis, CA 95616 USA.
[Janata, Petr] Univ Calif Davis, Ctr Mind & Brain, Davis, CA 95616 USA.
[Birk, Jeffrey] Dartmouth Coll, Dept Psychol & Brain Sci, Hanover, NH 03755 USA.
[Bharucha, Jamshed J.] Tufts Univ, Dept Psychol, Medford, MA 02155 USA.
C3 Universite Claude Bernard Lyon 1; Centre National de la Recherche
Scientifique (CNRS); University of California System; University of
California Davis; University of California System; University of
California Davis; Dartmouth College; Tufts University
RP Tillmann, B (corresponding author), Univ Lyon 1, CNRS, UMR Neurosci Sensorielles Comportement Cognit 502, Sensory Neurosci Behav Cognit Lab, 50 Av Tony Garnier, F-69366 Lyon 07, France.
EM barbara.tillmann@olfac.univ-lyon1.fr
RI Janata, Petr/K-8840-2013
OI Birk, Jeffrey/0000-0002-1313-0993; Tillmann, Barbara/0000-0001-9676-5822
FU NIDCD NIH HHS [R03 DC05146-01] Funding Source: Medline; NINDS NIH HHS
[P50 NS17778-18] Funding Source: Medline
NR 52
TC 38
Z9 47
U1 2
U2 14
PU AMER PSYCHOLOGICAL ASSOC
PI WASHINGTON
PA 750 FIRST ST NE, WASHINGTON, DC 20002-4242 USA
SN 0096-1523
EI 1939-1277
J9 J EXP PSYCHOL HUMAN
JI J. Exp. Psychol.-Hum. Percept. Perform.
PD AUG
PY 2008
VL 34
IS 4
BP 1031
EP 1043
DI 10.1037/0096-1523.34.4.1031
PG 13
WC Psychology; Psychology, Experimental
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Psychology
GA 335QZ
UT WOS:000258306400019
PM 18665743
DA 2025-03-18
ER
PT J
AU Furnham, A
Trew, S
Sneade, I
AF Furnham, A
Trew, S
Sneade, I
TI The distracting effects of vocal and instrumental music on the cognitive
test performance of introverts and extraverts
SO PERSONALITY AND INDIVIDUAL DIFFERENCES
LA English
DT Article
ID SHORT-TERM-MEMORY; BACKGROUND MUSIC; IRRELEVANT SPEECH;
TASK-PERFORMANCE; EXTROVERTS; BEHAVIOR
AB This study examined the effects of vocal and instrumental music upon the performance of introverts and extraverts on three cognitive tasks. In the presence of either vocal or instrumental music, or in silence, introverts and extraverts sixth form pupils (N = 144) completed a reading comprehension, a logic problem and a coding task. An interaction was predicted such that instrumental music would impair and enhance the rest performance of introverts and extraverts, respectively. and that these effects would be magnified in the vocal music condition. No significant interactions were found, although there was a trend for the introverts to be impaired by the introduction of music to the environment and extraverts to be enhanced by it, particularly on the reading and coding tasks. A main effect of extraversion was found in the reading comprehension task and nearly in the coding task (p<0.06). There was a condition effect on the logic task with subjects doing best in the presence of instrumental music. Experimental explanations for the lack of predicted interactions are offered. These findings are discussed with respect to Eysenck's theory of personality [Eysenck, H. (1967). The biological basis of personality. Springfield, IL: Thomas.]. (C) 1999 Elsevier Science Ltd. All rights reserved.
C1 UCL, Dept Psychol, London WC1 0AP, England.
C3 University of London; University College London
RP UCL, Dept Psychol, 26 Bedford Way, London WC1 0AP, England.
EM ucjtsaf@ucl.ac.uk
RI Furnham, Adrian/ABB-2072-2020
NR 41
TC 43
Z9 47
U1 2
U2 64
PU PERGAMON-ELSEVIER SCIENCE LTD
PI OXFORD
PA THE BOULEVARD, LANGFORD LANE, KIDLINGTON, OXFORD OX5 1GB, ENGLAND
SN 0191-8869
J9 PERS INDIV DIFFER
JI Pers. Individ. Differ.
PD AUG
PY 1999
VL 27
IS 2
BP 381
EP 392
DI 10.1016/S0191-8869(98)00249-9
PG 12
WC Psychology, Social
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Psychology
GA 198DD
UT WOS:000080406300013
DA 2025-03-18
ER
PT J
AU Sihvonen, AJ
Saerkaemoe, T
AF Sihvonen, Aleksi J.
Saerkaemoe, Teppo
TI Clinical and Neural Predictors of Treatment Response to Music Listening
Intervention after Stroke
SO BRAIN SCIENCES
LA English
DT Article
DE stroke; language; music; intervention; treatment response; treatment
predictor
ID SPATIAL NORMALIZATION; HUMAN BRAIN; LANGUAGE; PERCEPTION; RECOVERY;
SPEECH; ARCHITECTURE; PLASTICITY; DISORDERS; THERAPY
AB Patients with post-stroke impairments present often significant variation in response to therapeutic interventions. Recent studies have shown that daily music listening can aid post-stroke recovery of language and memory, but reliable predictors of treatment response are unknown. Utilizing data from the music intervention arms of a single-blind randomized controlled trial (RCT) on stroke patients (N = 31), we built regression models to predict the treatment response of a two-month music listening intervention on language skills and verbal memory with baseline demographic, clinical and musical data as well as fMRI data from a music listening task. Clinically, greater improvement in verbal memory and language skills after the music listening intervention were predicted by the severity of the initial deficit and educational level. Neurally, greater baseline fMRI activation during vocal music listening in the left parietal cortical and medial frontal areas predicted greater treatment-induced improvement in language skills and greater baseline engagement of the auditory network during instrumental music listening predicted improvement in both verbal memory and language skills. Our results suggest that clinical, demographic, and neuroimaging data predicts music listening treatment response. This data could be used clinically to target music-based treatments.
C1 [Sihvonen, Aleksi J.; Saerkaemoe, Teppo] Univ Helsinki, Dept Psychol & Logoped, Cognit Brain Res Unit, Fac Med, Helsinki 00014, Finland.
[Sihvonen, Aleksi J.] Univ Queensland, Queensland Aphasia Res Ctr, Sch Hlth & Rehabil Sci, Brisbane, Qld 4029, Australia.
Univ Queensland, UQ Ctr Clin Res, Sch Hlth & Rehabil Sci, Brisbane, Qld 4029, Australia.
C3 University of Helsinki; University of Queensland; University of
Queensland
RP Sihvonen, AJ (corresponding author), Univ Helsinki, Dept Psychol & Logoped, Cognit Brain Res Unit, Fac Med, Helsinki 00014, Finland.; Sihvonen, AJ (corresponding author), Univ Queensland, Queensland Aphasia Res Ctr, Sch Hlth & Rehabil Sci, Brisbane, Qld 4029, Australia.
EM aleksi.sihvonen@helsinki.fi
OI Sihvonen, Aleksi/0000-0002-4501-7338
FU European Research Council [803466]; Academy of Finland [257077, 277693,
299044]; Tyks Research Funding [13944]; Finnish Brain Research and
Rehabilitation Foundation; Finnish Brain Foundation; Finnish Cultural
Foundation [191230]; Orion Research Foundation sr; Signe and Ane
Gyllenberg Foundation; European Research Council (ERC) [803466] Funding
Source: European Research Council (ERC)
FX This study was supported by the European Research Council (grant
803466), Academy of Finland (grants 257077, 277693, 299044), Tyks
Research Funding (grant 13944), Finnish Brain Research and
Rehabilitation Foundation, Finnish Brain Foundation, Finnish Cultural
Foundation (grant 191230), Orion Research Foundation sr, and Signe and
Ane Gyllenberg Foundation.
NR 55
TC 2
Z9 2
U1 3
U2 19
PU MDPI
PI BASEL
PA MDPI AG, Grosspeteranlage 5, CH-4052 BASEL, SWITZERLAND
EI 2076-3425
J9 BRAIN SCI
JI Brain Sci.
PD DEC
PY 2021
VL 11
IS 12
AR 1576
DI 10.3390/brainsci11121576
PG 12
WC Neurosciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Neurosciences & Neurology
GA YF6IB
UT WOS:000741906800001
PM 34942878
OA gold, Green Published
DA 2025-03-18
ER
PT J
AU Kanazawa, S
Perina, K
AF Kanazawa, Satoshi
Perina, Kaja
TI Why More Intelligent Individuals Like Classical Music
SO JOURNAL OF BEHAVIORAL DECISION MAKING
LA English
DT Article
DE origin of values and preferences; evolutionary psychology; the Savanna
Principle; the Savanna-IQ Interaction Hypothesis; evolutionary origin of
music
ID GENERAL INTELLIGENCE; GENDER DIFFERENCES; EVERYDAY LIFE; COGNITION;
NEED; PERSONALITY; COMMUNICATION; PREFERENCES; ADAPTATION; CHILDREN
AB The origin of values and preferences is an unresolved theoretical problem in social and behavioral sciences. The Savanna-IQ Interaction Hypothesis, derived from the Savanna Principle and a theory of the evolution of general intelligence, suggests that more intelligent individuals are more likely to acquire and espouse evolutionarily novel values and preferences than less intelligent individuals but that general intelligence has no effect on the acquisition and espousal of evolutionarily familiar values and preferences. Recent work on the evolution of music suggests that music in its evolutionary origin was always vocal and that purely instrumental music is evolutionarily novel. The Savanna-IQ Interaction Hypothesis would then imply that more intelligent individuals are more likely to prefer purely instrumental music than less intelligent individuals, but general intelligence has no effect on the preference for vocal music. The analyses of American (General Social Surveys) and British (British Cohort Study) data are consistent with this hypothesis. Additional analyses suggest that the effect of intelligence on musical preference is not a function of the cognitive complexity of music. Copyright (C) 2011 John Wiley & Sons, Ltd.
C1 [Kanazawa, Satoshi] Univ London London Sch Econ & Polit Sci, Dept Management, Managerial Econ & Strategy Grp, London WC2A 2AE, England.
C3 University of London; London School Economics & Political Science
RP Kanazawa, S (corresponding author), Univ London London Sch Econ & Polit Sci, Dept Management, Managerial Econ & Strategy Grp, Houghton St, London WC2A 2AE, England.
EM S.Kanazawa@lse.ac.uk
RI Kanazawa, Satoshi/B-9020-2008
NR 66
TC 13
Z9 13
U1 2
U2 63
PU WILEY-BLACKWELL
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0894-3257
EI 1099-0771
J9 J BEHAV DECIS MAKING
JI J. Behav. Decis. Mak.
PD JUL
PY 2012
VL 25
IS 3
BP 264
EP 275
DI 10.1002/bdm.730
PG 12
WC Psychology, Applied
WE Social Science Citation Index (SSCI)
SC Psychology
GA 942KR
UT WOS:000304043400006
DA 2025-03-18
ER
PT J
AU Liu, H
Guo, W
AF Liu, Hui
Guo, Wei
TI Effectiveness of AI-Driven Vocal Art Tools in Enhancing Student
Performance and Creativity
SO EUROPEAN JOURNAL OF EDUCATION
LA English
DT Article
DE artificial intelligence; innovative education; music dynamism; music
treasures of art; musical psychology
AB In contemporary music education, innovative technologies, particularly artificial intelligence (AI)-based tools, play a crucial role. The objective of this study was to assess the effectiveness of AI-based tools in enhancing students' success and creativity. The study involved 158 students from a leading music institution, who were divided into control and experimental groups. Methods employed included surveys and testing, along with AI-based tools: Vocal AI Analyzer and Smart Vocal Coach. The results indicated a significant improvement in vocal skills (from 3.5 to 4.5 in the experimental group) and creativity (from 2.9 to 4.1 in the experimental group) compared with the control group. The AI-based tools demonstrated high effectiveness, providing individualised instruction and immediate feedback. The practical significance of the research lies in the potential implementation of such technologies in music educational institutions to enhance teaching effectiveness and the development of students' creative abilities.
C1 [Liu, Hui] Yulin Normal Univ, Sch Mus & Dance, Yulin, Peoples R China.
[Guo, Wei] Xiamen Univ, Art Coll, Mus Dept, Xiamen, Peoples R China.
C3 Yulin Normal University; Xiamen University
RP Guo, W (corresponding author), Xiamen Univ, Art Coll, Mus Dept, Xiamen, Peoples R China.
EM wguo@xmu.edu.cn
NR 44
TC 0
Z9 0
U1 11
U2 11
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0141-8211
EI 1465-3435
J9 EUR J EDUC
JI Eur. J. Educ.
PD MAR
PY 2025
VL 60
IS 1
AR e70037
DI 10.1111/ejed.70037
PG 9
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA W3L4F
UT WOS:001417631700001
DA 2025-03-18
ER
PT J
AU Sindoni, MG
Rossi, F
AF Sindoni, Maria Grazia
Rossi, Fabio
TI "Un nodo avviluppato". Rossini's La Cenerentola as a prototype of
multimodal resemiotisation
SO SOCIAL SEMIOTICS
LA English
DT Article
DE Opera; resemiotisation; Rossini; Cenerentola; film opera
AB Since its early beginnings in Italy in the sixteenth century, opera has always been a multimodal text, integrating verbal, musical, and stage resources. Verbal resources can be unpacked in lyric verse for vocal pieces in closed form, narrative verse or prose for recitative, and stage directions; musical resources include instrumental and vocal music, whereas stage resources incorporate stage design, singers' and dancers' kinesics, and set and costume arrangements. However, opera has been rarely studied in multimodal terms, as it has been mainly explored from musicological standpoints, hence prioritising music and barely taking into account the interplay of other resources. As a case study, epitomising the Golden Age of opera, La Cenerentola by Rossini has been selected, as it exemplifies how the theatrical and compositional conventions of the genre work concurrently with its metatextual components. Stage adaptations will be also analysed in two film operas, that is, Jean-Pierre Ponnelle's La Cenerentola (Germany, 1981) and Carlo Verdone's Cenerentola, Una favola in diretta (Italy, 2014). Opera will be interpreted as a prototype of multi-level resemiotisation, also in a critical light, as the libretto is resemiotised (1) as a musical composition; (2) as a mise-en-scene, and (3) as a film opera.
C1 [Sindoni, Maria Grazia; Rossi, Fabio] Univ Messina, Dept Ancient & Modern Civilizat, Messina, Italy.
C3 University of Messina
RP Sindoni, MG (corresponding author), Univ Messina, Dept Ancient & Modern Civilizat, Messina, Italy.
EM mgsindoni@unime.it
RI Sindoni, Maria/T-6871-2019; Rossi, Fabio/AAC-3629-2020
OI Sindoni, Maria Grazia/0000-0002-6220-2981
NR 50
TC 5
Z9 5
U1 0
U2 7
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1035-0330
EI 1470-1219
J9 SOC SEMIOT
JI Soc. Semiot.
PY 2016
VL 26
IS 4
SI SI
BP 385
EP 403
DI 10.1080/10350330.2016.1189732
PG 19
WC Humanities, Multidisciplinary; Communication; Linguistics
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics; Communication; Linguistics
GA DV3II
UT WOS:000382813800005
DA 2025-03-18
ER
PT J
AU Killingly, C
Lacherez, P
AF Killingly, Callula
Lacherez, Philippe
TI The song that never ends: The effect of repeated exposure on the
development of an earworm
SO QUARTERLY JOURNAL OF EXPERIMENTAL PSYCHOLOGY
LA English
DT Article
DE Earworm; involuntary musical imagery; repeated exposure
ID INVOLUNTARY MUSICAL IMAGERY; SHORT-TERM-MEMORY; IRRELEVANT SPEECH;
FEATURES; IMPACT; DEVICE; STUCK
AB An "earworm"-the experience of a catchy melody that repeats persistently in the mind-is a ubiquitous yet mysterious cognitive phenomenon. Previous research demonstrates that earworms for vocal music engage working memory resources, manifesting as "inner singing." This study investigated whether this effect is moderated by prior exposure to music. In one experimental session, participants (N = 44) were presented with four novel song choruses. To manipulate exposure, each song was presented between one and four times, counterbalanced across participants. The following day, participants undertook a serial recall task during and following presentation of each song. In addition, they rated the music on familiarity, enjoyment, their desire to sing along, and perceived catchiness, both before and following the experiment. Increased exposure to novel songs on the first day tended to result in greater interference on task performance during and following their presentation on the second day, yet the effect varied depending on the song. Ratings of the desire to sing along and perceived familiarity increased significantly between the sessions for all songs. These findings are important in understanding the relative influence of familiarity and song-level characteristics on the development of an earworm.
C1 [Killingly, Callula; Lacherez, Philippe] Queensland Univ Technol QUT, Fac Hlth, Sch Psychol & Counselling, Brisbane, Qld, Australia.
[Killingly, Callula] Queensland Univ Technol QUT, Fac Educ, Sch Early Childhood & Inclus Educ, Brisbane, Qld, Australia.
[Killingly, Callula] Queensland Univ Technol QUT, Fac Educ, Sch Early Childhood & Inclus Educ, Level 4,E Block,Kelvin Grove Campus, Brisbane, Qld 4059, Australia.
C3 Queensland University of Technology (QUT); Queensland University of
Technology (QUT); Queensland University of Technology (QUT)
RP Killingly, C (corresponding author), Queensland Univ Technol QUT, Fac Educ, Sch Early Childhood & Inclus Educ, Level 4,E Block,Kelvin Grove Campus, Brisbane, Qld 4059, Australia.
EM c.killingly@qut.edu.au
RI Killingly, Callula/JDC-7244-2023
OI Killingly, Callula/0000-0002-4669-5771
FU Australian Postgraduate Award Scholarship
FX The author(s) disclosed receipt of the following financial support for
the research, authorship, and/or publication of this article: Callula
Killingly received an Australian Postgraduate Award Scholarship to
undertake this research
NR 52
TC 1
Z9 1
U1 6
U2 19
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 1747-0218
EI 1747-0226
J9 Q J EXP PSYCHOL
JI Q. J. Exp. Psychol.
PD NOV
PY 2023
VL 76
IS 11
BP 2535
EP 2545
DI 10.1177/17470218231152368
EA FEB 2023
PG 11
WC Psychology, Biological; Physiology; Psychology; Psychology, Experimental
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Psychology; Physiology
GA U1QG4
UT WOS:000925924500001
PM 36622014
OA hybrid, Green Published
DA 2025-03-18
ER
PT J
AU Carter, T
AF Carter, Tim
TI Beyond Drama: Monteverdi, Marino, and the Sixth Book of Madrigals (1614)
SO JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
LA English
DT Article
DE Monteverdi; Marino; madrigal; narration; mimesis
AB Monteverdi's Il sesto libro de madrigali a cinque voci (1614) is often viewed as an outlier in his secular output. His Fourth and Fifth Books (1603, 1605) were firmly embroiled in the controversy with Artusi over the seconder pratica, while his Seventh (1619) sees him shifting style in favor of the new trends that were starting to dominate music in early seventeenth century Italy: the Sixth Book falls between the cracks. But it also suffers-in modern eyes, at least-for the fact that it reflects the composer's first encounters with the poetry of Giambattista Marino, marking what many see as the start of a fundamental reorientation, if not downward spiral, in his secular vocal music. The problems are exposed by one of the Marino settings in the Sixth Book, "Batto, qui pianse Ergasto: ecco la riya," in which an unnamed speaker tells Batto how Ergasto has been abandoned by Clori. The text has often been misunderstood. Uncovering the sources for the story and the literary identities of Batto, Ergasto, and Clori-forces a new reading of the poetry and more particularly of Monteverdi's music. It also answers some profound questions in terms of how best to address issues of narration and representation, and of diegesis and mimesis, in this complex repertory.
C1 [Carter, Tim] Univ N Carolina, Mus, Chapel Hill, NC USA.
C3 University of North Carolina; University of North Carolina Chapel Hill
RP Carter, T (corresponding author), Univ N Carolina, Mus, Chapel Hill, NC USA.
NR 51
TC 5
Z9 8
U1 0
U2 2
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0003-0139
EI 1547-3848
J9 J AM MUSIC SOC
JI J. Am. Musicicol. Soc.
PD SPR
PY 2016
VL 69
IS 1
BP 1
EP 46
DI 10.1525/jams.2016.69.1.1
PG 46
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA DK2CI
UT WOS:000374721800001
DA 2025-03-18
ER
PT J
AU Rau, PLP
Chen, D
AF Rau, Pei-Luen Patrick
Chen, Duye
TI Effects of watermark and music on mobile message advertisements
SO INTERNATIONAL JOURNAL OF HUMAN-COMPUTER STUDIES
LA English
DT Article
DE transparent user interface; mobile advertisements; watermark;
advertisement music
ID BACKGROUND MUSIC; INVOLVEMENT; BEHAVIOR
AB The development of mobile telecommunication has made breakthrough advances in recent years. Compared to the Internet, mobile telecommunications has anywhere, anytime and always online characteristics. As growth in the Internet advertising market continues, mobile advertising has attracted attention. In this research, the effectiveness of two types of mobile message advertisements, watermarks and music are studied and compared. Two experiments were carried out to test four proposed hypotheses. The independent variable in experiment I was the watermark transparency (20%, 40% and 60%). The independent variable in experiment 2 was the music format with five levels: no music, vocal and instrumental version at high volume, vocal and instrumental version at low volume, instrumental version at high volume and instrumental version at low volume. The results showed that the watermarks transparency and format were effective in mobile advertising. The 60% watermark was found better than the 20% and 40% watermarks. The 40% watermark was found better than the 20% watermark for advertisement recall only. Music and vocal/instrumental music versions were effective in mobile advertisements. The vocal music version was found effective in mobile advertising. Music with both vocal and instrumental versions was more effective in advertisement recall than instrumental music for mobile device users. (c) 2006 Elsevier Ltd. All rights reserved.
C1 Tsinghua Univ, Dept Ind Engn, Beijing 100084, Peoples R China.
C3 Tsinghua University
RP Rau, PLP (corresponding author), Tsinghua Univ, Dept Ind Engn, Beijing 100084, Peoples R China.
EM rpl@mail.tsinghua.edu.cn
OI Rau, Pei-Luen Patrick/0000-0002-5713-8612
NR 46
TC 8
Z9 9
U1 2
U2 34
PU ACADEMIC PRESS LTD- ELSEVIER SCIENCE LTD
PI LONDON
PA 24-28 OVAL RD, LONDON NW1 7DX, ENGLAND
SN 1071-5819
EI 1095-9300
J9 INT J HUM-COMPUT ST
JI Int. J. Hum.-Comput. Stud.
PD SEP
PY 2006
VL 64
IS 9
BP 905
EP 914
DI 10.1016/j.ijhcs.2006.04.003
PG 10
WC Computer Science, Cybernetics; Ergonomics; Psychology, Multidisciplinary
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Computer Science; Engineering; Psychology
GA 066JE
UT WOS:000239224700009
DA 2025-03-18
ER
PT J
AU Larrouy-Maestri, P
Harrison, PMC
Müllensiefen, D
AF Larrouy-Maestri, Pauline
Harrison, Peter M. C.
Mullensiefen, Daniel
TI The mistuning perception test: A new measurement instrument
SO BEHAVIOR RESEARCH METHODS
LA English
DT Article
DE Pitch perception; Musical abilities; Pitch accuracy; Gold-MSI
ID ABILITY; MUSICALITY; VALIDATION; TIMBRE
AB An important aspect of the perceived quality of vocal music is the degree to which the vocalist sings in tune. Although most listeners seem sensitive to vocal mistuning, little is known about the development of this perceptual ability or how it differs between listeners. Motivated by a lack of suitable preexisting measures, we introduce in this article an adaptive and ecologically valid test of mistuning perception ability. The stimulus material consisted of short excerpts (6 to 12 s in length) from pop music performances (obtained from MedleyDB; Bittner et al., 2014) for which the vocal track was pitch-shifted relative to the instrumental tracks. In a first experiment, 333 listeners were tested on a two-alternative forced choice task that tested discrimination between a pitch-shifted and an unaltered version of the same audio clip. Explanatory item response modeling was then used to calibrate an adaptive version of the test. A subsequent validation experiment applied this adaptive test to 66 participants with a broad range of musical expertise, producing evidence of the test's reliability, convergent validity, and divergent validity. The test is ready to be deployed as an experimental tool and should make an important contribution to our understanding of the human ability to judge mistuning.
C1 [Larrouy-Maestri, Pauline] Max Planck Inst Empir Aesthet, Neurosci Dept, Frankfurt, Germany.
[Harrison, Peter M. C.] Queen Mary Univ London, Sch Elect Engn & Comp Sci, London, England.
[Mullensiefen, Daniel] Goldsmiths Univ London, Dept Psychol, London, England.
C3 University of London; Queen Mary University London; University of
London; Goldsmiths University London
RP Larrouy-Maestri, P (corresponding author), Max Planck Inst Empir Aesthet, Neurosci Dept, Frankfurt, Germany.
EM plm@aesthetics.mpg.de
RI Harrison, Peter/AAX-9511-2020
OI Larrouy-Maestri, Pauline/0000-0001-9245-0743; Harrison,
Peter/0000-0002-9851-9462
FU Max Planck Society
FX Open access funding provided by Max Planck Society.
NR 60
TC 32
Z9 33
U1 1
U2 7
PU SPRINGER
PI NEW YORK
PA ONE NEW YORK PLAZA, SUITE 4600, NEW YORK, NY, UNITED STATES
SN 1554-351X
EI 1554-3528
J9 BEHAV RES METHODS
JI Behav. Res. Methods
PD APR
PY 2019
VL 51
IS 2
BP 663
EP 675
DI 10.3758/s13428-019-01225-1
PG 13
WC Psychology, Mathematical; Psychology, Experimental
WE Social Science Citation Index (SSCI)
SC Psychology
GA HU8PW
UT WOS:000465552900014
PM 30924106
OA Green Published, hybrid
DA 2025-03-18
ER
PT J
AU Takao, MH
AF Takao, Makoto Harris
TI 'In their own way': contrafactal practices in Japanese Christian
communities during the 16th century
SO EARLY MUSIC
LA English
DT Article
DE Jesuit; Japan; contrafaction; theatre; Christian missionaries;
vernacularization; Mystery plays; vocal music; antiphony; Buddhism
ID MUSIC
AB For missionaries of the Society of Jesus (known as Jesuits), the friction of first encounters with the Japanese presented a cultural divide that could not yet be mediated by language. It was thus in these early decades (1549-70) that experimentation with non-linguistic practices led to the fostering of both the visual and performing arts. In taking music and drama seriously as something that was fully embedded within the mission context, this article moves beyond what has been claimed to date, placing emphasis on how liturgical music was applied, localized and newly created by Japanese communities in the 16th century. In so doing, it explores how contrafaction was an active means by which Japanese Christians sonically defined their own sense of identity, setting vernacular texts to existing forms of indigenous vocalization. By highlighting these contrafactal forms as traditions forged by the Japanese for the Japanese, this article develops an intercultural vocabulary for understanding Kirishitan (Japanese Christian) faith and practice through the lens of Japanese performance history. By this means, we can begin to overcome the enduring Eurocentric dualities that detract from a more nuanced and global understanding of the history of music in an interconnecting and interacting world.
C1 [Takao, Makoto Harris] Max Planck Inst Human Dev, Ctr Hist Emot, Berlin, Germany.
[Takao, Makoto Harris] Univ Illinois, Musicol, Urbana, IL 61801 USA.
C3 Max Planck Society; University of Illinois System; University of
Illinois Urbana-Champaign
RP Takao, MH (corresponding author), Max Planck Inst Human Dev, Ctr Hist Emot, Berlin, Germany.; Takao, MH (corresponding author), Univ Illinois, Musicol, Urbana, IL 61801 USA.
EM takao@mpib-berlin.mpg.de
OI Takao, Makoto Harris/0000-0002-6047-4254
NR 81
TC 3
Z9 4
U1 0
U2 2
PU OXFORD UNIV PRESS
PI OXFORD
PA GREAT CLARENDON ST, OXFORD OX2 6DP, ENGLAND
SN 0306-1078
EI 1741-7260
J9 EARLY MUSIC
JI Early Music
PD MAY
PY 2019
VL 47
IS 2
BP 183
EP +
DI 10.1093/em/caz035
PG 18
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA JI3GE
UT WOS:000493352200004
OA Green Published, hybrid
DA 2025-03-18
ER
PT J
AU Temperley, N
Temperley, D
AF Temperley, Nicholas
Temperley, David
TI MUSIC-LANGUAGE CORRELATIONS AND THE "SCOTCH SNAP"
SO MUSIC PERCEPTION
LA English
DT Article
DE rhythm; meter; stress; vocal music; music-language connections
ID FRENCH; METER
AB IN THIS STUDY WE EXAMINE A RHYTHMIC PATTERN KNOWN as the Scotch Snap (SS): a sixteenth-note on the beat followed by a dotted eighth-note. A musical corpus analysis shows that the SS is common in both Scottish and English songs, but virtually nonexistent in German and Italian songs. We explore possible linguistic correlates for this phenomenon. Our reasoning is that languages in which stressed syllables are often short might tend to favor the SS pattern. The traditional distinction between long and short vowels correlates partly with the SS pattern across languages, but not completely. (German allows short stressed vowels, but the SS pattern is not common in German music.) We then examine the duration of stressed syllables in four modern speech corpora: one British English, one German, and two Italian. British English shows a much higher proportion of very short stressed syllables (less than 100 ms) than the other two languages. Four vowels account for a large proportion of very short stressed syllables in British English, and also constitute a large proportion of SS tokens in our English musical corpus. This is the first study known to us that establishes a correlation between speech rhythms in languages and musical rhythms in the songs of those languages.
C1 [Temperley, Nicholas] Univ Illinois, Urbana, IL 61801 USA.
[Temperley, David] Univ Rochester, Eastman Sch Mus, Rochester, NY 14627 USA.
C3 University of Illinois System; University of Illinois Urbana-Champaign;
University of Rochester
RP Temperley, N (corresponding author), 805 W Indiana, Urbana, IL 61801 USA.
EM ntemp@illinois.edu
NR 38
TC 25
Z9 36
U1 0
U2 9
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0730-7829
J9 MUSIC PERCEPT
JI Music Percept.
PD SEP
PY 2011
VL 29
IS 1
BP 51
EP 63
DI 10.1525/MP.2011.29.1.51
PG 13
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA 830XI
UT WOS:000295692100005
DA 2025-03-18
ER
PT J
AU Kremer, A
AF Kremer, Aleksandra
TI POLISH FUTURISM REVISITED: ANATOL STERN AND HIS POST-WAR POETRY
RECORDING
SO MODERN LANGUAGE REVIEW
LA English
DT Article
AB The vocal performance of poetry played an important role in the practices of European Futurism. Although Polish Futurist recitation was never recorded in the 19920s, there is a forgotten post-war vinyl record which features a Warsaw Futurist poet, Anatol Stern, reading his 1924 poem 'Kraj' ('Country'). The text comes from the end of the Polish movement, and like Stern's later poems, it is a self-critical revision of the typical Polish Futurist poetic landscape: exotic, erotic, and aggressive. The poem and its post-war performance express feelings and reactions that the characters within the poem are unable to translate into coherent speech.
C1 [Kremer, Aleksandra] Univ Warsaw, PL-00325 Warsaw, Poland.
C3 University of Warsaw
RP Kremer, A (corresponding author), Univ Warsaw, PL-00325 Warsaw, Poland.
NR 54
TC 1
Z9 1
U1 1
U2 2
PU MODERN HUMANITIES RESEARCH ASSOCIATION
PI LONDON
PA 1 CARLTON HOUSE TERRACE, LONDON SW1Y 5AF, ENGLAND
SN 0026-7937
EI 2222-4319
J9 MOD LANG REV
JI Mod. Lang. Rev.
PD JAN
PY 2016
VL 111
BP 208
EP +
DI 10.5699/modelangrevi.111.1.0208
PN 1
PG 20
WC Language & Linguistics; Literature
WE Arts & Humanities Citation Index (A&HCI)
SC Linguistics; Literature
GA DA3WM
UT WOS:000367731100011
DA 2025-03-18
ER
PT J
AU Cammarota, G
Elia, F
Cianci, R
Galli, J
Paolillo, N
Montalto, M
Gasbarrini, G
AF Cammarota, G
Elia, F
Cianci, R
Galli, J
Paolillo, N
Montalto, M
Gasbarrini, G
TI Worsening of gastroesophageal reflux symptoms in professional singers
during performances
SO JOURNAL OF CLINICAL GASTROENTEROLOGY
LA English
DT Article
DE gastroesophageal reflux disease (GERD); hiatus hemia; professional
singers; vocal performance
AB Professional singers perform singing tasks requiring rapid changes of subglottal pressure with consistent use of the diaphragm. They regularly activate the diaphragm when there is a need for a rapid decrease in subglottal pressure, with an abrupt and prolonged increase in intraabdominal pressure. We describe the occurrence of stress-induced gastroesophageal reflux disease (GERD) in four professional singers. The reflux symptoms, which occurred in these patients during vocal performances, were an important obstacle to the movement of the respiratory muscles. To our knowledge, these are the first case reports of worsening of GERD symptoms in professional singers during performances.
C1 Catholic Univ Rome, Dept Internal Med & Gastroenterol, Rome, Italy.
Catholic Univ Rome, Inst Otorhinolaryngol, Rome, Italy.
C3 Catholic University of the Sacred Heart; IRCCS Policlinico Gemelli;
Catholic University of the Sacred Heart; IRCCS Policlinico Gemelli
RP Cammarota, G (corresponding author), Univ Sacred Heart, Policlin A Gemelli, Ist Med Interna, Largo A Gemelli 8, I-00168 Rome, Italy.
RI cianci, rossella/AAH-7896-2021; Cammarota, Giovanni/AAD-1732-2022; Elia,
Fulvia/J-8165-2018
OI Elia, Fulvia/0000-0003-2153-8099; Cianci, Rossella/0000-0001-5378-8442;
Montalto, Massimo/0000-0001-8819-3684; Galli, Jacopo/0000-0003-1599-4573
NR 4
TC 8
Z9 10
U1 0
U2 1
PU LIPPINCOTT WILLIAMS & WILKINS
PI PHILADELPHIA
PA 530 WALNUT ST, PHILADELPHIA, PA 19106-3621 USA
SN 0192-0790
J9 J CLIN GASTROENTEROL
JI J. Clin. Gastroenterol.
PD MAY-JUN
PY 2003
VL 36
IS 5
BP 403
EP 404
DI 10.1097/00004836-200305000-00008
PG 2
WC Gastroenterology & Hepatology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Gastroenterology & Hepatology
GA 669WZ
UT WOS:000182374600008
PM 12702981
DA 2025-03-18
ER
PT J
AU Holtsträter, K
AF Holtstraeter, Knut
TI Spock and his Time Leonard Nimoy's musical Acting in and outside of Star
Trek
SO LIED UND POPULARE KULTUR-SONG AND POPULAR CULTURE
LA German
DT Article
AB The article examines the character of Spock from the Science Fiction franchise Star Trek with regard to his musical performances and musical creations. Spock's characterization as a musician would not have been possible without the musical ambitions of his actor Leonard Nimoy. Including Leonard Nimoy's musical output (also his musical performance as Spock on music albums outside the traditional Star Trek canon) and considering the economic, copyright, personal and content interdependencies between the original television series and Nimoy's musical and vocal performance, new conclusions can be drawn in regard to the musicalization of the early Star Trek franchise.
NR 10
TC 0
Z9 0
U1 0
U2 0
PU WAXMANN VERLAG GMBH
PI MUNSTER
PA POSTFACH 8603, D-48046 MUNSTER, GERMANY
SN 1619-0548
J9 LIED POP KULT
JI Lied pop. Kult.
PY 2019
VL 64
BP 121
EP 139
PG 19
WC Folklore; Music
WE Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics; Music
GA KF4MO
UT WOS:000509218500008
DA 2025-03-18
ER
PT J
AU Wu, H
AF Wu, Hao
TI Modern Chinese and European Vocalist Training Methods: An Exploration of
the Involvement of Bachelors With the Help of IT' Sources
SO EUROPEAN JOURNAL OF EDUCATION
LA English
DT Article
DE classical singing; national traditions; synthesis of artistic
achievements; timbre uniqueness; voice technique; world culture
ID MUSIC-EDUCATION
AB In this day and age, there is a need to create a modernised educational system, as well as to preserve and popularise the classical traditions of high art. Thus, it is important to study the problem of shaping professional academic singers in Europe and China. The purpose of this study was to explore the methods of developing the vocal apparatus of European and Chinese students in 21st century. This system includes a series of leading components responsible for preserving unique timbres, expanding the capabilities of the voice, and the reflection of Western and Eastern cultures. The following methods were used in the study: questionnaire, analysis, comparison and synthesis. The study involved 100 students from institutions and universities in Ukraine and China. Having studied modern methods of training singers, the authors have established the components of professional vocal education in China and Ukraine, as well as the common student training characteristics. The distinctive properties of the European and Chinese professional vocal schools manifested in national traditions were also determined. The results of the conducted student survey allowed academic vocal teachers to identify progressive vocal training methods commonly used in China and Europe.
C1 [Wu, Hao] Suzhou Univ, Conservatory Music, Suzhou, Peoples R China.
C3 Soochow University - China
RP Wu, H (corresponding author), Suzhou Univ, Conservatory Music, Suzhou, Peoples R China.
EM haowu573@gmx.com
FU [2023BSK087]
FX This research was supported by the project 2023BSK087.
NR 35
TC 0
Z9 0
U1 2
U2 2
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0141-8211
EI 1465-3435
J9 EUR J EDUC
JI Eur. J. Educ.
PD MAR
PY 2025
VL 60
IS 1
DI 10.1111/ejed.12847
EA NOV 2024
PG 10
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA R3X6T
UT WOS:001361732800001
OA Bronze
DA 2025-03-18
ER
PT J
AU Collyer, S
Davis, PJ
Thorpe, CW
AF Collyer, Sally
Davis, Pamela J.
Thorpe, C. William
TI Sound pressure level and spectral balance linearity and symmetry in the
messa di voce of female classical singers
SO JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA
LA English
DT Article
ID PHONATION THRESHOLD PRESSURE; SUBGLOTTAL PRESSURE;
FUNDAMENTAL-FREQUENCY; OSCILLATION; CRESCENDO; HYSTERESIS; INTENSITY;
ONSET
AB The messa di voce, in its pure form a crescendo and decrescendo on one note, has been revered for centuries in classical singing, but the pedagogical assumptions of linearity and symmetry have received little critical assessment, especially across a wide fundamental frequency (F0) range. Five trained female classical singers performed a total of 318 messe di voce across their musical F0 range to identify its acoustical characteristics and the influence of F0. Sound pressure level (SPL) range was generally greater during crescendo at higher F0's and during decrescendo at lower F0's. Change in SPL during the messa di voce was predominantly nonlinear, and the shape of the SPL traces differed greatly between crescendo and decrescendo. Nonlinearity in SPL change was not related to SPL range but did show a F0 influence in decrescendo. Change in spectral balance (0-2 vs 2-4 kHz) with respect to SPL change showed markedly more symmetry than linearity, so that changes in the mode of phonation during the messa di voce were dependent upon SPL regardless of whether the singer was in crescendo or decrescendo. Perceptual and physiological implications are discussed. (c) 2007 Acoustical Society of America.
C1 Univ Sydney, Natl Voice Ctr, Sydney, NSW 2006, Australia.
Univ Sydney, Sch Commun Sci & Disorders C42, Sydney, NSW 2006, Australia.
Univ Western Sydney, Sch Contemporary Arts, Penrith, NSW 2750, Australia.
C3 University of Sydney; University of Sydney; Western Sydney University
RP Collyer, S (corresponding author), POB 156, Box Hill, Vic 3128, Australia.
EM sallycollyer@yahoo.com.au
RI Collyer, Sally/HZI-6509-2023
OI Thorpe, William/0000-0002-4835-7063
NR 32
TC 16
Z9 17
U1 0
U2 3
PU ACOUSTICAL SOC AMER AMER INST PHYSICS
PI MELVILLE
PA STE 1 NO 1, 2 HUNTINGTON QUADRANGLE, MELVILLE, NY 11747-4502 USA
SN 0001-4966
EI 1520-8524
J9 J ACOUST SOC AM
JI J. Acoust. Soc. Am.
PD MAR
PY 2007
VL 121
IS 3
BP 1728
EP 1736
DI 10.1121/1.2436639
PG 9
WC Acoustics; Audiology & Speech-Language Pathology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Acoustics; Audiology & Speech-Language Pathology
GA 147VT
UT WOS:000245031600048
PM 17407909
DA 2025-03-18
ER
PT J
AU Aura, M
Geneid, A
Bjorkoy, K
Rantanen, M
Laukkanen, AM
AF Aura, Maarit
Geneid, Ahmed
Bjorkoy, Kare
Rantanen, Marita
Laukkanen, Anne-Maria
TI The Nasal Musculature as a Control Panel for Singing-Why Classical
Singers Use a Special Facial Expression?
SO JOURNAL OF VOICE
LA English
DT Article
DE Classical singing; Singer's expression; Nostril flaring; Nose wing
breathing; Control of airway resistance
ID ADDUCTION
AB Objectives: This study aimed to explain the possible reason why classical singers seem to spread their nostrils and raise their cheeks before starting to sing.
Study Design: This is an experimental study.
Methods: Five subjects (three classical singers, two nonsingers) were investigated with nasofiberoscopy holding their breath after inhalation. The subjects were instructed to have a neutral expression first and then to take the singers' expression characterized by nostril flaring. In case of nonsingers, the special expression was rehearsed beforehand, guided by a classical singer. The following measurements were made: (1) height of soft palate, (2) area of the hypopharynx, (3) area of the epilaryngeal tube inlet (Aditus laryngis), and (4) dimensions of the (visible) glottis (length, width, and length-to-width ratio).
Results: All subjects raised the palate and widened the pharyngeal inlet, epilaryngeal inlet, and the glottis during "singer's expression."
Conclusions: The results suggest that classical singers may take advantage of breathing-and smelling-related connections between nasal and facial muscles and the larynx to avoid a hard glottal attack and pressed phonation and possibly also to assist the production of mixed register (head voice), characterized by a relatively low adduction between the vocal folds.
C1 [Aura, Maarit; Laukkanen, Anne-Maria] Univ Tampere, Speech & Voice Res Lab, Akerlundinkatu 5, Tampere 33100, Finland.
[Geneid, Ahmed] Helsinki Univ Hosp, Dept Otolaryngol & Phoniatrics Head & Neck Surg, Helsinki, Finland.
[Geneid, Ahmed] Univ Helsinki, Helsinki, Finland.
[Bjorkoy, Kare] Norwegian Univ Technol & Sci, Mus Dept, Trondheim, Norway.
[Rantanen, Marita] Mus Sch Pirkanmaan Musiikkiopisto, Tampere, Finland.
C3 Tampere University; University of Helsinki; Helsinki University Central
Hospital; University of Helsinki; Norwegian University of Science &
Technology (NTNU)
RP Aura, M (corresponding author), Univ Tampere, Speech & Voice Res Lab, Akerlundinkatu 5, Tampere 33100, Finland.
EM aura.maarit@gmail.com
RI Laukkanen, Anne-Maria/GRS-5359-2022; Geneid, Ahmed/L-7974-2015
OI Aura, Maarit/0000-0003-3018-1992; Geneid, Ahmed/0000-0003-1617-1181; ,
Anne-Maria/0009-0004-7236-4636
NR 29
TC 3
Z9 5
U1 0
U2 5
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JUL
PY 2019
VL 33
IS 4
BP 510
EP 515
DI 10.1016/j.jvoice.2017.12.016
PG 6
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA IK3LE
UT WOS:000476489700016
PM 29631937
OA Green Accepted, Green Submitted
DA 2025-03-18
ER
PT J
AU Rives, H
Clark, CM
Estes, CM
Sulica, L
AF Rives, Hal
Clark, Christine M.
Estes, Christine M.
Sulica, Lucian
TI Return to Vocal Performance Following Microlaryngoscopy in Singers
SO LARYNGOSCOPE
LA English
DT Article; Proceedings Paper
CT 144th Annual Meeting of the American-Laryngological-Association (ALA)
CY MAY 05-07, 2023
CL Boston, MA
SP Amer Laryngol Assoc
DE cyst; microlaryngoscopy; polyp; pseudocyst; singer
ID VALIDATION; PHONOMICROSURGERY; PSEUDOCYST; OUTCOMES; SURGERY
AB Introduction: Although microlaryngoscopy has been recognized to be effective in addressing lesions in vocal performers, no detailed information regarding return to performance (RTP) following surgery exists. We describe our experience and offer proposals to establish standardized criteria for RTP among vocal performers.Methods: Records for adult vocalists who underwent microlaryngoscopy for benign vocal fold (VF) lesions and had a clearly documented RTP date between 2006 and 2022 were reviewed. Patient demographics, diagnoses, interventions, and postsurgical care before and after RTP were described. The need for medical and procedural interventions and rate of reinjury were used to determine the success of RTP.Results: Sixty-nine vocal performers (average age: 32.8 years, 41 [59.4%] female, 61 [88.4%] musical theater) underwent surgery for 37 (53.6%) pseudocysts, 25 (36.2%) polyps, 5 (7.2%) cysts, 1 (1.4%) varix, and 1 (1.4%) mucosal bridge. Fifty-seven (82.6%) underwent voice therapy. The average time to RTP was 65.0 & PLUSMN; 29.8 days. Prior to RTP, six (8.7%) experienced VF edema requiring oral steroids and one (1.4%) underwent a VF steroid injection. Within 6 months following RTP, eight (11.6%) received oral steroids for edema and three underwent procedural interventions (two steroid injections for edema/stiffness, one injection augmentation for paresis). One patient experienced pseudocyst recurrence.Conclusions: Return to vocal performance at an average of 2 months following microlaryngoscopy for benign lesions appears overwhelmingly successful, with low rates of need for additional intervention. There is a need for validated instruments to better measure performance fitness to refine and possibly accelerate RTP.
C1 [Rives, Hal; Clark, Christine M.; Sulica, Lucian] Weill Cornell Med Coll, Sean Parker Inst Voice, Dept Otolaryngol Head & Neck Surg, New York, NY USA.
[Estes, Christine M.] New York Med Coll, Westchester Med Ctr Speech, Dept Otolaryngol Head & Neck Surg, Voice & Swallowing Program,Inst Publ Hlth, Valhalla, NY USA.
[Estes, Christine M.] New York Med Coll, Westchester Inst Human Dev, Inst Publ Hlth, Hearing Ctr, Valhalla, NY USA.
[Clark, Christine M.] Weill Cornell Med, Sean Parker Inst Voice, 240 E 59th St, New York, NY 10022 USA.
C3 Cornell University; Weill Cornell Medicine; New York Medical College;
New York Medical College; Cornell University; Weill Cornell Medicine
RP Clark, CM (corresponding author), Weill Cornell Med, Sean Parker Inst Voice, 240 E 59th St, New York, NY 10022 USA.
EM odk9003@med.cornell.edu
RI Sulica, Lucian/ABD-6276-2020; Clark, Christine/E-6608-2011
OI Sulica, Lucian/0000-0001-8989-2073; Murphy Estes,
Christine/0000-0002-4021-5108; Clark, Christine/0000-0003-2255-4816
NR 20
TC 0
Z9 0
U1 0
U2 1
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0023-852X
EI 1531-4995
J9 LARYNGOSCOPE
JI Laryngoscope
PD JAN
PY 2024
VL 134
IS 1
BP 329
EP 334
DI 10.1002/lary.30887
EA JUL 2023
PG 6
WC Medicine, Research & Experimental; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Conference Proceedings Citation Index - Science (CPCI-S)
SC Research & Experimental Medicine; Otorhinolaryngology
GA GT2Z7
UT WOS:001026882700001
PM 37431830
OA Bronze
DA 2025-03-18
ER
PT J
AU Luizard, P
Bernardoni, NH
AF Luizard, Paul
Bernardoni, Nathalie Henrich
TI Changes in the voice production of solo singers across concert halls
SO JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA
LA English
DT Article
ID ROOM ACOUSTICS; MECHANISMS
AB To investigate the influence of room acoustics on singing, four lyrical singers (soprano, mezzo-soprano, tenor, baritone) performed four musical pieces in eight different venues (from dry studio to reverberant church). In addition to vocal intensity measured by a near-field microphone, glottal behavior (vibratory fundamental frequency and contact quotient) was assessed by electroglottography. Statistical linear mixed models showed that the variance in vocal performance was partly explained by room acoustics. Complementary to previous results on voice musical features influenced by timbre and level of the room's response, voice production parameters were mostly influenced by spatial aspects of the room's response. (C) 2020 Acoustical Society of America.
C1 [Luizard, Paul] Tech Univ Berlin, Audio Commun Grp, Einsteinufer 17c, D-10587 Berlin, Germany.
[Bernardoni, Nathalie Henrich] Univ Grenoble Alpes, GIPSA Lab, Grenoble INP, CNRS, F-38000 Grenoble, France.
C3 Technical University of Berlin; Communaute Universite Grenoble Alpes;
Institut National Polytechnique de Grenoble; Universite Grenoble Alpes
(UGA); Centre National de la Recherche Scientifique (CNRS)
RP Luizard, P (corresponding author), Tech Univ Berlin, Audio Commun Grp, Einsteinufer 17c, D-10587 Berlin, Germany.
EM paul.luizard@campus.tu-berlin.de; nathalie.henrich@gipsa-lab.fr
OI Luizard, Paul/0000-0002-8577-2573; Henrich Bernardoni,
Nathalie/0000-0002-3944-611X
FU Alexander von Humboldt Foundation
FX The authors would like to thank the singers for their participation, the
room managers for their collaboration, and E. Brauer for his support in
the recording sessions. This work was partly supported by a grant of the
Alexander von Humboldt Foundation.
NR 22
TC 2
Z9 2
U1 5
U2 8
PU ACOUSTICAL SOC AMER AMER INST PHYSICS
PI MELVILLE
PA STE 1 NO 1, 2 HUNTINGTON QUADRANGLE, MELVILLE, NY 11747-4502 USA
SN 0001-4966
EI 1520-8524
J9 J ACOUST SOC AM
JI J. Acoust. Soc. Am.
PD JUL
PY 2020
VL 148
IS 1
BP EL33
EP EL39
DI 10.1121/10.0001524
PG 7
WC Acoustics; Audiology & Speech-Language Pathology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Acoustics; Audiology & Speech-Language Pathology
GA MQ0SV
UT WOS:000552608000001
PM 32752785
OA Bronze
DA 2025-03-18
ER
PT J
AU Braga, SM
AF Braga, Simone Marques
TI Choral and Vocal Performance: initial training directed basic education
SO MUSICA HODIE
LA Portuguese
DT Article
DE Choir; Initial training; Musical school performance
AB The choir becomes a possibility for school music education. However, it is appropriate to question whether content in components dealing with the singing voice in degree courses in music relate to the job of a teacher in school. In order to verify this relationship, the article presents a qualitative survey where respondents were university professors, students graduates and analyzed vocal performances of degree courses and schools. The basis for the data analysis was the design of initial training advocated by Perez Gomez (1995). As a result, despite the influence of the components in the musical education of teachers, there is a lack of intent to articulate the content with acting in school.
C1 [Braga, Simone Marques] Univ Estadual Feira de Santana, Feira De Santana, BA, Brazil.
C3 Universidade Estadual de Feira de Santana
RP Braga, SM (corresponding author), Univ Estadual Feira de Santana, Feira De Santana, BA, Brazil.
EM moninhabraga@gmail.com
NR 21
TC 0
Z9 0
U1 0
U2 2
PU UNIV FEDERAL GOIAS
PI GOIANIA GO
PA ESCOLA MUSICA ARTES CIENCIAS, PROG POT-GRAD MUSICA, CAIXA POSTAL 131,
CAMPUS II-SAMAMBAIA, GOIANIA GO, CEP74001-970, BRAZIL
SN 1676-3939
J9 MUSICA HODIE
JI Musica Hodie
PY 2016
VL 16
IS 2
BP 186
EP 198
PG 13
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA EQ8TM
UT WOS:000398358400015
DA 2025-03-18
ER
PT J
AU Gillio, PG
AF Gillio, Pier Giuseppe
TI Isochronous intonations in ternary time in seventeenth-century melodrama
and the subsequent affirmations of the slippery form
SO STUDI MUSICALI-NUOVA SERIE
LA Italian
DT Article
AB Since the early years of the 17th century, new metrical lines were introduced into Italian vocal music, ending the primacy of hendecasyllables and metro madrigalesco. The new verses are characterized by rhythmic regularity and are trochaic (octosyllables and quadrisyllables) and iambic (quinaries and septenaries). In the same period, musical compositions increasingly include both ternary meters and isochronous melodic types (that is equal duration values of the notes for short or long melodic sections). This paper discusses some common instances of contrast between the binary meter of iambic and trochaic verses and the ternary meter of the music, resulting in prosodic infractions. As in isochronous melodies the odd number of syllables of quinaries and septenaries makes the use of pauses or different duration values mandatory, the use of the proparoxytone form (verso sdrucciolo) is used to restore the continuity of the melodic line. Both problems are then solved by the introduction of a verse of ternary rhythm and fixed scansion: the dactylic senarium. In 17th century Italian opera, the use of proparoxytone form is also justified by extra-musical reasons, briefly mentioned in the article. The reason and use of the verso sdrucciolo are still different in the 18th and 19th centuries, as it is useful in the opera giocosa for quick tirate and in the opera seria for wide-ranging melodic phrases.
C1 [Gillio, Pier Giuseppe] Conservatory Novara, Poet & Dramat Literature, Novara, Italy.
NR 36
TC 0
Z9 0
U1 0
U2 0
PU ACCAD NAZ SANTA CECILIA, FONDAZIONE
PI ROMA
PA AUDITORIUM PARCO DELLA MUSICA, LARGO LUCIANO BERIO 3, ROMA, 00196, ITALY
SN 0391-7789
EI 2037-6413
J9 STUD MUSIC
JI Studi Musicali
PY 2023
IS 2
BP 253
EP +
PG 21
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA LG6Z1
UT WOS:001185684900003
DA 2025-03-18
ER
PT J
AU Hämäläinen, S
Salamonsen, A
Mehus, G
Schirmer, H
Graff, O
Musial, F
AF Hamalainen, Soile
Salamonsen, Anita
Mehus, Grete
Schirmer, Henrik
Graff, Ola
Musial, Frauke
TI Yoik in Sami elderly and dementia care - a potential for culturally
sensitive music therapy?
SO NORDIC JOURNAL OF MUSIC THERAPY
LA English
DT Article
DE Sami yoik; indigenous singing; dementia; qualitative research; music
therapy
AB Introduction: The positive impact of familiar, individualized and patient-preferred music in dementia care is acknowledged in the literature. However, traditional indigenous music practices in care contexts are less studied. This study focuses on yoik, a traditional vocal music of the indigenous Sami people of Fennoscandia. The aims of this exploratory study were to investigate key participants' experiences with yoik in care settings, as well as their thoughts with regard to a future study of yoik as a non-pharmacological intervention in Sami elderly and dementia care. Method: Qualitative in-person in-depth interviews with close relatives of persons in need of care, as well as healthcare professionals were analysed using qualitative content analysis. Results: The participants shared that they had observed positive effects whenever yoik was applied in Sami elderly and dementia care, even in persons without a known yoik familiarity. No unwanted effects were reported. The participants supported the idea of a possible clinical investigation of yoik as culturally sensitive music therapy in the future. They recommended that yoik should be implemented on a regular basis in Sami elderly and dementia care. Conclusion: The participants agreed that yoik has potential as a non-pharmacological intervention in Sami elderly and dementia care, and that further investigation is warranted.
C1 [Hamalainen, Soile; Musial, Frauke] UiT Arctic Univ Norway, Dept Community Med, Natl Res Ctr Complementary & Alternat Med NAFKAM, Tromso, Norway.
[Hamalainen, Soile; Musial, Frauke] Univ Hosp North Norway UNN HF, Ctr Qual & Dev, Tromso, Norway.
[Hamalainen, Soile; Salamonsen, Anita] UiT Arctic Univ Norway, Dept Hlth & Care Sci, RKBU North, Tromso, Norway.
[Mehus, Grete] UiT Arctic Univ Norway, Dept Hlth & Care Sci, Tromso, Norway.
[Schirmer, Henrik] UiT Arctic Univ Norway, Div Cardiothorac & Resp Med, Univ Hosp North Norway UNN, Univ Oslo,Dept Clin Med,Div Med & Lab Sci, Tromso, Norway.
[Graff, Ola] UiT Arctic Univ Norway, Arctic Univ Museum Norway, Tromso, Norway.
C3 UiT The Arctic University of Tromso; UiT The Arctic University of
Tromso; UiT The Arctic University of Tromso; University of Oslo; UiT The
Arctic University of Tromso; University Hospital of North Norway; UiT
The Arctic University of Tromso
RP Hämäläinen, S (corresponding author), UiT Arctic Univ Norway, Dept Community Med, Natl Res Ctr Complementary & Alternat Med NAFKAM, Tromso, Norway.; Hämäläinen, S (corresponding author), UiT Arctic Univ Norway, Univ Hosp North Norway UNN HF, Ctr Qual & Dev, Tromso, Norway.; Hämäläinen, S (corresponding author), Helsevitenskapelige Fak, RKBU North, Pb 6050 Langnes, N-9037 Tromso, Norway.
EM soile.hamalainen@uit.no
OI Mehus, Grete/0000-0002-9615-499X
FU UiT The Arctic University of Norway; Regional Health Authorities of
Northern Norway (HelseNord) [HNF1348-17]
FX The study was funded by UiT The Arctic University of Norway and The
Regional Health Authorities of Northern Norway (HelseNord) [HNF1348-17].
NR 68
TC 3
Z9 3
U1 1
U2 16
PU GRIEG ACADEMY
PI BERGEN
PA UNIV BERGEN, DEPT MUSIC, LARS HILLES GATE 3, BERGEN, N-5015, NORWAY
SN 0809-8131
EI 1944-8260
J9 NORD J MUSIC THER
JI Nord. J. Music Ther.
PD OCT 20
PY 2021
VL 30
IS 5
BP 404
EP 423
DI 10.1080/08098131.2020.1849364
EA FEB 2021
PG 20
WC Rehabilitation
WE Social Science Citation Index (SSCI)
SC Rehabilitation
GA WJ6CL
UT WOS:000619096400001
OA Green Published, hybrid
DA 2025-03-18
ER
PT J
AU Heredia-Carroza, J
Palma, L
Aguado, LF
AF Heredia-Carroza, Jesus
Palma, Luis
Aguado, Luis F.
TI SONG, PERFORMANCE AND AUTHORSHIP: THE CASE OF FLAMENCO IN SPAIN
SO TRAMES-JOURNAL OF THE HUMANITIES AND SOCIAL SCIENCES
LA English
DT Article
DE song; performer; copyright; cultural valuation; flamenco
AB This article aims to explain the dilemma between the importance of performer contributions to the song and the legal treatment that they receive in the market. It applies to the case of flamenco in Spain. We have designed a methodology based on three approaches: interviews with experts, in order to clarify the creation process of the flamenco song; a study of Comparative Law to determine the legal status of the performer; and finally, surveys to measure the valuation of the contributions from the performer to the song. The conclusions show that the contributions of the performer are essential to the flamenco song as it represents its creative labour; however it is not protected by copyright.
C1 [Heredia-Carroza, Jesus; Palma, Luis] Univ Seville, Dept Econ & Econ Hist, Ave De Ramon & Cajal 1, Seville 41018, Spain.
[Aguado, Luis F.] Pontificia Univ Javeriana, Dept Econ, Cali Cl 18 118-250, Cali, Valle Del Cauca, Colombia.
C3 University of Sevilla; Pontificia Universidad Javeriana
RP Heredia-Carroza, J (corresponding author), Univ Seville, Dept Econ & Econ Hist, Ave De Ramon & Cajal 1, Seville 41018, Spain.
EM jhercar12@gmail.com; lpalma@us.es; lfaguado@javerianacali.edu.co
RI HEREDIA-CARROZA, JESÚS/IUM-4110-2023; Heredia-Carroza,
Jesus/J-2552-2017; Aguado Quintero, Luis Fernando/D-9838-2011
OI Heredia-Carroza, Jesus/0000-0003-2280-2680; Aguado Quintero, Luis
Fernando/0000-0002-1675-0418
NR 14
TC 5
Z9 5
U1 1
U2 7
PU ESTONIAN ACADEMY PUBLISHERS
PI TALLINN
PA 6 KOHTU, TALLINN 10130, ESTONIA
SN 1406-0922
EI 1736-7514
J9 TRAMES-J HUMANIT SOC
JI TRAMES-J. Humanit. Soc. Sci.
PY 2019
VL 23
IS 1
BP 3
EP 14
DI 10.3176/tr.2019.1.01
PG 12
WC Humanities, Multidisciplinary; Social Sciences, Interdisciplinary
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics; Social Sciences - Other Topics
GA HM7YN
UT WOS:000459695700001
OA gold
DA 2025-03-18
ER
PT J
AU Conaghan, D
AF Conaghan, Dorothy
TI No one is going to rock up and tell you! How a hidden blend of
family capitals facilitates access to and success in structured
instrumental music education in Ireland
SO IRISH EDUCATIONAL STUDIES
LA English
DT Article; Early Access
DE Extracurricular activities; family capitals; structured instrumental
music education; Ireland
ID REPRODUCTION; CHILD
AB While the dominant orthodoxy within the field of educational research tends to document educational inequalities, it often fails to name the key drivers of advantage. By reflecting on core concepts of Bourdieu this article seeks to name the complex blend of parental capitals that enable access to and success in structured, extra-curricular activities (ECA) such as instrumental and vocal music education (IME). Besides the intrinsic benefits of IME, the article points to a particular extrinsic benefit that is unique to Ireland, in that performance is one of the essential activities on the Leaving Certificate (LC) music syllabus. This is important as it has implications for universal equality of access and opportunity. The research draws data from selected interviews conducted with mothers whose children were engaged in structured IME. In highlighting the often hidden and taken for granted capitals needed for IME access, the research also raises the issue of intra-class differences which can and do impact on outcome when navigating the structured IME market in Ireland. It also seeks to operate as a springboard for a set of broader theoretical arguments and highlights the role of institutional demands and material forces when considering the power of family capitals in this context.
C1 [Conaghan, Dorothy] Univ Coll Dublin, Ctr Human Rights, Dublin, Ireland.
C3 University College Dublin
RP Conaghan, D (corresponding author), 190,Seapk, Malahide K36 V252, Dublin, Ireland.
EM conaghan.dorothy@gmail.com
OI Conaghan, Dorothy/0000-0002-3651-4447
NR 42
TC 0
Z9 0
U1 5
U2 5
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 0332-3315
EI 1747-4965
J9 IRISH EDUC STUD
JI Ir. Educ. Stud.
PD 2024 OCT 23
PY 2024
DI 10.1080/03323315.2024.2411250
EA OCT 2024
PG 16
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA J9K1D
UT WOS:001340168800001
DA 2025-03-18
ER
PT J
AU Gong, TZ
Han, CL
AF Gong, Tianzhuo
Han, Chunli
TI Construction of an Intelligent Arrangement Model for Vocal Music Based
on HPC Cluster Programming
SO SCIENTIFIC PROGRAMMING
LA English
DT Article
ID THINGS; INTERNET
AB We model in this paper the HPC cluster programming structure and perform a multidimensional computational analysis to design a vocal intelligent arrangement model based on HPC cluster programming using brilliant vocal arrangement. This paper proposes the construction scheme of the HPC interconnection simulation environment based on the full investigation of the research related to the construction of a supercomputer simulation environment at home and abroad. The rapid development of HPC technology has promoted the study of automatic music generation technology, which effectively avoids the traditional machine learning method of music. The rapid growth of HPC technology has facilitated the research of automated music generation techniques, which effectively avoids the overreliance of conventional machine learning methods on music rules and artificial design features. It achieves better results in complex music generation tasks. The key features of intelligent music arrangement are designed and implemented by summarizing the principles of converting paintings to music and then creating the rules of converting images to music and the corresponding relationships based on the theoretical basis. After the conversion rules are clarified, the specific design is carried out according to the computing process of the genetic algorithm. At the same time, the framework of the arrangement is combined with children's aesthetic psychology; the evolutionary adaptation function is developed in combination with music theory, which finally ensures the motility of the generated music.
C1 [Gong, Tianzhuo] Capital Normal Univ, Acad Music, Beijing 100040, Peoples R China.
[Han, Chunli] Harbin Normal Univ, Acad Music, Harbin 150080, Heilongjiang, Peoples R China.
C3 Capital Normal University; Harbin Normal University
RP Han, CL (corresponding author), Harbin Normal Univ, Acad Music, Harbin 150080, Heilongjiang, Peoples R China.
EM gongtz@hrbnu.edu.cn; hsd2022@hrbnu.edu.cn
OI Gong, Tianzhuo/0000-0001-8551-4657
FU Academy of Music, Capital Normal University
FX This work was supported by the Academy of Music, Capital Normal
University.
NR 22
TC 0
Z9 0
U1 1
U2 4
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1058-9244
EI 1875-919X
J9 SCI PROGRAMMING-NETH
JI Sci. Program.
PD MAY 26
PY 2022
VL 2022
AR 9728085
DI 10.1155/2022/9728085
PG 13
WC Computer Science, Software Engineering
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA 1X6VK
UT WOS:000807590200001
OA gold
DA 2025-03-18
ER
PT J
AU Sato, S
Wang, S
Zhao, YZ
Wu, SX
Sun, HT
Prodi, N
Visentin, C
Pompoli, R
AF Sato, Shin-ichi
Wang, Shuo
Zhao, Yuezhe
Wu, Shuoxian
Sun, Haitao
Prodi, Nicola
Visentin, Chiara
Pompoli, Roberto
TI Effects of Acoustic and Visual Stimuli on Subjective Preferences for
Different Seating Positions in an Italian Style Theater
SO ACTA ACUSTICA UNITED WITH ACUSTICA
LA English
DT Article
ID CONCERT-HALLS; OPERA HOUSES; PARAMETERS; BALANCE; CUES
AB This study investigates the effects of acoustic and visual stimuli on subjective preferences for different seating positions in an Italian style theater. The sound and visual fields of ten positions in the theater were simulated in two laboratories, one equipped with a large-wide (7 mx3 m) screen with headphones for the sound source, and the other equipped with a 42 '' LCD monitor with 6 pairs of stereo loudspeakers. The sound signal was an anechoic soprano vocal music piece accompanied by a keyboard, convolved with binaural impulse responses at the ten seating positions. The visual stimuli were based on a CAD (computer-aided design) model of the theater, which included images of the singer, stage sets, and an audience. Subjective judgments by paired comparison tests were conducted in the two laboratories with different participant groups. By comparing the results of experimental trials using 1) visual stimuli only, 2) acoustic stimuli only, and 3) both acoustic and visual stimuli, the effects of the acoustic and visual stimuli on seat preference could be examined. The results of the experiments with the two different stimulus presentation systems were similar despite having different participant groups. A subjective scale analysis showed a significant correlation with the sound level of the soprano signal as well as the clarity C-80 for the stage (vocal) source.
C1 [Sato, Shin-ichi; Wang, Shuo; Zhao, Yuezhe; Wu, Shuoxian; Sun, Haitao] S China Univ Technol, State Key Lab Subtrop Bldg Sci, Guangzhou 510640, Guangdong, Peoples R China.
[Prodi, Nicola; Visentin, Chiara; Pompoli, Roberto] Univ Ferrara, Dipartimento Ingn, I-44100 Ferrara, Italy.
C3 South China University of Technology; University of Ferrara
RP Sato, S (corresponding author), Univ Nacl Tres Febrero, Varentin Gomez 4752, Buenos Aires, DF, Argentina.
EM ssato@untref.edu.ar
RI Sato, Shin-ichi/HNQ-5677-2023
OI VISENTIN, Chiara/0000-0003-3369-6131; Prodi, Nicola/0000-0002-2654-6445;
Sato, Shin-ichi/0000-0001-6771-5615
FU National Natural Science Foundation of China [50938003]; University of
Ferrara
FX The authors would like to thank Mr. Andrea Carletti and Ms. Bruna Grasso
of Teatro Comunale di Ferrara (Italy) for providing the scenery pictures
and initial drawings to create the CG model and the visual stimuli. The
authors would also like to thank the participants who participated in
the subjective tests. This work was supported by the National Natural
Science Foundation of China (No. 50938003) and the Internationalization
Project 2010 from the University of Ferrara.
NR 29
TC 15
Z9 18
U1 1
U2 19
PU S HIRZEL VERLAG
PI STUTTGART
PA POSTFACH 10 10 61, D-70 009 STUTTGART, GERMANY
SN 1610-1928
J9 ACTA ACUST UNITED AC
JI Acta Acust. United Acust.
PD SEP-OCT
PY 2012
VL 98
IS 5
BP 749
EP 759
DI 10.3813/AAA.918556
PG 11
WC Acoustics
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Acoustics
GA 006DE
UT WOS:000308798900007
DA 2025-03-18
ER
PT J
AU Goltz, F
Sadakata, M
AF Goltz, Franziska
Sadakata, Makiko
TI Do you listen to music while studying? A portrait of how people use
music to optimize their cognitive performance
SO ACTA PSYCHOLOGICA
LA English
DT Article
DE Background music; Cognitive performance; Music perception
ID BACKGROUND-MUSIC; READING-COMPREHENSION; INSTRUMENTAL MUSIC;
WORKING-MEMORY; DIFFERENTIAL DISTRACTION; PREFERRED MUSIC; VOCAL-MUSIC;
INTROVERTS; ATTENTION; IMPACT
AB The effect of background music (BGM) on cognitive task performance is a popular topic. However, the evidence is not converging: experimental studies show mixed results depending on the task, the type of music used and individual characteristics. Here, we explored how people use BGM while optimally performing various cognitive tasks in everyday life, such as reading, writing, memorizing, and critical thinking. Specifically, the frequency of BGM usage, preferred music types, beliefs about the scientific evidence on BGM, and individual characteristics, such as age, extraversion and musical background were investigated. Although the results confirmed highly diverse strategies among individuals regarding when, how often, why and what type of BGM is used, we found several general tendencies: people tend to use less BGM when engaged in more difficult tasks, they become less critical about the type of BGM when engaged in easier tasks, and there is a negative correlation between the frequency of BGM and age, indicating that younger generations tend to use more BGM than older adults. The current and previous evidence are discussed in light of existing theories. Altogether, this study identifies essential variables to consider in future research and further forwards a theory-driven perspective in the field.
C1 [Goltz, Franziska] Radboud Univ Nijmegen, Med Ctr, Donders Inst Brain Cognit & Behav, Nijmegen, Netherlands.
[Sadakata, Makiko] Univ Amsterdam, Mus Dept, Amsterdam, Netherlands.
[Sadakata, Makiko] Univ Amsterdam, Inst Logic Language & Computat, Amsterdam, Netherlands.
C3 Radboud University Nijmegen; University of Amsterdam; University of
Amsterdam
RP Sadakata, M (corresponding author), Univ Amsterdam, Inst Log Language & Computat, Mus Dept, Sci Pk 107, NL-1098 XG Amsterdam, Netherlands.
EM m.sadakata@uva.nl
RI Goltz, Franziska/JMP-7502-2023; Sadakata, Makiko/J-4753-2012
OI Sadakata, Makiko/0000-0002-3931-0642; Goltz,
Franziska/0000-0002-7146-2857
NR 97
TC 20
Z9 23
U1 33
U2 149
PU ELSEVIER
PI AMSTERDAM
PA RADARWEG 29, 1043 NX AMSTERDAM, NETHERLANDS
SN 0001-6918
EI 1873-6297
J9 ACTA PSYCHOL
JI Acta Psychol.
PD OCT
PY 2021
VL 220
AR 103417
DI 10.1016/j.actpsy.2021.103417
EA SEP 2021
PG 11
WC Psychology, Experimental
WE Social Science Citation Index (SSCI)
SC Psychology
GA WF5VU
UT WOS:000706372300020
PM 34555564
OA gold, Green Published
DA 2025-03-18
ER
PT J
AU Abbott, SE
Lauter, JL
Dalton, DA
AF Abbott, Susan E.
Lauter, Judith L.
Dalton, Deborah A.
TI Predictors of Phoneme and Stress Perception in Undergraduate Students of
Singing
SO JOURNAL OF VOICE
LA English
DT Article
CT 36th Annual Symposium of the Voice-Foundation
CY MAY 29-JUN 03, 2007
CL Philadelphia, PA
SP Voice Fdn
DE Phonemic awareness; Diction; Stress perception
ID PHONOLOGICAL AWARENESS SKILLS; PRESCHOOL-CHILDREN; SPEECH-PERCEPTION;
VOICE QUALITY; HEARING-LOSS; LANGUAGE; ADULTS; INSTRUCTION; DISORDERS
AB The purpose of this exploratory study was to examine the relationship between undergraduate vocal music majors' diction acquisition abilities for singing in a normative language (as rated both by themselves and by their studio voice teachers) and their scores on an objective test of phonemic and stress perception. Ten students with varying levels of university voice training served as participants. The results showed significant negative correlations between each of the teachers' four ratings and the students' scores on the phonemic awareness subtest. In addition, 20% of the students demonstrated evidence of underdeveloped phonemic awareness skills, as indicated by their below average test performance. Considerable individual differences were also observed in the students' abilities to track phonemes within a sequence of phonemes, count and track syllables within a sequence of syllables, and track combinations of phoneme and syllable changes in sequence, as evidenced by subtest performance scores. These findings corroborate existing reports which indicate that approximately 30% of the population does not fully develop phonemic awareness skills in the absence of special training. The findings support the utility of this objective test of phonemic and stress perception as a means of identifying students who will have difficulty with diction acquisition, and point to possibilities for pretraining to improve their response to diction instruction.
C1 [Abbott, Susan E.] Stephen F Austin State Univ, Dept Human Serv, SFA Stn, Nacogdoches, TX 75962 USA.
[Dalton, Deborah A.] Stephen F Austin State Univ, Sch Mus, Nacogdoches, TX 75962 USA.
C3 Stephen F Austin State University; Stephen F Austin State University
RP Abbott, SE (corresponding author), Stephen F Austin State Univ, Dept Human Serv, SFA Stn, POB 13019, Nacogdoches, TX 75962 USA.
EM sabbott@sfasu.edu
NR 54
TC 0
Z9 1
U1 0
U2 5
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD JUL
PY 2009
VL 23
IS 4
BP 460
EP 469
DI 10.1016/j.jvoice.2007.11.003
PG 10
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 472GK
UT WOS:000268118200007
PM 18395420
DA 2025-03-18
ER
PT J
AU Raseuki, NI
AF Raseuki, Nyak Ina
TI Voicing Papua: The Resonance of Rituals
SO CONTEMPORARY MUSIC REVIEW
LA English
DT Article; Early Access
DE Papuan new music; lament; narrative inquiry; sonic resistance;
idiosyncratic reopening
AB Indonesia's new music, alive in some parts of the archipelago from Sumatra in the west to Papua in the east, can be seen as a musical expression, both in verbal and abstract sound form, resulting from cultural refraction through individual composers. Nevertheless, the centre of attention for musical culture is still Java and Bali, two main islands in the cultural politics of the archipelago. Outside the two, new music works and sources of creation for the respective composers in several regions in Indonesia are still less noticed, even ignored. This article explores the new musical expression in Papua, the easternmost part of Indonesia, especially in works based on the so-called indigenous music but still using western musical precepts in a very selective way possible. By extracting or being inspired by various forms of ritual in the areas, a young woman composer named Septina Rosalina Layan shapes the very characteristics of Papuan new music and differentiates her works from those of new music composers from other parts of Indonesia. The approach in this narrative inquiry is based on several paths, namely tracing her endeavour in combining oral and written processes and her faithfulness towards oral traditions so rich in vocal music. This essay proves that the boldness of Papuan new music is an idiosyncratic reopening of the musical treasures from the ancestral past.
C1 [Raseuki, Nyak Ina] Jakarta Inst Arts, Grad Sch, Jakarta, Indonesia.
RP Raseuki, NI (corresponding author), Jakarta Inst Arts, Grad Sch, Jakarta, Indonesia.
EM ubietraseuki@gmail.com
NR 13
TC 1
Z9 1
U1 0
U2 0
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 0749-4467
EI 1477-2256
J9 CONTEMP MUSIC REV
JI Contemp. Music Rev.
PD 2024 AUG 23
PY 2024
DI 10.1080/07494467.2024.2391157
EA AUG 2024
PG 13
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA D9V6Q
UT WOS:001299588700001
DA 2025-03-18
ER
PT J
AU Covalle, WA
AF Covalle, Whitney A.
TI Three Black Gospel Music Experts on Preparing, Teaching, and "Being" in
the African American Aural-Oral Tradition
SO BULLETIN OF THE COUNCIL FOR RESEARCH IN MUSIC EDUCATION
LA English
DT Article
ID WHITENESS; EDUCATION
AB The purpose of this multiple case study was to gather musical and nonmusical perspectives from three experts on teaching Black gospel music in the African American aural-oral tradition. Research questions included: (a) What is the process Black gospel music experts engage in when preparing for and teaching gospel music in the aural-oral tradition? (b) In the view of Black gospel music experts, how does race intersect with the preparation, teaching, and performance of gospel music? (c) How do Black gospel music experts advocate for incorporating gospel music into public school vocal music programs? Participants were purposively selected, and data collection included observations, researcher-singer participation, and multiple interviews. Expert agreement emerged regarding teaching processes as a nonmusical sstate of being " deeply infused with cultural, commu-nity, and spiritual values. Rehearsals were uninterrupted musical experiences with limited nonver-bal instruction made possible from robust aural-oral immersion preparation. While participants insisted race was not a prerequisite for engagement in gospel music, they agreed the influence and mediation of race plays an active role, citing the proliferation of anti-Blackness in the academy as foremost among the barriers to rigorous preparation to teach Black gospel music. Experts advocated for teaching gospel music in schools to offer students the opportunity to participate in the accessible, inclusive, participatory, and communal experience available in gospel music.
C1 [Covalle, Whitney A.] Kean Univ, Union, NJ 07083 USA.
C3 Kean University
RP Covalle, WA (corresponding author), Kean Univ, Union, NJ 07083 USA.
OI Covalle, Whitney/0000-0001-5528-4897
NR 54
TC 0
Z9 1
U1 0
U2 2
PU UNIV ILLINOIS PRESS
PI CHAMPAIGN
PA 1325 S OAK ST, MC-566, CHAMPAIGN, IL 61820-6903 USA
SN 0010-9894
EI 2162-7223
J9 B COUN RES MUSIC ED
JI Bull. Counc. Res. Mus. Educ.
PY 2022
IS 233
BP 48
EP 68
PG 21
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA 9A5KA
UT WOS:000934095700004
DA 2025-03-18
ER
PT J
AU Chaffin, R
Ginsborg, J
Dixon, J
Demos, AP
AF Chaffin, Roger
Ginsborg, Jane
Dixon, James
Demos, Alexander P.
TI Recovery from memory failure when recalling a memorized performance: The
role of musical structure and performance cues
SO MUSICAE SCIENTIAE
LA English
DT Article
DE Memory; recall; music cognition; serial position; recovery; performance
ID SHORT-TERM-MEMORY; MODEL; RETRIEVAL; IMPLICIT; SPEED
AB To perform reliably and confidently from memory, musicians must able to recover from mistakes and memory failures. We describe how an experienced singer (the second author) recovered from mistakes and gaps in recall as she periodically recalled the score of a piece of vocal music that she had memorized for public performance, writing out the music six times over a five-year period following the performance. Five years after the performance, the singer was still able to recall two-thirds of the piece. When she made mistakes, she recovered and went on, leaving gaps in her written recall that lengthened over time. We determined where in the piece gaps started (losses) and ended (gains), and compared them with the locations of structural beats (starts of sections and phrases) and performance cues (PCs) that the singer reported using as mental landmarks to keep track of her progress through the piece during the sung, public performance. Gains occurred on structural beats where there was a PC; losses occurred on structural beats without a PC. As the singer's memory faded over time, she increasingly forgot phrases that did not start with a PC and recovered at the starts of phrases that did. Our study shows how PCs enable musicians to recover from memory failures.
C1 [Chaffin, Roger; Dixon, James] Univ Connecticut, Dept Psychol Sci, Storrs, CT 06269 USA.
[Ginsborg, Jane] Royal Northern Coll Mus, Ctr Mus Performance Res, Manchester, Lancs, England.
[Demos, Alexander P.] Univ Illinois, Dept Psychol, Chicago, IL 60680 USA.
C3 University of Connecticut; Royal Northern College of Music - UK;
University of Illinois System; University of Illinois Chicago;
University of Illinois Chicago Hospital
RP Chaffin, R (corresponding author), Univ Connecticut, Dept Psychol Sci, Storrs, CT 06269 USA.
EM Roger.Chaffin@UConn.edu
RI Demos, Alexander/J-3337-2019; Ginsborg, Jane/AAB-4395-2020
NR 55
TC 2
Z9 2
U1 0
U2 3
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 1029-8649
EI 2045-4147
J9 MUSIC SCI
JI Music Sci.
PD MAR
PY 2023
VL 27
IS 1
BP 94
EP 116
AR 10298649211025491
DI 10.1177/10298649211025491
EA JUL 2021
PG 23
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA 9F0AH
UT WOS:000676895500001
DA 2025-03-18
ER
PT J
AU Field, T
Hernandez-Reif, M
Diego, M
AF Field, Tiffany
Hernandez-Reif, Maria
Diego, Miguel
TI Depressed Mothers' Newborns Are Less Responsive to Animate and Inanimate
Stimuli
SO INFANT AND CHILD DEVELOPMENT
LA English
DT Article
DE newborns; prenatal depression
ID PREGNANT-WOMEN; MASSAGE THERAPY; NONDEPRESSED MOTHERS; STRESS; CORTISOL;
SYMPTOMS; HERITABILITY; HABITUATION; POSTPARTUM; PREDICTION
AB Data from our research are reviewed showing limited attentiveness and responsivity to animate stimuli in newborns of depressed mothers. These include face-voice stimuli of mothers and strangers, newborn cry sounds and instrumental and vocal music. Newborns of depressed mothers are also noted to be less attentive and responsive when presented with inanimate stimuli, including different texture nipples, different temperature nipples and different weight tubes. Potential underlying mechanisms are suggested by research showing negative effects of prenatal depression, elevated prenatal cortisol and lower prenatal dopamine and serotonin on the newborns of depressed mothers. Additional risk factors are explored, including sleep disturbances and other prenatal stressors. Early interventions, including pregnancy massage, massage therapy for infants and demonstration of the Brazelton Assessment, have been noted to enhance the neonates' attentiveness and responsivity to animate and inanimate stimuli. Limitations of these studies are discussed, including the sample being limited to lower SES women who have many other problems that potentially affect newborns. More controlled studies are needed to assess potential mediating factors for the inferior performance of these newborns on perceptual tasks such as limited attentiveness and/or greater arousal as well as longitudinal follow-up studies to determine whether these limited perceptual abilities continue into infancy. Copyright (C) 2010 John Wiley & Sons, Ltd.
C1 [Field, Tiffany] Univ Miami, Sch Med, Touch Res Inst, Miami, FL 33101 USA.
[Field, Tiffany] Fielding Grad Univ, Santa Barbara, CA USA.
[Hernandez-Reif, Maria] Univ Alabama, Tuscaloosa, AL USA.
C3 University of Miami; University of Alabama System; University of Alabama
Tuscaloosa
RP Field, T (corresponding author), Univ Miami, Sch Med, Touch Res Inst, POB 016820, Miami, FL 33101 USA.
EM tfield@med.miami.edu
NR 48
TC 7
Z9 11
U1 1
U2 21
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 1522-7219
J9 INFANT CHILD DEV
JI Infant Child Dev.
PD JAN-FEB
PY 2011
VL 20
IS 1
SI SI
BP 94
EP 105
DI 10.1002/icd.687
PG 12
WC Psychology, Developmental
WE Social Science Citation Index (SSCI)
SC Psychology
GA 721TN
UT WOS:000287378200006
DA 2025-03-18
ER
PT J
AU Gunjawate, DR
AF Gunjawate, Dhanshree R.
TI A Pilot Survey of Warm-Up Practices and Perceptions Among Indian
Classical Singers
SO JOURNAL OF VOICE
LA English
DT Article
DE Warm-up; Indian classical singers; Practices; Voice; Survey
AB Objective. Studies have highlighted the importance of having an adequate vocal warm-up exercise regime for prevention of vocal fold injury among singers. Indian classical singing has several singing exercises aimed at improving vocal range and voice. Thus, a need was felt to survey these singers for the warm-up practices they follow and their perception about them.
Study Design. Cross-sectional study design.
Methods. A 20-item questionnaire was used comprising of questions on demographic details, vocal warm-up singing, and nonsinging-based practices, perceptions about importance of vocal warm-up, and perceptions about effects of vocal warm-up on voice.
Results and Conclusion. Fifty Indian classical singers were surveyed. Sixty-four percent of them used vocal warm-up on a daily basis, whereas the remaining did it weekly. Among the singing-based vocal warm-ups, a combination of different singing notes and scales were most commonly used. The popular nonsinging-based warm-up exercises were breathing practice, humming, and meditation. Overall, the singers had a positive perception of the importance of vocal warm-up. Notably, 94% agreed to the importance of having a vocal warm-up regularly before singing. The findings of the present study will help in understanding the existing vocal warm-up regime and perception of the singers. It will benefit counseling singers regarding vocal hygiene, voice care, and management.
C1 [Gunjawate, Dhanshree R.] Manipal Acad Higher Educ, Kasturba Med Coll, Dept Audiol & Speech Language Pathol, Manipal, Karnataka, India.
C3 Manipal Academy of Higher Education (MAHE); Kasturba Medical College,
Manipal
RP Gunjawate, DR (corresponding author), Manipal Acad Higher Educ, Kasturba Med Coll, Dept Audiol & Speech Language Pathol, Manipal, Karnataka, India.
EM dhanshreeg@yahoo.co.in
RI gunjawate, dhanshree/K-2768-2015
OI GUNJAWATE, DHANSHREE R/0000-0002-2464-2580
NR 14
TC 2
Z9 2
U1 1
U2 5
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JAN
PY 2020
VL 34
IS 1
DI 10.1016/j.jvoice.2018.05.013
PG 4
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA KE4ZO
UT WOS:000508565600027
PM 30041932
DA 2025-03-18
ER
PT J
AU Vos, RR
Daffern, H
Howard, DM
AF Vos, Rebecca R.
Daffern, Helena
Howard, David M.
TI Resonance Tuning in Three Girl Choristers
SO JOURNAL OF VOICE
LA English
DT Article
DE Formant; Resonance; Tuning; Chorister; Singing
ID VOCAL-TRACT; CHILDRENS
AB Objective. The phenomenon of resonance tuning, whereby a singer modifies the shape of their vocal tract to increase the acoustic power output, is commonly exploited across large pitch ranges by professional sopranos and has been observed to a lesser degree in nonexpert adult singers.
This study considers the employment of two common resonance tuning techniques in experienced child singers; tuning the first vocal tract resonance to the fundamental (R1: f(o)) and tuning the second resonance to the second harmonic (R-2: 2 f(o)).
Methods. Wide-band excitation at the subject's mouth during singing was used to measure the vocal tract resonances of three girl choristers, and vowel formant values in speech were extracted from samples of spoken text.
Measured resonance values were cross-referenced with first and second harmonics for sung vowels across the subjects' ranges to identify the resonance tuning techniques employed, and these results were compared with those previously observed by others in professional adult classical singers.
Results and Conclusions. There was clear evidence that the subjects employed resonance tuning techniques comparable with the strategies used by adult singers. The protocol and results presented here pave the way for further studies exploring the development of resonance tuning techniques in young soprano voices, with the potential to impact on approaches to classical singing training in the future.
C1 [Vos, Rebecca R.] Univ York, York Ctr Singing Sci, York YO10 5DD, N Yorkshire, England.
[Vos, Rebecca R.] Univ York, Dept Elect, York YO10 5DD, N Yorkshire, England.
C3 University of York - UK; University of York - UK
RP Vos, RR (corresponding author), Univ York, York Ctr Singing Sci, York YO10 5DD, N Yorkshire, England.; Vos, RR (corresponding author), Univ York, Dept Elect, York YO10 5DD, N Yorkshire, England.
EM rebecca.vos@york.ac.uk
RI Vos, Rebecca/KHD-4254-2024
OI Howard, david/0000-0001-9516-9551
NR 16
TC 5
Z9 5
U1 0
U2 4
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JAN
PY 2017
VL 31
IS 1
AR 122.e1
DI 10.1016/j.jvoice.2016.01.013
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA EI6QF
UT WOS:000392619900051
PM 26992555
OA Green Accepted
DA 2025-03-18
ER
PT J
AU Hämäläinen, S
Musial, F
Graff, O
Olsen, TA
Salamonsen, A
AF Hamalainen, Soile
Musial, Frauke
Graff, Ola
Olsen, Torjer A.
Salamonsen, Anita
TI Yoik experiences and possible positive health outcomes: an explorative
pilot study
SO INTERNATIONAL JOURNAL OF CIRCUMPOLAR HEALTH
LA English
DT Article
DE Culture-sensitive research; emotion management; health and well being;
indigenous methodology; music and health; Norway; Sami; yoik experience;
yoik
ID CARE
AB Background: Yoik is an old vocal music tradition of Sami, the indigenous people inhabiting Northern Fennoscandia and Kola peninsula in Russia. Studies of music therapy (MT) and especially singing have documented improvements in social and overall functioning in people with severe mental disorders and positive effect on depressive symptoms and sleep quality. Possible connections between yoik and health are so far underexplored.
Objectives: The overall aim of this study was to explore whether yoik may have the potential to positively influence people's health and well-being. The research questions were: 1. What are different persons' experiences with yoik? 2. Can yoik experiences be related to health outcomes?
Methods: Explorative, qualitative interviews with 13 participants were conducted in the Norwegian counties Finnmark, Troms, Nordland, and Trondelag.
Findings: The findings suggest qualities in yoik that are comparable to positive effects of Music Therapy (MT) in general. Yoik may contribute to emotion management, i.e. processing negative emotions and inducing positive ones in people acknowledging yoik as something positive.
Conclusion: Yoik may be considered an important marker of social and cultural belonging for many Sami people. Yoik seems to have an underresearched potential as an intervention in culture sensitive healthcare and health promotion work that deserves to be further investigated.
C1 [Hamalainen, Soile; Musial, Frauke; Salamonsen, Anita] UiT Arctic Univ Norway, Nat Res Ctr Complementary & Alternat Med, Fac Hlth Sci, Dept Community Med, Tromso, Norway.
[Graff, Ola] Univ Museum Tromso, UiT Arctic Univ Norway, Tromso, Norway.
[Olsen, Torjer A.] UiT Arctic Univ Norway, Ctr Sami Studies, Fac Human Soc Sci & Educ, Tromso, Norway.
UiT Norges arktiske Univ, NAFKAM, Postboks 6050 Langnes, N-9037 Tromso, Norway.
C3 UiT The Arctic University of Tromso; UiT The Arctic University of
Tromso; UiT The Arctic University of Tromso; UiT The Arctic University
of Tromso
RP Salamonsen, A (corresponding author), UiT Norges arktiske Univ, NAFKAM, Postboks 6050 Langnes, N-9037 Tromso, Norway.
EM anita.salamonsen@uit.no
NR 58
TC 9
Z9 10
U1 1
U2 9
PU TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OR14 4RN, OXON, ENGLAND
SN 1239-9736
EI 2242-3982
J9 INT J CIRCUMPOL HEAL
JI Int. J. Circumpolar Health
PY 2017
VL 76
AR 1271590
DI 10.1080/22423982.2016.1271590
PG 9
WC Public, Environmental & Occupational Health
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Public, Environmental & Occupational Health
GA EN7BU
UT WOS:000396157900001
PM 28452679
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Heinrich, A
Knight, S
Hawkins, S
AF Heinrich, Antje
Knight, Sarah
Hawkins, Sarah
TI Influences of word predictability and type of masker noise on
intelligibility of sung text in live concerts
SO JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA
LA English
DT Article
ID SPEECH-PERCEPTION; INFORMATIONAL MASKING; RECOGNITION; MUSIC; PITCH;
YOUNG; LISTENERS; FREQUENCY; LANGUAGE; SPOKEN
AB Vocal music is often intended to convey meaning, but how effectively this is achieved is poorly understood. This study systematically assessed the influence of three non-phonetic factors on the intelligibility of sung words in six public concerts in different venues: word predictability from sentence context, type of masker noise (spoken babble, sung vowels, [integral(w)]), and signal-to-noise ratio (SNR). Stimuli were sung live by a professional a cappella ensemble with one male singing target sentences and five others (two female) producing the masker sounds. The concert audiences (N = 319) reported the final word of each sentence using a handheld voting device, from four phonetically-and semantically-controlled written alternatives projected onto a screen after the sentence was sung. Although overall accuracy differed between performances, intelligibility patterns were robust across concerts. They included predicted main effects of masker noise type ([integral(w)] masking least disruptive, babble most), SNR (high > low), semantic predictability (high > low), listener age (young > old), and listener language status (native > non-native), and some strong interactions. These results suggest that, despite acoustic differences between sung and spoken words and the unusual and varied experimental venues, key findings from traditional speech research apply to sung words, given appropriate musical composition. (C) 2015 Author(s).
C1 [Heinrich, Antje; Knight, Sarah] MRC Inst Hearing Res, Nottingham NG7 2RD, England.
[Hawkins, Sarah] Univ Cambridge, Fac Mus, Cambridge CB3 9DP, England.
C3 University of Cambridge
RP Heinrich, A (corresponding author), MRC Inst Hearing Res, Nottingham NG7 2RD, England.
EM antje.heinrich@ihr.mrc.ac.uk
RI Knight, Sarah/AAZ-9337-2020
OI Heinrich, Antje/0000-0002-5940-622X
FU Wellcome Trust; MRC [G0701543] Funding Source: UKRI
FX We thank Dr. Edward Wickham for bringing together the diverse group
essential to this collaborative work combining live music performance
with controlled experimentation: a composer, professional singers, and
speech scientists. Christopher Fox wrote the score and the vocal
ensemble, The Clerks, sang with scientific rigour as well as beauty. We
thank the audiences who took part with such good humour, and The
Wellcome Trust for funding (Large Arts Award Tales from Babel).
NR 44
TC 3
Z9 4
U1 0
U2 14
PU ACOUSTICAL SOC AMER AMER INST PHYSICS
PI MELVILLE
PA STE 1 NO 1, 2 HUNTINGTON QUADRANGLE, MELVILLE, NY 11747-4502 USA
SN 0001-4966
EI 1520-8524
J9 J ACOUST SOC AM
JI J. Acoust. Soc. Am.
PD OCT
PY 2015
VL 138
IS 4
BP 2373
EP 2386
DI 10.1121/1.4929901
PG 14
WC Acoustics; Audiology & Speech-Language Pathology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Acoustics; Audiology & Speech-Language Pathology
GA DB0GM
UT WOS:000368186600050
PM 26520319
OA Green Published
DA 2025-03-18
ER
PT J
AU Napadow, M
Harmat, L
AF Napadow, Miriam
Harmat, Laszlo
TI Memorizing song lyrics: Comparing the effectiveness of three learning
formats
SO PSYCHOLOGY OF MUSIC
LA English
DT Article
DE song lyrics; picture superiority effect; memory recall; lyrics
memorization; levels of processing; learning format
ID MEMORY; MUSIC; RETRIEVAL; LANGUAGE; IMAGERY
AB A central part of singing includes learning new pieces of vocal music. Learning a new song is a complex task that involves several functions and modalities, such as memory functions, language and motor skills, and auditory and visual perception. Memory functions are a well-studied area, but it is unknown how memory theories apply to a multimodal activity such as singing. In this study, an attempt is made to translate the theories to the applied field of singing. This study aims to investigate the effectiveness of three types of learning formats for learning new song lyrics: auditory learning with image support (AI), auditory learning with text support (AT), and auditory learning only (A). Ninety-five participants were randomly assigned to one of the three experimental conditions. A univariate analysis of variance revealed a significant effect of condition on the lyric recall score and post-hoc tests showed that participants performed significantly better in the AI condition in comparison to both the AT and the A condition. No significant difference was found between AT and A. This study sheds light on how memory processes might work in learning song lyrics. Practical implications for practitioners such as music educators, conductors, and choir singers are discussed.
C1 [Napadow, Miriam; Harmat, Laszlo] Linnaeus Univ, Fac Hlth & Life Sci, Dept Psychol, Vaxjo, Sweden.
[Napadow, Miriam] Linnaeus Univ, Trummenvagen 11, S-35195 Vaxjo, Sweden.
C3 Linnaeus University; Linnaeus University
RP Napadow, M (corresponding author), Linnaeus Univ, Trummenvagen 11, S-35195 Vaxjo, Sweden.
EM miriam.napadow@lnu.se
NR 26
TC 0
Z9 0
U1 6
U2 14
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0305-7356
EI 1741-3087
J9 PSYCHOL MUSIC
JI Psychol. Music
PD JUL
PY 2024
VL 52
IS 4
BP 489
EP 499
DI 10.1177/03057356231211810
EA DEC 2023
PG 11
WC Psychology, Educational; Psychology, Applied; Music; Psychology,
Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Psychology; Music
GA UF6Z1
UT WOS:001111825100001
OA hybrid
DA 2025-03-18
ER
PT J
AU Dippold, S
Voigt, D
Richter, B
Echternach, M
AF Dippold, Sebastian
Voigt, Daniel
Richter, Bernhard
Echternach, Matthias
TI High-Speed Imaging Analysis of Register Transitions in Classically and
Jazz-Trained Male Voices
SO FOLIA PHONIATRICA ET LOGOPAEDICA
LA English
DT Article
DE Register functions; Vocal fold oscillation patterns; Jazz-trained
singers; Classically trained singers; High-speed digital imaging;
Relative average perturbation; Correlation dimension; Shimmer
ID VOCAL FOLD VIBRATIONS; PERTURBATION; PITCH; MECHANISMS; INTENSITY; TRACT
AB Background: Little data are available concerning register functions in different styles of singing such as classically or jazz-trained voices. Differences between registers seem to be much more audible in jazz singing than classical singing, and so we hypothesized that classically trained singers exhibit a smoother register transition, stemming from more regular vocal fold oscillation patterns. Methods: High-speed digital imaging (HSDI) was used for 19 male singers (10 jazz-trained singers, 9 classically trained) who performed a glissando from modal to falsetto register across the register transition. Vocal fold oscillation patterns were analyzed in terms of different parameters of regularity such as relative average perturbation (RAP), correlation dimension (D2) and shimmer. Results: HSDI observations showed more regular vocal fold oscillation patterns during the register transition for the classically trained singers. Additionally, the RAP and D2 values were generally lower and more consistent for the classically trained singers compared to the jazz singers. However, intergroup comparisons showed no statistically significant differences. Conclusion: Some of our results may support the hypothesis that classically trained singers exhibit a smoother register transition from modal to falsetto register. (C) 2015 S. Karger AG, Basel
C1 [Dippold, Sebastian] Johannes Gutenberg Univ Mainz, Univ Med Ctr, Dept Otorhinolaryngol Head & Neck Surg, DE-55131 Mainz, Germany.
[Voigt, Daniel] Max Planck Inst Evolutionary Anthropol, Dept Linguist, Leipzig, Germany.
[Richter, Bernhard; Echternach, Matthias] Univ Freiburg, Inst Musicians Med, D-79106 Freiburg, Germany.
C3 Johannes Gutenberg University of Mainz; Max Planck Society; University
of Freiburg
RP Dippold, S (corresponding author), Johannes Gutenberg Univ Mainz, Univ Med Ctr, Dept Otorhinolaryngol Head & Neck Surg, Langenbeckstr 1, DE-55131 Mainz, Germany.
EM sebastian.dippold@unimedizin-mainz.de
RI Echternach, Matthias/E-3464-2010
OI Echternach, Matthias/0000-0003-0095-5360
FU Deutsche Forschungsgemeinschaft (DFG) [EC 409/1-1, RI 1050/4-1]
FX M.E. and B.R. were supported by the Deutsche Forschungsgemeinschaft
(DFG), grant No. EC 409/1-1 and RI 1050/4-1.
NR 31
TC 9
Z9 9
U1 1
U2 2
PU KARGER
PI BASEL
PA ALLSCHWILERSTRASSE 10, CH-4009 BASEL, SWITZERLAND
SN 1021-7762
EI 1421-9972
J9 FOLIA PHONIATR LOGO
JI Folia Phoniatr. Logop.
PY 2015
VL 67
IS 1
BP 21
EP 28
DI 10.1159/000381095
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology;
Rehabilitation
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology;
Rehabilitation
GA CN6BU
UT WOS:000358519300004
PM 25967736
DA 2025-03-18
ER
PT J
AU Li, Q
AF Li, Qian
TI HARMONIZING THE SACRED AND THE PROFOUND: A PHILOSOPHICAL EXPLORATION OF
MUSICAL EXPRESSION AND SPIRITUAL EXPERIENCE IN PIANO PERFORMANCE
SO EUROPEAN JOURNAL FOR PHILOSOPHY OF RELIGION
LA English
DT Article
DE Philosophy of Art; Piano Performance; Playing and Singing; Fusion
ID ART
AB This study explores the integration of playing and singing within piano performance, viewing this fusion as a profound expression of both musical and spiritual experience. Through the lens of art philosophy, we examine the mutual enrichment of piano performance and vocal expression, considering their roles in enhancing the depth and emotional resonance of musical presentation. This paper articulates the theoretical underpinnings and practical methodologies for merging perceptual and expressive elements in piano performances, structured around three core areas of practical exploration. By melding theory with practice, we delve into the artistic philosophy that underlies the combination of piano playing and singing, highlighting the holistic nature of music as a form of both artistic and spiritual expression. Playing and singing, while distinct forms of musical articulation, together create a compelling dynamic that is central to the transformative power of music. From the perspective of art philosophy, investigating the interplay between instrumental and vocal music is crucial for advancing our understanding of how these elements can coalesce to enhance spiritual and emotional expression within performances. The primary aim of this paper is to elevate the fusion of expressiveness in piano performance and singing, thereby enriching the spiritual and emotive impact of musical expression through a philosophical exploration of these art forms.
C1 [Li, Qian] Shanxi Technol & Business Coll, Taiyuan 030036, Shanxi, Peoples R China.
RP Li, Q (corresponding author), Shanxi Technol & Business Coll, Taiyuan 030036, Shanxi, Peoples R China.
EM QIANLI_LUCY@163.COM
NR 21
TC 0
Z9 0
U1 5
U2 5
PU EUROPEAN JOURNAL PHILOSOPHY RELIGION
PI INNSBRUCK
PA C/O UNIV INNSBRUCK, INST CHRISTLICHE PHILOSOPHIE, KARL-RAHNER-PLATZ 1,
INNSBRUCK, A-6020, AUSTRIA
SN 1689-8311
J9 EUR J PHILOS RELIG
JI Eur. J. Philos. Relig.
PY 2024
VL 16
IS 2
BP 18
EP 34
DI 10.24204/EJPR.2024.4045
PG 17
WC Philosophy; Religion
WE Arts & Humanities Citation Index (A&HCI)
SC Philosophy; Religion
GA G7R7N
UT WOS:001318570300002
DA 2025-03-18
ER
PT J
AU Staes, FF
Jansen, L
Vilette, A
Coveliers, Y
Daniels, K
Decoster, W
AF Staes, Filip F.
Jansen, Lieve
Vilette, Ann
Coveliers, Yannick
Daniels, Kim
Decoster, Wivine
TI Physical Therapy as a Means to Optimize Posture and Voice Parameters in
Student Classical Singers: A Case Report
SO JOURNAL OF VOICE
LA English
DT Article
DE Singing; Posture; Voice parameters; Physical therapy
ID INCONTINENT WOMEN; PATTERNS; MUSCLES; ALIGNMENT; EXERCISE; MOVEMENT;
PAIN
AB Objectives/Hypothesis. This study aimed at reporting on an intervention for optimizing postural alignment and voice parameters.
Study Design. Case report.
Methods. A clinical examination, including an evaluation of postural alignment, was performed and several voice parameters were investigated before, during, and after an individual rehabilitation program aimed at optimizing joint mobility, muscular stability, and posture. This program was given to a 26-year-old female classical singing student.
Results. After a nine-session intervention (4 months), postural alignment was improved. The patient showed a good breath support and was able to maintain the lateral dimensions of the thorax, except for the high tones. Furthermore, she had a normalized cervical and scapulothoracic stability. At the last session, she had a lack of relaxation of the masseter muscle while singing. The vocal dynamic and pitch range were extended with smoother curves connecting the measuring points of the maximal and minimal vocal intensity, measured by means of the voice range profile.
Conclusions. Results show that, in this student singer, postural alignment could be changed within 4 months and that it could influence some voice parameters. Further research in larger samples is necessary to see whether these findings can be generalized to other singers.
C1 [Staes, Filip F.; Vilette, Ann; Daniels, Kim] Katholieke Univ Leuven, Dept Rehabil Sci, Louvain, Belgium.
[Jansen, Lieve] High Sch Sci & Arts, Dept Lemmensinst, Louvain, Belgium.
[Coveliers, Yannick] Vrije Univ Brussel, Dept Teacher Educ, Interdisciplinaire Vakgrp Lerarenopleiding, Brussels, Belgium.
[Decoster, Wivine] Katholieke Univ Leuven, Dept Neurosci, Expertisectr Stem, Lab Exp ORL, Louvain, Belgium.
C3 KU Leuven; Vrije Universiteit Brussel; KU Leuven
RP Staes, FF (corresponding author), Res Ctr Musculoskeletal Rehabil, Dept Rehabil Sci, Tervuursevest 101 Bus 1501, B-3001 Heverlee, Belgium.
EM Filip.Staes@faber.kuleuven.be
OI Staes, Filip/0000-0002-1569-6333
NR 33
TC 25
Z9 38
U1 1
U2 11
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAY
PY 2011
VL 25
IS 3
BP E91
EP E101
DI 10.1016/j.jvoice.2009.10.012
PG 11
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 992LQ
UT WOS:000307778200001
PM 20207108
DA 2025-03-18
ER
PT J
AU Mitchell, HF
MacDonald, RAR
AF Mitchell, Helen F.
MacDonald, Raymond A. R.
TI Recognition and description of singing voices: The impact of verbal
overshadowing
SO MUSICAE SCIENTIAE
LA English
DT Article
DE auditory recognition; music performance; singing voice; verbalization;
verbal overshadowing
ID EXPERT; IDENTIFICATION; PERFORMANCE; JUDGES
AB Verbalizing sound quality of individual music performers presents a challenge to musicians and pedagogues in describing a complex aural phenomenon. Verbal overshadowing (VO) is well documented in psychological literature and can occur when we use words to describe sensory experiences (such as seeing, tasting or hearing). The verbal description impairs later recall of the sensory experience and individuals are less able to identify the original from a line-up of similar stimuli. This study investigated the impact of verbal description on listeners' recognition accuracy and confidence of classical singing voices, it also assessed the scope and limitations of the terms used to describe singers' sound. Five soprano singers performed an excerpt of Caro mio ben twice for a recording. Listeners (n = 50) heard a single singer performing the first take of Caro mio ben, which they either described in words, or just remembered. Listeners were later asked to identify the voice from a homogenous line-up of the five singers. Providing a verbal description reduced listeners' identification accuracy of target voice, but did not reduce listeners' confidence in their decisions. There was a reliable verbal overshadowing effect and results suggest that verbalization of singing voices is problematic and limits listeners' ability to remember a singer's unique sound quality.
C1 [Mitchell, Helen F.] Univ Sydney, Sydney Conservatorium Mus, Sydney, NSW 2006, Australia.
[MacDonald, Raymond A. R.] Univ Edinburgh, Edinburgh EH8 9YL, Midlothian, Scotland.
C3 University of Sydney; University of Edinburgh
RP Mitchell, HF (corresponding author), Univ Sydney, Sydney Conservatorium Mus, Sydney, NSW 2006, Australia.
EM helen.mitchell@sydney.edu.au
RI Mitchell, Helen/HJZ-0959-2023
OI MacDonald, Raymond/0000-0002-9748-4480; Mitchell, Helen
Frances/0000-0002-3852-3419
NR 24
TC 5
Z9 6
U1 1
U2 24
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 1029-8649
J9 MUSIC SCI
JI Music Sci.
PD FAL
PY 2012
VL 16
IS 3
BP 307
EP 316
DI 10.1177/1029864912458849
PG 10
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA 039OS
UT WOS:000311256900004
DA 2025-03-18
ER
PT J
AU Abou-Elsaad, T
Baz, H
Afsah, O
Abo-Elsoud, H
AF Abou-Elsaad, Tamer
Baz, Hemmat
Afsah, Omayma
Abo-Elsoud, Hend
TI Validation and Adaptation of the Singing Voice Handicap Index for
Egyptian Singing Voice
SO JOURNAL OF VOICE
LA English
DT Article
DE Voice Handicap Index; Egyptian singers; singing voice; voice disorders;
nonorganic voice problems
AB Background. Measuring the severity of a voice disorder is difficult. This can be achieved by both subjective and objective measures. The Voice Handicap Index is the most known and used self-rating tool for voice disorders. The Classical Singing Handicap Index (CSHI) is a self-administered questionnaire measuring the impact of vocal deviation on the quality of life of singers.
Objectives. The objective of this study was to develop an Arabic version of the CSHI and to test its validity and reliability in Egyptian singers with different singing styles with normal voice and with voice disorders.
Methods. The interpreted version was administered to 70 Egyptian singers including artistic singers (classical and popular) and specialized singers (Quran reciters and priests) who were divided into 40 asymptomatic singers (control group) and 30 singers with voice disorders. Participants' responses were statistically analyzed to assess the validity and reliability, and to compare the patient group with the control group.
Results and Conclusions. Quran reciters, patients with no previous professional training, and patients with vocal fold lesions demonstrated the highest scores. The Arabic version of CSHI is found to be a reliable, valid, and sensitive self-assessment tool that can be used in the clinical practice for the evaluation of the impact of voice disorders on singing voice.
C1 [Abou-Elsaad, Tamer; Baz, Hemmat; Afsah, Omayma] Mansoura Fac Med, Phoniatr Units, ORL Dept, Mansoura, Egypt.
[Abo-Elsoud, Hend] Mansoura Gen Hosp, Mansoura, Egypt.
C3 Egyptian Knowledge Bank (EKB); Mansoura University; Egyptian Knowledge
Bank (EKB); Mansoura University; Mansoura University Hospital
RP Abou-Elsaad, T (corresponding author), Mansoura Fac Med, Phoniatr Units, ORL Dept, Mansoura, Egypt.
EM taboelsaad@hotmail.com
RI baz, hemmat/AAC-7430-2021; ABOU-ELSAAD, TAMER/N-3663-2018
OI baz, hemmat/0000-0001-7911-004X; ABOU-ELSAAD, TAMER/0000-0002-8591-966X
NR 22
TC 11
Z9 11
U1 0
U2 4
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JAN
PY 2017
VL 31
IS 1
AR 130.e1
DI 10.1016/j.jvoice.2015.12.002
PG 6
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA EI6QF
UT WOS:000392619900076
PM 26774846
DA 2025-03-18
ER
PT J
AU Herbst, CT
Story, BH
AF Herbst, Christian T.
Story, Brad H.
TI Computer simulation of vocal tract resonance tuning strategies with
respect to fundamental frequency and voice source spectral slope in
singing
SO JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA
LA English
DT Article
ID SUBGLOTTAL PRESSURE VARIATION; ACOUSTIC CHARACTERISTICS; SOUND PRESSURE;
RANGE PROFILE; AREA FUNCTION; FEMALE; MODEL; LOUDNESS; SINGERS; LEVEL
AB A well-known concept of singing voice pedagogy is "formant tuning," where the lowest two vocal tract resonances (f(R1), f(R2)) are systematically tuned to harmonics of the laryngeal voice source to maximize the level of radiated sound. A comprehensive evaluation of this resonance tuning concept is still needed. Here, the effect of f(R1), f(R2) variation was systematically evaluated in silico across the entire fundamental frequency range of classical singing for three voice source characteristics with spectral slopes of -6, -12, and -18 dB/octave. Respective vocal tract transfer functions were generated with a previously introduced low-dimensional computational model, and resultant radiated sound levels were expressed in dB(A). Two distinct strategies for optimized sound output emerged for low vs high voices. At low pitches, spectral slope was the predominant factor for sound level increase, and resonance tuning only had a marginal effect. In contrast, resonance tuning strategies became more prevalent and voice source strength played an increasingly marginal role as fundamental frequency increased to the upper limits of the soprano range. This suggests that different voice classes (e.g., low male vs high female) likely have fundamentally different strategies for optimizing sound output, which has fundamental implications for pedagogical practice. (C) 2022 Acoustical Society of America.
C1 [Herbst, Christian T.] Mozarteum Univ, Dept Vocal Studies, Salzburg, Austria.
[Story, Brad H.] Univ Arizona, Speech Language & Hearing Sci, Tucson, AZ 85718 USA.
C3 University of Arizona
RP Herbst, CT (corresponding author), Mozarteum Univ, Dept Vocal Studies, Salzburg, Austria.
RI Herbst, Christian/D-6470-2011; Story, Brad/ABD-6250-2020
OI Story, Brad/0000-0002-6530-8781; Herbst, Christian/0000-0001-9095-3953
FU Land Salzburg; Galileo Circle Fellows grant from the College of Science
at the University of Arizona
FX This publication was supported by a research grant received from Land
Salzburg (to C.T.H.). Partial funding for this study was provided by a
Galileo Circle Fellows grant from the College of Science at the
University of Arizona (to B.H.S.).
NR 72
TC 2
Z9 2
U1 0
U2 2
PU ACOUSTICAL SOC AMER AMER INST PHYSICS
PI MELVILLE
PA STE 1 NO 1, 2 HUNTINGTON QUADRANGLE, MELVILLE, NY 11747-4502 USA
SN 0001-4966
EI 1520-8524
J9 J ACOUST SOC AM
JI J. Acoust. Soc. Am.
PD DEC
PY 2022
VL 152
IS 6
BP 3548
EP 3561
DI 10.1121/10.0014421
PG 14
WC Acoustics; Audiology & Speech-Language Pathology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Acoustics; Audiology & Speech-Language Pathology
GA 7B8FR
UT WOS:000899363700002
PM 36586864
DA 2025-03-18
ER
PT J
AU Sundberg, J
Gu, LD
Huang, Q
Huang, P
AF Sundberg, Johan
Gu, Lide
Huang, Qiang
Huang, Ping
TI Acoustical Study of Classical Peking Opera Singing
SO JOURNAL OF VOICE
LA English
DT Article
DE Singing; Classical Peking opera; Long-term-average spectrum; Scale tone
intervals; Singer's formant cluster; Vibrato; Spectrum slope.
ID TERM-AVERAGE SPECTRUM; SPEECH
AB 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 3.5 Hz, that is, considerably slower than in Western classical singing. Spectra of vibrato-free tones contained unbroken series of harmonic partials sometimes reaching up to 17 000 Hz. 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 3300 Hz, somewhat similar to that found in Western pop music singers. The mean LTAS spectrum slope between 700 and 6000 Hz decreased by about 0.2 dB/octave per dB of equivalent sound level.
C1 [Sundberg, Johan] KTH, Dept Speech Mus Hearing, Sch Comp Sci & Commun, SE-10044 Stockholm, Sweden.
[Gu, Lide; Huang, Qiang; Huang, Ping] Singing Voice Res Inst China Conservatory, Beijing, Peoples R China.
C3 Royal Institute of Technology; China Conservatory of Music
RP Sundberg, J (corresponding author), KTH, Dept Speech Mus Hearing, Sch Comp Sci & Commun, SE-10044 Stockholm, Sweden.
EM pjohan@speech.kth.se
FU Education Bureau of Beijing, China
FX The authors are indebted to Professor Tang, Yincheng, Department of
Peking Opera, Chinese Opera Institute, Beijing, China for organizing the
participation of the singers, and the Education Bureau of Beijing, China
for economical support. The authors acknowledge the kind cooperation of
the singers as well as the helpful comments and suggestions by two
anonymous reviewers.
NR 12
TC 18
Z9 22
U1 1
U2 36
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD MAR
PY 2012
VL 26
IS 2
BP 137
EP 143
DI 10.1016/j.jvoice.2011.01.001
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 913MJ
UT WOS:000301881800002
PM 21621380
DA 2025-03-18
ER
PT J
AU Vurma, A
AF Vurma, Allan
TI Spectral envelope consistency singing diatonic scales with different
dynamics contours
SO MUSICAE SCIENTIAE
LA English
DT Article
DE classical singing; dynamics; EGG; evenness of the voice; inverse
filtering; pitch; singer's formant; spectral analysis
ID SUBGLOTTAL PRESSURE; VOICE SOURCE; FREQUENCY
AB This study was motivated by the frequently expressed opinion that in the classical style of singing one of the main objectives is the evenness of the voice over wide pitch and dynamic ranges. With an empirical experiment, we aimed to discover whether and how the acoustical parameters related to voice timbre change when professional male vocalists fulfil vocal tasks with changing pitch and dynamics. We asked 11 participants to produce one-octave D-major ascending diatonic scales in three different ways: (1) with their habitual dynamics, (2) with sempre crescendo, and (3) with sempre diminuendo. The values of the corresponding parameters varied systematically in the case of all the singers tested. Some of these changes occurred for purely acoustical reasons that are unrelated to the vocal technique of the singer. Several singers used vocal strategies whose purpose appeared to be the improvement of the perceived evenness of the voice. One such technique was the creation of a difference between the piano and forte dynamics primarily by changing the voice timbre without varying the sound level significantly. An alternative strategy was varying the sound level while minimizing the variation in the level of the singer's formant (which is related to the brightness and carrying power of the voice).
C1 [Vurma, Allan] Estonian Acad Mus & Theatre, Tatari 13, EE-10116 Tallinn, Estonia.
C3 Estonian Academy of Music & Theatre
RP Vurma, A (corresponding author), Estonian Acad Mus & Theatre, Tatari 13, EE-10116 Tallinn, Estonia.
EM vurma@ema.edu.ee
RI Vurma, Allan/H-2638-2018
OI Vurma, Allan/0000-0002-0654-7870
NR 32
TC 1
Z9 1
U1 0
U2 1
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 1029-8649
EI 2045-4147
J9 MUSIC SCI
JI Music Sci.
PD JUN
PY 2020
VL 24
IS 2
BP 227
EP 250
DI 10.1177/1029864918798136
PG 24
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA LS7ME
UT WOS:000536564300006
DA 2025-03-18
ER
PT J
AU Echternach, M
Richter, B
AF Echternach, Matthias
Richter, Bernhard
TI Vocal perfection in yodelling-pitch stabilities and transition times
SO LOGOPEDICS PHONIATRICS VOCOLOGY
LA English
DT Article
ID MAXIMUM SPEED
AB Background. 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. Material and methods. 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. 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.
C1 [Echternach, Matthias; Richter, Bernhard] Univ Freiburg, Med Ctr, Inst Musicians Med, D-79106 Freiburg, Germany.
C3 University of Freiburg
RP Echternach, M (corresponding author), Univ Freiburg, Med Ctr, Inst Musicians Med, Breisacher Str 60, D-79106 Freiburg, Germany.
EM matthias.echternach@uniklinik-freiburg.de
RI Echternach, Matthias/E-3464-2010; Richter, Bernhard/D-1406-2010
OI Echternach, Matthias/0000-0003-0095-5360
NR 16
TC 10
Z9 12
U1 0
U2 4
PU TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OR14 4RN, OXON, ENGLAND
SN 1401-5439
EI 1651-2022
J9 LOGOP PHONIATR VOCO
JI Logop. Phoniatr. Vocology.
PD APR
PY 2010
VL 35
IS 1
BP 6
EP 12
DI 10.3109/14015430903518015
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 575CE
UT WOS:000276041000002
PM 20350070
DA 2025-03-18
ER
PT J
AU DEBOER, KL
SHEALY, RT
AF DEBOER, KL
SHEALY, RT
TI THE EFFECT OF VOICE LESSONS ON THE CLINICAL AND PERCEPTUAL SKILLS OF
GRADUATE-STUDENTS IN SPEECH-LANGUAGE PATHOLOGY
SO JOURNAL OF VOICE
LA English
DT Article
DE VOICE TRAINING; PITCH PERCEPTION; GLOTTAL STOPS; TOWNE-HEUER READING
PASSAGE; S/Z RATIO TEST; BREATH SUPPORT; VOICE CURRICULUM INTEGRATION
AB Two groups of 10 speech-language pathology graduate students were each given 7 weeks of singing lessons to determine whether voice lessons could have an effect on their clinical and perceptual skills. Pre-, mid-, and posttests to measure various skills were designed and implemented. With use of paired sample statistical testing, statistically significant results were obtained. In addition, the subjective responses of the students show that the lessons were effective in improving pitch perception, breath control, and legato production or easy onset. This study supports efforts to integrate curricula in vocal performance and speech-language pathology.
RP DEBOER, KL (corresponding author), UNIV NEVADA,DEPT MUS 226,RENO,NV 89557, USA.
NR 0
TC 6
Z9 6
U1 0
U2 2
PU LIPPINCOTT-RAVEN PUBL
PI PHILADELPHIA
PA 227 EAST WASHINGTON SQ, PHILADELPHIA, PA 19106
SN 0892-1997
J9 J VOICE
JI J. Voice
PD JUN
PY 1995
VL 9
IS 2
BP 118
EP 126
DI 10.1016/S0892-1997(05)80244-9
PG 9
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA QX900
UT WOS:A1995QX90000002
PM 7620533
DA 2025-03-18
ER
PT J
AU Zinke, K
Wilhelm, I
Bayramoglu, M
Klein, S
Born, J
AF Zinke, Katharina
Wilhelm, Ines
Bayramoglu, Muege
Klein, Susanne
Born, Jan
TI Children's initial sleep-associated changes in motor skill are unrelated
to long-term skill levels
SO DEVELOPMENTAL SCIENCE
LA English
DT Article
ID DEPENDENT MEMORY CONSOLIDATION; PROCEDURAL MEMORY; REACTIVATION;
CHILDHOOD; ADULTS; STABILIZATION; PERFORMANCE; HOMEOSTASIS; MOVEMENT;
IMPLICIT
AB Sleep is considered to support the formation of skill memory. In juvenile but not adult song birds learning a tutor's song, a stronger initial deterioration of song performance over night-sleep predicts better song performance in the long run. This and similar observations have stimulated the view of sleep supporting skill formation during development in an unsupervised off-line learning process that, in the absence of external feedback, can initially also enhance inaccuracies in skill performance. Here we explored whether in children learning a motor sequence task, as in song-learning juvenile birds, changes across sleep after initial practice predict performance levels achieved in the long run. The task was a serial reaction time task (SRTT) where subjects had to press buttons whichwere lighted up in a repeating eight-element sequence as fast as possible. Twenty-five children (8-12 years) practised the task in the evening before nocturnal sleep which was recorded polysomnographically. Retrieval was tested on the following morning and again 1 week later after daily training on the SRTT. As expected, changes in response speed over the initial night of sleep were negatively correlated with final performance speed after the 1-week training. However, unlike in song birds, this correlation was driven by the baseline speed level achieved before sleep. Baseline-corrected changes in speed or variability over the initial sleep period did not predict final performance on the trained SRTTsequence, or on different sequences introduced to assess generalization of the trained behaviour. The lack of correlation between initial sleep-dependent changes and long-term performance might reflect that the children were too experienced for the simple SRTT, possibly also favouring ceiling effects in performance. A consistent association found between sleep spindle activity and explicit sequence knowledge alternatively suggests that the expected correlation was masked by explicit memory systems interacting with skill memory formation.
C1 [Zinke, Katharina; Bayramoglu, Muege; Klein, Susanne; Born, Jan] Univ Tubingen, Inst Med Psychol & Behav Neurobiol, Silcherstr 5, D-72076 Tubingen, Germany.
[Wilhelm, Ines] Univ Zurich, Childrens Hosp, Zurich, Switzerland.
C3 Eberhard Karls University of Tubingen; Eberhard Karls University
Hospital; University of Zurich; University Children's Hospital Zurich
RP Zinke, K (corresponding author), Univ Tubingen, Inst Med Psychol & Behav Neurobiol, Silcherstr 5, D-72076 Tubingen, Germany.
EM katharina.zinke@uni-tuebingen.de
RI Zinke, Katharina/A-3678-2019; Born, Jan/K-2596-2016
OI Born, Jan/0000-0002-1847-6248; Zinke, Katharina/0000-0003-2595-2668
FU Deutsche Forschungsgemeinschaft [SFB 654]
FX We thank H.-V.V. Ngo and F. Weber for helpful support in analyzing the
data. This study was supported by a grant from the Deutsche
Forschungsgemeinschaft (SFB 654 - Plasticity and Sleep).
NR 46
TC 12
Z9 12
U1 1
U2 15
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 1363-755X
EI 1467-7687
J9 DEVELOPMENTAL SCI
JI Dev. Sci.
PD NOV
PY 2017
VL 20
IS 6
AR e12463
DI 10.1111/desc.12463
PG 10
WC Psychology, Developmental; Psychology, Experimental
WE Social Science Citation Index (SSCI)
SC Psychology
GA FL0KT
UT WOS:000413901000009
PM 27747974
DA 2025-03-18
ER
PT J
AU Iovan, S
AF Iovan, Sarah
TI Singers and Lutes, Lutes and Singers: Musical Performance and Poetic
Discourse in Early Modern Songs
SO SIXTEENTH CENTURY JOURNAL
LA English
DT Article
AB Although twenty-first-century scholarship tends to see the connections between music and poetry in terms of mellifluousness, rhythm, meter, and the like, early modern poets understood those connections as a poetic discourse that interacts with, destabilizes, or undermines the social and literary contexts in which it appears. Lute poems provide fascinating opportunities to explore the implications of song as discourse. They employ song performance as their poetic context and use the conventions of performance to multiply the relationships between the speaker(s) and the audience(s) present in the poems. Wyatt's lute poems "Blame not My Lute" and "My Lute, Awake" provide two examples of the ways that lutes, and by extension other musical voices, can act as secondary speakers within a poem.
NR 38
TC 1
Z9 1
U1 1
U2 2
PU SIXTEENTH CENTURY JOURNAL PUBL
PI KIRKSVILLE
PA MC111-L, TRUMAN STATE UNIV, 100 E NORMAL ST, KIRKSVILLE, MO 63501-4211
USA
SN 0361-0160
EI 2326-0726
J9 SIXTEENTH CENT J
JI Sixt. Century J.
PD FAL
PY 2016
VL 47
IS 3
BP 539
EP 555
PG 17
WC History
WE Arts & Humanities Citation Index (A&HCI)
SC History
GA EF9DY
UT WOS:000390632100001
DA 2025-03-18
ER
PT J
AU Mendoza, JK
Fausey, CM
AF Mendoza, Jennifer K.
Fausey, Caitlin M.
TI Everyday music in infancy
SO DEVELOPMENTAL SCIENCE
LA English
DT Article
DE enculturation; everyday ecologies; infancy; input; LENA; music
ID LONG-TERM-MEMORY; PERCEPTUAL DEVELOPMENT; MELODY; ACQUISITION; LANGUAGE;
PREFERENCES; VARIABILITY; FREQUENCY; MOTHERS; TEMPO
AB Infants enculturate to their soundscape over the first year of life, yet theories of how they do so rarely make contact with details about the sounds available in everyday life. Here, we report on properties of a ubiquitous early ecology in which foundational skills get built: music. We captured daylong recordings from 35 infants ages 6-12 months at home and fully double-coded 467 h of everyday sounds for music and its features, tunes, and voices. Analyses of this first-of-its-kind corpus revealed two distributional properties of infants' everyday musical ecology. First, infants encountered vocal music in over half, and instrumental in over three-quarters, of everyday music. Live sources generated one-third, and recorded sources three-quarters, of everyday music. Second, infants did not encounter each individual tune and voice in their day equally often. Instead, the most available identity cumulated to many more seconds of the day than would be expected under a uniform distribution. These properties of everyday music in human infancy are different from what is discoverable in environments highly constrained by context (e.g., laboratories) and time (e.g., minutes rather than hours). Together with recent insights about the everyday motor, language, and visual ecologies of infancy, these findings reinforce an emerging priority to build theories of development that address the opportunities and challenges of real input encountered by real learners.
C1 [Mendoza, Jennifer K.; Fausey, Caitlin M.] Univ Oregon, Dept Psychol, Eugene, OR 97403 USA.
C3 University of Oregon
RP Fausey, CM (corresponding author), 1227 Univ Oregon, Dept Psychol, Eugene, OR 97403 USA.
EM fausey@uoregon.edu
FU GRAMMY Museum(R)
FX We thank Catherine Diercks and Christine White for contributing to data
collection and we thank 38 undergraduate researchers in the University
of Oregon Learning Lab for contributing to annotating recordings. This
research was funded in part by a grant from the GRAMMY
Museum(R) to Caitlin M. Fausey.
NR 120
TC 40
Z9 40
U1 3
U2 17
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 1363-755X
EI 1467-7687
J9 DEVELOPMENTAL SCI
JI Dev. Sci.
PD NOV
PY 2021
VL 24
IS 6
AR e13122
DI 10.1111/desc.13122
EA JUN 2021
PG 15
WC Psychology, Developmental; Psychology, Experimental
WE Social Science Citation Index (SSCI)
SC Psychology
GA WJ4LG
UT WOS:000665847600001
PM 34170059
OA Green Published
DA 2025-03-18
ER
PT J
AU Wang, XC
Wang, T
AF Wang, Xiaochen
Wang, Tao
TI Voice Recognition and Evaluation of Vocal Music Based on Neural Network
SO COMPUTATIONAL INTELLIGENCE AND NEUROSCIENCE
LA English
DT Article
AB Artistic voice is the artistic life of professional voice users. In the process of selecting and cultivating artistic performing talents, the evaluation of voice even occupies a very important position. Therefore, an appropriate evaluation of the artistic voice is crucial. With the development of art education, how to scientifically evaluate artistic voice training methods and fairly select artistic voice talents is an urgent need for objective evaluation of artistic voice. The current evaluation methods for artistic voices are time-consuming, laborious, and highly subjective. In the objective evaluation of artistic voice, the selection of evaluation acoustic parameters is very important. Attempt to extract the average energy, average frequency error, and average range error of singing voice by using speech analysis technology as the objective evaluation acoustic parameters, use neural network method to objectively evaluate the singing quality of artistic voice, and compare with the subjective evaluation of senior professional teachers. In this paper, voice analysis technology is used to extract the first formant, third formant, fundamental frequency, sound range, fundamental frequency perturbation, first formant perturbation, third formant perturbation, and average energy of singing acoustic parameters. By using BP neural network methods, the quality of singing was evaluated objectively and compared with the subjective evaluation of senior vocal professional teachers. The results show that the BP neural network method can accurately and objectively evaluate the quality of singing voice by using the evaluation parameters, which is helpful in scientifically guiding the selection and training of artistic voice talents.
C1 [Wang, Xiaochen] GuiZhou Univ Finance & Econ, Guiyang 550000, Guizhou, Peoples R China.
[Wang, Tao] Beijing Technol & Business Univ, Beijing 100048, Peoples R China.
C3 Guizhou University of Finance & Economics; Beijing Technology & Business
University
RP Wang, T (corresponding author), Beijing Technol & Business Univ, Beijing 100048, Peoples R China.
EM wxcxiaochen@sina.cn; 2004030128@st.btbu.edu.cn
RI Wang, Tao/IZQ-3814-2023
NR 26
TC 1
Z9 1
U1 2
U2 20
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1687-5265
EI 1687-5273
J9 COMPUT INTEL NEUROSC
JI Comput. Intell. Neurosci.
PD MAY 20
PY 2022
VL 2022
AR 3466987
DI 10.1155/2022/3466987
PG 9
WC Mathematical & Computational Biology; Neurosciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Mathematical & Computational Biology; Neurosciences & Neurology
GA 1V3YB
UT WOS:000806028400006
PM 35634052
OA gold, Green Published
DA 2025-03-18
ER
PT J
AU Pesigan, CM
Remijn, GB
AF Pesigan, Clarissa M.
Remijn, Gerard B.
TI Exploring the impacts of background music on visual search in a
simulated order-picking task: Performance, awareness, and subjective
state
SO INTERNATIONAL JOURNAL OF INDUSTRIAL ERGONOMICS
LA English
DT Article
DE Music; Visual search; Simulated order-picking; Signal-to-noise ratio
ID COGNITIVE TEST-PERFORMANCE; NOISE; WORK; ATTENTION; TEMPO; DISTRACTION;
INTROVERTS; LOAD
AB The benefits of music on the performance of easy and monotonous tasks have been widely investigated. However, how the potential advantages of music could be realized in an occupational context within a complex and noisy environment remains largely unexplored. A laboratory experiment with 30 participants was performed to assess how music (classical, jazz, pop, EDM, rock) of varying signal-to-noise ratios with warehouse sound (SNR +5, 0,-5,-10) impacts visual search in a simulated order-picking task. Results showed that relative to the warehouse sound alone, music led to neither negative nor positive effects on the participants' performance, yet elicited increased arousal with vocal music, significantly improved valence and groove, but reduced awareness represented by the ability to detect truck beeps. Meanwhile, within genre, increasing music intensity caused diminished ability to detect truck beeps, but did not significantly influence search performance, affect and groove. To gain optimal tradeoff among comfort, productivity, quality and safety in the workplace, music of any genre could be used, preferably with upbeat tempo, vocals, and with a level difference between music and background (i.e, occupational) noise of maximally 5 dB (A). The study broadens the scientific understanding of music-at-work, and imparts practical guidance on how music may be implemented in easy and monotonous tasks under complex and noisy sound environments.
C1 [Pesigan, Clarissa M.] Univ Philippines Los Banos, Coll Engn & Agroind Technol, Dept Ind Engn, Laguna, Philippines.
[Pesigan, Clarissa M.] Kyushu Univ, Grad Sch Design, Fukuoka, Japan.
[Remijn, Gerard B.] Kyushu Univ, Fac Design, Res Ctr Appl Perceptual Sci, Dept Acoust Design, Fukuoka, Japan.
C3 University of the Philippines System; University of the Philippines Los
Banos; Kyushu University; Kyushu University
RP Pesigan, CM (corresponding author), Pili Dr UP Coll, Los Banos, Laguna, Philippines.
EM cmpesigan@up.edu.ph
FU Engineering Research and Devel-opment for Technology (ERDT) of the
Department of Science and Technology-Science Education Institute
(DOST-SEI) of the Philippines
FX This study was supported by the Engineering Research and Devel-opment
for Technology (ERDT) of the Department of Science and
Technology-Science Education Institute (DOST-SEI) of the Philippines.
NR 85
TC 0
Z9 0
U1 4
U2 4
PU ELSEVIER
PI AMSTERDAM
PA RADARWEG 29, 1043 NX AMSTERDAM, NETHERLANDS
SN 0169-8141
EI 1872-8219
J9 INT J IND ERGONOM
JI Int. J. Ind. Ergon.
PD JAN
PY 2025
VL 105
AR 103693
DI 10.1016/j.ergon.2024.103693
EA JAN 2025
PG 13
WC Engineering, Industrial; Ergonomics
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Engineering
GA S3S3Z
UT WOS:001397459400001
DA 2025-03-18
ER
PT J
AU Miller, DH
AF Miller, David H.
TI Singing Webern, Sounding Webern: Bethany Beardslee, Grace-Lynne Martin,
and Marni Nixon, 1950-1957
SO JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
LA English
DT Article
DE Webern; Craft; recordings; vocal; soprano
AB Anton Webern's vocal music has long been overshadowed by the aphoristic miniatures and rigorously organized twelve-tone works-both largely instrumental genres-for which the composer is best known. Yet over half of Webern's output consists of vocal works. During the 1950s, as composers and intellectuals celebrated the "instrumental" Webern, an alternative view of the composer was emerging through the performances of three soprano soloists. Bethany Beardslee gave posthumous premieres of three of Webern's works in New York and recorded his Four Songs op. 12 for Dial Records. On the other side of the country, Grace-Lynne Martin and Marni Nixon performed works by Webern at the Evenings on the Roof in Los Angeles, and collaborated with Robert Craft on Columbia Records' Anton Webern: The Complete Music. Beardslee, Martin, and Nixon adopted a variety of approaches to learning Webern's famously difficult works, and their work paid off: all three sopranos earned praise for weathering the extreme technical challenges of Webern's soprano lines while also delivering musically satisfying performances. Yet these performances have been largely forgotten in the decades since, as a consequence of changing attitudes toward postwar performance practices as well as the sometimes sexist views of male music critics. Nevertheless, the performances of these sopranos constituted a crucial step toward perspectives on Webern that are now current among contemporary performers and scholars, and understanding their contributions is essential to understanding the vocal side of Webern.
C1 [Miller, David H.] Univ Calif Berkeley, Dept Mus, Berkeley, CA 94720 USA.
[Miller, David H.] Univ Calif Berkeley, Interdisciplinary Amer Studies Program, Berkeley, CA 94720 USA.
C3 University of California System; University of California Berkeley;
University of California System; University of California Berkeley
RP Miller, DH (corresponding author), Univ Calif Berkeley, Dept Mus, Berkeley, CA 94720 USA.; Miller, DH (corresponding author), Univ Calif Berkeley, Interdisciplinary Amer Studies Program, Berkeley, CA 94720 USA.
NR 89
TC 1
Z9 1
U1 0
U2 0
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0003-0139
EI 1547-3848
J9 J AM MUSIC SOC
JI J. Am. Musicicol. Soc.
PD SPR
PY 2022
VL 75
IS 1
BP 81
EP 127
DI 10.1525/jams.2022.75.1.81
PG 47
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA 0W9WP
UT WOS:000789369000003
DA 2025-03-18
ER
PT J
AU Mainka, A
Poznyakovskiy, A
Platzek, I
Fleischer, M
Sundberg, J
Mürbe, D
AF Mainka, Alexander
Poznyakovskiy, Anton
Platzek, Ivan
Fleischer, Mario
Sundberg, Johan
Muerbe, Dirk
TI Lower Vocal Tract Morphologic Adjustments Are Relevant for Voice Timbre
in Singing
SO PLOS ONE
LA English
DT Article
ID AREA FUNCTIONS; MRI; UPRIGHT; SUPINE; SHAPE
AB 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.
C1 [Mainka, Alexander; Muerbe, Dirk] Tech Univ Dresden, Univ Hosp Carl Gustav Carus, Dept Otorhinolaryngol, Div Phoniatr & Audiol, D-01062 Dresden, Germany.
[Mainka, Alexander; Muerbe, Dirk] Hsch Musik Carl Maria von Weber, Voice Res Lab, Dresden, Germany.
[Poznyakovskiy, Anton; Fleischer, Mario] Tech Univ Dresden, Univ Hosp Carl Gustav Carus, Dept Otorhinolaryngol, D-01062 Dresden, Germany.
[Platzek, Ivan] Tech Univ Dresden, Univ Hosp Carl Gustav Carus, Dept Radiol, D-01062 Dresden, Germany.
[Sundberg, Johan] KTH CSC, Sch Comp Sci & Commun, Dept Speech Mus & Hearing, Stockholm, Sweden.
C3 Technische Universitat Dresden; Carl Gustav Carus University Hospital;
Technische Universitat Dresden; Carl Gustav Carus University Hospital;
Technische Universitat Dresden; Carl Gustav Carus University Hospital;
Royal Institute of Technology
RP Mainka, A (corresponding author), Tech Univ Dresden, Univ Hosp Carl Gustav Carus, Dept Otorhinolaryngol, Div Phoniatr & Audiol, D-01062 Dresden, Germany.
EM alexander.mainka@uniklinikum-dresden.de
RI Platzek, Ivan/AAZ-8124-2020
OI Fleischer, Mario/0000-0002-6186-8298
FU German Research Foundation; Open Access Publication Funds of the TU
Dresden
FX We acknowledge support by the German Research Foundation and the Open
Access Publication Funds of the TU Dresden. The funders had no role in
study design, data collection and analysis, decision to publish, or
preparation of the manuscript.
NR 31
TC 20
Z9 22
U1 0
U2 4
PU PUBLIC LIBRARY SCIENCE
PI SAN FRANCISCO
PA 1160 BATTERY STREET, STE 100, SAN FRANCISCO, CA 94111 USA
SN 1932-6203
J9 PLOS ONE
JI PLoS One
PD JUL 17
PY 2015
VL 10
IS 7
AR e0132241
DI 10.1371/journal.pone.0132241
PG 20
WC Multidisciplinary Sciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Science & Technology - Other Topics
GA CN1RV
UT WOS:000358198700031
PM 26186691
OA Green Published, gold, Green Submitted
DA 2025-03-18
ER
PT J
AU Sundberg, J
La, FMB
Gill, BP
AF Sundberg, Johan
La, Filipa M. B.
Gill, Brian P.
TI Formant Tuning Strategies in Professional Male Opera Singers
SO JOURNAL OF VOICE
LA English
DT Article
DE Operatic singing; Non-classical singing; Spectrum; Harmonics; Formant
tuning
ID VOCAL-TRACT; PHONATION; VOICE
AB The term "formant tuning" is generally used for the case that one of the lowest formant frequencies coincides with the frequency of a source spectrum partial. Some authors claim that such coincidence is favorable and belongs to the goals of classical opera voice training, whereas other authors have found evidence for advising against it. This investigation analyzes the relationships between formant frequencies and partials in professional singers, who sang scales on the vowels /a/, /u/, /i/, and /ae/ in a pitch range including the passaggio, that is, the fundamental frequency range of approximately 300-400 Hz, applying either of the two singing strategies that are typically used (1) in classical and (2) in nonclassical singing, respectively. Formant frequencies of each note in the scales were measured by inverse-filtering the acoustic signal. In the classical style, the first formant tended to be lower than in the nonclassical style. Neither the first nor the second formant tended to change systematically between scale tones, such that on some scale tones either or both formants was just below, just above, or right on a spectrum partial. In many cases, singers produced similar spectrum characteristics of the top tones of the scales with different first and second formant frequencies. Regardless of whether the first formant was slightly lower, slightly higher, or right on a partial, the properties of the voice source did not seem to be affected.
C1 [Sundberg, Johan] KTH Voice Res Ctr, Sch Comp Sci & Commun, Dept Speech Mus & Hearing, SE-10044 Stockholm, Sweden.
[La, Filipa M. B.] Univ Aveiro, INET MD, Dept Commun & Arts, P-3800 Aveiro, Portugal.
[Gill, Brian P.] NYU, Steinhardt Sch Culture Educ & Human Dev, Dept Mus & Performing Arts Profess, New York, NY USA.
C3 Royal Institute of Technology; Universidade de Aveiro; New York
University
RP Sundberg, J (corresponding author), KTH Voice Res Ctr, Sch Comp Sci & Commun, Dept Speech Mus & Hearing, SE-10044 Stockholm, Sweden.
EM pjohan@speech.kth.se
RI La, Filipa M.B./M-7767-2013
OI La, Filipa M.B./0000-0001-5560-7406
FU Gomes Teixeira Foundation
FX The kind cooperation of the singers is gratefully acknowledged. The
authors profited greatly from discussions with Dr Svante Granqvist, KTH,
on inverse filtering and are indebted to the Schering Health Care Ltd. &
Bayer Portugal for providing the means to acquire the equipment and to
the Gomes Teixeira Foundation for support.
NR 18
TC 40
Z9 46
U1 0
U2 13
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD MAY
PY 2013
VL 27
IS 3
BP 278
EP 288
DI 10.1016/j.jvoice.2012.12.002
PG 11
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 149IX
UT WOS:000319313400004
PM 23453594
DA 2025-03-18
ER
PT J
AU Traser, L
Schwab, C
Burk, F
Özen, AC
Bock, M
Richter, B
Echternach, M
AF Traser, Louisa
Schwab, Carmen
Burk, Fabian
Ozen, Ali Caglar
Bock, Michael
Richter, Bernhard
Echternach, Matthias
TI Differences of respiratory kinematics in female and male singers - A
comparative study using dynamic magnetic resonance imaging
SO FRONTIERS IN PSYCHOLOGY
LA English
DT Article
DE respiration; phonation; singer; diaphragm; voice; sex; gender; dynamic
magnetic resonance imaging
ID VOCAL-TRACT CONFIGURATIONS; FREQUENCY; POSITION; GENDER; PHONATION;
INTENSITY; QUOTIENT; FORMANT; VOLUME; SUPINE
AB Breath control is an important factor for singing voice production, but pedagogic descriptions of how a beneficial movement pattern should be performed vary widely and the underlying physiological processes are not understood in detail. Differences in respiratory movements during singing might be related to the sex of the singer. To study sex-related differences in respiratory kinematics during phonation, 12 singers (six male and six female) trained in the Western classical singing tradition were imaged with dynamic magnetic resonance imaging. Singers were asked to sustain phonation at five different pitches and loudness conditions, and cross-sectional images of the lung were acquired. In each dynamic image frame the distances between anatomical landmarks were measured to quantify the movements of the respiratory apparatus. No major difference between male and female singers was found for the general respiratory kinematics of the thorax and the diaphragm during sustained phonation. However when compared to sole breathing, male singers significantly increased their thoracic movements for singing. This behavior could not be observed in female singers. The presented data support the hypothesis that professional singers follow sex-specific breathing strategies. This finding may be important in a pedagogical context where the biological sex of singer and student differ and should be further investigated in a larger cohort.
C1 [Traser, Louisa; Burk, Fabian; Richter, Bernhard] Univ Freiburg, Fac Med, Inst Musicians Med, Med Ctr, Freiburg, Germany.
[Traser, Louisa; Schwab, Carmen; Ozen, Ali Caglar; Bock, Michael; Richter, Bernhard] Univ Freiburg, Fac Med, Freiburg, Germany.
[Schwab, Carmen] Univ Freiburg, Fac Med, Ctr Dent Med, Dept Prosthet Dent,Med Ctr, Freiburg, Germany.
[Burk, Fabian] Univ Med Ctr Munster, Dept Phoniatr & Pediat Audiol, Munster, Germany.
[Ozen, Ali Caglar; Bock, Michael] Univ Freiburg, Med Ctr Univ Freiburg, Fac Med, Dept Radiol, Freiburg, Germany.
[Echternach, Matthias] Munich Univ Hosp LMU, Dept Otorhinolaryngol, Div Phoniatr & Pediat Audiol, Munich, Germany.
C3 University of Freiburg; University of Freiburg; University of Freiburg;
University of Munster; University of Freiburg; University of Munich
RP Traser, L (corresponding author), Univ Freiburg, Fac Med, Inst Musicians Med, Med Ctr, Freiburg, Germany.; Traser, L (corresponding author), Univ Freiburg, Fac Med, Freiburg, Germany.
EM Louisa.Traser@uniklinik-freiburg.de
RI Echternach, Matthias/IAP-7667-2023; Traser, Louisa/ISV-0900-2023; Özen,
Ali/AAL-5819-2020; Bock, Michael/B-2987-2009
OI Bock, Michael/0000-0001-9720-3506; Echternach,
Matthias/0000-0003-0095-5360; Burk, Fabian/0009-0003-1353-5688
NR 49
TC 2
Z9 2
U1 1
U2 2
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
SN 1664-1078
J9 FRONT PSYCHOL
JI Front. Psychol.
PD DEC 5
PY 2022
VL 13
AR 844032
DI 10.3389/fpsyg.2022.844032
PG 14
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA 7A9EM
UT WOS:000898750000001
PM 36544443
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Echternach, M
Herbst, CT
Köberlein, M
Story, B
Döllinger, M
Gellrich, D
AF Echternach, Matthias
Herbst, Christian T.
Koeberlein, Marie
Story, Brad
Doellinger, Michael
Gellrich, Donata
TI Are source-filter interactions detectable in classical singing during
vowel glides?
SO JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA
LA English
DT Article
ID VOCAL-TRACT RESONANCES; CLOSED QUOTIENT; AREA FUNCTIONS; FOLD DYNAMICS;
FORMANT; PHONATION; TENORS; VOICE; STRATEGIES; HARMONICS
AB In recent studies, it has been assumed that vocal tract formants (F-n) and the voice source could interact. However, there are only few studies analyzing this assumption in vivo. Here, the vowel transition /i/-/a/-/u/-/i/ of 12 professional classical singers (6 females, 6 males) when phonating on the pitch D4 [fundamental frequency (integral(o)) ca. 294 Hz] were analyzed using transnasal high speed videoendoscopy (20.000 fps), electroglottography (EGG), and audio recordings. F-n data were calculated using a cepstral method. Source-filter interaction candidates (SFICs) were determined by (a) algorithmic detection of major intersections of F-n/n integral(o) and (b) perceptual assessment of the EGG signal. Although the open quotient showed some increase for the /i-a/ and /u-i/ transitions, there were no clear effects at the expected F-n/n integral(o) intersections. In contrast, integral(o) adjustments and changes in the phonovibrogram occurred at perceptually derived SFICs, suggesting level-two interactions. In some cases, these were constituted by intersections between higher n integral(o) and F-n. The presented data partially corroborates that vowel transitions may result in level-two interactions also in professional singers. However, the lack of systematically detectable effects suggests either the absence of a strong interaction or existence of confounding factors, which may potentially counterbalance the level-two-interactions.
C1 [Echternach, Matthias; Koeberlein, Marie; Gellrich, Donata] Munich Univ Hosp LMU, Dept Otorhinolaryngol, Div Phoniatr & Pediat Audiol, Marchioninistr 15, D-81377 Munich, Germany.
[Herbst, Christian T.] Univ Mus & Performing Arts Vienna, Antonio Salieri Dept Vocal Studies & Vocal Res Mu, Vienna, Austria.
[Story, Brad] Univ Arizona, Dept Speech Language & Hearing Sci, Tucson, AZ 85718 USA.
[Doellinger, Michael] Univ Hosp Erlangen, Div Phoniatr & Pediat Audiol, Dept Otorhinolaryngol Head & Neck Surg, Med Sch, Waldstr 1, D-91054 Erlangen, Germany.
[Koeberlein, Marie] Freiburg Univ, Freiburg Inst Musicians Med, Freiburg, Germany.
C3 University of Munich; University of Arizona; University of Erlangen
Nuremberg; University of Freiburg
RP Echternach, M (corresponding author), Munich Univ Hosp LMU, Dept Otorhinolaryngol, Div Phoniatr & Pediat Audiol, Marchioninistr 15, D-81377 Munich, Germany.
EM matthias.echternach@med.uni-muenchen.de
RI Echternach, Matthias/IAP-7667-2023; Story, Brad/ABD-6250-2020; Herbst,
Christian/D-6470-2011
OI Doellinger, Michael/0000-0003-2717-4820; Gellrich,
Donata/0000-0002-2709-0953; Echternach, Matthias/0000-0003-0095-5360
FU Deutsche Forschungsgemeinschaft (DFG) [Ec409/1-2, DO 1247/8-1/2]
FX M.E. (Grant No. Ec409/1-2) and M.D. (Grant No. DO 1247/8-1/2) are
supported by the Deutsche Forschungsgemeinschaft (DFG). M.E. and C.T.H.
contributed equally to this work.
NR 59
TC 9
Z9 9
U1 0
U2 2
PU ACOUSTICAL SOC AMER AMER INST PHYSICS
PI MELVILLE
PA STE 1 NO 1, 2 HUNTINGTON QUADRANGLE, MELVILLE, NY 11747-4502 USA
SN 0001-4966
EI 1520-8524
J9 J ACOUST SOC AM
JI J. Acoust. Soc. Am.
PD JUN
PY 2021
VL 149
IS 6
BP 4565
EP 4578
DI 10.1121/10.0005432
PG 14
WC Acoustics; Audiology & Speech-Language Pathology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Acoustics; Audiology & Speech-Language Pathology
GA TC4NI
UT WOS:000668616800003
PM 34241428
DA 2025-03-18
ER
PT J
AU González, LJ
AF Jordan Gonzalez, Laura
TI Chinoy's High-Pitched and Disconcerting Voice
SO RESONANCIAS
LA Spanish
DT Article
DE High-pitched Voices; Vocal Timbre; Masculinity; Vulnerability; Chilean
Indie
ID ROCK
AB This article examines ideas about gender identity raised by the reception of singer-songwriter Mauricio Castillo (Chinoy)'s 'high-pitched voice.' It seeks to avoid a deterministic association between body and vocal sound, as well as between voice and identity. It proposes to complexify the concept of a 'high-pitched' voice by analyzing various sonic and performative features (vocal timbre and other noises) that impact the perception of a 'disconcerting' voice. Through oral, musical, and hemerographic sources, this article describes the setting up of a performance of vulnerability, which renders the singer's body audible while characterizing extravagant voices. This case study explores the implications of vocal performance for the configuration of divergent masculinities in the context of a contemporary independent music scene in Chile.
C1 [Jordan Gonzalez, Laura] Pontificia Univ Catolica Valparaiso, Nucleo Milenio Culturas Mus & Sonoras, Valparaiso, Chile.
C3 Pontificia Universidad Catolica de Valparaiso
RP González, LJ (corresponding author), Pontificia Univ Catolica Valparaiso, Nucleo Milenio Culturas Mus & Sonoras, Valparaiso, Chile.
EM laura.jordan@pucv.cl
NR 50
TC 0
Z9 0
U1 0
U2 0
PU PONTIFICIA UNIV CATOLICA CHILE
PI SANTIAGO
PA AVENIDA VICUNA MACKENNA 4860, MACUL, SANTIAGO, 00000, CHILE
SN 0717-3474
EI 0719-5702
J9 RESONANCIAS
JI Resonancias
PD JUL-DEC
PY 2022
VL 26
IS 51
BP 147
EP 169
PG 23
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA 8O8OW
UT WOS:000926092400007
DA 2025-03-18
ER
PT J
AU Long, MK
AF Long, Megan Kaes
TI Hexachordal Solmization and Syllable-Invariant Counterpoint in the Vocal
Music of William Byrd
SO MUSIC THEORY SPECTRUM
LA English
DT Article
DE solmization; hexachord; modality; William Byrd; imitation; counterpoint;
fuga; inganno; tonal answer
ID FUGA
AB William Byrd was an unusually creative contrapuntist: he is known for his virtuosic double counterpoint, his expressive manipulation of soggetti (imitative subjects), his capacity for exhausting possible contrapuntal combinations in stretto passages, and his points of imitation that build toward an expressive climax (what Joseph ] has described as Byrd's "cumulative" imitation). This article addresses a cumulative technique that has not previously been identified: syllable-invariant counterpoint. Byrd often develops points of imitation where the soggetto is solmized identically in two hexachords (what sixteenth-century theorists called fuga, in contrast to imitazione). But Byrd frequently builds points toward an extra statement of the soggetto in a new, bonus hexachord; this transposition introduces a new semitone foreign to the work's local tonality. Byrd thematizes syllable invariance throughout his vocal repertory, particularly in his serious motets. This article shows how Byrd combines syllable-invariant counterpoint with a variety of distinct imitative strategies to achieve specific expressive and tonal goals. The article further considers the implications of syllable invariance for tonal structure in Byrd's music. Syllable-invariant counterpoint makes visible the constraints and affordances of Byrd's tonal system, the Guidonian diatonic gamut under hexachordal solmization. Byrd carefully controlled the tonal compass of his works by using syllable invariance, among other strategies, to manipulate his counterpoint's "chromatic" ambit. Syllable-invariant counterpoint-which Renaissance musicians would have understood as a diatonic, not chromatic, strategy-encompasses Byrd's contrapuntal, expressive, and tonal compositional techniques.
EM megan.long@oberlin.edu
NR 79
TC 1
Z9 1
U1 0
U2 0
PU OXFORD UNIV PRESS INC
PI CARY
PA JOURNALS DEPT, 2001 EVANS RD, CARY, NC 27513 USA
SN 0195-6167
EI 1533-8339
J9 MUSIC THEOR SPECTRUM
JI Music Theory Spectr.
PD SEP 22
PY 2023
VL 45
IS 2
BP 284
EP 308
DI 10.1093/mts/mtad010
EA JUL 2023
PG 25
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA MW5U6
UT WOS:001029880500001
DA 2025-03-18
ER
PT J
AU Venkataraman, M
Boominathan, P
Nallamuthu, A
AF Venkataraman, Madhumitha
Boominathan, Prakash
Nallamuthu, Aishwarya
TI Frequency Range Measures in Carnatic Singers
SO JOURNAL OF VOICE
LA English
DT Article
DE Practice singing frequency range; Performance singing frequency range;
Vocal range
ID SINGING VOICE; PROFILES; SPEAKING
AB Background. Frequency range measures in singers reflect their physiological capacity, vocal flexi-bility, training effects, strengths, and limitations in singing. Since this information is vital for pedagogic and clini-cal purposes, this study aimed to measure the frequency range in Carnatic singers while singing different aspects of the vocal music.Method. Practice task (gliding from lowest to highest note) and performance task (singing a song with vocal ornaments) were recorded from 55 trained Carnatic singers (40 females and 15 males). The auditorily verified por-tions of various vocal ornaments in Carnatic singing (such as aalapanai, pallavi, anupallavi, charanam, and nir-aval) were coded as separate tokens. A total of 385 tokens were analyzed using PRAAT software for estimating frequency range in semitones during practice task (SFRprac) and performance task (SFRperf). Descriptive, ANOVA, Tukey HSD, independent t, and Mann-Whitney U were used for statistical analysis.Results. SFRprac was higher than SFRperf in Carnatic singers. During practice, singers explored their physiolog-ical range to improve their vocal ability. However, during performance they tend to maintain a comfortable sing-ing range to have a flawless rendition. Aalapanai (most creative portion) had the highest frequency range (females: 22.96 ST, males: 24.57 ST) than other types of vocal ornaments in performance signing. Practice fre-quency range (SFRprac) and performance frequency range (SFRperf) were not statistically different across male and female singers.Conclusion. This study described the frequency range measures in various aspects and nuances of Carnatic sing-ing. Its clinical and pedagogic importance are discussed.
C1 [Venkataraman, Madhumitha] Kokilaben Dhirubai Ambani Hosp & Med Res Inst, Phys Med & Rehabil, Mumbai, India.
[Boominathan, Prakash; Nallamuthu, Aishwarya] Sri Ramachandra Inst Higher Educ & Res, Dept Speech Language & Hearing Sci, Chennai 600116, India.
C3 Sri Ramachandra Institute of Higher Education & Research
RP Boominathan, P (corresponding author), Sri Ramachandra Inst Higher Educ & Res, Dept Speech Language & Hearing Sci, Chennai 600116, India.
EM prakash_boominathan@sriramachandra.edu.in
RI Boominathan, Prakash/T-9615-2017
OI Nallamuthu, Aishwarya/0000-0002-0182-9844
NR 27
TC 4
Z9 4
U1 0
U2 3
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD SEP
PY 2022
VL 36
IS 5
DI 10.1016/j.jvoice.2020.08.022
EA SEP 2022
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 5J5ZH
UT WOS:000869119900022
PM 32917455
DA 2025-03-18
ER
PT J
AU Austin, SF
AF Austin, Stephen F.
TI Jaw opening in novice and experienced classically trained singers
SO JOURNAL OF VOICE
LA English
DT Article
DE jaw opening; classical singing; articulation
ID STRAIN-GAUGE TRANSDUCTION; LIP; MOVEMENT; SYSTEM; MOTION; PITCH; VOICE
AB This study examined the amount of jaw opening used by two groups of singers, those with less than 4 years of training (novice) and those with more than 8 years of training (experienced) in the Western tradition of opera and an song. Movement of the jaw in the superior-inferior plane was measured with the use of a lightweight head-mounted cephalostat with a strain gauge. The subjects spoke and then sang a carrier phrase I say b(v)p," where (v) was each of three vowels, [a], [i], and [u]. The phrase was first spoken with a natural inflection and then sung on a repeated pitch at three notes from the low, medium, and high singing voice range. There was no statistically significant difference in jaw opening between the two groups of singers. Vowel was significant for jaw opening in both groups, with [a] being produced with more jaw opening than [i] or [u]. The voicing condition was also significant for jaw opening with greater jaw opening being used as pitch increased. In general the amount of jaw opening was smallest for the low singing voice condition and greatest for the high singing voice condition. The jaw opening most typically was less in the low voice condition than in the speech condition and then increased for both the medium and high voice tasks. All but two singers used more jaw opening on the [a] vowel than the other two vowels at all voicing conditions.
C1 Univ N Texas, Coll Mus, Denton, TX 76203 USA.
C3 University of North Texas System; University of North Texas Denton
RP Austin, SF (corresponding author), Univ N Texas, Coll Mus, POB 311367, Denton, TX 76203 USA.
EM saustin@music.unt.edu
NR 11
TC 11
Z9 17
U1 1
U2 2
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD JAN
PY 2007
VL 21
IS 1
BP 72
EP 79
DI 10.1016/j.jvoice.2005.08.013
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 126YA
UT WOS:000243550300009
PM 16413745
DA 2025-03-18
ER
PT J
AU Kilpatrick, E
AF Kilpatrick, Emily
TI "L'art d'evoquer les minutes heureuses" Melodie and Memory in the
Annee terrible
SO NINETEENTH-CENTURY FRENCH STUDIES
LA English
DT Article
AB The legacy of the Annee terrible permeated the creative practice of the Belle epoque, and the shaping of a collective cultural memory exercised artists across all disciplines. When composers and their peers reflected on the events of 1870-71, the creation and performance of art song (melodie) often assumed a key narrative and symbolic function. This study investigates the ways by which composers and their colleagues drew on song, and song performance, to engage with post -1871 dialogues of memory, memorialisation, and artistic renewal. It surveys melodies that were composed in direct response to political and artistic imperatives, and others whose creation was subsequently reimagined in the shaping of historical narratives. Through composers' creative practice, and their subsequent accounting of it, the study examines how the melodie was deployed both to express and contextualise traumatic experience, and to access discourses of cultural memory and musical identity.
C1 [Kilpatrick, Emily] Royal Acad Mus, London, England.
C3 University of London; University of London Royal Academy of Music
RP Kilpatrick, E (corresponding author), Royal Acad Mus, London, England.
NR 39
TC 0
Z9 0
U1 1
U2 1
PU UNIV NEBRASKA PRESS
PI LINCOLN
PA 1111 LINCOLN MALL, LINCOLN, NE 68588-0630 USA
SN 0146-7891
J9 NINETEEN CENT FR ST
JI Ninet.-Century Fr. Stud.
PD SPR-SUM
PY 2022
VL 50
IS 3-4
BP 170
EP 185
PG 17
WC Literature, Romance
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA 0K1WB
UT WOS:000780584600002
DA 2025-03-18
ER
PT J
AU Vanhecke, F
Lebacq, J
Moerman, M
Manfredi, C
Raes, GW
DeJonckere, PH
AF Vanhecke, Francoise
Lebacq, Jean
Moerman, Mieke
Manfredi, Claudia
Raes, Godfried-Willem
DeJonckere, Philippe H.
TI Physiology and Acoustics of Inspiratory Phonation
SO JOURNAL OF VOICE
LA English
DT Article
DE Inspiratory voice; Videokymography; Jitter; NNE; Closed quotient
ID JITTER MEASURES; VIDEOKYMOGRAPHY; PERTURBATION; PARAMETERS; VALIDITY
AB Introduction. Inspiratory phonation (IP) means phonating with inspiratory airflow. Some vocalists remarkably master this technique, to such an extent that it offers new dramatic, aesthetic, and functional possibilities in singing specific contemporary music. The present study aims to a better understanding of the physiological backgrounds of IP.
Material and methods. A total of 51 inhaling utterances were compared with 61 exhaling utterances in a professional soprano highly skilled in inhaling singing, by means of high-speed single-line scanning and advanced acoustic analysis. Ranges of intensity and Fo were kept similar.
Results. The main differences are: (1) an inversion of the mucosal wave, (2) a smaller closed quotient in IP, (3) a larger opening/closing quotient in IP with the additional difference that in IP, the quotient is larger than 1 (opening slower than closing), whereas it is less than 1 in expiratory mode (opening faster than closing), (4) a larger vocal-fold excursion in IP, (5) higher values of adaptive normalized noise energy in IP, and (6) a steeper slope of harmonic peaks in IP. However, jitter values are similar (within normal range), as well as damping ratios and central formant frequencies. The two voicing modes cannot be differentiated by blind listening.
Conclusion. The basic physiological mechanisms are comparable in both voicing modes, although with specific differences. IP is actually to be considered as an "extended vocal technique," a term applied to vocalization in art music, which falls outside of traditional classical singing styles, but with remarkable possibilities in skilled vocalists.
C1 [Vanhecke, Francoise; DeJonckere, Philippe H.] Univ Coll, Sch Arts, IPEM Dept Musicol, Ghent, Belgium.
[Lebacq, Jean] Univ Louvain, Neurosci Inst, B-1200 Brussels, Belgium.
[Moerman, Mieke] AZ Maria Middelares, Kortrijksesteenweg 1026, B-9000 Ghent, Belgium.
[Manfredi, Claudia] Univ Florence, Dept Informat Engn, Via S Marta 3, I-50139 Florence, Italy.
[Raes, Godfried-Willem] Univ Coll, Sch Arts, Ghent, Belgium.
[DeJonckere, Philippe H.] Univ Leuven, Neurosci, Brussels, Belgium.
[DeJonckere, Philippe H.] Fed Inst Occupat Dis, Brussels, Belgium.
C3 Ghent University; Universite Catholique Louvain; University of Florence;
KU Leuven
RP DeJonckere, PH (corresponding author), Univ Leuven, Neurosci, Brussels, Belgium.; DeJonckere, PH (corresponding author), Fed Inst Occupat Dis, Brussels, Belgium.
EM philippe.dejonckere@med.kuleuven.be
RI Manfredi, Claudia/ABI-6862-2020
NR 43
TC 10
Z9 10
U1 1
U2 5
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD NOV
PY 2016
VL 30
IS 6
AR 769.e9
DI 10.1016/j.jvoice.2015.11.001
PG 10
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA EI6PY
UT WOS:000392619200065
PM 26706750
OA Green Published
DA 2025-03-18
ER
PT J
AU Weiss, MW
Bissonnette, AM
Peretz, I
AF Weiss, Michael W.
Bissonnette, Anne-Marie
Peretz, Isabelle
TI The singing voice is special: Persistence of superior memory for vocal
melodies despite vocal-motor distractions
SO COGNITION
LA English
DT Article
DE Memory; Music; Singing; Articulatory suppression; Timbre
ID ENHANCED MEMORY; WORKING-MEMORY; SPEECH; SUPPRESSION; DISRUPTION; MUSIC
AB Vocal melodies sung without lyrics (la la) are remembered better than instrumental melodies. What causes the advantage? One possibility is that vocal music elicits subvocal imitation, which could promote enhanced motor representations of a melody. If this motor interpretation is correct, distracting the motor system during encoding should reduce the memory advantage for vocal over piano melodies. In Experiment 1, participants carried out movements of the mouth (i.e., chew gum) or hand (i.e., squeeze a beanbag) while listening to 24 unfamiliar folk melodies (half vocal, half piano). In a subsequent memory test, they rated the same melodies and 24 timbrematched foils from '1-Definitely New' to '7-Definitely Old'. There was a memory advantage for vocal over piano melodies with no effect of group and no interaction. In Experiment 2, participants carried out motor activities during encoding more closely related to singing, either silently articulating (la la) or vocalizing without articulating (humming continuously). Once again, there was a significant advantage for vocal melodies with no effect or interaction of group. In Experiment 3, participants audibly whispered (la la) repeatedly during encoding. Again, the voice advantage was present and did not differ appreciably from prior research with no motor task during encoding. However, we observed that the spontaneous phase-locking of whisper rate and musical beat tended to predict enhanced memory for vocal melodies. Altogether the results challenge the notion that subvocal rehearsal of the melody drives enhanced memory for vocal melodies. Instead, the voice may enhance engagement.
C1 [Weiss, Michael W.; Bissonnette, Anne-Marie; Peretz, Isabelle] Univ Montreal, Int Lab Brain Mus & Sound Res BRAMS, Montreal, PQ, Canada.
C3 Universite de Montreal
RP Weiss, MW (corresponding author), Univ Montreal, Int Lab Brain Mus & Sound Res BRAMS, Montreal, PQ, Canada.
EM michael.weiss@umontreal.ca
FU Fonds de Recherche du Quebec: Nature et Technologies; Natural Sciences
and Engineering Research Council of Canada; Canada Research Chairs
program
FX Michael W. Weiss, Anne-Marie Bissonnette, and Isabelle Peretz,
Department of Psychology, University of Montreal, Montreal, QC, Canada.
The work is funded by the Fonds de Recherche du Quebec: Nature et
Technologies (MW) , the Natural Sciences and Engineering Research
Council of Canada (IP) , and the Canada Research Chairs program (IP) .
We thank Madeleine Borgeat for assistance in data collection, Veronique
Martel, Chanel MarionStOnge, and two anonymous reviewers for feedback on
a previous draft, and M. Florencia Assaneo for sharing analysis code.
Address correspondence to Michael W. Weiss: michael. weiss@umontreal.ca
NR 40
TC 7
Z9 7
U1 4
U2 23
PU ELSEVIER
PI AMSTERDAM
PA RADARWEG 29, 1043 NX AMSTERDAM, NETHERLANDS
SN 0010-0277
EI 1873-7838
J9 COGNITION
JI Cognition
PD AUG
PY 2021
VL 213
SI SI
AR 104514
DI 10.1016/j.cognition.2020.104514
EA JUL 2021
PG 9
WC Psychology, Experimental
WE Social Science Citation Index (SSCI)
SC Psychology
GA TQ6XU
UT WOS:000678424500005
PM 33243423
DA 2025-03-18
ER
PT J
AU Volloyhaug, I
Semmingsen, T
Laukkanen, AM
Karoliussen, C
Bjorkoy, K
AF Volloyhaug, Ingrid
Semmingsen, Tuva
Laukkanen, Anne-Maria
Karoliussen, Clara
Bjorkoy, Kare
TI Pelvic floor status in opera singers. a pilot study using transperineal
ultrasound
SO BMC WOMENS HEALTH
LA English
DT Article
DE Breath support; Opera singing; Pelvic floor muscle; Pelvic floor muscle
contraction; Transperineal ultrasound
ID MUSCLE; INCONTINENCE
AB Background Control of pelvic floor muscles (PFM) is emphasized as important to obtain functional breath support in opera singing, but there is not much research that proves PFM function as part of breath support in classical singing. Transperineal ultrasound is a reliable method for quantification of PFM contraction in urogynecology. Our aim was to establish if transperineal ultrasound can be used for observation of movement of the PFM during singing and to quantify pelvic floor contraction. Methods Cross sectional study of 10 professional opera singers examined with transperineal ultrasound in the supine position at rest and contraction, and standing at rest and during singing. Levator hiatal area was measured in a 3D rendered volume. Levator hiatal anteroposterior (AP) diameter and bladder neck distance from symphysis were measured in 2D images. Results The AP diameter was shortened from supine rest to contraction (15 mm), standing (6 mm) and singing (9 mm), all p < 0.01. The bladder neck had a non-significant descent of 3 mm during singing. The mean proportional change in AP diameter from rest to contraction was 24.2% (moderate to strong contraction) and from rest to singing was 15% (weak to moderate contraction). Conclusions Transperineal ultrasound can be used to examine the PFM during singing. The classically trained singers had good voluntary PFM contraction and moderate contraction during singing. AP diameter was significantly shortened from supine to upright position, with further shortening during singing, confirming that female opera singers contracted their pelvic floor during singing.
C1 [Volloyhaug, Ingrid] Trondheim Reg & Univ Hosp, St Olavs Hosp, Dept Obstet & Gynaecol, N-3250 Torgarden, Norway.
[Volloyhaug, Ingrid] Trondheim Reg & Univ Hosp, St Olavs Hosp, Dept Obstet & Gynaecol, NO-7006 Trondheim, Norway.
[Volloyhaug, Ingrid] Norwegian Univ Sci & Technol, Dept Clin & Mol Med, Trondheim, Norway.
[Semmingsen, Tuva] UiB, Griegakad, Bergen, Norway.
[Semmingsen, Tuva] RDAM, Copenhagen, Denmark.
[Laukkanen, Anne-Maria] Tampere Univ, Speech & Voice Res Lab, Trondheim, Finland.
[Karoliussen, Clara] Trondheim Fysikalske Inst, Trondheim, Norway.
[Bjorkoy, Kare] NTNU, Dept Mus, Trondheim, Norway.
C3 Norwegian University of Science & Technology (NTNU); Norwegian
University of Science & Technology (NTNU); University of Bergen; Tampere
University; Norwegian University of Science & Technology (NTNU)
RP Volloyhaug, I (corresponding author), Trondheim Reg & Univ Hosp, St Olavs Hosp, Dept Obstet & Gynaecol, N-3250 Torgarden, Norway.; Volloyhaug, I (corresponding author), Trondheim Reg & Univ Hosp, St Olavs Hosp, Dept Obstet & Gynaecol, NO-7006 Trondheim, Norway.; Volloyhaug, I (corresponding author), Norwegian Univ Sci & Technol, Dept Clin & Mol Med, Trondheim, Norway.
EM ingrid.volloyhaug@ntnu.no
RI Laukkanen, Anne-Maria/GRS-5359-2022
OI , Anne-Maria/0009-0004-7236-4636
FU NTNU Norwegian University of Science and Technology (incl St. Olavs
Hospital - Trondheim University Hospital)
FX None.
NR 24
TC 0
Z9 0
U1 1
U2 2
PU BMC
PI LONDON
PA CAMPUS, 4 CRINAN ST, LONDON N1 9XW, ENGLAND
EI 1472-6874
J9 BMC WOMENS HEALTH
JI BMC Womens Health
PD JAN 24
PY 2024
VL 24
IS 1
AR 67
DI 10.1186/s12905-024-02895-6
PG 7
WC Public, Environmental & Occupational Health; Obstetrics & Gynecology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Public, Environmental & Occupational Health; Obstetrics & Gynecology
GA GC7M9
UT WOS:001150531100005
PM 38267929
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Watson, AHD
Williams, C
James, BV
AF Watson, Alan H. D.
Williams, Caitlin
James, Buddug V.
TI Activity Patterns in Latissimus Dorsi and Sternocleidomastoid in
Classical Singers
SO JOURNAL OF VOICE
LA English
DT Article
DE Respiration; Voice; Coloratura; Vibrato; Vocal projection; Posture;
Electromyography; Plethysmography
ID THORAX MOVEMENT; BODY TYPE; MUSCLE; SPEECH; INNERVATION; POSITION;
PHONATION; PRESSURES; SCALENE; VIBRATO
AB Objectives. The aim of this study was to investigate and compare the roles of the accessory respiratory muscles, latissimus dorsi (LD), and sternocleidomastoid, in classical singing.
Methods. Electromyography was used to record the activity of these muscles in six classically trained female singers carrying out a number of singing and nonsinging tasks. Movements of the chest and abdominal walls were monitored simultaneously using inductive plethysmography, and the sound of the phonations was recorded.
Results. In normal breathing, LD is active transiently during very deep inhalations and in inhalation against resistance. During exhalation it becomes active again as residual capacity is approached or when air is expelled with great force. Sternocleidomastoid (SCM) supports inhalation when lung volume nears 100% vital capacity or when this is very rapid. All singers engaged LD in supported singing where it was associated with maintaining an expanded thorax. In coloratura singing, pulses of activity of increasing amplitude were often seen in LD toward the end of the breath. These were synchronized with each note. During a short phrase typical of the end of an aria, which was sung at full volume with the projected voice, both LD and SCM were active simultaneously. Spectral analysis of muscle activity demonstrated that in some singers, activity in LD and more rarely SCM, fluctuated in phase with vibrato.
Conclusions. LD appears to play a significant role in maintaining chest expansion and the dynamic processes underlying vibrato and coloratura singing in classically trained singers.
C1 [Watson, Alan H. D.; James, Buddug V.] Cardiff Univ, Sch Biosci, Cardiff CF10 3AX, S Glam, Wales.
[Williams, Caitlin; James, Buddug V.] Royal Welsh Coll Mus & Drama, Dept Vocal & Opera Studies, Cardiff, S Glam, Wales.
C3 Cardiff University; University of South Wales
RP Watson, AHD (corresponding author), Cardiff Univ, Sch Biosci, Museum Ave, Cardiff CF10 3AX, S Glam, Wales.
EM watsona@cardiff.ac.uk
RI Watson, Alan/A-5803-2010
OI Watson, Alan H D/0000-0003-0886-6821
FU Wellcome Trust; Cardiff University; Royal Welsh College of Music and
Drama
FX This work was supported by a Wellcome Trust People Award held by A.
Watson (Cardiff University) and K. Price (Royal Welsh College of Music
and Drama).
NR 53
TC 13
Z9 15
U1 0
U2 12
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAY
PY 2012
VL 26
IS 3
BP E95
EP E105
DI 10.1016/j.jvoice.2011.04.008
PG 11
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 935LG
UT WOS:000303519600002
PM 21724365
OA Green Published, Green Accepted, hybrid
DA 2025-03-18
ER
PT J
AU Jennings, JJ
Kuehn, TP
AF Jennings, Jori Johnson
Kuehn, Tdavid P.
TI The effects of frequency range, vowel, dynamic loudness level, and
gender on nasalance in amateur and classically trained singers
SO JOURNAL OF VOICE
LA English
DT Article; Proceedings Paper
CT Annual Conference of the National-Association-of-Teachers-of-Singing
CY JUL 01, 2006
CL Minneapolis, MN
SP Natl Assoc Teachers Singing
DE nasalance; nasality; singing voice
ID IDENTIFYING PATIENTS; NASOMETRY; BEHAVIOR; VELUM
AB This study addresses two questions: (1) How much nasality is present in classical Western singing? (2) What are the effects of frequency range, vowel, dynamic level, and gender on nasality in amateur and classically trained singers? The Nasometer II 6400 by KayPENTAX (Lincoln Park, NJ) was used to obtain nasalance values from 21 amateur singers and 25 classically trained singers while singing an ascending five-tone scalar passage in low, mid, and high frequency ranges. Each subject sang the scalar passage at both piano and mezzo-forte dynamic loudness levels on each of the five cardinal vowels (/a/, /e/, /i/, /o/, /u/). A repeated mixed-model analysis indicated a significant main effect for the amateur/classically trained distinction, dynamic loudness level, and vowel, but not for frequency range or gender. The amateur singers had significantly higher nasalance scores than classically trained singers in all ranges and on all vowels except /o/. Dynamic loudness level had a significant effect on nasalance for all subject groups except for female majors in the mid- and high-frequency ranges. The vowel, /i/, received significantly higher nasalance than all of the other vowels. Although results of this study show that dynamic loudness level, vowel, and level of training in classical singing have a significant effect on nasality, nasalance scores for most subjects were relatively low. Only six of the subjects, all of whom were amateur singers, had average nasalance scores that could be considered hypernasal (ie, a nasalance average of 22 or above).
C1 [Jennings, Jori Johnson] Sacred Mus Dept, Moody Bible Inst, Chicago, IL USA.
[Kuehn, Tdavid P.] Univ Illinois, Dept Speech & Hearing Sci, Urbana, IL 61801 USA.
C3 University of Illinois System; University of Illinois Urbana-Champaign
RP Jennings, JJ (corresponding author), 820 N LaSalle Blvd, Chicago, IL 60610 USA.
EM jorijennings@moody.edu
NR 32
TC 20
Z9 24
U1 1
U2 5
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JAN
PY 2008
VL 22
IS 1
BP 75
EP 89
DI 10.1016/j.jvoice.2006.08.017
PG 15
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI); Conference Proceedings Citation Index - Science (CPCI-S)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 250HK
UT WOS:000252290400008
PM 17084591
DA 2025-03-18
ER
PT J
AU Steen, IN
MacKenzie, K
Carding, PN
Webb, A
Deary, IJ
Wilson, JA
AF Steen, I. N.
MacKenzie, K.
Carding, P. N.
Webb, A.
Deary, I. J.
Wilson, J. A.
TI Optimising outcome assessment of voice interventions, II: sensitivity to
change of self-reported and observer-rated measures
SO JOURNAL OF LARYNGOLOGY AND OTOLOGY
LA English
DT Article
DE voice; voice quality; quality of life; outcome assessment (healthcare);
outcome measures
ID HEALTH SURVEY QUESTIONNAIRE; PERCEPTUAL EVALUATION; RELIABILITY;
DYSPHONIA; SCALES; VOISS
AB Objectives: A wide range of well validated instruments is now available to assess voice quality and voice-related quality of life, but comparative studies of the responsiveness to change of these measures are lacking. The aim of this study was to assess the responsiveness to change of a range of different measures, following voice therapy and surgery.
Design: Longitudinal, cohort comparison study.
Setting: Two UK voice clinics.
Participants: One hundred and forty-four patients referred for treatment of benign voice disorders, 90 undergoing voice therapy and 54 undergoing laryngeal microsurgery.
Main outcome measures: Three measures of self-reported voice quality (the vocal performance questionnaire, the voice handicap index and the voice symptom scale), plus the short form 36 (SF 36) general health status measure and the hospital anxiety and depression score. Perceptual, observer-rated analysis of voice quality was performed using the grade-roughness-breathiness-asthenia-strain scale. We compared the effect sizes (i.e. responsiveness to change) of the principal subscales of all measures before and after voice therapy or phonosurgery.
Results: All three self-reported voice measures had large effect sizes following either voice therapy or surgery. Outcomes were similar in both treatment groups. The effect sizes for the observer-rated grade-roughness-breathiness-asthenia-strain scale scores were smaller, although still moderate. The roughness subscale in particular showed little change after therapy or surgery. Only small effects were observed in general health and mood measures.
Conclusion: The results suggest that the use of a voice-specific questionnaire is essential for assessing the effectiveness of voice interventions. All three self-reported measures tested were capable of detecting change, and scores were highly correlated. On the basis of this evaluation of different measures' sensitivities to change, there is no strong evidence to favour either the vocal performance questionnaire, the voice handicap index or the voice symptom scale.
C1 [Steen, I. N.] Newcastle Univ, Inst Hlth & Soc, Newcastle Upon Tyne, Tyne & Wear, England.
[Carding, P. N.; Webb, A.; Wilson, J. A.] Newcastle Univ, Dept Otolaryngol Head & Neck Surg, Newcastle Upon Tyne, Tyne & Wear, England.
[MacKenzie, K.] Royal Infirm, Dept Otolaryngol Head & Neck Surg, Glasgow G31 2ER, Lanark, Scotland.
[Deary, I. J.] Univ Edinburgh, Dept Psychol, Edinburgh EH8 9YL, Midlothian, Scotland.
C3 Newcastle University - UK; Newcastle University - UK; Royal Infirmary of
Edinburgh; University of Edinburgh
RP Wilson, JA (corresponding author), Freeman Rd Hosp, Dept Otolaryngol Head & Neck Surg, Newcastle Upon Tyne NE7 7DN, Tyne & Wear, England.
EM j.a.wilson@ncl.ac.uk
RI ; Deary, Ian/C-6297-2009
OI Carding, Paul/0000-0002-4206-1827; Wilson, Janet
Ann/0000-0002-6416-5870; Deary, Ian/0000-0002-1733-263X
NR 18
TC 44
Z9 47
U1 0
U2 7
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 0022-2151
EI 1748-5460
J9 J LARYNGOL OTOL
JI J. Laryngol. Otol.
PD JAN
PY 2008
VL 122
IS 1
BP 46
EP 51
DI 10.1017/S0022215107007839
PG 6
WC Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Otorhinolaryngology
GA 258JQ
UT WOS:000252864600010
PM 17498325
OA Green Submitted
DA 2025-03-18
ER
PT J
AU Owen, C
AF Owen, Ceri
TI Making an English Voice: Performing National Identity during the English
Musical Renaissance
SO TWENTIETH-CENTURY MUSIC
LA English
DT Article
ID SHARP,CECIL; SOMERSET
AB This article examines constructions of national musical identity in early twentieth-century Britain by exploring and contextualizing hitherto neglected discourses and practices concerning the production of an 'English' singing voice. Tracing the origins and development of ideas surrounding native vocal performance and pedagogy, I reconstruct a culture of English singing as a backdrop against which to offer, by way of conclusion, a reading of the 'English voice' performed in Ralph Vaughan Williams's song 'Silent Noon'. By drawing upon perspectives derived from recent studies of song, vocal production, and national and aesthetic identity, I demonstrate that 'song' became a place in which the literal and figurative voices of performers and composers were drawn together in the making of a national music. As such, I advance a series of new historical perspectives through which to rethink notions of an English musical renaissance.
C1 [Owen, Ceri] Univ Cambridge Sidney Sussex Coll, Cambridge, England.
[Owen, Ceri] Guildhall Sch Mus & Drama, London, England.
C3 University of Cambridge
RP Owen, C (corresponding author), Univ Cambridge Sidney Sussex Coll, Cambridge, England.; Owen, C (corresponding author), Guildhall Sch Mus & Drama, London, England.
EM co371@cam.ac.uk
NR 106
TC 1
Z9 2
U1 0
U2 3
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 1478-5722
EI 1478-5730
J9 TWENT-CENTURY MUSIC
JI Twent.-Century Music
PD MAR
PY 2016
VL 13
IS 1
BP 77
EP 107
DI 10.1017/S1478572215000183
PG 31
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA EE9GC
UT WOS:000389933100004
OA Green Accepted
DA 2025-03-18
ER
PT J
AU Wapnick, J
Ekholm, E
AF Wapnick, J
Ekholm, E
TI Expert consensus in solo voice performance evaluation
SO JOURNAL OF VOICE
LA English
DT Article; Proceedings Paper
CT Music Educators National Conference National Convention
CY APR, 1994
CL CINCINNATI, OH
DE voice evaluation; reliability; rating scales; voice quality; singing
AB Experts were interviewed to identify criteria for evaluation of vocal performance. A scale was then constructed and inter- and intrajudge reliability assessed. Experts listened to 19 different performances, plus 6 presented a second time. Interjudge reliability for one judge was modest, but increased dramatically as the size of the judge panel increased. The most reliable items were overall score and intonation accuracy. Diction was less reliable than other items. Intrajudge reliability was higher for overall score than for any other item. A factor analysis on the test items yielded factors labelled intrinsic quality, execution, and diction. Another factor analysis, using the experts as variables, revealed two underlying evaluative dimensions. It was found that 13 experts were primarily influenced by execution, and that 8 were mainly affected by intrinsic quality. Interjudge and intrajudge reliabilities of these two groups differed.
RP Wapnick, J (corresponding author), MCGILL UNIV,FAC MUS,555 SHERBROOKE ST W,MONTREAL,PQ H3A 1E3,CANADA.
NR 17
TC 57
Z9 70
U1 0
U2 5
PU LIPPINCOTT-RAVEN PUBL
PI PHILADELPHIA
PA 227 EAST WASHINGTON SQ, PHILADELPHIA, PA 19106
SN 0892-1997
J9 J VOICE
JI J. Voice
PD DEC
PY 1997
VL 11
IS 4
BP 429
EP 436
DI 10.1016/S0892-1997(97)80039-2
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA YK487
UT WOS:A1997YK48700007
PM 9422277
DA 2025-03-18
ER
PT J
AU Herbe, S
AF Herbe, Sarah
TI Popular Songs, Poetry, and Performance: Observations on an On-going
Debate
SO ZEITSCHRIFT FUR ANGLISTIK UND AMERIKANISTIK
LA English
DT Article
ID MUSIC
AB This article revisits critical explorations of the question whether popular songs should be regarded as poetry or not and will explore the concepts of poetry that inform these discussions, with a special focus on the importance critics place on the aspect of performance in their attempts to either distinguish between songs and poetry or to (re-)align them. It will be shown that whether critics stress the differences or the similarities between poetry and popular songs does not only rest on their respective ideas of poetry, but also on their disciplinary agenda. The importance of the aspect of performance in popular songs, it is argued, can be illustrated by their 'coverability,' which will be briefly illustrated with the help of an analysis of a recent example of a cover version where the lyrics stay the same as in the original, whereas the overall effect is radically changed due to a transformed musical and vocal performance.
C1 [Herbe, Sarah] Salzburg Univ, Dept English & Amer Studies, Unipk,Erzabt Klotz Str 1, A-5020 Salzburg, Austria.
C3 Salzburg University
RP Herbe, S (corresponding author), Salzburg Univ, Dept English & Amer Studies, Unipk,Erzabt Klotz Str 1, A-5020 Salzburg, Austria.
EM sarah.herbe@sbg.ac.at
NR 27
TC 0
Z9 0
U1 1
U2 1
PU WALTER DE GRUYTER GMBH
PI BERLIN
PA GENTHINER STRASSE 13, D-10785 BERLIN, GERMANY
SN 0044-2305
EI 2196-4726
J9 Z ANGLIST AM
JI Z. Angl. Amer.
PD NOV
PY 2016
VL 64
IS 3
SI SI
BP 321
EP 334
DI 10.1515/zaa-2016-0031
PG 14
WC Literature
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA ED5YP
UT WOS:000388930300006
DA 2025-03-18
ER
PT J
AU Carrasco, LV
AF Carrasco, Lorena Valdebenito
TI Music, voice, and affections. Masculine tenderness in Chilean popular
songs
SO REVISTA MUSICAL CHILENA
LA English
DT Article
DE Tenderness; voice; masculinity; childhood; affective performativity
AB In this article, male tenderness does not appear as a fixed and unique concept, rather it refers to three types of ten-derness: loving, childish and paternal tenderness. These three concepts become the main dimensions of analysis to discuss how a group of popular songs through music/sound/vocal performance/discourse constitute a way to express male affection. Likewise, it analyzes how masculine tenderness is represented, the voice being a fundamental space of enunciation that functions as a vehicle of affection, to find out to what extent masculine tenderness could be a way of dislocating gender stereotypes through behavior affective or an "affective performativity". The construction of meanings, appropriation, and re-signification of concepts such as affection, paternity, tenderness, masculinity, and childhood are problematized, from the criticism of the concept of masculinity and the theoretical basis that different representative authors from the "affective turn" contribute.
C1 [Carrasco, Lorena Valdebenito] Univ Alberto Hurtado, Inst Mus, Santiago, Chile.
C3 Universidad Alberto Hurtado
RP Carrasco, LV (corresponding author), Univ Alberto Hurtado, Inst Mus, Santiago, Chile.
EM lvaldebe@uahurtado.cl
NR 71
TC 0
Z9 0
U1 0
U2 0
PU UNIV CHILE, FACULTY ARTS
PI SANTIAGO
PA CASILLA 2100, SANTIAGO, 1264, CHILE
SN 0716-2790
EI 0717-6252
J9 REV MUSIC CHIL
JI Rev. Music. Chil.
PD JAN-JUN
PY 2023
VL 77
IS 239
BP 114
EP 139
PG 26
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA P3TV8
UT WOS:001049911000001
DA 2025-03-18
ER
PT J
AU Jennex, C
AF Jennex, Craig
TI Resoundingly Queer: Cover Song as Collective Return
SO TOPIA-CANADIAN JOURNAL OF CULTURAL STUDIES
LA English
DT Article
DE music; queer; performance; temporality; collectivity
AB In this article, I listen closely to Rae Spoon, Vivek Shraya and Kaleb Roberston's (as Ms. Fluffy Souffle) cover performance of "Insensitive," a song most commonly associated with Jann Arden. Through their cover, Spoon, Shraya and Souffle work to fissure linear progressive temporality-often and aggressively associated with certain queer experiences in Canadian culture-both in the sense that their cover itself is a musical return and in its specific musical details. I show that there is political potential in listening experiences that open alternative temporal experiences. Their collective project simultaneously renders audible an unlikely musical genealogy and encourages listeners to glean a sense of queer plurality in a national context that increasingly privileges individualism. Their re-imagining of "Insensitive" allows us to hear a type of musical virtuosity when vocal performance is untethered from strict heteronormative gender performance and transforms the popular tune from a solo lament into a collective queer anthem.
C1 [Jennex, Craig] McMaster Univ, English & Cultural Studies & Gen Studies & Femini, Hamilton, ON, Canada.
C3 McMaster University
RP Jennex, C (corresponding author), McMaster Univ, English & Cultural Studies & Gen Studies & Femini, Hamilton, ON, Canada.
NR 34
TC 1
Z9 1
U1 0
U2 2
PU TOPIA-CANADIAN JOURNAL CULTURAL STUDIES
PI TORONTO
PA 240 VANIER COLL, YORK UNIV, TORONTO, ON M3J 1P3, CANADA
SN 1206-0143
EI 1916-0194
J9 TOPIA
JI TOPIA
PD SPR
PY 2016
IS 35
BP 87
EP 106
PG 20
WC Cultural Studies
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Cultural Studies
GA DY6WN
UT WOS:000385269900005
DA 2025-03-18
ER
PT J
AU Lundy, DS
Casiano, RR
Sullivan, PA
Roy, S
Xue, JW
Evans, J
AF Lundy, DS
Casiano, RR
Sullivan, PA
Roy, S
Xue, JW
Evans, J
TI Incidence of abnormal laryngeal findings in asymptomatic singing
students
SO OTOLARYNGOLOGY-HEAD AND NECK SURGERY
LA English
DT Article; Proceedings Paper
CT 101st Annual Meeting of the
American-Academy-of-Otolaryngology-Head-and-Neck-Surgery
CY SEP 07-10, 1997
CL SAN FRANCISCO, CALIFORNIA
SP Amer Acad Otolaryngol Head & Neck Surg
ID POLYPS
AB OBJECTIVE: Abnormalities in the mucosal lining of the vocal folds may interfere with the normal vibratory patterns and result in vocal limitations, especially for singers whose demands are great. A prospective, longitudinal study was undertaken to investigate the incidence of laryngeal abnormalities in asymptomatic singing students,
METHODS: Sixty-five singing students at the school of music underwent videostroboscopic evaluation and completed a comprehensive questionnaire. Videos were rated by 3 experienced clinicians, and interrater reliability was calculated. Results were correlated with demographic factors, background medical history, and singing history.
RESULTS: Five students (8.3%) exhibited early signs of benign vocal fold lesions (2 with nodules and 3 with cysts). A high incidence of posterior erythema (n = 44; 73.4%), suggesting possible reflux, was found.
CONCLUSIONS: A surprisingly high number of otherwise asymptomatic singing students demonstrated abnormal laryngeal findings. Their relationship with vocal performance will be addressed as well as implications for preventative measures.
C1 Univ Miami, Dept Otolaryngol, Miami, FL 33152 USA.
Univ Miami, Sch Mus, Miami, FL 33152 USA.
C3 University of Miami; University of Miami
RP Lundy, DS (corresponding author), POB 016960, Miami, FL 33131 USA.
NR 21
TC 51
Z9 56
U1 0
U2 2
PU MOSBY-YEAR BOOK INC
PI ST LOUIS
PA 11830 WESTLINE INDUSTRIAL DR, ST LOUIS, MO 63146-3318 USA
SN 0194-5998
J9 OTOLARYNG HEAD NECK
JI Otolaryngol. Head Neck Surg.
PD JUL
PY 1999
VL 121
IS 1
BP 69
EP 77
DI 10.1016/S0194-5998(99)70128-2
PG 9
WC Otorhinolaryngology; Surgery
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED)
SC Otorhinolaryngology; Surgery
GA 215MK
UT WOS:000081385300016
PM 10388882
DA 2025-03-18
ER
PT J
AU DREW, R
SAPIR, S
AF DREW, R
SAPIR, S
TI AVERAGE SPEAKING FUNDAMENTAL-FREQUENCY IN SOPRANO SINGERS WITH AND
WITHOUT SYMPTOMS OF VOCAL ATTRITION
SO JOURNAL OF VOICE
LA English
DT Article
DE SPEAKING FUNDAMENTAL FREQUENCY; SINGERS; VOCAL ATTRITION
AB 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.
C1 NORTHWESTERN UNIV,DEPT COMMUN SCI & DISORDERS,EVANSTON,IL.
C3 Northwestern University
NR 0
TC 5
Z9 8
U1 0
U2 1
PU LIPPINCOTT-RAVEN PUBL
PI PHILADELPHIA
PA 227 EAST WASHINGTON SQ, PHILADELPHIA, PA 19106
SN 0892-1997
J9 J VOICE
JI J. Voice
PD JUN
PY 1995
VL 9
IS 2
BP 134
EP 141
DI 10.1016/S0892-1997(05)80246-2
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA QX900
UT WOS:A1995QX90000004
PM 7620535
DA 2025-03-18
ER
PT J
AU Lie, SB
AF Lie, Siv B.
TI The politics of "understanding": secrecy, language, and Manouche song
SO ETHNIC AND RACIAL STUDIES
LA English
DT Article
DE Roma; music; language; France; cultural politics; performance
AB This article explores how song operates as a forum through which Alsatian Manouches (a subgroup of Romanies/Gypsies) negotiate social relations with non-Manouches and with each other. Two of the most salient identity markers for Manouches are music and language. Whereas Manouches regard instrumental music as a legitimate means of engaging with non-Manouche people, it is often considered inappropriate to share their spoken dialect of Romani with others. As a combination of both, Manouche song represents a complex juncture of volition and apprehension towards their interactions with non-Manouches. Drawing on fieldwork among Manouche and non-Manouche performers, I investigate how public Manouche vocal performance ironically connotes an ambivalence towards cross-cultural sharing, and how power relations unfold through varying degrees of linguistic concealment and openness. This article theorizes the (il-)legibility of the voice in music and illustrates how song reflects Manouche language ideologies in flux.
C1 [Lie, Siv B.] NYU, Dept Mus, New York, NY 10003 USA.
C3 New York University
RP Lie, SB (corresponding author), NYU, Dept Mus, New York, NY 10003 USA.
EM sbl326@nyu.edu
OI Lie, Siv/0000-0002-7267-1415
NR 22
TC 0
Z9 0
U1 0
U2 4
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 0141-9870
EI 1466-4356
J9 ETHNIC RACIAL STUD
JI Ethn. Racial Stud.
PD JAN
PY 2017
VL 40
IS 1
BP 96
EP 113
DI 10.1080/01419870.2016.1213404
PG 18
WC Ethnic Studies; Sociology
WE Social Science Citation Index (SSCI)
SC Ethnic Studies; Sociology
GA EE0CT
UT WOS:000389241800007
DA 2025-03-18
ER
PT J
AU Echternach, M
Arndt, S
Zander, MF
Richter, B
AF Echternach, M.
Arndt, S.
Zander, M. F.
Richter, B.
TI Voice diagnostics in professional sopranos
SO HNO
LA German
DT Article
DE Soprano; Singer node; European Laryngological Society; Voice; Dysphonia
ID LARYNGOLOGICAL SOCIETY ELS; HANDICAP INDEX; QUALITY; VALIDATION;
PROTOCOL
AB The European Laryngological Society (ELS) has published a protocol for the evaluation of vocal function. Using this protocol, we evaluated 17 female sopranos, of whom 11 had laryngostroboscopic findings of organic alterations and six did not. Singers with increased subjective impressions of hoarseness, or of whom the examiner had increased perceptions of hoarseness, showed significant differences regarding impairment of the maximum phonation time, the frequency range, and the dysphonia severity index. No such differences were found regarding the presence of alterations of the vocal folds. These data suggest that organic alterations in professional singers are not necessarily associated with impaired vocal performance or vocal function or with measured values of the ELS protocol. For professional singers, therapy should be indicated not just on the basis of stroboscopy but on a broader basis using multifactorial voice analysis such as the ELS protocol.
C1 [Echternach, M.; Zander, M. F.; Richter, B.] Univ Klin, Freiburger Inst Musikermed, D-79106 Freiburg, Germany.
[Arndt, S.] Univ Klin, Klin Hals Nasen Ohrenheilkunde, D-79106 Freiburg, Germany.
C3 University of Freiburg; University of Freiburg
RP Echternach, M (corresponding author), Univ Klin, Freiburger Inst Musikermed, Breisacherstr 60, D-79106 Freiburg, Germany.
EM matthias.echternach@uniklinik-freiburg.de
RI Echternach, Matthias/E-3464-2010; Richter, Bernhard/D-1406-2010
OI Arndt, Susan/0000-0001-6970-8750; Echternach,
Matthias/0000-0003-0095-5360
NR 15
TC 12
Z9 12
U1 1
U2 5
PU SPRINGER
PI NEW YORK
PA 233 SPRING ST, NEW YORK, NY 10013 USA
SN 0017-6192
EI 1433-0458
J9 HNO
JI HNO
PD MAR
PY 2009
VL 57
IS 3
BP 266
EP 272
DI 10.1007/s00106-008-1847-2
PG 7
WC Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Otorhinolaryngology
GA 428TN
UT WOS:000264873100011
PM 19183914
DA 2025-03-18
ER
PT J
AU Hoffmann, LA
Saravanan, V
Wood, AN
He, L
Sober, SJ
AF Hoffmann, Lukas A.
Saravanan, Varun
Wood, Alynda N.
He, Li
Sober, Samuel J.
TI Dopaminergic Contributions to Vocal Learning
SO JOURNAL OF NEUROSCIENCE
LA English
DT Article
DE basal ganglia; Bengalese finch; dopamine; negative reinforcement;
songbird; vocal learning
ID GANGLIA-FOREBRAIN CIRCUIT; BASAL GANGLIA; SOCIAL MODULATION; SONG
SYSTEM; LESIONS; BRAIN; TIME; VARIABILITY; 6-OHDA; INNERVATION
AB Although the brain relies on auditory information to calibrate vocal behavior, the neural substrates of vocal learning remain unclear. Here we demonstrate that lesions of the dopaminergic inputs to a basal ganglia nucleus in a songbird species (Bengalese finches, Lonchura striata var. domestica) greatly reduced the magnitude of vocal learning driven by disruptive auditory feedback in a negative reinforcement task. These lesions produced no measureable effects on the quality of vocal performance or the amount of song produced. Our results suggest that dopaminergic inputs to the basal ganglia selectively mediate reinforcement/driven vocal plasticity. In contrast, dopaminergic lesions produced no measurable effects on the birds' ability to restore song acoustics to baseline following the cessation of reinforcement training, suggesting that different forms of vocal plasticity may use different neural mechanisms.
C1 [Hoffmann, Lukas A.; Saravanan, Varun; Wood, Alynda N.] Emory Univ, Neurosci Doctoral Program, Atlanta, GA 30322 USA.
[Hoffmann, Lukas A.; Saravanan, Varun; Wood, Alynda N.; Sober, Samuel J.] Emory Univ, Dept Biol, Atlanta, GA 30322 USA.
[He, Li] Emory Univ, Dept Ophthalmol, Atlanta, GA 30322 USA.
C3 Emory University; Emory University; Emory University
RP Sober, SJ (corresponding author), 1510 Clifton Rd NE,Room 2006, Atlanta, GA 30322 USA.
EM samuel.j.sober@emory.edu
RI He, Li/I-6060-2015
OI Saravanan, Varun/0000-0002-8571-5317; He, Li/0000-0001-9313-1218
FU National Institutes of Health National Institute of Neurological
Disorders and Stroke [R01 NS084844, F31NS089406]; National Institutes of
Health Computational Neuroscience Training Grant [5R90DA033462]; Emory's
Institute for Quantitative Theory and Methods; Emory's Udall Center of
Excellence for Parkinson's Disease Research; Emory's Integrated Cellular
Imaging Microscopy Core
FX This work was supported by National Institutes of Health National
Institute of Neurological Disorders and Stroke R01 NS084844, National
Institutes of Health National Institute of Neurological Disorders and
Stroke F31NS089406, National Institutes of Health Computational
Neuroscience Training Grant 5R90DA033462, Emory's Institute for
Quantitative Theory and Methods, Emory's Udall Center of Excellence for
Parkinson's Disease Research, and Emory's Integrated Cellular Imaging
Microscopy Core. We thank Xiang Cheng (Emory University, Physics
Department) for statistical assistance.
NR 62
TC 53
Z9 75
U1 1
U2 26
PU SOC NEUROSCIENCE
PI WASHINGTON
PA 11 DUPONT CIRCLE, NW, STE 500, WASHINGTON, DC 20036 USA
SN 0270-6474
J9 J NEUROSCI
JI J. Neurosci.
PD FEB 17
PY 2016
VL 36
IS 7
BP 2176
EP 2189
DI 10.1523/JNEUROSCI.3883-15.2016
PG 14
WC Neurosciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Neurosciences & Neurology
GA DE7LQ
UT WOS:000370818700010
PM 26888928
OA Green Published, hybrid
DA 2025-03-18
ER
PT J
AU Reynolds, R
AF Reynolds, Roger
TI The Last Word Is: Imagination A Study of the Spatial Aspects of
Edgard Varese's Work, Part II: Visual Evidence
SO LEONARDO
LA English
DT Article
AB Edgard Varese was one of the singular musical innovators of the 20th century. Central to his thinking was an informed yet uniquely imaginative position regarding metaphoric space. Through contacts with science, he developed an idiosyncratic vocabulary involving rotating planes, beams, projection and penetration. His outlook was both conceptually and musically (especially in Integrales) manifested. The first part of a two-part article, The Last Word Is: Imagination, Part I: The Visual Evidence (published in Perspectives of New Music), references Varese's writings and lectures. The second part, published here, is concerned with the visual evidence, a context within which his spatial ideas could be directly manifested without the distortions of electroacoustic sound projection or vagaries of instrumental and vocal performance. In original artworks, marginalia, doodles and an array of spiral diagrams, Varese directly portrayed his concepts with remarkable lucidity.
C1 [Reynolds, Roger] Univ Calif San Diego, Dept Mus, 9500 Gilman Dr, La Jolla, CA 92093 USA.
C3 University of California System; University of California San Diego
RP Reynolds, R (corresponding author), Univ Calif San Diego, Dept Mus, 9500 Gilman Dr, La Jolla, CA 92093 USA.
EM info@rogerreynolds.com
NR 6
TC 0
Z9 1
U1 1
U2 2
PU MIT PRESS
PI CAMBRIDGE
PA ONE ROGERS ST, CAMBRIDGE, MA 02142-1209 USA
SN 0024-094X
EI 1530-9282
J9 LEONARDO
JI Leonardo
PD OCT
PY 2017
VL 50
IS 5
BP 477
EP 485
DI 10.1162/LEON_a_01160
PG 9
WC Art
WE Arts & Humanities Citation Index (A&HCI)
SC Art
GA FI6MM
UT WOS:000412110600006
DA 2025-03-18
ER
PT J
AU Schramm, R
Nunes, HD
Jung, CR
AF Schramm, Rodrigo
Nunes, Helena De Souza
Jung, Claudio Rosito
TI Audiovisual Tool for Solfege Assessment
SO ACM TRANSACTIONS ON MULTIMEDIA COMPUTING COMMUNICATIONS AND APPLICATIONS
LA English
DT Article
DE Sight-singing; melodic transcription; meter-mimicking; automatic
assessment; music education; Solfege
ID TIME; TRANSCRIPTION; ESTIMATOR
AB Solfege is a general technique used in the music learning process that involves the vocal performance of melodies, regarding the time and duration of musical sounds as specified in the music score, properly associated with the meter-mimicking performed by hand movement. This article presents an audiovisual approach for automatic assessment of this relevant musical study practice. The proposed system combines the gesture of meter-mimicking (video information) with the melodic transcription (audio information), where hand movement works as a metronome, controlling the time flow (tempo) of the musical piece. Thus, meter-mimicking is used to align the music score (ground truth) with the sung: melody; allowing assessment even in time-dynamic scenarios. Audio analysis is applied to achieve the melodic transcription of the sung notes and the solfege performances are evaluated by a set of Bayesian classifiers that were generated from real evaluations done by experts listeners.
C1 [Schramm, Rodrigo; Jung, Claudio Rosito] Univ Fed Rio Grande, Inst Informat, Av Bento Goncalves,9500 Setor IV, BR-91501970 Porto Alegre, RS, Brazil.
[Nunes, Helena De Souza] Univ Fed Bahia, Escola Mus, Avenida Araujo Pinho, 58 Canela, Campus Univ, BR-40110060 Salvador, BA, Brazil.
C3 Universidade Federal do Rio Grande; Universidade Federal da Bahia
RP Schramm, R; Jung, CR (corresponding author), Univ Fed Rio Grande, Inst Informat, Av Bento Goncalves,9500 Setor IV, BR-91501970 Porto Alegre, RS, Brazil.; Nunes, HD (corresponding author), Univ Fed Bahia, Escola Mus, Avenida Araujo Pinho, 58 Canela, Campus Univ, BR-40110060 Salvador, BA, Brazil.
EM rschramm@inf.ufrgs.br; helena@caef.ufrgs.br; crjung@inf.ufrgs.br
FU CAPES Foundation, Ministry of Education of Brazil [BEX-2106/13-2]
FX This work was supported by the CAPES Foundation, Ministry of Education
of Brazil, under Grant BEX-2106/13-2.
NR 30
TC 1
Z9 1
U1 1
U2 6
PU ASSOC COMPUTING MACHINERY
PI NEW YORK
PA 2 PENN PLAZA, STE 701, NEW YORK, NY 10121-0701 USA
SN 1551-6857
EI 1551-6865
J9 ACM T MULTIM COMPUT
JI ACM Trans. Multimed. Comput. Commun. Appl.
PD JAN
PY 2017
VL 13
IS 1
AR 9
DI 10.1145/3007194
PG 21
WC Computer Science, Information Systems; Computer Science, Software
Engineering; Computer Science, Theory & Methods
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA EM7WJ
UT WOS:000395522700009
DA 2025-03-18
ER
PT J
AU Bukowiecki, L
AF Bukowiecki, Lukasz
TI Can We Hear Baczynski? Speaking About the Poet's Voice Through Film
SO TEKSTY DRUGIE
LA Polish
DT Article
DE sound; biographical film; documentary film; poetry film; voice; silence;
vocal performance
AB We can listen to the works of Krzysztof Kamil Baczy & nacute;ski (1921-1944) in many ways. However, hearing the voice of Baczy & nacute;ski himself proves challenging. Launched to mark the centenary of Baczy & nacute;ski's birth, the digital Radio Baczy & nacute;ski features over 120 songs inspired by his poems. Undoubtedly, Baczy & nacute;ski had neither the opportunity nor the need to record his own voice during his lifetime; he left no memoir, diary, or even loose autobiographical notes that could mediate his voice in the text. The 2013 poetry and biographical film Baczy & nacute;ski directed by Kordian Piwowarski aids in the search for Baczy & nacute;ski's voice. The film registers the existing methods of embodying this voice while significantly testifying to its eloquent absenc
C1 [Bukowiecki, Lukasz] UW, Inst Kultury Polskiej, Warsaw, Poland.
[Bukowiecki, Lukasz] UW, Ctr Badan Pamiecia Spoleczna, Wydziale Socjol, Warsaw, Poland.
C3 University of Warsaw; University of Warsaw
RP Bukowiecki, L (corresponding author), UW, Inst Kultury Polskiej, Warsaw, Poland.; Bukowiecki, L (corresponding author), UW, Ctr Badan Pamiecia Spoleczna, Wydziale Socjol, Warsaw, Poland.
EM bukowiecki@uw.edu.pl
RI Bukowiecki, Łukasz/HHN-0538-2022
NR 23
TC 0
Z9 0
U1 1
U2 1
PU POLISH ACAD SCIENCES, INST LITERARY RESEARCH
PI WARSZAWA
PA UL NOWY SWIAT 72, PALAC STASZICA, ROOM 1, WARSZAWA, 00-330, POLAND
SN 0867-0633
EI 2545-2061
J9 TEKSTY DRUGIE
JI Teksty Drugie
PY 2024
IS 3
DI 10.18318/td.2024.3.8
PG 382
WC Literature, Slavic
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA J0Y3J
UT WOS:001334408300008
OA gold
DA 2025-03-18
ER
PT J
AU Chan, M
Bax, N
Woodley, C
Jennings, M
Nicolson, R
Chan, P
AF Chan, Michael
Bax, Nigel
Woodley, Caroline
Jennings, Michael
Nicolson, Rod
Chan, Philip
TI The first OSCE; does students' experience of performing in public affect
their results?
SO BMC MEDICAL EDUCATION
LA English
DT Article
DE OSCE; Performance anxiety; Personality; Admissions statement
ID ANXIETY; PERSONALITY; INVOLVEMENT
AB Background: Personal qualities have been shown to affect students' exam results. We studied the effect of experience, and level, of public performance in music, drama, dance, sport, and debate at the time of admission to medical school as a predictor of student achievement in their first objective structured clinical examination (OSCE).
Methods: A single medical school cohort (n = 265) sitting their first clinical exam in 2011 as third year students were studied. Pre-admission statements made at the time of application were coded for their stated achievements in the level of public performance; participation in each activity was scored 0-3, where 0 was no record, 1 = leisure time activity, 2 = activity at school or local level, 3 = activity at district, regional or national level. These scores were correlated to OSCE results by linear regression and t-test. Comparison was made between the highest scoring students in each area, and students scoring zero by t-test.
Results: There was a bell shaped distribution in public performance score in this cohort. There was no significant linear regression relationship between OSCE results and overall performance score, or between any subgroups. There was a significant difference between students with high scores in theatre, debate and vocal music areas, grouped together as verbal performance, and students scoring zero in these areas. (p < 0.05, t-test) with an effect size of 0.4.
Conclusions: We found modest effects from pre-admission experience of verbal performance on students' scores in the OSCE examination. As these data are taken from students' admission statements, we call into question the received wisdom that such statements are unreliable.
C1 [Chan, Michael] Barts & London Med Sch, London, England.
[Bax, Nigel; Woodley, Caroline; Jennings, Michael; Chan, Philip] Univ Sheffield Med Sch, Sheffield, S Yorkshire, England.
[Nicolson, Rod] Univ Sheffield, Dept Psychol, Sheffield S10 2TN, S Yorkshire, England.
C3 University of London; Queen Mary University London; University of
Sheffield; University of Sheffield
RP Chan, P (corresponding author), Univ Sheffield Med Sch, Sheffield, S Yorkshire, England.
EM p.chan@shef.ac.uk
RI Nicolson, Rod/GQZ-4137-2022
NR 18
TC 6
Z9 6
U1 1
U2 23
PU BMC
PI LONDON
PA CAMPUS, 4 CRINAN ST, LONDON N1 9XW, ENGLAND
EI 1472-6920
J9 BMC MED EDUC
JI BMC Med. Educ.
PD MAR 26
PY 2015
VL 15
AR 59
DI 10.1186/s12909-015-0343-0
PG 5
WC Education & Educational Research; Education, Scientific Disciplines
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Education & Educational Research
GA CE5VH
UT WOS:000351903300001
PM 25889394
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Fisher, VJ
AF Fisher, Vicky J.
TI Embodied Songs: Insights Into the Nature of Cross-Modal Meaning-Making
Within Sign Language Informed, Embodied Interpretations of Vocal Music
SO FRONTIERS IN PSYCHOLOGY
LA English
DT Article
DE sign language; embodiment; analogy structure mapping; Conceptual
Metaphor Theory (CMT); cross-modal correspondences; embodied and
grounded cognition; dance and expressive movement; music
ID PERCEPTION; PITCH; DANCE; TIME
AB Embodied song practices involve the transformation of songs from the acoustic modality into an embodied-visual form, to increase meaningful access for d/Deaf audiences. This goes beyond the translation of lyrics, by combining poetic sign language with other bodily movements to embody the para-linguistic expressive and musical features that enhance the message of a song. To date, the limited research into this phenomenon has focussed on linguistic features and interactions with rhythm. The relationship between bodily actions and music has not been probed beyond an assumed implication of conformance. However, as the primary objective is to communicate equivalent meanings, the ways that the acoustic and embodied-visual signals relate to each other should reveal something about underlying conceptual agreement. This paper draws together a range of pertinent theories from within a grounded cognition framework including semiotics, analogy mapping and cross-modal correspondences. These theories are applied to embodiment strategies used by prominent d/Deaf and hearing Dutch practitioners, to unpack the relationship between acoustic songs, their embodied representations, and their broader conceptual and affective meanings. This leads to the proposition that meaning primarily arises through shared patterns of internal relations across a range of amodal and cross-modal features with an emphasis on dynamic qualities. These analogous patterns can inform metaphorical interpretations and trigger shared emotional responses. This exploratory survey offers insights into the nature of cross-modal and embodied meaning-making, as a jumping-off point for further research.
C1 [Fisher, Vicky J.] Radboud Univ Nijmegen, Max Planck Inst Pyscholinguist & Ctr Language Stu, Multimodal Language & Cognit, Nijmegen, Netherlands.
C3 Radboud University Nijmegen
RP Fisher, VJ (corresponding author), Radboud Univ Nijmegen, Max Planck Inst Pyscholinguist & Ctr Language Stu, Multimodal Language & Cognit, Nijmegen, Netherlands.
EM vicky.fisher@mpi.nl
OI Fisher, Vicky/0000-0002-6607-6417
NR 73
TC 2
Z9 2
U1 2
U2 22
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
SN 1664-1078
J9 FRONT PSYCHOL
JI Front. Psychol.
PD OCT 22
PY 2021
VL 12
AR 624689
DI 10.3389/fpsyg.2021.624689
PG 20
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA WU4AT
UT WOS:000716490000001
PM 34744850
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Rosenzweig, S
Scherbaum, F
Müller, M
AF Rosenzweig, Sebastian
Scherbaum, Frank
Mueller, Meinard
TI Computer-assisted Analysis of Field Recordings: A Case Study of Georgian
Funeral Songs
SO ACM JOURNAL ON COMPUTING AND CULTURAL HERITAGE
LA English
DT Article
DE Interactive tools; Georgia; vocal music; Zar; tonal analysis; pitch
slides; pitch drift
AB Three-voiced funeral songs from Svaneti in North-West Georgia (also referred to as Zar) are believed to represent one of Georgia's oldest preserved forms of collective music-making. Throughout a Zar performance, the singers often jointly and intentionally drift upwards in pitch. Furthermore, the singers tend to use pitch slides at the beginning and end of sung notes. Musicological studies on tonal analysis or transcription have to account for such musical peculiarities, e.g., by compensating for pitch drifts or identifying stable note events (located between pitch slides). These tasks typically require labor-intensive annotation processes with manual corrections executed by experts with domain knowledge. For instance, in the context of a previous musicological study on pitch inventories (or pitch-class histograms) of Zar performances, ethnomusicologists tediously annotated fundamental frequency (F0) trajectories, stable note events, and pitch drifts for a set of 11 multitrack field recordings. In this article, we study how musicological studies on field recordings can benefit from interactive computational tools that support such annotation processes. As one contribution of this article, we compile a dataset from the previously annotated audio material, which we release under an open-source license for research purposes. As a second contribution, we introduce two computational tools for removing pitch slides and compensating pitch drifts in performances. Our tools were developed in close collaboration with ethnomusicologists and allow for incorporating domain knowledge (e.g., on singing styles or musically relevant harmonic intervals) in the different processing steps. In a case study using our Zar dataset, we evaluate our tools by reproducing the pitch inventories from the original musicological study and subsequently discuss the potential of computer-assisted approaches for interdisciplinary research.
C1 [Rosenzweig, Sebastian; Mueller, Meinard] Int Audio Labs Erlangen, Erlangen, Germany.
[Scherbaum, Frank] Univ Potsdam, Potsdam, Germany.
C3 University of Erlangen Nuremberg; University of Potsdam
RP Rosenzweig, S (corresponding author), Int Audio Labs Erlangen, Erlangen, Germany.
EM sebastian.rosenzweig@audiolabs-erlangen.de; fs@geo.uni-potsdam.de;
meinard.mueller@audiolabs-erlangen.de
RI Rosenzweig, Sebastian/AAW-9990-2020; Scherbaum, Frank/F-4144-2011;
Mueller, Meinard/U-2097-2019
OI Mueller, Meinard/0000-0001-6062-7524
FU German Research Foundation [DFG MU 2686/13-1, SCHE 280/20-1]
FX This work was supported by the German Research Foundation (DFG MU
2686/13-1, SCHE 280/20-1). The International Audio Laboratories Erlangen
are a joint institution of the Friedrich-Alexander-Universitat
Erlangen-Nurnberg (FAU) and Fraunhofer Institut fur Integrierte
Schaltungen IIS.
NR 50
TC 1
Z9 1
U1 0
U2 0
PU ASSOC COMPUTING MACHINERY
PI NEW YORK
PA 1601 Broadway, 10th Floor, NEW YORK, NY USA
SN 1556-4673
EI 1556-4711
J9 ACM J COMPUT CULT HE
JI ACM J. Comput. Cult. Herit.
PD MAR
PY 2023
VL 16
IS 1
AR 13
DI 10.1145/3551645
PG 16
WC Humanities, Multidisciplinary; Computer Science, Interdisciplinary
Applications
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics; Computer Science
GA O7FC3
UT WOS:001045414000013
OA hybrid
DA 2025-03-18
ER
PT J
AU Liu, ZY
Weng, CQ
AF Liu, ZhiYang
Weng, ChaoQian
TI Online Vocal Teaching: The Role of the Traditionally Trained Instructor
and the Advantages Offered by the Digital Environment
SO CROATIAN JOURNAL OF EDUCATION-HRVATSKI CASOPIS ZA ODGOJ I OBRAZOVANJE
LA English
DT Article
DE digital tool; instructor; online learning; traditional training; vocal
music.
ID EDUCATION; REALITY
AB The paper aimed to propose methods to optimize digital vocal teaching for traditionally trained instructors. The study was performed in the Shanghai Conservatory of Music, Beijing Normal University and East China Normal University. The study sample comprised 342 students. The research objectives were to conduct a SWOT analysis of using Skype in online vocal teaching, to offer an online course (Theory and Applications of Digital Learning in Music Studies), to improve digital competencies of traditionally trained instructors, and to evaluate the impact of digital technology on students' creative academic performance. The SWOT analysis showed that there are predominant strengths in online vocal teaching, and new opportunities can be used to improve learning. The analysis of weaknesses revealed that traditionally trained instructors need to improve their digital literacy. 87 % of traditionally trained instructors improved their digital competencies by the proposed course (Theory and Applications of Digital Learning in Music Studies). Students' academic performance did not differ (p>.05) in the research groups. The mean score was 77 +/- 3.68 and 82 +/- 3.30, respectively, but there was a tendency for the mean score to increase. An instructor's main goal is to make sure that a student maintains a smooth and an even sound in a single breath, without forcing sound during singing, which cannot always be monitored during an online class. The study results allow one to integrate innovative digital technologies into higher music education, without reducing the efficiency of training. Prospective research might focus on digital technology implementation in vocal studies in existing educational institutions to re-engineer teaching technologies and measure their effectiveness.
C1 [Liu, ZhiYang] West AnHui Univ, Fac Art, Luan 237012, Peoples R China.
[Weng, ChaoQian] Natl Pedag Dragomanov Univ, Dept Mus, Pyrohova St 9, UA-02000 Kiev, Ukraine.
C3 West Anhui University; Ministry of Education & Science of Ukraine;
Dragomanov Ukrainian State University
RP Liu, ZY (corresponding author), West AnHui Univ, Fac Art, Luan 237012, Peoples R China.
EM zhivangliu53@gmail.com; chaoqianweng@gmail.com
NR 34
TC 0
Z9 0
U1 7
U2 10
PU FAC TEACHER EDUCATION
PI ZAGREB
PA UNIV ZAGREB, SAVSKA CESTA 77, ZAGREB, 00000, CROATIA
SN 1848-5189
EI 1848-5197
J9 CROAT J EDUC
JI Croat. J. Educ.
PY 2023
VL 25
IS 4
BP 1297
EP 1329
DI 10.15516/cje.v25i4.4696
PG 33
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA IP9Q3
UT WOS:001167654700008
OA Green Published
DA 2025-03-18
ER
PT J
AU Sammler, D
Baird, A
Valabrègue, R
Clément, S
Dupont, S
Belin, P
Samson, S
AF Sammler, Daniela
Baird, Amee
Valabregue, Romain
Clement, Sylvain
Dupont, Sophie
Belin, Pascal
Samson, Severine
TI The Relationship of Lyrics and Tunes in the Processing of Unfamiliar
Songs: A Functional Magnetic Resonance Adaptation Study
SO JOURNAL OF NEUROSCIENCE
LA English
DT Article
ID ANTERIOR TEMPORAL-LOBE; AUDITORY-CORTEX; SPEECH-PERCEPTION; LANGUAGE
AREAS; VOCAL-MUSIC; MEMORY; BRAIN; MELODY; TEXT; REPETITION
AB The cognitive relationship between lyrics and tunes in song is currently under debate, with some researchers arguing that lyrics and tunes are represented as separate components, while others suggest that they are processed in integration. The present study addressed this issue by means of a functional magnetic resonance adaptation paradigm during passive listening to unfamiliar songs. The repetition and variation of lyrics and/or tunes in blocks of six songs was crossed in a 2 X 2 factorial design to induce selective adaptation for each component. Reductions of the hemodynamic response were observed along the superior temporal sulcus and gyrus (STS/STG) bilaterally. Within these regions, the left mid-STS showed an interaction of the adaptation effects for lyrics and tunes, suggesting an integrated processing of the two components at prelexical, phonemic processing levels. The degree of integration decayed toward more anterior regions of the left STS, where the lack of such an interaction and the stronger adaptation for lyrics than for tunes was suggestive of an independent processing of lyrics, perhaps resulting from the processing of meaning. Finally, evidence for an integrated representation of lyrics and tunes was found in the left dorsal precentral gyrus (PrCG), possibly relating to the build-up of a vocal code for singing in which musical and linguistic features of song are fused. Overall, these results demonstrate that lyrics and tunes are processed at varying degrees of integration (and separation) through the consecutive processing levels allocated along the posterior-anterior axis of the left STS and the left PrCG.
C1 [Sammler, Daniela; Baird, Amee; Clement, Sylvain; Samson, Severine] Univ Lille Nord France, UFR Psychol, Neuropsychol & Cognit Audit JE2497, F-59653 Villeneuve Dascq, France.
[Sammler, Daniela; Dupont, Sophie; Samson, Severine] Hop La Pitie Salpetriere, F-75651 Paris, France.
[Sammler, Daniela; Valabregue, Romain] Ctr Neuroimagerie Rech, Paris, France.
[Valabregue, Romain] Univ Paris 06, Unite Mixte Rech 7225, Inst Cerveau & Moelle Epiniere, CNRS,Ctr Rech,INSERM,UMRS 975, Paris, France.
[Belin, Pascal] Univ Glasgow, Dept Psychol, Ctr Cognit Neuroimaging, Glasgow G12 8QB, Lanark, Scotland.
[Belin, Pascal] McGill Univ, Montreal, PQ H3A 2T5, Canada.
[Belin, Pascal] Univ Montreal, Lab Brain Mus & Sound, Montreal, PQ H3C 3J7, Canada.
C3 Universite de Lille; Assistance Publique Hopitaux Paris (APHP); Hopital
Universitaire Pitie-Salpetriere - APHP; Sorbonne Universite; Sorbonne
Universite; Institut National de la Sante et de la Recherche Medicale
(Inserm); Centre National de la Recherche Scientifique (CNRS);
University of Glasgow; Universite de Montreal
RP Samson, S (corresponding author), Univ Lille Nord France, UFR Psychol, Neuropsychol & Cognit Audit JE2497, BP 60 149, F-59653 Villeneuve Dascq, France.
EM sammler@cbs.mpg.de; severine.samson@univ-lille3.fr
RI Belin, Pascal/C-6247-2009; valabregue, romain/GWQ-7484-2022; Samson,
Séverine/P-7417-2019; Sammler, Daniela/V-9044-2019; Clément,
sylvain/B-4545-2011
OI Belin, Pascal/0000-0002-7578-6365; Baird, Amee/0000-0002-0752-8049;
Sammler, Daniela/0000-0001-7458-0229
FU "Agence Nationale pour la Recherche" of the French Ministry of Research
[NT05-3_45987]; Centre de Neuroimagerie de Recherche
FX This study was supported by a grant from "Agence Nationale pour la
Recherche" of the French Ministry of Research (Project NT05-3_45987) to
S. S. We sincerely acknowledge Bernard Bouchard, who constructed the
stimulus material. We are grateful to Stephane Lehericy, Eric Bardinet,
Eric Bertasi, and Kevin Nigaud of the Centre de Neuroimagerie de
Recherche for great support during study preparation, fMRI data
acquisition, and analysis. We also thank Aurelie Pimienta, Severine
Gilbert, and Amelie Coisine for help during data collection and Barbara
Tillmann, Renee Be land, Emmanuel Bigand, Daniele Schon, and Herve
Platel for always fruitful discussion.
NR 50
TC 49
Z9 60
U1 0
U2 19
PU SOC NEUROSCIENCE
PI WASHINGTON
PA 11 DUPONT CIRCLE, NW, STE 500, WASHINGTON, DC 20036 USA
SN 0270-6474
J9 J NEUROSCI
JI J. Neurosci.
PD MAR 10
PY 2010
VL 30
IS 10
BP 3572
EP 3578
DI 10.1523/JNEUROSCI.2751-09.2010
PG 7
WC Neurosciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Neurosciences & Neurology
GA 566UZ
UT WOS:000275400000004
PM 20219991
OA Green Published, hybrid
DA 2025-03-18
ER
PT J
AU Cai, HQ
Liu, GL
AF Cai, Haiqin
Liu, Guangliang
TI Exploring the Learning Psychology Mobilization of Music Majors Through
Innovative Teaching Methods Under the Background of New Curriculum
Reform
SO FRONTIERS IN PSYCHOLOGY
LA English
DT Article
DE innovative teaching methods; in-depth learning; learning motivation;
music teaching; new curriculum reform
ID DEEP; EDUCATION
AB The research expects to explore the psychological mobilization of innovative teaching methods of Music Majors under the new curriculum reform. The relevant theories of college students' innovative teaching methods are analyzed under deep learning together with the innovation and construction of music courses. Thereupon, college students' psychological mobilization is studied. Firstly, the relationship between innovation and entrepreneurship teaching and deep learning is obtained through a literature review. Secondly, the music classroom model is designed based on the deep learning theory, and the four dimensions of the music curriculum are defined to innovate and optimize the music teaching model. Finally, the Questionnaire Survey (QS) is used to analyze the design classroom model. Only 15% of the 180 respondents understand the concept of deep learning, 32% like interactive music learning, and 36% like competitive comparative music classroom learning. And the students who study instrumental music have higher significant differences in learning motivation than those who study vocal music. In addition to classroom learning, 16% of people improve their music skills through music equipment. College students like interactive music classes and competitive comparison classes that can give more play to their subjective initiative. After the new curriculum reform, the music curriculum based on deep learning can stimulate students' interest in learning and participate in the mobilization of students' learning psychology. Therefore, in the future of music education and teaching, there is a need to pay more attention to students' psychological status. The research results can provide references and practical significance for the innovative teaching activities of music classrooms after the new curriculum reform.
C1 [Cai, Haiqin] Gannan Normal Univ, Coll Mus, Ganzhou, Peoples R China.
[Cai, Haiqin; Liu, Guangliang] Khon Kaen Univ, Grad Sch, Khon Kaen, Thailand.
C3 Gannan Normal University; Khon Kaen University
RP Cai, HQ (corresponding author), Gannan Normal Univ, Coll Mus, Ganzhou, Peoples R China.; Cai, HQ (corresponding author), Khon Kaen Univ, Grad Sch, Khon Kaen, Thailand.
EM caihaiqin1983@163.com
NR 31
TC 4
Z9 4
U1 6
U2 36
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
SN 1664-1078
J9 FRONT PSYCHOL
JI Front. Psychol.
PD JAN 21
PY 2022
VL 12
AR 751234
DI 10.3389/fpsyg.2021.751234
PG 9
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA YT6DB
UT WOS:000751447000001
PM 35126231
OA gold, Green Published
DA 2025-03-18
ER
PT J
AU Wang, XX
AF Wang, Xiaoxiang
TI Design of Vocal Music Teaching System Platform for Music Majors Based on
Artificial Intelligence
SO WIRELESS COMMUNICATIONS & MOBILE COMPUTING
LA English
DT Article
AB The cyberspace consisting of information technology, artificial intelligence (AI), communication systems, computer systems, automatic control systems, digital devices, and the applications, services, and data they carry is advancing in an unprecedented way. It is no longer a dream to assist the development of pedagogical expert systems to solve the current problems of insufficient teachers and single teaching tools in music pedagogy reform and to realize the sharing of teaching resources. Artificial intelligence system under music education and education not only breaks the traditional music education model but also promotes the development of music education. This paper introduces the principle of artificial intelligence and analyzes the problems faced by university music education, and the implementation method of vocal education system based on artificial intelligence for music majors is also specifically studied in this paper. This mainly involves the design of the system architecture, such as the system architecture, which is designed to meet the requirements of the whole system. A survey of 100 students found that 82% of students preferred computer-based education to traditional music education. An artificial intelligence-based vocal teaching system for music majors is a system with good applications, where teachers keep track of students' learning through reasoning and analysis, enabling students to learn on their own. Learning music requires constant practice, expanding horizons, and accepting new ways of teaching, and the combination of music and the Internet is the latest option to use resources wisely, optimize them, and provide comprehensive resources. Although a variety of music education aids have emerged, few are actually suitable for music classroom education, so it is important to study and implement AI-based speech education systems for music majors.
C1 [Wang, Xiaoxiang] An Yang Univ, Sch Music, Anyang 455000, Henan, Peoples R China.
RP Wang, XX (corresponding author), An Yang Univ, Sch Music, Anyang 455000, Henan, Peoples R China.
EM xiaoxiangwang@stu.wzu.edu.cn
NR 30
TC 11
Z9 11
U1 22
U2 63
PU WILEY-HINDAWI
PI LONDON
PA ADAM HOUSE, 3RD FL, 1 FITZROY SQ, LONDON, WIT 5HE, ENGLAND
SN 1530-8669
EI 1530-8677
J9 WIREL COMMUN MOB COM
JI Wirel. Commun. Mob. Comput.
PD MAY 18
PY 2022
VL 2022
AR 5503834
DI 10.1155/2022/5503834
PG 11
WC Computer Science, Information Systems; Engineering, Electrical &
Electronic; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering; Telecommunications
GA 1U1BG
UT WOS:000805153700002
OA gold
DA 2025-03-18
ER
PT J
AU Haiduk, F
Quigley, C
Fitch, WT
AF Haiduk, Felix
Quigley, Cliodhna
Fitch, W. Tecumseh
TI Song Is More Memorable Than Speech Prosody: Discrete Pitches Aid
Auditory Working Memory
SO FRONTIERS IN PSYCHOLOGY
LA English
DT Article
DE language; music; memory; pitch; song; speech; auditory perception
ID LANGUAGE; MUSIC; COMMUNICATION; PERCEPTION; EVOLUTION
AB Vocal music and spoken language both have important roles in human communication, but it is unclear why these two different modes of vocal communication exist. Although similar, speech and song differ in certain design features. One interesting difference is in the pitch intonation contour, which consists of discrete tones in song, vs. gliding intonation contours in speech. Here, we investigated whether vocal phrases consisting of discrete pitches (song-like) or gliding pitches (speech-like) are remembered better, conducting three studies implementing auditory same-different tasks at three levels of difficulty. We tested two hypotheses: that discrete pitch contours aid auditory memory, independent of musical experience ("song memory advantage hypothesis"), or that the higher everyday experience perceiving and producing speech make speech intonation easier to remember ("experience advantage hypothesis"). We used closely matched stimuli, controlling for rhythm and timbre, and we included a stimulus intermediate between song-like and speech-like pitch contours (with partially gliding and partially discrete pitches). We also assessed participants' musicality to evaluate experience-dependent effects. We found that song-like vocal phrases are remembered better than speech-like vocal phrases, and that intermediate vocal phrases evoked a similar advantage to song-like vocal phrases. Participants with more musical experience were better in remembering all three types of vocal phrases. The precise roles of absolute and relative pitch perception and the influence of top-down vs. bottom-up processing should be clarified in future studies. However, our results suggest that one potential reason for the emergence of discrete pitch-a feature that characterises music across cultures-might be that it enhances auditory memory.
C1 [Haiduk, Felix; Quigley, Cliodhna; Fitch, W. Tecumseh] Univ Vienna, Dept Behav & Cognit Biol, Vienna, Austria.
[Quigley, Cliodhna; Fitch, W. Tecumseh] Univ Vienna, Vienna Cognit Sci Hub, Vienna, Austria.
[Quigley, Cliodhna] Univ Vet Med Vienna, Konrad Lorenz Inst Ethol, Vienna, Austria.
C3 University of Vienna; University of Vienna; University of Veterinary
Medicine Vienna
RP Haiduk, F (corresponding author), Univ Vienna, Dept Behav & Cognit Biol, Vienna, Austria.
EM felix.haiduk@univie.ac.at
RI Haiduk, Felix/MIQ-0142-2025; Quigley, Cliodhna/H-7732-2019
OI Haiduk, Felix/0000-0002-3320-3627; Quigley, Cliodhna/0000-0002-7522-4426
FU Austrian Science Fund (FWF) [W1262-B29]
FX This study was supported by the Austrian Science Fund (FWF) number
W1262-B29 (DK Grant Cognition & Communication). The funders had no role
in study design, data collection and analysis, decision to publish, or
preparation of the manuscript.
NR 57
TC 6
Z9 7
U1 2
U2 12
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
SN 1664-1078
J9 FRONT PSYCHOL
JI Front. Psychol.
PD DEC 10
PY 2020
VL 11
AR 586723
DI 10.3389/fpsyg.2020.586723
PG 22
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA PI7OG
UT WOS:000601275200001
PM 33362651
OA gold, Green Published
DA 2025-03-18
ER
PT J
AU Rosowsky, A
AF Rosowsky, Andrey
TI To what extent are sacred language practices ultralingual? The
experience of British Muslim children learning Qur'anic Arabic
SO INTERNATIONAL JOURNAL OF BILINGUALISM
LA English
DT Article; Early Access
DE Sacred language; religious language; religion; performance; language
practices
ID MUSIC; PERFORMANCE; SOUND
AB This article draws on qualitative data from a study of young Muslims learning Qur'anic Arabic in the UK to reveal how they engage in sacred language practices that I choose to call 'ultralingual'. Such practices inevitably foreground linguistic form and performance over meaning, at least in the referential sense. Observable in many faith contexts, the ability to acquire a certain proficiency in an invariably ancient sacred language and then participate, actively and passively, in a range of ritual acts is demonstrated by millions of children globally. Usually attending supplementary forms of education, such children learn to access the code of their respective faiths (e.g., Qur'anic Arabic for Muslims and Biblical Hebrew for Jews) through, usually, a traditional learning approach based initially on systematic instruction in sound-letter correspondences which eventually develops into secure decoding proficiency. An important characteristic of this language practice is the ambivalent role of referential meaning. Often, performers, whether in recitation or in the words uttered in prayers, have partial or no access to the meaning of the words they utter. This article calls this 'ultralingualism', a language phenomenon that occurs also in non-religious contexts such as vocal music and multilingual literacy mediation, but which is particularly apparent in faith practices which centre on an ancient text and its language. The young Muslims in this article, however, do not take part in meaningless activities. Much sacred language practice (and some co-sanctified language practice) happens ultralingually, that is, form is emphasised over referential meaning. Evidence in this article argues that such ultralingual practices are accompanied nevertheless by layers of meaning often unrelated to referential or lexical meaning.
C1 [Rosowsky, Andrey] Univ Sheffield, Sheffield, England.
[Rosowsky, Andrey] Univ Sheffield, Sch Educ, 2 Witham Rd, Sheffield S10 2AH, England.
C3 University of Sheffield; University of Sheffield
RP Rosowsky, A (corresponding author), Univ Sheffield, Sch Educ, 2 Witham Rd, Sheffield S10 2AH, England.
EM a.rosowsky@sheffield.ac.uk
NR 47
TC 2
Z9 2
U1 0
U2 0
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 1367-0069
EI 1756-6878
J9 INT J BILINGUAL
JI Int. J. Biling.
PD 2023 OCT 13
PY 2023
DI 10.1177/13670069231203080
EA OCT 2023
PG 14
WC Linguistics; Language & Linguistics
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Linguistics
GA U7XA7
UT WOS:001086885300001
OA Green Accepted, hybrid
DA 2025-03-18
ER
PT J
AU Hurley, DR
AF Hurley, David Ross
TI Handel's Transformative Compositional Practices: A Tale of Two Arias
SO JOURNAL OF MUSICOLOGY
LA English
DT Article
DE Handel; aria; developing variation; opera; oratorio
AB In recent decades singers of Handel's music have made great strides in recapturing the art of embellishing his music, thus breathing new life into forms such as the da capo aria. Yet Handel's own "variations"-his development and transformation of musical material in his vocal music, important for understanding his compositional practice with borrowed as well as (presumably) original music-are not yet fully explored or appreciated. Admittedly, scholars have discussed musical procedures such as inserting, deleting, and reordering musical materials, as well as other Baroque combinatorial practices in Handel's arias, but the musical transformations I discuss here are closer to a specifically Handelian brand of developing variation. To my knowledge, the concept of developing variation has never before been applied to early eighteenth-century music. I explore the relation of developing variation to drama (also rarely done) in two of Handel's arias, providing a close examination of "Ombre, piante" from the opera Rodelinda and new thoughts about "Lament not thus," originally intended for the oratorio Belshazzar. Although these arias belong to different genres and different stages of Handel's career, they both exhibit material that undergoes a kind of progressive variation process that has tangible musical and dramatic ramifications, of interest to opera specialists and performers. Furthermore, both arias have a complicated compositional history; I offer fresh insights into the aesthetic qualities of each version, thereby throwing light on Handel's possible compositional intentions. This article also discloses for the first time some recurring musical passages shared between "Lament not thus" and other pieces that could influence the listener's interpretation of certain musico-dramatic gestures.
C1 [Hurley, David Ross] Pittsburg State Univ, Mus, Pittsburg, KS 66762 USA.
C3 Pittsburg State University
RP Hurley, DR (corresponding author), Pittsburg State Univ, Mus, Pittsburg, KS 66762 USA.
NR 23
TC 1
Z9 1
U1 0
U2 2
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0277-9269
J9 J MUSICOLOGY
JI J. Musicol.
PD FAL
PY 2021
VL 38
IS 4
BP 479
EP 502
DI 10.1525/JM.2021.38.4.479
PG 24
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA WP5HT
UT WOS:000713163300004
DA 2025-03-18
ER
PT J
AU Xiao, XY
Tan, JY
Liu, XL
Zheng, MP
AF Xiao, Xinyao
Tan, Junying
Liu, Xiaolin
Zheng, Maoping
TI The dual effect of background music on creativity: perspectives of music
preference and cognitive interference
SO FRONTIERS IN PSYCHOLOGY
LA English
DT Article
DE background music; creativity; dual effect; emotional valence; cognitive
interference; music preference
ID SAD MUSIC; EMOTIONAL RESPONSES; POSITIVE EMOTIONS; TEST-PERFORMANCE;
BUILD THEORY; MOOD; EXPERIENCE; PERSONALITY; BROADEN; AROUSAL
AB Music, an influential environmental factor, significantly shapes cognitive processing and everyday experiences, thus rendering its effects on creativity a dynamic topic within the field of cognitive science. However, debates continue about whether music bolsters, obstructs, or exerts a dual influence on individual creativity. Among the points of contention is the impact of contrasting musical emotions-both positive and negative-on creative tasks. In this study, we focused on traditional Chinese music, drawn from a culture known for its 'preference for sadness,' as our selected emotional stimulus and background music. This choice, underrepresented in previous research, was based on its uniqueness. We examined the effects of differing music genres (including vocal and instrumental), each characterized by a distinct emotional valence (positive or negative), on performance in the Alternative Uses Task (AUT). To conduct this study, we utilized an affective arousal paradigm, with a quiet background serving as a neutral control setting. A total of 114 participants were randomly assigned to three distinct groups after completing a music preference questionnaire: instrumental, vocal, and silent. Our findings showed that when compared to a quiet environment, both instrumental and vocal music as background stimuli significantly affected AUT performance. Notably, music with a negative emotional charge bolstered individual originality in creative performance. These results lend support to the dual role of background music in creativity, with instrumental music appearing to enhance creativity through factors such as emotional arousal, cognitive interference, music preference, and psychological restoration. This study challenges conventional understanding that only positive background music boosts creativity and provides empirical validation for the two-path model (positive and negative) of emotional influence on creativity.
C1 [Xiao, Xinyao; Liu, Xiaolin; Zheng, Maoping] China Inst Mus Mental Hlth, Chongqing, Peoples R China.
[Xiao, Xinyao; Zheng, Maoping] Southwest Univ, Sch Mus, Chongqing, Peoples R China.
[Tan, Junying] Guizhou Univ Finance & Econ, Guiyang, Peoples R China.
[Liu, Xiaolin] Southwest Univ, Sch Psychol, Chongqing, Peoples R China.
C3 Southwest University - China; Guizhou University of Finance & Economics;
Southwest University - China
RP Zheng, MP (corresponding author), China Inst Mus Mental Hlth, Chongqing, Peoples R China.; Zheng, MP (corresponding author), Southwest Univ, Sch Mus, Chongqing, Peoples R China.
EM zhengswu@126.com
FU This study was supported by the Humanities and Social Sciences Youth
Fund of the Ministry of Education of China (22YJC880066) and the Basic
Research Business Fee Research Project of Central Universities
(SWU2000147). [22YJC880066]; Humanities and Social Sciences Youth Fund
of the Ministry of Education of China [SWU2000147]; Basic Research
Business Fee Research Project of Central Universities
FX We would like to thank Jiang Yihe, Shu Yanyan, and Bai Shu for their
insights and feedback during the development of this study. Parts of
this study were presented at the Chinese Psychological Society's special
committee on music psychology.r This study was supported by the
Humanities and Social Sciences Youth Fund of the Ministry of Education
of China (22YJC880066) and the Basic Research Business Fee Research
Project of Central Universities (SWU2000147).
NR 131
TC 5
Z9 5
U1 35
U2 81
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
SN 1664-1078
J9 FRONT PSYCHOL
JI Front. Psychol.
PD OCT 5
PY 2023
VL 14
AR 1247133
DI 10.3389/fpsyg.2023.1247133
PG 19
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA U7AF7
UT WOS:001086287000001
PM 37868605
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Saito, Y
Ishii, K
Sakuma, N
Kawasaki, K
Oda, K
Mizusawa, H
AF Saito, Yoko
Ishii, Kenji
Sakuma, Naoko
Kawasaki, Keiichi
Oda, Keiichi
Mizusawa, Hidehiro
TI Neural Substrates for Semantic Memory of Familiar Songs: Is There an
Interface between Lyrics and Melodies?
SO PLOS ONE
LA English
DT Article
ID POSITRON-EMISSION-TOMOGRAPHY; WORD FORM AREA; SPEECH-PERCEPTION;
CORTICAL ORGANIZATION; EXPRESSIVE APHASIA; FUNCTIONAL-ANATOMY; CEREBRAL
NETWORKS; MUSIC PERCEPTION; TEMPORAL-LOBES; VOCAL-MUSIC
AB Findings on song perception and song production have increasingly suggested that common but partially distinct neural networks exist for processing lyrics and melody. However, the neural substrates of song recognition remain to be investigated. The purpose of this study was to examine the neural substrates involved in the accessing "song lexicon'' as corresponding to a representational system that might provide links between the musical and phonological lexicons using positron emission tomography (PET). We exposed participants to auditory stimuli consisting of familiar and unfamiliar songs presented in three ways: sung lyrics (song), sung lyrics on a single pitch (lyrics), and the sung syllable 'la' on original pitches (melody). The auditory stimuli were designed to have equivalent familiarity to participants, and they were recorded at exactly the same tempo. Eleven right-handed nonmusicians participated in four conditions: three familiarity decision tasks using song, lyrics, and melody and a sound type decision task (control) that was designed to engage perceptual and prelexical processing but not lexical processing. The contrasts (familiarity decision tasks versus control) showed no common areas of activation between lyrics and melody. This result indicates that essentially separate neural networks exist in semantic memory for the verbal and melodic processing of familiar songs. Verbal lexical processing recruited the left fusiform gyrus and the left inferior occipital gyrus, whereas melodic lexical processing engaged the right middle temporal sulcus and the bilateral temporo-occipital cortices. Moreover, we found that song specifically activated the left posterior inferior temporal cortex, which may serve as an interface between verbal and musical representations in order to facilitate song recognition.
C1 [Saito, Yoko; Ishii, Kenji; Kawasaki, Keiichi; Oda, Keiichi] Tokyo Metropolitan Inst Gerontol, Positron Med Ctr, Itabashi Ku, Tokyo, Japan.
[Sakuma, Naoko] Tokyo Metropolitan Inst Gerontol, Res Team Promoting Independence Elderly, Itabashi Ku, Tokyo, Japan.
[Mizusawa, Hidehiro] Tokyo Med Dent Univ, Dept Neurol Neurol Sci, Grad Sch Med Dent Sci, Bunkyo Ku, Tokyo, Japan.
C3 Tokyo Metropolitan Institute of Gerontology; Tokyo Metropolitan
Institute of Gerontology; Institute of Science Tokyo; Tokyo Medical &
Dental University (TMDU)
RP Ishii, K (corresponding author), Tokyo Metropolitan Inst Gerontol, Positron Med Ctr, Itabashi Ku, Tokyo, Japan.
EM ishii@pet.tmig.or.jp
FU Japan Society for the Promotion of Science [1952353]
FX This research was supported by Grant-in-Aid for JSPS Fellows from the
Japan Society for the Promotion of Science (1952353). The funder had no
role in study design, data collection and analysis, decision to publish,
or preparation of the manuscript.
NR 80
TC 15
Z9 19
U1 0
U2 40
PU PUBLIC LIBRARY SCIENCE
PI SAN FRANCISCO
PA 1160 BATTERY STREET, STE 100, SAN FRANCISCO, CA 94111 USA
SN 1932-6203
J9 PLOS ONE
JI PLoS One
PD SEP 28
PY 2012
VL 7
IS 9
AR e46354
DI 10.1371/journal.pone.0046354
PG 9
WC Multidisciplinary Sciences
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Science & Technology - Other Topics
GA 022PZ
UT WOS:000309973900141
PM 23029492
OA Green Submitted, Green Published, gold
DA 2025-03-18
ER
PT J
AU Markovic, MK
AF Markovic, Marijana Kokanovic
TI THE PHENOMENON OF THE 19TH CENTURY MUSIC MIGRATIONS IN THE CASE OF
ARTISTIC AND PEDAGOGICAL ACTIVITIES OF ROBERT TOLLINGER (1859-1911)
SO HUDEBNI VEDA
LA Czech
DT Article
AB In this paper, the phenomenon of the 19th century music migrations and cultural transfers is explained through a mapping study of the creative legacy of the Czech musician Robert Tollinger, whose manifold artistic activities can be traced along a trajectory stretching from Prague, Zagreb and Velika Kikinda, (Austro-Hungarian Empire) to Cetinje (Principality of Montenegro) and Sabac (Kingdom of Serbia). Robert Tollinger is certainly one of the most distinctive creative personalities among the Czech musicians who worked in the territory of today's Serbia and Montenegro, in the 19th century.
Tollinger was a cellist, composer, conductor, educator and music writer who significantly contributed to the development and organization of musical life in the communities in which he worked. In many aspects of his activities, Tollinger played a pioneering role. As a choirmaster of singing societies, he had a major share in improving the quality of these ensembles, expanding their repertoire and organizing singing societies' guest performances outside their places of residence. Of particular importance was his concert activity as a cellist and chamber musician. In his compositional output, Tollinger made relevant contributions in many fields. In addition to vocal music, the dominant field cultivated by Serbian composers of the time, he also devoted himself to writing instrumental works. In his piano miniatures, he made a notable step forward in comparison with the output of Serbian composers of the same period; he was also the first locally based composer to produce instructional piano literature for children. As a co-founder of the music magazine Gudalo, Tollinger made a significant contribution as a music writer.
C1 [Markovic, Marijana Kokanovic] Univ Novi Sad, Acad Arts, Dept Musicol & Ethnomusicol, Novi Sad, Serbia.
C3 University of Novi Sad
RP Markovic, MK (corresponding author), Univ Novi Sad, Acad Arts, Dept Musicol & Ethnomusicol, Novi Sad, Serbia.
EM Marijanakokanovic@yahoo.com
NR 27
TC 0
Z9 0
U1 0
U2 1
PU CZECH ACAD SCIENCES PRESS
PI PRAGUE 6
PA PUSHKIN US 9, PRAGUE 6 160 00, CZECH REPUBLIC
SN 0018-7003
J9 HUDEBNI VEDA
JI Hudebni Veda
PY 2019
VL 56
IS 1
BP 78
EP +
PG 17
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA JI6IB
UT WOS:000493569900004
DA 2025-03-18
ER
PT J
AU Hakanpää, T
Waaramaa, T
Laukkanen, AM
AF Hakanpaa, Tua
Waaramaa, Teija
Laukkanen, Anne-Maria
TI Emotion Recognition From Singing Voices Using Contemporary Commercial
Music and Classical Styles
SO JOURNAL OF VOICE
LA English
DT Article
DE Voice quality; Emotion expression; Perception; Song genre; Singing style
ID VOCAL EXPRESSION; SPEECH; COMMUNICATION; THEATER
AB Objectives: 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.
Study design: This is an experimental comparative study.
Methods: 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.
Results: 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.
Conclusions: 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.
C1 [Hakanpaa, Tua; Waaramaa, Teija; Laukkanen, Anne-Maria] Univ Tampere, Fac Educ, Speech & Voice Res Lab, Tampere, Finland.
[Waaramaa, Teija] Univ Tampere, Fac Commun Sci, Tampere, Finland.
C3 Tampere University; Tampere University
RP Hakanpää, T (corresponding author), Univ Tampere, Fac Educ, Speech & Voice Res Lab, Vanhan Mankkaan Tie 16 E 14, Espoo 02180, Finland.
EM Hakanpaa.tua.s@student.uta.fi
RI Laukkanen, Anne-Maria/GRS-5359-2022; Hakanpaa, Tua/AAH-5041-2021;
Hakanpaa, Tua/GZM-1298-2022
OI , Anne-Maria/0009-0004-7236-4636; Hakanpaa, Tua/0000-0001-8573-5855
FU Eemil Aaltonen Foundation [160036 N1]; Oskar Oflunds Stiftelse
Foundation
FX This research was supported by the Eemil Aaltonen Foundation through a
grant (160036 N1) and by the Oskar Oflunds Stiftelse Foundation through
a grant to Tua Hakanpaa. The authors would like to thank Antti Poteri,
D.Sc. (Tech), for help with the statistical analysis.
NR 36
TC 10
Z9 10
U1 1
U2 16
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JUL
PY 2019
VL 33
IS 4
BP 501
EP 509
DI 10.1016/j.jvoice.2018.01.012
PG 9
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA IK3LE
UT WOS:000476489700015
PM 29478708
OA Green Accepted
DA 2025-03-18
ER
PT J
AU Sihvonen, AJ
Soinila, S
Särkämö, T
AF Sihvonen, Aleksi J.
Soinila, Seppo
Sarkamo, Teppo
TI Post-stroke enriched auditory environment induces structural connectome
plasticity: secondary analysis from a randomized controlled trial
SO BRAIN IMAGING AND BEHAVIOR
LA English
DT Article
DE Music; Environmental enrichment; Stroke; Rehabilitation; Structural
connectivity
ID INCREASES ACTIVITY; STROKE RECOVERY; NEURAL REPAIR; BRAIN; MUSIC;
REHABILITATION; UNIT; NEUROPLASTICITY; PERCEPTION; MECHANISMS
AB Post-stroke neuroplasticity and cognitive recovery can be enhanced by multimodal stimulation via environmental enrichment. In this vein, recent studies have shown that enriched sound environment (i.e., listening to music) during the subacute post-stroke stage improves cognitive outcomes compared to standard care. The beneficial effects of post-stroke music listening are further pronounced when listening to music containing singing, which enhances language recovery coupled with structural and functional connectivity changes within the language network. However, outside the language network, virtually nothing is known about the effects of enriched sound environment on the structural connectome of the recovering post-stroke brain. Here, we report secondary outcomes from a single-blind randomized controlled trial (NCT01749709) in patients with ischaemic or haemorrhagic stroke (N = 38) who were randomly assigned to listen to vocal music, instrumental music, or audiobooks during the first 3 post-stroke months. Utilizing the longitudinal diffusion-weighted MRI data of the trial, the present study aimed to determine whether the music listening interventions induce changes on structural white matter connectome compared to the control audiobook intervention. Both vocal and instrumental music groups increased quantitative anisotropy longitudinally in multiple left dorsal and ventral tracts as well as in the corpus callosum, and also in the right hemisphere compared to the audiobook group. Audiobook group did not show increased structural connectivity changes compared to both vocal and instrumental music groups. This study shows that listening to music, either vocal or instrumental promotes wide-spread structural connectivity changes in the post-stroke brain, providing a fertile ground for functional restoration.
C1 [Sihvonen, Aleksi J.; Sarkamo, Teppo] Univ Helsinki, Fac Med, Dept Psychol & Logoped, Cognit Brain Res Unit, Turku, Finland.
[Sihvonen, Aleksi J.] Univ Queensland, Queensland Aphasia Res Ctr, Sch Hlth & Rehabil Sci, Brisbane, Qld, Australia.
[Sihvonen, Aleksi J.] Univ Queensland, UQ Ctr Clin Res, Brisbane, Qld, Australia.
[Soinila, Seppo] Turku Univ Hosp, Neuroctr, Turku, Finland.
[Soinila, Seppo] Univ Turku, Div Clin Neurosci, Turku, Finland.
C3 University of Helsinki; University of Queensland; University of
Queensland; University of Turku; University of Turku
RP Sihvonen, AJ (corresponding author), Univ Helsinki, Fac Med, Dept Psychol & Logoped, Cognit Brain Res Unit, Turku, Finland.; Sihvonen, AJ (corresponding author), Univ Queensland, Queensland Aphasia Res Ctr, Sch Hlth & Rehabil Sci, Brisbane, Qld, Australia.; Sihvonen, AJ (corresponding author), Univ Queensland, UQ Ctr Clin Res, Brisbane, Qld, Australia.
EM aleksi.sihvonen@helsinki.fi
OI Sihvonen, Aleksi/0000-0002-4501-7338
FU University of Helsinki; Helsinki University Central Hospital; European
Research Council [803466]; Academy of Finland [257077, 277693, 299044];
Tyks Research Funding [13944]; Finnish Brain Research and Rehabilitation
Foundation; Finnish Brain Foundation; Finnish Cultural Foundation
[191230]; Orion Research Foundation sr; Signe and Ane Gyllenberg
Foundation; European Research Council (ERC) [803466] Funding Source:
European Research Council (ERC)
FX Open Access funding provided by University of Helsinki including
Helsinki University Central Hospital. This study was supported by the
European Research Council (grant 803466), Academy of Finland (grants
257077, 277693, 299044), Tyks Research Funding (grant 13944), Finnish
Brain Research and Rehabilitation Foundation, Finnish Brain Foundation,
Finnish Cultural Foundation (grant 191230), Orion Research Foundation
sr, and Signe and Ane Gyllenberg Foundation.
NR 64
TC 7
Z9 7
U1 1
U2 15
PU SPRINGER
PI NEW YORK
PA ONE NEW YORK PLAZA, SUITE 4600, NEW YORK, NY, UNITED STATES
SN 1931-7557
EI 1931-7565
J9 BRAIN IMAGING BEHAV
JI Brain Imaging Behav.
PD AUG
PY 2022
VL 16
IS 4
BP 1813
EP 1822
DI 10.1007/s11682-022-00661-6
EA MAR 2022
PG 10
WC Neuroimaging
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Neurosciences & Neurology
GA 2W8GA
UT WOS:000774831400001
PM 35352235
OA hybrid, Green Published
DA 2025-03-18
ER
PT J
AU Radhakrishnan, N
Scherer, RC
Bandyopadhyay, S
AF Radhakrishnan, Nandhakumar
Scherer, Ronald C.
Bandyopadhyay, Santanu
TI Laryngeal Dynamics of Pedagogical Taan Gestures in Indian Classical
Singing
SO JOURNAL OF VOICE
LA English
DT Article
DE Taan; Hindustani vocal; Indian vocal; Physiology of taan
ID VIBRATO; TRILLO; MUSIC
AB Objectives. 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 F-0 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.
Study Design. Exploratory.
Methods. 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.
Results. The structure of the taan gesture was found to be an F-0 lowering and rising (the "taan dip'') followed by a relatively flat portion (the "taan superior surface''). Rate of the F-0 structure of the taan gestures ranged from approximately 1.65 to 3.41 Hz, and the F-0 extent ranged from 1.87 to 2.21 semitone (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.
Conclusions. The pedagogical taan gesture has a specific structure of an F-0 dip followed by a relatively flat F-0 portion that shortens as taan rate increases. The F-0 dip and extent are relatively robust across rate. The taan productions are voluntarily controlled, in contrast to vibrato productions.
C1 [Radhakrishnan, Nandhakumar] Univ Missouri, Dept Commun Sci & Disorders, Sch Hlth Profess, Columbia, MO 65211 USA.
[Scherer, Ronald C.] Bowling Green State Univ, Dept Commun Sci & Disorders, Bowling Green, OH 43403 USA.
C3 University of Missouri System; University of Missouri Columbia;
University System of Ohio; Bowling Green State University
RP Radhakrishnan, N (corresponding author), Univ Missouri, Dept Commun Sci & Disorders, Sch Hlth Profess, 316 Lewis Hall, Columbia, MO 65211 USA.
EM radhakrishnann@health.missouri.edu
NR 21
TC 2
Z9 2
U1 1
U2 4
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD MAY
PY 2011
VL 25
IS 3
BP E139
EP E147
DI 10.1016/j.jvoice.2010.03.003
PG 9
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 992LQ
UT WOS:000307778200005
PM 20537861
DA 2025-03-18
ER
PT J
AU Freeman, E
Woo, P
Saxman, JH
Murry, T
AF Freeman, Ena
Woo, Peak
Saxman, John H.
Murry, Thomas
TI A Comparison of Sung and Spoken Phonation Onset Gestures Using
High-Speed Digital Imaging
SO JOURNAL OF VOICE
LA English
DT Article; Proceedings Paper
CT 39th Annual Symposium on Care of the Professional Voice
CY JUN 01-05, 2010
CL Philadelphia, PA
DE High-speed digital imaging; Phonation onset; Prephonatory oscillations;
Steady-state oscillation
ID VOCAL FOLD VIBRATION; LARYNGEAL VIBRATIONS; GLOTTIC WAVE; GLOTTOGRAPHY;
IMAGES; MOTION; ATTACK
AB Phonation onset is important in the maintenance of healthy vocal production for speech and singing. The purpose of this preliminary study was to examine differences in vocal fold vibratory behavior between sung and spoken phonation onset gestures. Given the greater degree of precision required for the abrupt onset sung gestures, we hypothesize that differences exist in the timing and coordination of the vocal fold adductory gesture with the onset of vocal fold vibration. Staccato and German (a modified glottal plosive, so named for its occurrence in German classical singing) onset gestures were compared with breathy, normal, and hard onset gestures, using high-speed digital imaging. Samples were obtained from two subjects with no history of voice disorders (a female trained singer and a male nonsinger). Simultaneous capture of acoustical data confirmed the distinction among gestures. Image data were compared for glottal area configurations, degree of adductory positioning, number of small-amplitude prephonatory oscillations (PPOs), and timing of onset gesture events, the latter marked by maximum vocal fold abduction, maximum adduction, beginning of PPOs, and beginning of steady-state oscillation. Results reveal closer adductory positioning of the vocal folds for the staccato and German gestures. The data also suggest a direct relationship between the degree of adductory positioning and the number of PPOs. Results for the timing of onset gesture events suggest a relationship between discrete adductory positioning and more evenly spaced PPOs. By contrast, the overlapping of prephonatory adductory positioning with vibration onset revealed more unevenly spaced PPOs. This may support an existing hypothesis that less well-defined boundaries interfere with normal modes of vibration of the vocal fold tissue.
C1 [Freeman, Ena; Saxman, John H.] Columbia Univ, Dept Biobehav Sci, New York, NY USA.
[Woo, Peak] Mt Sinai Sch Med, Dept Otolaryngol, New York, NY USA.
[Murry, Thomas] Weill Cornell Med Coll, Dept Otorhinolaryngol, New York, NY USA.
C3 Columbia University; Icahn School of Medicine at Mount Sinai; Cornell
University; Weill Cornell Medicine
RP Freeman, E (corresponding author), 350 Cent Pk W,14B, New York, NY 10025 USA.
EM efreeman6@nyc.rr.com
NR 40
TC 21
Z9 23
U1 0
U2 8
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD MAR
PY 2012
VL 26
IS 2
BP 226
EP 238
DI 10.1016/j.jvoice.2010.11.005
PG 13
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Conference Proceedings Citation Index - Science (CPCI-S)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 913MJ
UT WOS:000301881800014
PM 21256709
DA 2025-03-18
ER
PT J
AU Brandner, M
Bereuter, PA
Kadiri, SR
Sontacchi, A
AF Brandner, Manuel
Bereuter, Paul Armin
Kadiri, Sudarsana Reddy
Sontacchi, Alois
TI Classification of Phonation Modes in Classical Singing Using Modulation
Power Spectral Features
SO IEEE ACCESS
LA English
DT Article
DE Modulation; Feature extraction; Cepstral analysis; Power harmonic
filters; Harmonic analysis; Reverberation; Production; Modulation power
spectrum; phonation modes; singing voice analysis; voice qualities
ID NATURAL SOUNDS; VOICE; BREATHY; SPEECH; RECOGNITION; EXCITATION
AB In singing, the perceptual term "voice quality" is used to describe expressed emotions and singing styles. In voice physiology research, specific voice qualities are discussed using the term phonation modes and are directly related to the voicing produced by the vocal folds. The control and awareness of phonation modes is vital for professional singers to maintain a healthy voice. Most studies on phonation modes have investigated speech and have used glottal inverse filtering to compute features from an estimated excitation signal. The performance of this method is reported to decrease at high pitches, which limits its usability for the singing voice. To overcome this, this study proposes to use features derived from the modulation power spectrum for phonation mode classification in the singing voice. The exploration of the modulation power spectrum is motivated by the fact that, in singing, temporal modulations (known as vocal vibrato) and spectral modulations hold information of the vocal fold tension. Since there exists no large publicly available dataset of phonation modes in singing, we created a new dataset consisting of six female and four male classical singers, who sang five vowels at different pitches in three phonation modes (breathy, modal, and pressed). Experimental results with a support vector machine classifier reveal that the proposed features show better classification performance compared to state-of-the-art reference features. The performance for the current dataset is at least 10% higher compared to the performance of the reference features (such as glottal source features and MFCCs) in the case of target labels and around 6% higher in the case of perceptually assessed labels.
C1 [Brandner, Manuel; Bereuter, Paul Armin; Sontacchi, Alois] Univ Music & Performing Arts Graz, Inst Elect Music & Acoust, A-8010 Graz, Austria.
[Kadiri, Sudarsana Reddy] Aalto Univ, Dept Informat & Commun Engn, Espoo 02150, Finland.
C3 Aalto University
RP Brandner, M (corresponding author), Univ Music & Performing Arts Graz, Inst Elect Music & Acoust, A-8010 Graz, Austria.
EM brandner@iem.at
RI ; Kadiri, Sudarsana Reddy/T-8597-2019
OI Brandner, Manuel/0000-0002-3217-3497; Bereuter, Paul
Armin/0009-0003-9530-337X; Sontacchi, Alois/0009-0008-9205-209X; Kadiri,
Sudarsana Reddy/0000-0001-5806-3053
FU Academy of Finland [330139]; Academy of Finland (AKA) [330139] Funding
Source: Academy of Finland (AKA)
FX This work was supported in part by the Academy of Finland under Project
330139.
NR 48
TC 3
Z9 3
U1 1
U2 3
PU IEEE-INST ELECTRICAL ELECTRONICS ENGINEERS INC
PI PISCATAWAY
PA 445 HOES LANE, PISCATAWAY, NJ 08855-4141 USA
SN 2169-3536
J9 IEEE ACCESS
JI IEEE Access
PY 2023
VL 11
BP 29149
EP 29161
DI 10.1109/ACCESS.2023.3260187
PG 13
WC Computer Science, Information Systems; Engineering, Electrical &
Electronic; Telecommunications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science; Engineering; Telecommunications
GA D2PH7
UT WOS:000967188700001
OA gold, Green Published
DA 2025-03-18
ER
PT J
AU Lloyd, AT
Gerhard, J
Baker, P
Lundy, DS
Diaz, J
Bretl, MM
Landera, MA
Anis, M
Marchman, J
Rosow, DE
AF Lloyd, Adam T.
Gerhard, Julia
Baker, Paul
Lundy, Donna S.
Diaz, Jennylee
Bretl, Michelle M.
Landera, Mario A.
Anis, Mursalin
Marchman, Judy
Rosow, David E.
TI Prevalence of Vocal Fold Pathologies Among First-Year Singing Students
Across Genres
SO LARYNGOSCOPE
LA English
DT Article
DE Prevalence of vocal fold pathology; singers; videostroboscopy; singing
students; musical theatre; contemporary commercial music; classical
singing
ID MUSICAL-THEATER; VOICE SOURCE; REGISTERS
AB Objectives/Hypothesis The purpose of the study was to compare the prevalence of vocal fold pathologies among first-year singing students from the classical, musical theatre, and contemporary commercial music (CCM) genres. Study Design Prospective cohort study. Methods Videostroboscopic examinations were rated by blinded expert raters. Vocal pathology was defined as a vocal fold abnormality on the membranous or cartilaginous portions of the vocal folds or hypomobility. Consensus among three of four raters confirmed presence of pathology. Association between genre of singer and presence of pathology, interrater reliability, and intrarater reliability were calculated. Differences in singing voice handicap, and voice use and vocal hygiene were compared. Results Fifty-seven participants were included. Seventeen percent of CCM, 40% of musical theatre, and 0% of classical singers were found to have vocal fold pathology. Interrater reliability was 0.522 between all four raters, 0.591 between the two laryngologists, and 0.581 between the two speech-language pathologists, showing a moderate agreement (P < .0001). Intrarater reliability was 1.000 (P < .0001) for the two laryngologists and 0.452 (P = .949) and 0.622 (P = .828) for the two speech-language pathologists. Singing Voice Handicap Index-10 data across genre showed differences between CCM and classical singers. No significant differences were found in voice usage or vocal hygiene. Conclusions No classical students were found to have vocal fold pathology, whereas CCM and musical theatre students had significantly higher prevalence of pathologies. Voice use, vocal hygiene, and physiologic phonatory differences among classical, musical theatre, and CCM genres may be risk factors for development of vocal pathology. Level of Evidence 2b Laryngoscope, 2019
C1 [Lloyd, Adam T.; Lundy, Donna S.; Diaz, Jennylee; Bretl, Michelle M.; Landera, Mario A.; Anis, Mursalin; Rosow, David E.] Univ Miami, Miller Sch Med, Dept Otolaryngol, Div Laryngol & Voice, Miami, FL 33136 USA.
[Lloyd, Adam T.; Lundy, Donna S.; Diaz, Jennylee; Bretl, Michelle M.; Landera, Mario A.; Anis, Mursalin; Rosow, David E.] Univ Miami, Miller Sch Med, Dept Otolaryngol, Div Speech Pathol, Miami, FL 33136 USA.
[Gerhard, Julia] Florida Hosp, Div Speech Language Pathol, Winter Pk, FL USA.
[Baker, Paul] Univ Miami, Sch Med, Miami, FL 33136 USA.
[Marchman, Judy; Rosow, David E.] Univ Miami, Frost Sch Mus, Div Vocal Performance, Miami, FL 33136 USA.
C3 University of Miami; University of Miami; Adventist Health Services;
AdventHealth; (AdventHealth) Central Florida Division; Central Florida
Hospital - South; AdventHealth Winter Park; University of Miami;
University of Miami
RP Lloyd, AT (corresponding author), Univ Miami, Miller Sch Med, Div Laryngol & Voice, Div Speech Pathol, 1121 NW 14th St,3rd Floor, Miami, FL 33136 USA.
EM adam.lloyd@med.miami.edu
OI Rosow, David/0000-0002-4289-0158; Lloyd, Adam/0000-0002-0985-397X
FU University of Miami Department of Otolaryngology
FX This work was funded by the University of Miami Department of
Otolaryngology.
NR 20
TC 12
Z9 13
U1 0
U2 2
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0023-852X
EI 1531-4995
J9 LARYNGOSCOPE
JI Laryngoscope
PD AUG
PY 2020
VL 130
IS 8
BP 1996
EP 2002
DI 10.1002/lary.28354
EA OCT 2019
PG 7
WC Medicine, Research & Experimental; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Research & Experimental Medicine; Otorhinolaryngology
GA MI8KK
UT WOS:000492061200001
PM 31647126
DA 2025-03-18
ER
PT J
AU Devadas, U
Vinod, D
Maruthy, S
AF Devadas, Usha
Vinod, Devika
Maruthy, Santosh
TI Immediate Effects of Straw Phonation in Water Exercises on Parameters of
Vocal Loading in Carnatic Classical Singers
SO JOURNAL OF VOICE
LA English
DT Article
DE Vocal loading; Carnatic classical singing; Straw phonation exercise;
Professional voice users
ID ACOUSTIC PARAMETERS; THRESHOLD PRESSURE; VOICE PROBLEMS; WARM-UP;
ENDURANCE; TEACHERS; TRACT; WORK; LOUD; VALIDATION
AB Objective. The present study aimed to investigate the effect of vocal loading and the immediate effects of straw phonation in water exercises on parameters of vocal loading in Carnatic classical singers.Study Design. A within-subject pretest-posttest design.Methods. Twelve healthy Carnatic classical singers participated in the vocal loading experiment for 2 days, referred to as no-treatment and treatment conditions. The vocal loading task consisted of 1 hour of continuous singing in the presence of background noise. For the treatment condition, the participants followed a 10-minute straw phonation in water exercises before the vocal loading task. Acoustic, electroglottographic, and self-rated perceptual voice measures were recorded before and after the vocal loading task on both days.Results. Pretest and posttest comparison of various outcome measures during no-treatment day suggested a significant increase in shimmer percent, decrease in maximum phonation duration of vowel /a/, and increase in perceived phonatory effort, perceived vocal effort, and Evaluation of Ability to Sing Easily scores. Pretest and posttest comparisons during treatment day showed a significant increase in Mean F0, Highest F0, and Lowest F0, perceived phonatory effort, and perceived vocal effort scores. However, changes in Mean F0, Highest F0, and Lowest F0 measures were small in the posttest condition compared to pretest.Conclusion. The present results suggest that vocal loading did induce changes in Carnatic classical singers' voices. However, there is no substantial evidence that straw phonation is effective in reducing the vocal loading in Carnatic classical singers. Further studies are required to corroborate the current findings.
C1 [Devadas, Usha] Manipal Acad Higher Educ, Manipal Coll Hlth Profess, Dept Speech & Hearing, Manipal, India.
[Vinod, Devika; Maruthy, Santosh] All India Inst Speech & Hearing, Dept Speech Language Sci, Mysore, India.
[Maruthy, Santosh] All India Inst Speech & Hearing, Naimisham Campus, Mysore 570006, Karnataka, India.
C3 Manipal Academy of Higher Education (MAHE)
RP Maruthy, S (corresponding author), All India Inst Speech & Hearing, Naimisham Campus, Mysore 570006, Karnataka, India.
EM santoshm79@gmail.com
NR 70
TC 4
Z9 4
U1 0
U2 2
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JAN
PY 2023
VL 37
IS 1
AR 007
DI 10.1016/j.jvoice.2020.11.007
EA JAN 2023
PG 10
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA M3DY0
UT WOS:001029028900001
PM 33288381
DA 2025-03-18
ER
PT J
AU Guzman, M
Lanas, A
Olavarria, C
Azocar, MJ
Muñoz, D
Madrid, S
Monsalve, S
Martinez, F
Vargas, S
Cortez, P
Mayerhoff, RM
AF Guzman, Marco
Lanas, Andres
Olavarria, Christian
Josefina Azocar, Maria
Munoz, Daniel
Madrid, Sofia
Monsalve, Sebastian
Martinez, Francisca
Vargas, Sindy
Cortez, Pedro
Mayerhoff, Ross M.
TI Laryngoscopic and Spectral Analysis of Laryngeal and Pharyngeal
Configuration in Non-Classical Singing Styles
SO JOURNAL OF VOICE
LA English
DT Article
DE Laryngeal hyperfunction; Supraglottic activity; Laryngoscopy; Singing
voice; Nonclassical singers
ID VOICE SOURCE; SUPRAGLOTTIC ACTIVITY; VOCAL-TRACT; FORMANT; PHONATION;
PRESSURE
AB Purpose. 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.
Study Design. Prospective study.
Methods. 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.
Results. 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.
Conclusions. 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.
C1 [Guzman, Marco; Josefina Azocar, Maria; Madrid, Sofia; Monsalve, Sebastian; Martinez, Francisca; Vargas, Sindy] Univ Chile, Sch Commun Sci, Santiago, Chile.
[Lanas, Andres] Clin Las Condes, Voice Ctr, Dept Otolaryngol, Santiago, Chile.
[Olavarria, Christian; Cortez, Pedro; Mayerhoff, Ross M.] Univ Chile, Clin Hosp, Voice Ctr, Dept Otolaryngol, Santiago, Chile.
[Munoz, Daniel] Barros Luco Trudeau Hosp, Dept Network Management, Santiago, Chile.
[Mayerhoff, Ross M.] Wayne State Univ, Dept Otolaryngol Head & Neck Surg, Detroit, MI USA.
C3 Universidad de Chile; Clinica Las Condes; Universidad de Chile;
Universidad de Chile; Wayne State University
RP Guzman, M (corresponding author), Ave Independencia, Santiago 1027, Chile.
EM mguzman@med.uchile.cl
RI Munoz, Daniel/IXD-6516-2023; Mayerhoff, Ross/KHY-6143-2024
OI Mayerhoff, Ross/0000-0002-3262-4737; Guzman, Marco/0000-0003-2088-4870
NR 46
TC 25
Z9 25
U1 0
U2 5
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JAN
PY 2015
VL 29
IS 1
AR 130.e21
DI 10.1016/j.jvoice.2014.05.004
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA AY6YN
UT WOS:000347708700023
PM 25179779
DA 2025-03-18
ER
PT J
AU Macrossan, P
AF Macrossan, Phoebe
TI Rethinking singing on screen: the case for contemporary American
'screensong' across the film musical, music television and the music
video
SO POPULAR MUSIC
LA English
DT Article
ID SONGS
AB The last 20 years have seen extensive scholarship on changing audiovisual aesthetics and the blurring boundaries between all screen media. This article draws on this scholarship and engages with critical debates around the musical genre to examine contemporary song-based screen media. While song and singing have a long history across film, television and video, the digital convergence era has engendered new types of song performance and song-based screen formats. To understand the complex connections and exchanges between different forms of singing on screen, this article develops a new evaluative and conceptual framework. I propose the term screensong to refer to audiovisual representations of singing performance across screen-based media. This article understands screensong as both a broad category of song-based screen texts, genres and formats and as a particular type of song-driven, highly commodified, audiovisual and narrative unit - the screensong - prevalent in contemporary American popular screen media.
EM phoebe.macrossan@gmail.com
OI Macrossan, Phoebe/0000-0003-3110-1173
NR 153
TC 4
Z9 5
U1 0
U2 1
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 0261-1430
EI 1474-0095
J9 POP MUSIC
JI Pop. Music
PD MAY
PY 2021
VL 40
IS 2
BP 210
EP 229
AR PII S0261143021000271
DI 10.1017/S0261143021000271
PG 20
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA XE1IA
UT WOS:000723147900004
DA 2025-03-18
ER
PT J
AU Yeshoda, K
Raveendran, R
AF Yeshoda, Krishna
Raveendran, Revathi
TI Exploring the Spectral and Temporal Characteristics of Human Beatbox
Sounds: A Preliminary Study
SO JOURNAL OF VOICE
LA English
DT Article
DE Human beatbox; Beatboxing; Speech acoustics; India
ID PERCEPTION; TIME; DISTINCTION; AMPLITUDE; DURATION; STOPS
AB Purpose. Human beatbox is a developing hip-hop branch of music wherein impersonations of the percussion drum are done using manipulations of the oro-laryngopharyngeal structures. This study presents a preliminary attempt of exploration and documentation of the spectral and temporal measures of beatbox sounds produced by a single beatbox performer.
Method. An analytical observational study design was adopted wherein; audio recordings were taken from a professional beatboxer. The participant produced five different types of beatbox sequences consisting of classic kick, inward Ph snare with /integral/, throat bass, and uvular oscillation sounds. The recorded beatbox sounds were segmented into preburst and postburst events and were analyzed acoustically.
Results. The scrutiny of the results revealed that the beatbox productions shared characteristic features of linguistic sounds , namely, the following manners of productions, stops, fricatives, and affricates, and further, oro- and laryngopharyngeal regions of the vocal tract as the places of articulation.
Conclusion. It is interesting to note that, the art of betboxing involves wide variety of articulatory configurations and also, the use of resonatory sub-system in the vocal tract.. This knowledge could expand the professional realm of Speech-Language Pathology necessitating the professionals to equip themselves with vocal demands of this relatively budding vocal art form called the beatboxing.
C1 [Yeshoda, Krishna; Raveendran, Revathi] All India Inst Speech & Hearing AIISH, Dept Speech Language Sci, Mysuru, India.
[Raveendran, Revathi] All India Inst Speech & Hearing, Dept Speech Language Sci, Naimisham Campus, Mysore 570006, India.
RP Raveendran, R (corresponding author), All India Inst Speech & Hearing, Dept Speech Language Sci, Naimisham Campus, Mysore 570006, India.
EM revathirslp@gmail.com
RI Krishna, Yeshoda/GSO-2882-2022
OI Raveendran, Revathi/0000-0002-7294-8250
NR 30
TC 0
Z9 0
U1 3
U2 5
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAR
PY 2024
VL 38
IS 3
DI 10.1016/j.jvoice.2021.10.011
EA APR 2024
PG 9
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA SN7O7
UT WOS:001235198200001
PM 34952722
DA 2025-03-18
ER
PT J
AU Duarte, JMD
de Souza, GVS
Simoes-Zenari, M
Nemr, K
AF da Trindade Duarte, Joao Marcos
Sampaio de Souza, Glaucia Verena
Simoes-Zenari, Marcia
Nemr, Katia
TI The Actor's Voice: Vocal Performance Assessment by Different
Professionals
SO JOURNAL OF VOICE
LA English
DT Article
DE Auditory; perceptual evaluation; Voice assessment; Voice quality; Rating
scales; Actor
ID PERCEPTUAL ANALYSIS; RELIABILITY; SPEECH; KNOWLEDGE; QUALITY; IMPACT
AB Introduction. The voice production of actors is complex and can be assessed by different professionals. The objective of this study was to measure actor's global vocal performance (GVP) based on overall voice quality (OVQ) and overall severity (OS), by consensus auditory-perceptual evaluation of voice (CAPE-V), and to investigate the possible correlation between these two analyses in actors without self-reported vocal complaints.
Methods. A total of 39 actors participated in this study, including 20 men and 19 women. Their ages ranged from 18 to 53 years (mean of 33.3 years), with a mean duration of eight years of professional experience. The referred actors were asked to perform predefined CAPE-V tasks and provide one voice sample in which they read a poem at normal loudness; all tasks were recorded. A professional speech-language therapist evaluated the OS based on CAPE-V vocal tasks; scores up to 35.5 mm represented normal parameters, while those from 35.6 to 50.5 mm represented mild deviation, 50.6 to 90.5 mm indicated moderate deviation, and 90.6 to 100 mm indicated severe deviation. A theater director and another speech-language therapist classified the voice samples using the OVQ scale. The OVQ was measured using a 200-mm visual analogue scale. The calculation of terciles allowed the division into three groups regarding the GVP: lowest score group; intermediate score group; and highest score group. The scores of both analyses were compared by sex and groups. Lastly, a correlation analysis was performed between the two analyses for the total sample.
Results. There was a significant difference among the three groups and a mild vocal deviation in the lowest score group. In addition, an inversely proportional correlation was observed between GVP and OS. No sex-related differences were observed in the scores for either analyses.
Conclusion. The actors without self-reported voice complaints presented differences on GVP scores and their distribution was independent of sex and length of professional experience. Vocal deviation, although mild, on average was greater in actors who had the lowest scores in GVP, with an inversely proportional correlation between these two parameters.
C1 [da Trindade Duarte, Joao Marcos; Sampaio de Souza, Glaucia Verena; Simoes-Zenari, Marcia; Nemr, Katia] Univ Sao Paulo, Dept Speech Therapy Physiotherapy & Occupat Thera, Med Sch, Sao Paulo, SP, Brazil.
C3 Universidade de Sao Paulo
RP Simoes-Zenari, M (corresponding author), Univ Sao Paulo, Dept Speech Therapy Physiotherapy & Occupat Thera, Rua Cipotanea 51, BR-05360160 Sao Paulo, SP, Brazil.
EM marciasz@usp.br
RI Nemr, Nair Katia/E-1176-2012
OI Nemr, Nair Katia/0000-0002-8662-2702
FU CAPES
FX CAPES.
NR 47
TC 2
Z9 4
U1 2
U2 7
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAY
PY 2022
VL 36
IS 3
DI 10.1016/j.jvoice.2020.06.019
EA APR 2022
PG 9
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 3F4OL
UT WOS:000830649200031
PM 32713760
DA 2025-03-18
ER
PT J
AU Edgar, AN
AF Edgar, Amanda Nell
TI Blackvoice and Adele's Racialized Musical Performance: Blackness,
Whiteness, and Discursive Authenticity
SO CRITICAL STUDIES IN MEDIA COMMUNICATION
LA English
DT Article
DE Popular Music; Bordering Rhetoric; Authenticity; Whiteness; Adele
AB In this essay, I use Adele's 2012 Grammy performance as a case study to examine the racialized voice and the meaning of authenticity in cases of vocal racial passing. The juxtaposition of Adele's white appearance with a vocal tone and style that approximates black blues performers prompted enactments of white musical bordering, a rhetorical move to classify vocal performances according to race. I adapt a musicological perspective for critical communication studies to highlight the ways ambiguously raced bordering rhetorics prompt questions about the authenticity of "black" and "white" vocal performance. By approximating (what certain audiences understand to be) black female performance, Adele challenges popular music's racial bordering. Although this transgression is ultimately silenced through her ascribed visual whiteness and relegation to the white female-dominated pop category, this act of passing opens a space for discussion about the raced voice and the bordering practices that surround white musical authenticity.
C1 [Edgar, Amanda Nell] Univ Missouri, Columbia, MO 65211 USA.
C3 University of Missouri System; University of Missouri Columbia
RP Edgar, AN (corresponding author), Univ Missouri, Dept Commun, 108 Switzler Hall, Columbia, MO 65211 USA.
EM ane433@mail.missouri.edu
NR 35
TC 17
Z9 28
U1 0
U2 11
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1529-5036
EI 1479-5809
J9 CRIT STUD MEDIA COMM
JI Crit. Stud. Media Comm.
PD AUG
PY 2014
VL 31
IS 3
BP 167
EP 181
DI 10.1080/15295036.2013.863427
PG 15
WC Communication
WE Social Science Citation Index (SSCI)
SC Communication
GA AK1VO
UT WOS:000338206100001
DA 2025-03-18
ER
PT J
AU Lim, VPC
Oates, JM
Phyland, DJ
Campbell, MJ
AF Lim, VPC
Oates, JM
Phyland, DJ
Campbell, MJ
TI Effects of laryngeal endoscopy on the vocal performance of young adult
females with normal voices
SO JOURNAL OF VOICE
LA English
DT Article; Proceedings Paper
CT 26th Annual Symposium on Care of the Professional Voice
CY JUN, 1997
CL PHILADELPHIA, PA
DE laryngeal endoscopy; topical anesthesia; normal voice
ID LARYNGOSCOPY
AB This study investigated changes in maximum phonation time and acoustic and perceptual measures of voice following topical anesthesia and laryngeal endoscopy with the flexible endoscope. Forty-four females, aged 18-33 years and with normal voices, performed four vocal tasks: (a) 3-second /i/ prolongation, (b) maximum phonation time on /i/, (c) stepwise scale-singing, and (d) reading a standard passage. Subjects performed these tasks prior to anesthesia, after anesthesia, and again during laryngeal endoscopy. Voice samples were analyzed for jitter, shimmer, harmonic-to-noise ratio, speaking fundamental frequency, maximum phonational frequency range, maximum phonation time, harshness, and breathiness. Results demonstrated significant reductions in maximum phonational frequency range following anesthesia and, during laryngeal endoscopy, reductions in maximum phonation time and increases in speaking fundamental frequency, minimum fundamental frequency on scale-singing, and breathiness. Clinicians using laryngeal endoscopy for evaluation and management of vocal dysfunction should, therefore, consider the possible effects of these procedures on vocal functioning.
C1 La Trobe Univ, Fac Publ Hlth Sci, Sch Human Commun Sci, Bundoora, Vic 3083, Australia.
C3 La Trobe University
RP La Trobe Univ, Fac Publ Hlth Sci, Sch Human Commun Sci, Bundoora, Vic 3083, Australia.
RI Phyland, Debra/N-5584-2015
OI Oates, Jennifer/0000-0001-9340-938X; Phyland, Debra/0000-0002-8916-3695
NR 33
TC 7
Z9 9
U1 0
U2 0
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAR
PY 1998
VL 12
IS 1
BP 68
EP 77
DI 10.1016/S0892-1997(98)80076-3
PG 10
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Conference Proceedings Citation Index - Science (CPCI-S)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA ZV111
UT WOS:000074270200008
PM 9619980
DA 2025-03-18
ER
PT J
AU Ashley, M
AF Ashley, Martin
TI Slappers who gouge your eyes: vocal performance as exemplification of
disturbing inertia in gender equality
SO GENDER AND EDUCATION
LA English
DT Article
DE boys; singing; homophobia; single-sex schooling; patriarchy; masculinity
ID MASCULINITY; BOYS
AB This article is based upon a full-time study of masculinity and singing funded by the Arts and Humanities Research Council (AHRC). Empirical work was conducted with boy performers and 'peer audiences' for those performers in schools. The article focuses on girls' attitudes to boy singers and reveals a significant difference between primary and secondary schooling. In primary schools, girls are the more responsible for discouraging boys but in secondary schools the male peer group becomes more critical whilst girls increasingly perceive boy singers as 'cute'. It is possible to construct a strong case for single-sex groupings but the empirical work suggests this may turn out to be misguided. The article concludes that there is an urgent need for girls and boys to learn mutual respect in the context of the music class. The evidence suggests that teachers require a significantly enhanced level of gender-related subject knowledge, gender awareness and interpersonal skill.
C1 Edge Hill Univ, Fac Educ, Ormskirk, England.
C3 Edge Hill University
RP Ashley, M (corresponding author), Edge Hill Univ, Fac Educ, Ormskirk, England.
EM ashleym@edgehill.ac.uk
OI Ashley, Martin/0009-0002-0549-2692
FU AHRC [AH/F016603/1] Funding Source: UKRI
NR 57
TC 7
Z9 14
U1 3
U2 9
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 0954-0253
EI 1360-0516
J9 GENDER EDUC
JI Gend. Educ.
PY 2010
VL 22
IS 1
BP 47
EP 62
DI 10.1080/09540250802213164
PG 16
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA 539VU
UT WOS:000273287700004
DA 2025-03-18
ER
PT J
AU Zhurkova, D
AF Zhurkova, Daria
TI Old Songs about the Main Thing: An Alternative Anthology of the Soviet
Popular Music
SO NOVOE LITERATURNOE OBOZRENIE
LA Russian
DT Article
DE popular music; television; Soviet estrada; recycling; nostalgia; song;
1990s; TV show
AB The article is dedicated to the analysis of the television show Old Songs about the Main Thing (ORT, 1995-2000) in light of the "theory" of cultural recycling. Special attention is given to the changes in musical parameters and semantic codes of the Soviet estrada in the process of their reinterpretation by contemporary pop artists; the principle by which certain songs were chosen for reconstruction within the framework of the television show is traced, contrasting the vocal performance of Soviet and contemporary popular singer and comparing the arrangements of the original and new versions of songs. The author comes to the conclusion that within the framework of the television show, a new, alternative history of Soviet Estrada music has been created, which rather than reflect the musical and stylistic conventions of the past, it represents the trends of the modern Russian pop industry, although its connection with Soviet culture cannot be denied.
C1 [Zhurkova, Daria] State Inst Art Studies, Mass Media Arts Dept, Moscow, Russia.
RP Zhurkova, D (corresponding author), State Inst Art Studies, Mass Media Arts Dept, Moscow, Russia.
EM jdacha@mail.ru
RI Zhurkova, Daria/ABG-3983-2020
NR 21
TC 4
Z9 4
U1 1
U2 2
PU NOVOE LITERATURNOE OBOZRENIE-NEW LITERARY OBSERVER
PI MOSCOW
PA 13-1 TVERSKOY BOULEVARD, MOSCOW, 123104, RUSSIA
SN 0869-6365
J9 NOV LIT OBOZR
JI Nov. Lit. Obozr.
PY 2021
IS 169
BP 148
EP 164
PG 17
WC Literary Theory & Criticism; Literature, Slavic
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA SW1AW
UT WOS:000664249600010
DA 2025-03-18
ER
PT J
AU Villeneuve, J
AF Villeneuve, Johanne
TI Adrift: Havarie, an Acousmatic Film by Philip Scheffner
SO SUB-STANCE
LA English
DT Article
AB My aim in this essay is to offer a reading of the documentary Havarie (2016), a film by Philip Scheffner that is essentially based on complex and unusual relationship and disassociation between image and sound, a film made of stories and visions of migration, powerlessness and wanderings. In slowing down and extending video footage of a small dinghy in the Mediterranean shot by a tourist from the deck of a cruise ship, the film provides viewers with a singular visual and ethical experience that is intensified by the presence of a rich sound environment, including that of recorded voices. In the film, pure listening to off-camera sounds and voices is coupled with pure visuality on the screen. Voices enable viewers to navigate the film, as though swimming upstream, by imagining the community of people addressed by the image. Guiding by Michel Chion's theory of "acousmetre" and Paul Zumthor's discussion of vocal performance, this essay explores the interplay between sound and image in the film in terms of "phantomachy," "hypersociability," and "epiphametre."
C1 [Villeneuve, Johanne] Univ Quebec Montreal, Montreal, PQ, Canada.
C3 University of Quebec; University of Quebec Montreal
RP Villeneuve, J (corresponding author), Univ Quebec Montreal, Montreal, PQ, Canada.
NR 24
TC 0
Z9 0
U1 1
U2 1
PU JOHNS HOPKINS UNIV PRESS
PI BALTIMORE
PA JOURNALS PUBLISHING DIVISION, 2715 NORTH CHARLES ST, BALTIMORE, MD
21218-4363 USA
SN 0049-2426
EI 1527-2095
J9 SUB-STANCE
JI Sub-Stance
PY 2020
VL 49
IS 2
BP 71
EP 92
AR 763138
PG 22
WC Literature
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA NE6QD
UT WOS:000562724500005
DA 2025-03-18
ER
PT J
AU Chernela, J
AF Chernela, Janet
TI MASCARADING THE VOICE Texts of the Self in the Brazilian Northwest
Amazon
SO JOURNAL OF ANTHROPOLOGICAL RESEARCH
LA English
DT Article
DE Amazonia; Gender; Language; Performance; Self; Wanano Tukano
ID MULTILINGUALISM; EVIDENTIALITY; LANGUAGE
AB In constructing "texts of the self' in spontaneous song, Wanano women draw on rhetorical and grammatical devices to distance and deflect themselves from the impact of their utterances. Through attributing words to others, the number of contributing voices is multiplied, as the animator's (singer 's) own dominance is performatively diminished. A fracturing of speaker roles allows for the presentation of differing positionalities and epistemic attitudes, as quoted spokespersons retain contrastive relationships to the matter conveyed. In the song performance documented here, a singer bears witness in the face of potential crisis between herself and the community. The example illustrates the dialogic and recursive processes by which internalized, normative, texts create multiple (and at times conflicting) constitutions of the self Through her disclosure of events, reactions, and responsibilities, the singer hopes to broker an acceptable solution to a dangerous social dilemma. By exposing the illusion of consensus between the collective and the individual, the speech event makes explicit the ways in which speakers navigate that which Basso calls "the ordeals of language."
C1 [Chernela, Janet] Univ Maryland, Dept Anthropol, College Pk, MD 20742 USA.
[Chernela, Janet] Univ Maryland, Ctr Latin Amer Studies, College Pk, MD 20742 USA.
C3 University System of Maryland; University of Maryland College Park;
University System of Maryland; University of Maryland College Park
RP Chernela, J (corresponding author), Univ Maryland, Dept Anthropol, College Pk, MD 20742 USA.
EM chernela@umd.edu
NR 78
TC 6
Z9 7
U1 0
U2 1
PU UNIV CHICAGO PRESS
PI CHICAGO
PA 1427 E 60TH ST, CHICAGO, IL 60637-2954 USA
SN 0091-7710
EI 2153-3806
J9 J ANTHROPOL RES
JI J. Anthropol. Res.
PD FAL
PY 2012
VL 68
IS 3
SI SI
BP 315
EP 338
DI 10.3998/jar.0521004.0068.302
PG 24
WC Anthropology
WE Social Science Citation Index (SSCI)
SC Anthropology
GA V34HA
UT WOS:000209076300002
DA 2025-03-18
ER
PT J
AU Coupland, N
AF Coupland, Nikolas
TI Voice, place and genre in popular song performance
SO JOURNAL OF SOCIOLINGUISTICS
LA English
DT Article
DE Popular song; performance; voice; place; genre; vernacularity
ID DIALECT
AB Earlier sociolinguistic studies have conceptualised popular song as a field of phonological variation where singers do or do not maintain features of their national or regional accents in singing. The present paper explores a wider agenda for the sociolinguistics of popular song, theorised as a diverse field of performance organised according to genre. Following initiatives in the sociology of popular music (particularly Simon Frith's research), voice is interpreted as the repertoire of meaning-making options available to performers. Voice subsumes dialect indexicality, but also the management of singer identity and singer-audience relations through the performance of lyrics, rhythmic and bodily modalities. Place is understood as the specific socio-cultural contexts that are explicitly or implicitly voiced, including contexts of performance and reception. By performing within or against generically structured stylistic norms, performers construct and disseminate different vernacular values and identities. Live tracks from three different, broadly-defined genres are considered in detail classic rock and roll (Chuck Berry's Maybellene), folk/country (James Taylor's Copperline), and punk rock (the Sex PistolsJohnny B. Goode).
C1 Cardiff Univ, Ctr Language & Commun Res, ENCAP, Cardiff CF10 3EU, S Glam, Wales.
C3 Cardiff University
RP Coupland, N (corresponding author), Cardiff Univ, Ctr Language & Commun Res, ENCAP, Colum Dr, Cardiff CF10 3EU, S Glam, Wales.
EM coupland@cardiff.ac.uk
NR 54
TC 43
Z9 50
U1 3
U2 27
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 1360-6441
EI 1467-9841
J9 J SOCIOLING
JI J. Socioling.
PD NOV
PY 2011
VL 15
IS 5
BP 573
EP 602
DI 10.1111/j.1467-9841.2011.00514.x
PG 30
WC Linguistics
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Linguistics
GA 860MH
UT WOS:000297951900002
DA 2025-03-18
ER
PT J
AU York, JE
Young, AJ
Radford, AN
AF York, Jennifer E.
Young, Andrew J.
Radford, Andrew N.
TI Singing in the moonlight: dawn song performance of a diurnal bird varies
with lunar phase
SO BIOLOGY LETTERS
LA English
DT Article
DE lunar cycle; moon phase; twilight; light pollution; song; dawn chorus
ID PARUS-MAJOR; CHORUS; RESPONSES; CYCLES; FISHES; TITS
AB It is well established that the lunar cycle can affect the behaviour of nocturnal animals, but its potential to have a similar influence on diurnal species has received less research attention. Here, we demonstrate that the dawn song of a cooperative songbird, the white-browed sparrow weaver (Plocepasser mahali), varies with moon phase. When the moon was above the horizon at dawn, males began singing on average 10 min earlier, if there was a full moon compared with a new moon, resulting in a 67% mean increase in performance period and greater total song output. The lack of a difference between full and new moon dawns when the moon was below the horizon suggests that the observed effects were driven by light intensity, rather than driven by other factors associated with moon phase. Effects of the lunar cycle on twilight signalling behaviour have implications for both pure and applied animal communication research.
C1 [York, Jennifer E.; Young, Andrew J.] Univ Exeter, Ctr Ecol & Conservat, Tremough TR10 9EZ, Cornwall, England.
[York, Jennifer E.; Radford, Andrew N.] Univ Bristol, Sch Biol Sci, Bristol BS8 1UG, Avon, England.
C3 University of Exeter; University of Bristol
RP York, JE (corresponding author), Univ Exeter, Ctr Ecol & Conservat, Cornwall Campus, Tremough TR10 9EZ, Cornwall, England.
EM j.e.york@exeter.ac.uk
OI Radford, Andrew N/0000-0001-5470-3463
FU University of Bristol Scholarship; BBSRC David Phillips Research
Fellowships; BBSRC [BB/H022716/1] Funding Source: UKRI; NERC
[NE/E013481/1] Funding Source: UKRI
FX J.E.Y. was supported by a University of Bristol Scholarship; A.J.Y. and
A.N.R. were supported by BBSRC David Phillips Research Fellowships. We
thank all contributors to our long-term fieldwork, especially Dominic
Cram, Linda Casson and Padraig Cregg, Tswalu Kalahari Reserve for
logistical support and site access, and Julia Purser, Tim Fawcett, Innes
Cuthill and two anonymous referees for helpful comments.
NR 24
TC 66
Z9 72
U1 2
U2 89
PU ROYAL SOC
PI LONDON
PA 6-9 CARLTON HOUSE TERRACE, LONDON SW1Y 5AG, ENGLAND
SN 1744-9561
EI 1744-957X
J9 BIOL LETTERS
JI Biol. Lett.
PD JAN 1
PY 2014
VL 10
IS 1
AR 20130970
DI 10.1098/rsbl.2013.0970
PG 4
WC Biology; Ecology; Evolutionary Biology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Life Sciences & Biomedicine - Other Topics; Environmental Sciences &
Ecology; Evolutionary Biology
GA AC2WR
UT WOS:000332377500014
PM 24429683
OA Bronze, Green Published
DA 2025-03-18
ER
PT J
AU Lin, WY
AF Lin, Wei-Ya
TI "Get out of the Ivory Tower!" Projects in applied Ethnomusicology with
the indigenous Group Tao (Taiwan)
SO MUSIKFORSCHUNG
LA German
DT Article
AB The Tao are one of sixteen recognized indigenous groups in Taiwan who live on Ponso no Tao, which literally means the island of human-beings". Since the 1950s, many policies by the Taiwanese government have aimed to support "development" and "modernization" of ethnic minorities. As a consequence the Tao veered away from their traditional religion and cultural practices, for example by using the economic and monetary system imposed by Taiwan since 1967, and in 1971 the island was opened for tourism. These lifestyle changes resulted in a loss of traditional vocal music as well as the knowledge of history, views of life and taboos which had traditionally been transmitted through song. In 1980, an "intermediate deposit" for "weak" radioactive waste was established on the island through close cooperation and fraudulent practices between the Taiwan Power Company and the government. In 2009, radioactive substances were found outside of the dumpsite on Orchid Island. This article evaluates the social and political implications of two applied ethnomusicological projects developed together with the indigenous group of the Tao. These are the concert project SoundScape - Island of Human Beings (2014), which brought together Austrian, Taiwanese and Tao performers and composers, and the dance theatre production Maataw The Floating Island (2016) developed in collaboration with the Formosan Aboriginal Song and Dance Troupe (FASDT). Both projects are based on the author's dissertation Music in the Life of the Tao: Tradition and Innovation (2015). These projects posed questions such as: how can anthropological and ethnomusicological approaches and methods be applied during the creative processes of composition and choreography in order to interpret the Tao's ecological and political issues on the stage? What insights can be gained from the practice-based collaboration and discussions, during and after the performances? And how do these artistic projects reflect back on and potentially change current political and social situations?
C1 [Lin, Wei-Ya] Univ Mus & Darstellende Kunst Wien Mdw, Vienna, Austria.
[Lin, Wei-Ya] Univ Wien, Inst Mus Wissensch, Forscherin Artist Res, Vienna, Austria.
[Lin, Wei-Ya] Univ Wien, Inst Mus Wissensch, Inst Komposit & Elektroakust, Vienna, Austria.
[Lin, Wei-Ya] iKultLab, Interdisziplinaren & Interkulturellen Sommerkurs, Vienna, Austria.
C3 University of Vienna; University of Vienna
RP Lin, WY (corresponding author), Univ Mus & Darstellende Kunst Wien Mdw, Vienna, Austria.; Lin, WY (corresponding author), Univ Wien, Inst Mus Wissensch, Forscherin Artist Res, Vienna, Austria.; Lin, WY (corresponding author), Univ Wien, Inst Mus Wissensch, Inst Komposit & Elektroakust, Vienna, Austria.
NR 21
TC 1
Z9 1
U1 0
U2 4
PU NEUWERK-BUCH UND MUSIKALIENHANDLUNG
PI KASSEL
PA HEINRICH-SCHUTZ-ALLEE 35 POSTFACH 102740, W-3500 KASSEL, GERMANY
SN 0027-4801
J9 MUSIKFORSCHUNG
JI Musikforschung
PY 2019
VL 72
IS 4
BP 333
EP 345
PG 13
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA KA2UL
UT WOS:000505652700006
DA 2025-03-18
ER
PT J
AU Liu, N
AF Liu, Nan
TI Study on the Application of Improved Audio Recognition Technology Based
on Deep Learning in Vocal Music Teaching
SO MATHEMATICAL PROBLEMS IN ENGINEERING
LA English
DT Article
ID SOUND EVENT CLASSIFICATION
AB As one of the hotspots in music information extraction research, music recognition has received extensive attention from scholars in recent years. Most of the current research methods are based on traditional signal processing methods, and there is still a lot of room for improvement in recognition accuracy and recognition efficiency. There are few research studies on music recognition based on deep neural networks. This paper expounds on the basic principles of deep learning and the basic structure and training methods of neural networks. For two kinds of commonly used deep networks, convolutional neural network and recurrent neural network, their typical structures, training methods, advantages, and disadvantages are analyzed. At the same time, a variety of platforms and tools for training deep neural networks are introduced, and their advantages and disadvantages are compared. TensorFlow and Keras frameworks are selected from them, and the practice related to neural network research is carried out. Training lays the foundation. Results show that through the development and experimental demonstration of the prototype system, as well as the comparison with other researchers in the field of humming recognition, it is proved that the deep-learning method can be applied to the humming recognition problem, which can effectively improve the accuracy of humming recognition and improve the recognition time. A convolutional recurrent neural network is designed and implemented, combining the local feature extraction of the convolutional layer and the ability of the recurrent layer to summarize the sequence features, to learn the features of the humming signal, so as to obtain audio features with a higher degree of abstraction and complexity and improve the performance of the humming signal. The ability of neural networks to learn the features of audio signals lays the foundation for an efficient and accurate humming recognition process.
C1 [Liu, Nan] Shan Dong Coll Arts, Jinan 250000, Shan Dong, Peoples R China.
RP Liu, N (corresponding author), Shan Dong Coll Arts, Jinan 250000, Shan Dong, Peoples R China.
EM z00834@sdca.edu.cn
NR 34
TC 0
Z9 0
U1 2
U2 4
PU HINDAWI LTD
PI LONDON
PA ADAM HOUSE, 3RD FLR, 1 FITZROY SQ, LONDON, W1T 5HF, ENGLAND
SN 1024-123X
EI 1563-5147
J9 MATH PROBL ENG
JI Math. Probl. Eng.
PD AUG 18
PY 2022
VL 2022
AR 1002105
DI 10.1155/2022/1002105
PG 12
WC Engineering, Multidisciplinary; Mathematics, Interdisciplinary
Applications
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Engineering; Mathematics
GA 4F3IK
UT WOS:000848407500010
OA gold
DA 2025-03-18
ER
PT J
AU Unterhofer, C
Buchberger, AMS
Jeleff-Wölfler, O
Mansour, N
Graf, S
AF Unterhofer, Carmen
Buchberger, Anna Maria Stefanie
Jeleff-Woelfler, Olivia
Mansour, Naglaa
Graf, Simone
TI Laryngeal and Pharyngeal Movements During Inner Singing: A
Cross-Sectional Study
SO JOURNAL OF VOICE
LA English
DT Article
DE Inner Singing; Vocal hygiene; Vocal Folds; Singer; Vocal rest; Voice
rest
ID VOICE REST; IMAGERY; PERCEPTION
AB Introduction. Laryngeal and pharyngeal activity during inner singing is discussed in the context of vocal hygiene. Inner singing is defined as imagined singing, reading music silently, and listening to vocal music. When vocal rest is prescribed, doctors, speech therapists, and voice pedagogues recommend avoiding listening to music or reading music silently, since it is suggested that inner singing unconsciously influences the glottis, and thus moves the vocal folds involuntarily. The aim of this study was to compare the degree to which involuntary laryngeal and/or pharyngeal activity occur during inner singing, inner speech, and at rest, and to evaluate if current recommendations concerning vocal hygiene are still reasonable.
Material and method. Thirty vocally healthy participants were examined transnasally with a flexible video-endoscope. The sample consisted of 10 nonsingers, 10 lay singers, and 10 professional singers. Participants were examined during five tasks including rest, silent reading, imagining a melody, listening to music, and reading music. Two medical doctors specializing in phoniatrics analyzed the videos both qualitatively and quantitatively.
Results. During the endoscopic examination, the raters identified movements at the base of the tongue, the posterior and lateral pharynx wall, the arytenoid cartilage, and the vocal folds. The inner singing tasks showed significantly more laryngeal movements as well as significantly more glottal closures than the control tasks (at rest, silent reading). Pharyngeal structures did not show an increase in activity during inner singing. These findings were independent of the level of proficiency in singing.
Conclusion. When total vocal rest is prescribed, patients should also be advised to avoid music imagination. Still, further research is needed to survey in detail the actual effects of these involuntary movements during inner singing on the regeneration process of vocal fold healing.
C1 [Unterhofer, Carmen; Buchberger, Anna Maria Stefanie; Jeleff-Woelfler, Olivia; Graf, Simone] Tech Univ Munich, Dept Otorhinolaryngol Phoniatr, Klinikum Rechts Isar, St 22, D-81675 Munich, Germany.
[Mansour, Naglaa] Tech Univ Munich, Dept Otorhinolaryngol, Klinikum Rechts Isar, Munich, Germany.
C3 Technical University of Munich; Technical University of Munich
RP Unterhofer, C (corresponding author), Tech Univ Munich, Dept Otorhinolaryngol Phoniatr, Klinikum Rechts Isar, St 22, D-81675 Munich, Germany.
EM Carmen.Unterhofer@mri.tum.de
OI Graf, Simone/0000-0002-3021-1656
FU Lehre@Forschung LMU
FX We are very grateful for the statistical help and advisement from Thomas
Maierhofer with the Statistisches Beratungslabor LMU in Munich
(StaBLab). This study was supported by the Lehre@Forschung LMU. We are
very thankful for the independent financial support.
NR 27
TC 0
Z9 0
U1 0
U2 5
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD SEP
PY 2020
VL 34
IS 5
DI 10.1016/j.jvoice.2019.02.011
PG 9
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA NW0GI
UT WOS:000574687600026
PM 30876720
DA 2025-03-18
ER
PT J
AU Bruder, C
Larrouy-Maestri, P
AF Bruder, Camila
Larrouy-Maestri, Pauline
TI Classical singers are also proficient in non-classical singing
SO FRONTIERS IN PSYCHOLOGY
LA English
DT Article
DE music; performance; acoustics; versatility; singing styles
ID VOICE; PHONATION; SPEECH; GUIDELINES; HARMONICS; FORMANT
AB Classical singers train intensively for many years to achieve a high level of vocal control and specific sound characteristics. However, the actual span of singers' activities often includes venues other than opera halls and requires performing in styles outside their strict training (e.g., singing pop songs at weddings). We examine classical singers' ability to adjust their vocal productions to other styles, in relation with their formal training. Twenty-two highly trained female classical singers (aged from 22 to 45 years old; vocal training ranging from 4.5 to 27 years) performed six different melody excerpts a cappella in contrasting ways: as an opera aria, as a pop song and as a lullaby. All melodies were sung both with lyrics and with a /lu/ sound. All productions were acoustically analyzed in terms of seven common acoustic descriptors of voice/singing performances and perceptually evaluated by a total of 50 lay listeners (aged from 21 to 73 years old) who were asked to identify the intended singing style in a forced-choice lab experiment. Acoustic analyses of the 792 performances suggest distinct acoustic profiles, implying that singers were able to produce contrasting sounding performances. Furthermore, the high overall style recognition rate (78.5% Correct Responses, hence CR) confirmed singers' proficiency in performing in operatic style (86% CR) and their versatility when it comes to lullaby (80% CR) and pop performances (69% CR), albeit with occasional confusion between the latter two. Interestingly, different levels of competence among singers appeared, with versatility (as estimated based on correct recognition in pop/lullaby styles) ranging from 62 to 83% depending on the singer. Importantly, this variability was not linked to formal training per se. Our results indicate that classical singers are versatile, and prompt the need for further investigations to clarify the role of singers' broader professional and personal experiences in the development of this valuable ability.
C1 [Bruder, Camila; Larrouy-Maestri, Pauline] Max Planck Inst Empir Aesthet, Dept Mus, Frankfurt, Germany.
[Larrouy-Maestri, Pauline] Max Planck NYU Ctr Language Mus & Emot CLaME, New York, NY USA.
RP Bruder, C (corresponding author), Max Planck Inst Empir Aesthet, Dept Mus, Frankfurt, Germany.
EM camila.bruder@ae.mpg.de
OI Bruder, Camila/0000-0001-7956-2679
FU We express our sincere gratitude to Davi Rodrigues de Lima for his
invaluable support during the recording of singers and the processing of
audio files.
FX We express our sincere gratitude to Davi Rodrigues de Lima for his
invaluable support during the recording of singers and the processing of
audio files.
NR 68
TC 1
Z9 1
U1 2
U2 9
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
SN 1664-1078
J9 FRONT PSYCHOL
JI Front. Psychol.
PD OCT 25
PY 2023
VL 14
AR 1215370
DI 10.3389/fpsyg.2023.1215370
PG 14
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA X2EC2
UT WOS:001096628400001
PM 38023013
OA gold, Green Published
DA 2025-03-18
ER
PT J
AU Delviniotis, DS
AF Delviniotis, Dimitrios S.
TI Acoustic Characteristics of Modern Greek Orthodox Church Music
SO JOURNAL OF VOICE
LA English
DT Article
DE Singing; Greek Orthodox Church Music; Byzantine music; Byzantine chant;
Ecclesiastical speech; Western opera; Long-time average spectrum;
Scale-tone intervals; Singer's formant; Speaker's formant; Vibrato;
Spectrum slope
ID TIME-AVERAGE SPECTRUM; VOICE; FORMANT; STYLES; SPEECH
AB Objectives. Some acoustic characteristics of the two types of vocal music of the Greek Orthodox Church Music, the Byzantine chant (BC) and ecclesiastical speech (ES), are studied in relation to the common Greek speech and the Western opera.
Study Design. Vocal samples were obtained, and their acoustic parameters of sound pressure level (SPL), fundamental frequency (F0), and the long-time average spectrum (LTAS) characteristics were analyzed.
Method. Twenty chanters, including two chanters-singers of opera, sang (BC) and read (ES) the same hymn of Byzantine music (BM), the two opera singers sang the same aria of opera, and common speech samples were obtained, and all audio were analyzed.
Results. The distribution of SPL values showed that the BC and ES have higher SPL by 9 and 12 dB, respectively, than common speech. The average F0 in ES tends to be lower than the common speech, and the smallest standard deviation (SD) of F0 values characterizes its monotonicity. The tone-scale intervals of BC are close enough to the currently accepted theory with SD equal to 0.24 semitones. The rate and extent of vibrato, which is rare in BC, equals 4.1 Hz and 0.6 semitones, respectively. The average LTAS slope is greatest in BC (+4.5 dB) but smaller than in opera (+5.7 dB). In both BC and ES, instead of a singer's formant appearing in an opera voice, a speaker's formant (SPF) was observed around 3300 Hz, with relative levels of +6.3 and +4.6 dB, respectively.
Conclusions. The two vocal types of BM, BC, and ES differ both to each other and common Greek speech and opera style regarding SPL, the mean and SD of F0, the LTAS slope, and the relative level of SPF.
C1 [Delviniotis, Dimitrios S.] Univ Athens, Dept Informat & Telecommun, Athens, Greece.
C3 National & Kapodistrian University of Athens
RP Delviniotis, DS (corresponding author), Univ Athens, Dept Informat & Telecommun, 1st Parodos Mannas 11, Messsologi 30200, Etoloakarnania, Greece.
EM ddelvis@di.uoa.gr
OI Delviniotis, Dimitrios/0000-0003-0006-0110
FU European Union (European Social Fund [ESF]); Greek national funds
through the Operational Program "Education and Lifelong Learning" of the
National Strategic Reference Framework-Research Funding Program-Thales:
Investing in knowledge society through the ESF
FX The author thanks Prof Sergios Theodoridis and Prof Georgios
Couroupetroglou for support in collecting the recording material of
Damaskinos Corpus and Sergios Theodoridis also for his assistance in the
implementation of the whole research in BM. This research has been
cofinanced by the European Union (European Social Fund [ESF]) and Greek
national funds through the Operational Program "Education and Lifelong
Learning" of the National Strategic Reference Framework-Research Funding
Program-Thales: Investing in knowledge society through the ESF.
NR 32
TC 6
Z9 7
U1 0
U2 7
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD SEP
PY 2013
VL 27
IS 5
AR 656.e1
DI 10.1016/j.jvoice.2013.03.011
PG 12
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 215ZI
UT WOS:000324249700024
PM 23830784
DA 2025-03-18
ER
PT J
AU Fine, PA
Ginsborg, J
AF Fine, Philip A.
Ginsborg, Jane
TI Making myself understood: perceived factors affecting the
intelligibility of sung text
SO FRONTIERS IN PSYCHOLOGY
LA English
DT Article
DE singing; sung text; intelligibility; understanding; performer; lyrics
AB Singing is universal, and understanding sung words is thought to be important for many listeners enjoyment of vocal and choral music. However, this is not a trivial task, and sung text intelligibility is probably affected by many factors. A survey of musicians was undertaken to identify the factors believed to have most impact on intelligibility, and to assess the importance of understanding sung words in familiar and unfamiliar languages. A total of 143 professional and amateur musicians, including singers, singing teachers, and regular listeners to vocal music, provided 394 statements yielding 851 references to one or more of 43 discrete factors in four categories: performer-related, listener-related, environment-related and words/music-related. The factors mentioned most frequently in each of the four categories were, respectively: diction; hearing ability; acoustic; and genre. In more than a third of references, the extent to which sung text is intelligible was attributed to the performer. Over 60% of respondents rated the ability to understand words in familiar languages as very important, but only 17% when the text was in an unfamiliar language. Professional musicians (47% of the sample) rated the importance of understanding in both familiar and unfamiliar languages significantly higher than amateurs but listed fewer factors overall and fewer listener-related factors. The more important the respondents rated understanding, the more performer-related and environment-related factors they tended to list. There were no significant differences between the responses of those who teach singing and those who do not. Enhancing sung text intelligibility is thus perceived to be within the singers control, at least to some extent, but there are also many factors outside their control. Empirical research is needed to explore some of these factors in greater depth, and has the potential to inform pedagogy for singers, composers, and choral directors.
C1 [Fine, Philip A.] Univ Buckingham, Dept Psychol, Hunter St, Bucksburn MK18 1EG, Aberdeen, Scotland.
[Ginsborg, Jane] Royal Northern Coll Mus, Ctr Mus Performance Res, Manchester, Lancs, England.
C3 University of Buckingham; Royal Northern College of Music - UK
RP Fine, PA (corresponding author), Univ Buckingham, Dept Psychol, Hunter St, Bucksburn MK18 1EG, Aberdeen, Scotland.
EM philip.fine@buckingham.ac.uk
RI Ginsborg, Jane/AAB-4395-2020; Fine, Philip/Y-8166-2019
OI Ginsborg, Jane/0000-0003-0297-1751
NR 81
TC 12
Z9 16
U1 1
U2 9
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
SN 1664-1078
J9 FRONT PSYCHOL
JI Front. Psychol.
PD SEP 4
PY 2014
VL 5
AR 809
DI 10.3389/fpsyg.2014.00809
PG 15
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA VC9KL
UT WOS:000435230000001
PM 25249987
OA gold, Green Published, Green Accepted
DA 2025-03-18
ER
PT J
AU Bottalico, P
Marunick, MT
Nudelman, CJ
Webster, J
Jackson-Menaldi, MC
AF Bottalico, Pasquale
Marunick, Mark T.
Nudelman, Charles J.
Webster, Jossemia
Jackson-Menaldi, Maria Cristina
TI Singing Voice Quality: The Effects of Maxillary Dental Arch and Singing
Style
SO JOURNAL OF VOICE
LA English
DT Article
DE Singing style; Palate dimensions; Singing Power Ratio; A(2)A(1) ratio
ID ACOUSTIC CHARACTERISTICS; POWER RATIO; CLASSIFICATION; LENGTH
AB Introduction. In classical singing techniques, it is common to manipulate the vocal tract to channel airflow to increase voice quality and volume. Technique varies according to the style of the music, the voice type, and range of a given singer. Although these practices are intentional, fixed physiological aspects of a singer's vocal instrument also play an extremely impactful role in determining voice quality.
Objectives. In the present study, the relationship between the dimensions of the maxillary dental arch and voice quality were examined in professional singers.
Methods. The dimensions of the palate were measured from the maxillary dental casts of 14 female singers. Audio recordings were made for the same participants while singing a sustained /a/ singing vowel, a glissando, the song "Are You Sleeping", and a selected song from their personal repertoire. The dimensions of the palate were measured from maxillary dental casts. From the recordings, two parameters were calculated: (1) the Singing Power Ratio (SPR) and (2) A(2) A(1) ratio. Higher SPR values indicate a stronger ring in the voice, typical of operatic singing style, while higher A(2) A(1) ratio values are associated with the belting singing style.
Results. Singers with larger frontal palate depth, smaller posterior palate depth, larger frontal palate width, and smaller posterior palate width seem to be more suitable for an operatic singing style. Singers who had larger overall depth and width of the palate measurements produced an increased second harmonic, typical of the belting style.
Conclusions. When considering a singer's ability to produce vocalizations successfully, physiological structure is an increasingly important factor. The present study discovered that palate depth and width are associated with statistically significant differences in SPR and A(2)/A(1) parameters. These parameters correlate with two styles of singing, operatic, and belting respectively.
C1 [Bottalico, Pasquale; Nudelman, Charles J.; Webster, Jossemia] Univ Illinois, Dept Speech & Hearing Sci, 901 S 6th St, Champaign, IL 61820 USA.
[Marunick, Mark T.; Jackson-Menaldi, Maria Cristina] Wayne State Univ, Sch Med, Dept Otolaryngol, Detroit, MI 48201 USA.
[Jackson-Menaldi, Maria Cristina] Lakeshore Profess Voice Ctr, Lakeshore Ear Nose & Throat Ctr, St Clair Shores, MI USA.
C3 University of Illinois System; University of Illinois Urbana-Champaign;
Wayne State University
RP Bottalico, P (corresponding author), Univ Illinois, Dept Speech & Hearing Sci, 901 S 6th St, Champaign, IL 61820 USA.
EM pb81@illinois.edu
RI Bottalico, Pasquale/ABI-2005-2020
OI Nudelman, Charles/0000-0003-3576-6770
NR 17
TC 3
Z9 3
U1 1
U2 2
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAY
PY 2021
VL 35
IS 3
DI 10.1016/j.jvoice.2019.09.015
EA MAY 2021
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA SJ6QU
UT WOS:000655658000041
PM 31676168
DA 2025-03-18
ER
PT J
AU Gao, C
Li, G
AF Gao, Chuan
Li, Gen
TI Development of vocal exercises for training musical skills
SO CULTURE AND EDUCATION
LA English
DT Article
DE musical skills; music education; vocal exercises; visual arts;
interactive environment
ID CONSTRUCTION
AB Development of vocal exercises with visual art and interactive tools might contribute to development of students' musical skills and enhance learning effectiveness. This paper gets an insight into the effectiveness of the vocal exercises developed with visual art tools and a vocal training app. The survey was conducted among 110 students from a music school in China. Students from small groups B who used MOOC and the developed vocal exercises performed 8.6% better compared to the control group, suggesting the programme's effectiveness for teaching vocal performance. Group B post-assessment of the special factors showed increased scores on the three assessment criteria after the intervention. This study has practical value and is important for further research because it demonstrates the developed vocal exercises' effect on musical skills. Research findings may be applied in educational institutions that are interested in finding ways to develop musical skills and improve the effectiveness of vocal training. The results are important for teachers, education officials and everyone interested in the introduction of interactive environments.
C1 [Gao, Chuan; Li, Gen] Xiamen Univ, Tan Kah Kee Coll, Xiamen, Peoples R China.
[Gao, Chuan] Xiamen Univ, Dept Mus, Tan Kah Kee Coll, Xiamen, Peoples R China.
C3 Xiamen University; Xiamen University
RP Gao, C (corresponding author), Xiamen Univ, Dept Mus, Tan Kah Kee Coll, Xiamen, Peoples R China.
EM gaochuan244@gmail.com
NR 60
TC 0
Z9 0
U1 3
U2 16
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 1135-6405
EI 1578-4118
J9 CULT EDUC-UK
JI Cult. Educ.
PD OCT 2
PY 2023
VL 35
IS 4
BP 841
EP 877
DI 10.1080/11356405.2023.2249706
EA OCT 2023
PG 37
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA CD1N1
UT WOS:001100075900001
DA 2025-03-18
ER
PT S
AU Rusko, M
Hamar, J
AF Rusko, Milan
Hamar, Juraj
BE Sojka, P
Kopecek, I
Pala, K
TI Character identity expression in vocal performance of traditional
puppeteers
SO TEXT, SPEECH AND DIALOGUE, PROCEEDINGS
SE LECTURE NOTES IN ARTIFICIAL INTELLIGENCE
LA English
DT Article; Proceedings Paper
CT 9th International Conference on Text, Speech and Dialogue
CY SEP 11-15, 2006
CL Brno, CZECH REPUBLIC
SP Int Speech Commun Assoc, S Moravia Gas Co, Masaryk Univ, Fac Informat, Univ West Bohemia, Fac Appl Sci
AB A traditional puppeteer generally uses up to a dozen different marionettes in one piece. Each of them impersonates a character with its own typical voice manifestation. It is therefore very interesting to study the techniques the puppeteer uses to change his voice and their acoustical correlates. This study becomes even more interesting when a traditional style exists that has been respected by the puppeteers for more than a century. Thus we decided to make use of the fact that there are records available of several pieces played by Bohuslav Anderle (1913-1976) and we recorded parts of the same plays played by his son, Anton Anderle (1944), supplemented by his verbal description of personality features of the characters that the actor tries to express in their voices. A summary of variety of characters one puppeteer has to master is given and the psychological, aesthetic and acoustic-phonetic aspects of their personalities are discussed. The main goal of the paper is to present a classification of voice displays of characters, techniques of voice changes, and their acoustic correlates.
C1 Slovak Acad Sci, Inst Informat, Bratislava, Slovakia.
Comenius Univ, Fac Philosophy, Dept Aesthet, Bratislava, Slovakia.
C3 Slovak Academy of Sciences; Institute of Informatics, SAS; Comenius
University Bratislava
RP Rusko, M (corresponding author), Slovak Acad Sci, Inst Informat, Bratislava, Slovakia.
EM Milan.Rusko@savba.sk; Hamar@internet.sk
RI Rusko, Milan/E-5446-2017
OI Rusko, Milan/0000-0002-2036-7323
NR 6
TC 5
Z9 5
U1 0
U2 1
PU SPRINGER-VERLAG BERLIN
PI BERLIN
PA HEIDELBERGER PLATZ 3, D-14197 BERLIN, GERMANY
SN 0302-9743
BN 3-540-39090-1
J9 LECT NOTES ARTIF INT
PY 2006
VL 4188
BP 509
EP 516
PG 8
WC Computer Science, Artificial Intelligence; Computer Science, Information
Systems
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED)
SC Computer Science
GA BFD09
UT WOS:000241103500064
DA 2025-03-18
ER
PT J
AU Gruzelier, JH
Holmes, P
Hirst, L
Bulpin, K
Rahman, S
van Run, C
Leach, J
AF Gruzelier, J. H.
Holmes, P.
Hirst, L.
Bulpin, K.
Rahman, S.
van Run, C.
Leach, J.
TI Replication of elite music performance enhancement following alpha/theta
neurofeedback and application to novice performance and improvisation
with SMR benefits
SO BIOLOGICAL PSYCHOLOGY
LA English
DT Article
DE Neurofeedback; Alpha/theta; SMR; Music; Creativity; Improvisation
ID INTERHEMISPHERIC ASYMMETRY; EEG BIOFEEDBACK; SELF-REGULATION; ATTENTION;
RHYTHM; CHILDREN; ADHD; SUPPRESSION; POTENTIALS; DISORDER
AB Alpha/theta (A/T) and sensory-pmotor 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 - pprepared vocal, improvised vocal and instrumental -pand 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-porder processes such as attention, working memory and psychomotor skills. The importance of validation through learning indices was emphasised in the interpretation of neurofeedback outcome. (C) 2013 Elsevier B. V. All rights reserved.
C1 [Gruzelier, J. H.; Leach, J.] Univ London, Dept Psychol, London SE14 6NW, England.
[Holmes, P.; Hirst, L.] Trinity Laban Conservatoire Mus & Dance, London, England.
[Bulpin, K.; Rahman, S.] Imperial Coll Sch Med, London, England.
[van Run, C.] Univ Utrecht, Utrecht, Netherlands.
C3 University of London; Imperial College London; Utrecht University
RP Gruzelier, JH (corresponding author), Univ London, Dept Psychol, Lewisham Way, London SE14 6NW, England.
EM j.gruzelier@gold.ac.uk
FU National Endowment for Science, Technology and Arts (NESTA); EEG
Spectrum; Thought Technology
FX The research was supported by a grant from the National Endowment for
Science, Technology and Arts (NESTA). We thank the participants and
accompanists and support of EEG Spectrum and Thought Technology.
NR 77
TC 32
Z9 34
U1 2
U2 31
PU ELSEVIER
PI AMSTERDAM
PA RADARWEG 29, 1043 NX AMSTERDAM, NETHERLANDS
SN 0301-0511
EI 1873-6246
J9 BIOL PSYCHOL
JI Biol. Psychol.
PD JAN
PY 2014
VL 95
SI SI
BP 96
EP 107
DI 10.1016/j.biopsycho.2013.11.001
PG 12
WC Psychology, Biological; Behavioral Sciences; Psychology; Psychology,
Experimental
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Psychology; Behavioral Sciences
GA 293OH
UT WOS:000329981400011
PM 24231602
DA 2025-03-18
ER
PT B
AU Anderson, S
Himonides, E
Wise, K
Welch, G
Stewart, L
AF Anderson, Susan
Himonides, Evangelos
Wise, Karen
Welch, Graham
Stewart, Lauren
GP Annals NY Acad Sci
TI Is there potential for learning in amusia? A study of the effect of
singing intervention in congenital amusia
SO NEUROSCIENCES AND MUSIC IV: LEARNING AND MEMORY
SE Annals of the New York Academy of Sciences-Series
LA English
DT Article; Proceedings Paper
CT Conference on Neurosciences and Music-IV - Learning and Memory
CY JUN 09-12, 2011
CL Univ Edinburgh, Edinburgh, SCOTLAND
SP Mariani Fdn, Inst Mus Human & Social Dev
HO Univ Edinburgh
DE congenital amusia; poor-pitch singing; intervention
ID TONE-DEAFNESS; MUSICAL DISORDERS; PITCH; PERCEPTION
AB Congenital amusia is a neurodevelopmental disorder of musical perception and production. Much research has focused on characterizing the deficits within this special population; however, it is also important from both a psychological and educational perspective to determine which aspects of the disorder may be subject to change because this will also constrain theorizing about the nature of the disorder, as well as facilitating possible future remediation programs. In this small-scale study, a professional singing teacher used a broad-brush intervention approach with five individuals diagnosed with congenital amusia. The compensatory elements were designed to enhance vocal efficiency and health, singing technique, musical understanding, pitch perception, and production. Improvements were observed in most individuals in perception, indexed via the Montreal Battery for the Evaluation of Amusia scale subtest and in the vocal performance of familiar songs. The workshop setting gave a unique opportunity for observation and discussion to inform further investigations of this disorder.
C1 [Anderson, Susan; Stewart, Lauren] Univ London, Dept Psychol, Goldsmiths, London, England.
[Himonides, Evangelos; Welch, Graham] Univ London, Inst Educ, London WC1N 1AZ, England.
[Wise, Karen] Univ Cambridge, Fac Mus, Cambridge, England.
C3 University of London; Goldsmiths University London; University of
London; University College London; UCL Institute of Education;
University of Cambridge
RP Stewart, L (corresponding author), Univ London Psychol, Goldsmiths, Whitehead Bldg, London SE14 6NW, England.
EM l.stewart@gold.ac.uk
RI Wise, Karen/V-2075-2019; Stewart, Lauren/HHC-2911-2022; Andersen,
Steffen/B-1646-2014; Himonides, Evangelos/I-2884-2015
OI Welch, Graham/0000-0003-2258-8039; stewart, lauren/0000-0002-6221-6064;
Himonides, Evangelos/0000-0002-8749-0799
FU ESRC [ES/F001940/1] Funding Source: UKRI
NR 25
TC 20
Z9 23
U1 1
U2 21
PU BLACKWELL SCIENCE PUBL
PI OXFORD
PA OSNEY MEAD, OXFORD OX2 0EL, ENGLAND
BN 978-1-57331-841-9
J9 ANN NY ACAD SCI
JI Ann.NY Acad.Sci.
PY 2012
VL 1252
BP 345
EP 353
DI 10.1111/j.1749-6632.2011.06404.x
PG 9
WC Multidisciplinary Sciences; Neurosciences; Psychology
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED)
SC Science & Technology - Other Topics; Neurosciences & Neurology;
Psychology
GA BAU07
UT WOS:000305518900045
PM 22524378
DA 2025-03-18
ER
PT J
AU La, FMB
Silva, LS
Granqvist, S
AF La, Filipa M. B.
Silva, Luciano S.
Granqvist, Svante
TI Long-Term Average Spectrum Characteristics of Portuguese
Fado-Cancao from Coimbra
SO JOURNAL OF VOICE
LA English
DT Article
DE Fado-Cancao; Long-Term-Average Spectrum; Singer's formant cluster;
Formant Cluster Prominence
ID SINGERS FORMANT; VOICE; LEVEL; FREQUENCY; RESONANCE
AB Descriptions of acoustical characteristics of Fado, a Portuguese urban style sung in Lisbon and Oporto, are scarce, particularly concerning Fado-Cancao, a related style sung in Coimbra. The present study aims at describing long-term average spectrum (LTAS) parameters of 16 professional singers while singing and reading the lyrics of a typical Fado-Cancao. LTAS parameters were investigated in terms of: (1) equivalent sound level (Leq); (2) spectral differences between 3 frequency bands 0-2, 2-5, and 5-8 kHz; and (3) quantification of spectral prominence between 2 and 4 kHz, calculated as the level difference between the peak in this frequency region and a reference trendline between 1 and 5 kHz, henceforth Formant Cluster Prominence (FCP). Given that Fado-Cancao, besides Fado and traditional styles, originated also from classical singing, and that previous studies on Fado suggest the absence of a singer's formant cluster, the averaged LTAS for all Fado-Cancao singers was further compared to the LTAS of two world-touring opera baritones singing an operatic aria and a lied. Results show that Fado-Cancao is commonly sung with a Leq of 86.4 dB and a FCP of about 10 dB, values significantly higher when compared to reading. The FCP in Fado-Cancao, although smaller than for the two classical opera singers' examples (14.8 and 20 dB, respectively), suggests that the style preserved some of its original lyrical influence. However, because younger singers present higher energy in the 5-8 kHz region relative to the remain-ing frequency bands as compared to older singers, it seems that Fado-Cancao may be drifting towards non-classical vocal practices. FCP seems to be a promising straightforward method to quantify the degree of formant clustering around the region of the singer's formant in LTAS, allowing comparisons between different singers and singing styles.
C1 [La, Filipa M. B.] Natl Distance Educ Univ UNED, Fac Educ, Sch Org & Special Didact, Dept Didact, Madrid, Spain.
[La, Filipa M. B.; Silva, Luciano S.] Univ Coimbra, Inst Interdisciplinary Res, Ctr Social Studies, Coimbra, Portugal.
[Silva, Luciano S.] Latin Amer Integrat Univ, Latin Amer Inst Arts Culture & Hist, Ave Tancredo Neves, Foz do Iguacu, PR, Brazil.
[Granqvist, Svante] Karolinska Univ Hosp, Karolinska Inst, Dept Clin Sci Intervent & Technol CLINTEC, Div Speech & Language Pathol, Huddinge, Stockholm, Sweden.
[Granqvist, Svante] KTH Royal Inst Technol, Sch Engn Sci Chem Biotechnol & Hlth CBH, Dept Biomed Engn & Hlth Syst, Huddinge, Sweden.
[La, Filipa M. B.] Natl Distance Educ Univ UNED, Fac Educ, Sch Org & Special Didact, Dept Didact, Calle Juan del Rosal 14, Madrid 28040, Spain.
C3 Universidad Nacional de Educacion a Distancia (UNED); Universidade de
Coimbra; Karolinska Institutet; Karolinska University Hospital; Royal
Institute of Technology; Universidad Nacional de Educacion a Distancia
(UNED)
RP La, FMB (corresponding author), Natl Distance Educ Univ UNED, Fac Educ, Sch Org & Special Didact, Dept Didact, Calle Juan del Rosal 14, Madrid 28040, Spain.
EM filipa.la@edu.uned.es
RI Lã, Filipa/M-7767-2013
OI Simoes Silva, Luciano/0000-0002-1742-2395
FU Atraccion de Talento Investigador C. de Madrid [2018-T1/HUM-12172]
FX The author(s) disclosed receipt of the following financial support for
the research, authorship, and/or publication of this article: This work
was supported by the Atraccion de Talento Investigador C. de Madrid
[grant number 2018-T1/HUM-12172].
NR 33
TC 0
Z9 0
U1 1
U2 3
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JUL
PY 2023
VL 37
IS 4
DI 10.1016/j.jvoice.2021.03.005
EA JUL 2023
PG 9
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA O0SQ9
UT WOS:001041011300001
PM 33863624
OA hybrid
DA 2025-03-18
ER
PT J
AU van Orden, K
AF van Orden, Kate
TI Music as a Sonic Record: Toward a Geography of Sixteenth-Century
Vernaculars
SO HUNTINGTON LIBRARY QUARTERLY
LA English
DT Article
DE French part-song; multilingualism in music; Jacquet of Berchem; Clement
Janequin; Pierre Passereau; Hans Heinrich Herwart; Fugger dynasty
AB As pieces designed for vocal performance and produced in ephemeral scripts, secular genres such as the French chanson and Italian madrigal record vernacular accents, dialects, and sounds often excluded from literary and scientific texts. Close to the voice, polyphonic part-songs reveal a sonic record of European vernaculars. This essay concentrates on French chansons as witnesses to multilingualism in early modern Europe. It demonstrates, first, that chansons traveled extensively beyond the linguistic borders of their native lands, their foreign production aptly tracking the movements of displaced musicians both amateur and professional. Second, French chansons were arguably used to teach non-French speakers this foreign vernacular. Finally, French texts woven into polylingual songs underscore the multiculturalism of some European cities and the extent to which early moderns traveled, migrated, and lived in cosmopolitan environments. In "Voicing Text 1500-1700," ed. Jennifer Richards and Richard Wistreich, special issue,http://muse.jhu.edu/muse.jhu.edu/resolve/66.
C1 [van Orden, Kate] Harvard Univ, Mus, Cambridge, MA 02138 USA.
C3 Harvard University
RP van Orden, K (corresponding author), Harvard Univ, Mus, Cambridge, MA 02138 USA.
NR 53
TC 2
Z9 2
U1 0
U2 1
PU UNIV PENNSYLVANIA PRESS
PI PHILADELPHIA
PA JOURNALS DIVISION, 3905 SPRUCE STREET, PHILADELPHIA, PA 19104 USA
SN 0018-7895
EI 1544-399X
J9 HUNTINGTON LIBR Q
JI Huntingt. Libr. Q.
PD SPR
PY 2019
VL 82
IS 1
BP 17
EP 42
PG 26
WC Humanities, Multidisciplinary
WE Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics
GA HX4LK
UT WOS:000467367300002
DA 2025-03-18
ER
PT J
AU Mailes, A
AF Mailes, Alana
TI Singing Nuns and Soft Power: British Diplomats as Music Tourists in
Seicento Venice
SO RELIGIONS
LA English
DT Article
DE nunneries; convents; diplomacy; music; Venice; England; Claudia Sessa;
Henry Wotton; Dudley Carleton; Isaac Wake
AB Historians of early modern statecraft and confessional politics have traditionally treated the arts as peripheral to the more official bureaucratic concerns of government agents. Meanwhile, musicological scholarship rarely centers the experiences and exploits of politicians who participated in early modern musical events. This case study on British envoys to Venice in the early Stuart period illustrates how musical activity and political work were, in fact, thoroughly imbricated within the daily mechanics of cross-confessional ambassadorship. Drawing on seventeenth-century diplomatic sources, I detail how both English and Northern Italian politicians made strategic use of sacred music-making-particularly vocal performance in local nunneries-to influence their dealings with foreign states, as well as how English diplomats in the Italian peninsula surveilled Catholic musical devotions in their covert correspondences to communicate information about international affairs. In revealing these moments of interconnection between music, religion, and geopolitics, I seek to further recent efforts in the New Diplomatic History to highlight the contributions of women and artistic practice within histories of international relations.
C1 [Mailes, Alana] Univ Cambridge, Fac Mus, Trinity Hall, Cambridge CB3 9DP, England.
C3 University of Cambridge
RP Mailes, A (corresponding author), Univ Cambridge, Fac Mus, Trinity Hall, Cambridge CB3 9DP, England.
EM acpm3@cam.ac.uk
FU Harvard University Center for Italian Renaissance Studies; Renaissance
Society of America; Gladys Krieble Delmas Foundation; US-Italy Fulbright
Commission; Harvard University Graduate School of Arts and Sciences;
Harvard Department of Music Ferdinand Gordon and Elizabeth Hunter
Morrill Graduate Fellowship; Paul and Andrew W. Mellon Rome Prize in
Renaissance and Early Modern Studies; Thole Research Fellowship in Music
at Trinity Hall, University of Cambridge; University of Cambridge
Institutional Open Access Program
FX This research was funded by the Harvard University Center for Italian
Renaissance Studies; the Renaissance Society of America; the Gladys
Krieble Delmas Foundation; the US-Italy Fulbright Commission; the
Harvard University Graduate School of Arts and Sciences; the Harvard
Department of Music Ferdinand Gordon and Elizabeth Hunter Morrill
Graduate Fellowship; the Paul and Andrew W. Mellon Rome Prize in
Renaissance and Early Modern Studies; and the Thole Research Fellowship
in Music at Trinity Hall, University of Cambridge. The APC was funded by
the University of Cambridge Institutional Open Access Program.
NR 46
TC 1
Z9 1
U1 1
U2 2
PU MDPI
PI BASEL
PA ST ALBAN-ANLAGE 66, CH-4052 BASEL, SWITZERLAND
EI 2077-1444
J9 RELIGIONS
JI Religions
PD APR
PY 2022
VL 13
IS 4
AR 330
DI 10.3390/rel13040330
PG 14
WC Religion
WE Arts & Humanities Citation Index (A&HCI)
SC Religion
GA 0S1NG
UT WOS:000786047800001
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Pawley, A
Müllensiefen, D
AF Pawley, Alisun
Muellensiefen, Daniel
TI THE SCIENCE OF SINGING ALONG: A QUANTITATIVE FIELD STUDY ON SING-ALONG
BEHAVIOR IN THE NORTH OF ENGLAND
SO MUSIC PERCEPTION
LA English
DT Article
DE informal singing; popular music; music in everyday life; neo-tribes;
random forest statistical model
ID REGRESSION
AB THE STUDY INVESTIGATES CONTEXTUAL AND MUSICAL FACTORS that incite audiences in Western music entertainment venues to sing along to pop songs. Thirty nights of field research were carried out in five entertainment venues across northern England. The percentage of people singing along was recorded for each of the 1,054 "song events," serving as the dependent variable. In addition, musical analysis was carried out on the songs of a subset of 332 song events. Nine contextual factors as well as 32 musical features of the songs were considered as different categories of explanatory variables. Regression trees and a random forest analysis were employed to model the empirical data statistically. Results indicate that contextual factors can account for 40% of the variability in sing-along behavior, while adding musical factors into the model - in particular those relating to vocal performance - was able to explain about another 25% of the variance. Results are discussed with respect to theoretical approaches on neo-tribal behavior.
C1 [Pawley, Alisun] Univ York, York YO10 5DD, N Yorkshire, England.
[Muellensiefen, Daniel] Univ London, London, England.
C3 University of York - UK; University of London
RP Pawley, A (corresponding author), Kendal Coll, Arts & Media Campus,Beezon Rd, Kendal LA9 6EL, Cumbria, England.
EM alisunr@yahoo.com
NR 72
TC 12
Z9 14
U1 1
U2 14
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0730-7829
J9 MUSIC PERCEPT
JI Music Percept.
PD DEC
PY 2012
VL 30
IS 2
BP 129
EP 146
DI 10.1525/MP.2012.30.2.129
PG 18
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA 052WP
UT WOS:000312231100002
DA 2025-03-18
ER
PT J
AU Fleischer, M
Rummel, S
Stritt, F
Fischer, J
Bock, M
Echternach, M
Richter, B
Traser, L
AF Fleischer, Mario
Rummel, Stefanie
Stritt, Fiona
Fischer, Johannes
Bock, Michael
Echternach, Matthias
Richter, Bernhard
Traser, Louisa
TI Voice efficiency for different voice qualities combining experimentally
derived sound signals and numerical modeling of the vocal tract
SO FRONTIERS IN PHYSIOLOGY
LA English
DT Article
DE MRI-data; phonation; finite-element-modeling; sound intensity; voice
efficiency; vocal tract resonance; Estill voice training((R))
ID GLOTTAL AIR-FLOW; ACOUSTIC CHARACTERISTICS; HYPOPHARYNGEAL CAVITIES;
PHONATION; VIBRATION; RESONANCE; BEHAVIOR; CRITERIA; NODULES
AB Purpose: Concerning voice efficiency considerations of different singing styles, from western classical singing to contemporary commercial music, only limited data is available to date. This single-subject study attempts to quantify the acoustic sound intensity within the human glottis depending on different vocal tract configurations and vocal fold vibration.
Methods: Combining Finite-Element-Models derived from 3D-MRI data, audio recordings, and electroglottography (EGG) we analyzed vocal tract transfer functions, particle velocity and acoustic pressure at the glottis, and EGG-related quantities to evaluate voice efficiency at the glottal level and resonance characteristics of different voice qualities according to Estill Voice Training((R)).
Results: Voice qualities Opera and Belting represent highly efficient strategies but apply different vowel strategies and should thus be capable of predominate orchestral sounds. Twang and Belting use similar vowels, but the twang vocal tract configuration enabled the occurrence of anti-resonances and was associated with reduced vocal fold contact but still partially comparable energy transfer from the glottis to the vocal tract. Speech was associated with highly efficient glottal to vocal tract energy transfer, but with the absence of psychoactive strategies makes it more susceptible to noise interference. Falsetto and Sobbing apply less efficiently. Falsetto mainly due to its voice source characteristics, Sobbing due to energy loss in the vocal tract. Thus technical amplification might be appropriate here.
Conclusion: Differences exist between voice qualities regarding the sound intensity, caused by different vocal tract morphologies and oscillation characteristics of the vocal folds. The combination of numerical analysis of geometries inside the human body and experimentally determined data outside sheds light on acoustical quantities at the glottal level.
C1 [Fleischer, Mario] Charite Univ Med Berlin, Dept Audiol & Phoniatr, Berlin, Germany.
[Fleischer, Mario] Free Univ Berlin, Berlin, Germany.
[Fleischer, Mario] Humboldt Univ, Berlin, Germany.
[Rummel, Stefanie] Inst Rummel, Frankfurt, Germany.
[Stritt, Fiona; Richter, Bernhard; Traser, Louisa] Univ Freiburg, Inst Musicians Med, Med Ctr, Freiburg, Germany.
[Stritt, Fiona; Fischer, Johannes; Bock, Michael; Richter, Bernhard; Traser, Louisa] Univ Freiburg, Fac Med, Freiburg, Germany.
[Fischer, Johannes; Bock, Michael] Univ Freiburg, Med Ctr, Dept Radiol, Med Phys, Freiburg, Germany.
[Echternach, Matthias] Ludwig Maximilians Univ Munchen, LMU Klinikum, Dept Otorhinolaryngol, Div Phoniatr & Pediat Audiol, Munich, Germany.
C3 Berlin Institute of Health; Free University of Berlin; Humboldt
University of Berlin; Charite Universitatsmedizin Berlin; Free
University of Berlin; Humboldt University of Berlin; University of
Freiburg; University of Freiburg; University of Freiburg; University of
Munich
RP Fleischer, M (corresponding author), Charite Univ Med Berlin, Dept Audiol & Phoniatr, Berlin, Germany.; Fleischer, M (corresponding author), Free Univ Berlin, Berlin, Germany.; Fleischer, M (corresponding author), Humboldt Univ, Berlin, Germany.
EM mario.fleischer@charite.de
RI Echternach, Matthias/IAP-7667-2023; Traser, Louisa/ISV-0900-2023; Bock,
Michael/B-2987-2009
OI Echternach, Matthias/0000-0003-0095-5360; Fleischer,
Mario/0000-0002-6186-8298; Bock, Michael/0000-0001-9720-3506
FU DFG (Deutsche Forschungsgemeinschaft - German Research Council)
[EC409/1-4]; North-German Supercomputing Alliance (HLRN);
Forschungskommission of the Faculty of Medicine, University of Freiburg,
Germany [TRA2196/21]
FX The Estill Education Fund covered the travel expenses and attendance of
the participant in this study. The funder had no role in the design and
conduct of the study; collection, management, analysis, and
interpretation of the data; preparation, review, or approval of the
manuscript; and decision to submit the manuscript for publication. The
work of Matthias Echternach is funded by the DFG (Deutsche
Forschungsgemeinschaft - German Research Council, EC409/1-4). This work
was also supported by the North-German Supercomputing Alliance (HLRN).
The work of Louisa Traser and Johannes Fischer was supported by the
Forschungskommission of the Faculty of Medicine, University of Freiburg,
Germany (TRA2196/21).
NR 74
TC 2
Z9 2
U1 1
U2 6
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
EI 1664-042X
J9 FRONT PHYSIOL
JI Front. Physiol.
PD DEC 23
PY 2022
VL 13
AR 1081622
DI 10.3389/fphys.2022.1081622
PG 22
WC Physiology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Physiology
GA 7R0ML
UT WOS:000909773900001
PM 36620215
OA gold, Green Published
DA 2025-03-18
ER
PT J
AU Sockman, KW
Lyons, SM
Caro, SP
AF Sockman, Keith W.
Lyons, Susan M.
Caro, Samuel P.
TI Vocal performance of one affects that of another
SO BEHAVIOUR
LA English
DT Article
DE bird song; intraspecific competition; Lincoln's sparrow (Melospiza
lincolnii); sexual signal; simulated territorial intrusion; trill
performance
ID BIRDSONG PERFORMANCE; LINCOLNS SPARROWS; SONG COMPLEXITY; SIGNAL;
PREFERENCE; EVOLUTION; COMPETITION; CONSTRAINT; MODULATE; BEHAVIOR
AB The trill elements of many bird species' songs have been hypothesized as honest signals of performance. However, the breadth of receiver responses to variation in the signaller's trill performance is unknown. We exposed wild male Lincoln's sparrows (Melospiza lincolnii) to two song treatments, one with low- and another with high-performance trills. We found no effect of treatment on measures of agonistic behaviour and song length. However, relative to the subjects' trills following the high-performance treatment, those following the low -performance treatment were elevated in performance due to trill types with high frequency bandwidth in the third trill of songs. Treatment also affected trill duration through its syllable count in a manner that varied by the song's trill number. Thus, the performance of a signal to which a receiver is exposed drives plasticity in his own performance in sequence -specific manner. Males may showcase their own performance in the presence of lower -performing rivals.
C1 [Sockman, Keith W.] Univ N Carolina, Dept Biol, Coker Hall,120 South Rd, Chapel Hill, NC 27599 USA.
[Lyons, Susan M.] Great Minds PBC, 55 M St SE, Suite 340, Washington, DC 20003 USA.
[Caro, Samuel P.] Univ Montpellier, CEFE, CNRS, EPHE,IRD, 1919 Route Mende, F-34293 Montpellier 5, France.
C3 University of North Carolina; University of North Carolina Chapel Hill;
Universite PSL; Ecole Pratique des Hautes Etudes (EPHE); Institut Agro;
Montpellier SupAgro; CIRAD; Centre National de la Recherche Scientifique
(CNRS); Institut de Recherche pour le Developpement (IRD); Universite
Paul-Valery; Universite de Montpellier
RP Sockman, KW (corresponding author), Univ N Carolina, Dept Biol, Coker Hall,120 South Rd, Chapel Hill, NC 27599 USA.
EM kws@unc.edu
RI Caro, Samuel/A-5750-2008
OI Caro, Samuel/0000-0002-5405-7753
FU National Institute of Neurological Disorders and Stroke [NS055125]; King
Baudouin Foundation; Belgian American Educational Foundation; American
Ornithologist Union, Cooper Ornithological Society; Animal Behavior
Society
FX We thank numerous UNC undergraduate students and others for their help
collecting data. Supportcame from the National Institute of Neurological
Disorders and Stroke NS055125 to K.W.S.; by the Leon Speeckaert Fund
fellowship from the King Baudouin Foundation and the Belgian American
Educational Foundation to S.P.C.; and by the American Ornithologist
Union, Cooper Ornithological Society, and Animal Behavior Society to
S.M.L.
NR 56
TC 0
Z9 0
U1 1
U2 3
PU BRILL
PI LEIDEN
PA PLANTIJNSTRAAT 2, P O BOX 9000, 2300 PA LEIDEN, NETHERLANDS
SN 0005-7959
EI 1568-539X
J9 BEHAVIOUR
JI Behaviour
PD JAN
PY 2024
VL 161
IS 2
BP 167
EP 194
DI 10.1163/1568539X-bja10256
PG 28
WC Behavioral Sciences; Zoology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Behavioral Sciences; Zoology
GA NW3U9
UT WOS:001203461400003
OA Green Submitted
DA 2025-03-18
ER
PT J
AU Evain, S
Lecouteux, B
Schwab, D
Contesse, A
Pinchaud, A
Bernardoni, NH
AF Evain, Solene
Lecouteux, Benjamin
Schwab, Didier
Contesse, Adrien
Pinchaud, Antoine
Bernardoni, Nathalie Henrich
TI Human beatbox sound recognition using an automatic speech recognition
toolkit
SO BIOMEDICAL SIGNAL PROCESSING AND CONTROL
LA English
DT Article
DE Human beatbox; Automatic speech recognition; Kaldi; Isolated sound
recognition
AB Human beatboxing is a vocal art making use of speech organs to produce vocal drum sounds and imitate musical instruments. Beatbox sound classification is a current challenge that can be used for automatic database annotation and music-information retrieval. In this study, a large-vocabulary human-beatbox sound recognition system was developed with an adaptation of Kaldi toolbox, a widely-used tool for automatic speech recognition. The corpus consisted of eighty boxemes, which were recorded repeatedly by two beatboxers. The sounds were annotated and transcribed to the system by means of a beatbox specific morphographic writing system (Vocal Grammatics). The recognition-system robustness to recording conditions was assessed on recordings of six different microphones and settings. The decoding part was made with monophone acoustic models trained with a classical HMM-GMM model. A change of acoustic features (MFCC, PLP, Fbank) and a variation of different parameters of the beatbox recognition system were tested: (i) the number of HMM states, (ii) the number of MFCC, (iii) the presence or not of a pause boxeme in right and left contexts in the lexicon and (iv) the rate of silence probability. Our best model was obtained with the addition of a pause in left and right contexts of each boxeme in the lexicon, a 0.8 silence probability, 22 MFCC and three states HMM. Boxeme error rate in such configuration was lowered to 13.65%, and 8.6 boxemes over 10 were well recognized. The recording settings did not greatly affect system performance, apart from recording with closed-cup technique.
C1 [Evain, Solene; Lecouteux, Benjamin; Schwab, Didier] Univ Grenoble Alpes, LIG, Grenoble INP, CNRS, F-38000 Grenoble, France.
[Contesse, Adrien] ESAD Amiens, De Sign E Lab, F-80080 Amiens, France.
[Bernardoni, Nathalie Henrich] Univ Grenoble Alpes, GIPSA Lab, Grenoble INP, CNRS, F-38000 Grenoble, France.
C3 Communaute Universite Grenoble Alpes; Institut National Polytechnique de
Grenoble; Universite Grenoble Alpes (UGA); Centre National de la
Recherche Scientifique (CNRS); Communaute Universite Grenoble Alpes;
Institut National Polytechnique de Grenoble; Universite Grenoble Alpes
(UGA); Centre National de la Recherche Scientifique (CNRS)
RP Evain, S; Lecouteux, B; Schwab, D (corresponding author), Univ Grenoble Alpes, LIG, Grenoble INP, CNRS, F-38000 Grenoble, France.; Bernardoni, NH (corresponding author), Univ Grenoble Alpes, GIPSA Lab, Grenoble INP, CNRS, F-38000 Grenoble, France.
EM solene.evain@univ-grenoble-alpes.fr; Benjamin.Lecouteux@imag.fr;
Didier.Schwab@imag.fr; AdrienContesse@gmail.com; APinchaud@gmail.com;
nathalie.henrich@gipsa-lab.fr
OI Henrich Bernardoni, Nathalie/0000-0002-3944-611X
NR 15
TC 0
Z9 1
U1 2
U2 10
PU ELSEVIER SCI LTD
PI OXFORD
PA THE BOULEVARD, LANGFORD LANE, KIDLINGTON, OXFORD OX5 1GB, OXON, ENGLAND
SN 1746-8094
EI 1746-8108
J9 BIOMED SIGNAL PROCES
JI Biomed. Signal Process. Control
PD MAY
PY 2021
VL 67
AR 102468
DI 10.1016/j.bspc.2021.102468
EA MAR 2021
PG 8
WC Engineering, Biomedical
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Engineering
GA RO2YS
UT WOS:000640914200005
OA Green Submitted, Bronze
DA 2025-03-18
ER
PT J
AU Paulusma, P
AF Paulusma, Polly
TI 'ME AND NOT-ME': FOLK SONGS, NARRATIVE PERSPECTIVES, AND THE GENDER
IMAGINARY IN ANGELA CARTER'S SHADOW DANCE
SO ENGLISH
LA English
DT Article
AB It is a little-known fact that Angela Carter was a traditional folk singer during the 1960s, that she played the English concertina, and that she co-founded a folk club in Bristol with her first husband, Paul Carter. A newly unearthed private archive of her folk song notes from the decade, which includes her musical notations and a recording of her singing, allows us to develop new understandings of her folk praxis and, when laid alongside her private journal entries, the folk album sleeve notes she penned, her undergraduate dissertation, and other unpublished papers, a whole host of possible new readings of her literary work emerges. This essay explores just one: gender fluidity in folk song performance and its impact upon Carter's interpretations of gender identity in her debut novel, Shadow Dance. I will suggest that Carter learned gender ambiguity from her folk singing, and that her experience of singing afforded her freedoms to explore versions of sexual performance and gendered selfhood through male characters. More broadly, I will suggest that she buried musical folk song features into the structures of her writing to present her prose as a form of audial performance.
C1 [Paulusma, Polly] Univ East Anglia, English, Norwich, Norfolk, England.
C3 University of East Anglia
RP Paulusma, P (corresponding author), Univ East Anglia, Norwich, Norfolk, England.
OI Paulusma, Polly/0000-0002-2240-5514
NR 45
TC 0
Z9 0
U1 1
U2 4
PU OXFORD UNIV PRESS
PI OXFORD
PA GREAT CLARENDON ST, OXFORD OX2 6DP, ENGLAND
SN 0013-8215
EI 1756-1124
J9 ENGLISH
JI English
PD SUM
PY 2020
VL 69
IS 265
BP 145
EP 171
DI 10.1093/english/efaa011
PG 27
WC Literature
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA PS8HM
UT WOS:000608165000006
DA 2025-03-18
ER
PT J
AU Dembinska-Pawelec, J
AF Dembinska-Pawelec, Joanna
TI The Hermeneutics of the Poetic Voice in Recent Literary Research
SO TEKSTY DRUGIE
LA Polish
DT Article
DE sound studies; acoustic philology; poetry performance; computer program
Praat; modern Polish poetry
AB The article discusses the latest research on poetry performance in Polish literature. At the outset, the author situates it within the scope of sound studies as well as acoustic philology and audio anthropology. Then, the author focuses on Aleksandra Kremer's book The Sound of Modern Polish Poetry: Performance and Recording After World War II and the research methods presented there for studying vocal performance. Kremer refers to Charles Bernstein's concept of close listening, which she enriches with analyses using the computer program Praat, designed for scientific analysis of speech and phonetic phenomena. Kremer analyzes the sound waves of recorded poetic performances. Using this method, she examines recordings of Czes & lstrok;aw Mi & lstrok;osz, Julia Hartwig, Miron Bia & lstrok;oszewski, Wis & lstrok;awa Szymborska, Aleksander Wat, Zbigniew Herbert, Anna Kamie & nacute;ska, Anna & Sacute;wirszczy & nacute;ska, Tadeusz R & oacute;& zdot;ewicz, and Krystyna Mi & lstrok;ob & eogon;dzka. The author of the article notes that Kremer's close listening studies have a hermeneutic character, encompassing biography, history, and culture. This extensive anthropological context, supported by sound visualization, brings us closer to capturing the phenomenon of the poet's recorded voice
C1 [Dembinska-Pawelec, Joanna] Univ Silesia Katowice, Katowice, Poland.
C3 University of Silesia in Katowice
RP Dembinska-Pawelec, J (corresponding author), Univ Silesia Katowice, Katowice, Poland.
NR 14
TC 0
Z9 0
U1 0
U2 0
PU POLISH ACAD SCIENCES, INST LITERARY RESEARCH
PI WARSZAWA
PA UL NOWY SWIAT 72, PALAC STASZICA, ROOM 1, WARSZAWA, 00-330, POLAND
SN 0867-0633
EI 2545-2061
J9 TEKSTY DRUGIE
JI Teksty Drugie
PY 2024
IS 3
DI 10.18318/td.2024.3.11
PG 382
WC Literature, Slavic
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA J0Y3J
UT WOS:001334408300011
OA gold
DA 2025-03-18
ER
PT J
AU Chang, HKH
AF Chang, Hyun Kyong Hannah
TI A Fugitive Christian Public: Singing, Sentiment, and Socialization in
Colonial Korea
SO JOURNAL OF KOREAN STUDIES
LA English
DT Article
DE Christianity; colonial period; modernity; missionaries; music
AB Well-known songs of colonial Korea such as "Kagop'a" and "Pongsonhwa" appear to be secular songs, but their origins lie in the complex intersection of North American Christian missions, Korean cultural life, and Japanese colonial rule. This article explores the historical significance of secular sentimental songs in colonial Korea (1910-45), which originated in mission schools and churches. At these sites North American missionaries and Christian Koreans converged around songwriting, song publishing, and vocal performance. Missionary music editors such as Annie Baird, Louise Becker, and their Korean associates relied on secular sentimental songs to cultivate a new kind of psychological interior associated with a modern subjectivity. An examination of representative vernacular song collections alongside accounts of social connections formed through musical activities gives a glimpse into an intimate space of a new religion in which social relations and subjective interiors were both mediated and represented by songs. The author argues that this space was partly formed by Christianity's fugitive status in the 1910s under the uncertainty of an emergent colonial rule and traces the genealogy of Korean vernacular modernity to the activities of singing in this space, which she calls a fugitive Christian public.
C1 [Chang, Hyun Kyong Hannah] Univ Sheffield, Korean Studies, Sheffield, S Yorkshire, England.
C3 University of Sheffield
RP Chang, HKH (corresponding author), Univ Sheffield, Korean Studies, Sheffield, S Yorkshire, England.
NR 74
TC 3
Z9 4
U1 0
U2 1
PU DUKE UNIV PRESS
PI DURHAM
PA 905 W MAIN ST, STE 18-B, DURHAM, NC 27701 USA
SN 0731-1613
EI 2158-1665
J9 J KOREAN STUD
JI J. Korean Stud.
PD OCT
PY 2020
VL 25
IS 2
SI SI
BP 291
EP 323
DI 10.1215/07311613-8551992
PG 33
WC History; Asian Studies
WE Arts & Humanities Citation Index (A&HCI)
SC History; Asian Studies
GA OS7ED
UT WOS:000590321900003
OA Green Accepted
DA 2025-03-18
ER
PT J
AU Gardner, S
Shea, NJ
AF Gardner, Samuel
Shea, Nicholas J.
TI Gestural Perspectives on Popular-Music Performance
SO MUSIC THEORY ONLINE
LA English
DT Article
DE Gesture; Live-performance; popular-music; perception; embodiment;
structure; communication
AB Music theory has grown to encompass various forms of bodily movement in analysis, including instrumental performance, dance studies, and cognition-based methods. In this paper, we demonstrate how observed physical gestures in popular-music performance can foreground the relationship between the music's surface elements and its structural features. Live performances by Macy Gray, Alex Lifeson, and Sister Rosett a Tharpe off er various interpretations of physical gesture across vocal and guitar performance. Our analyses illustrate how a performer's physical gesture said musical understanding for both the audience and the performer, how pronounced fretboard gestures reflect the embodied segmentation of musical phrasing, and how the demands of instrumental and vocal performance create a hierarchy of gestural function that blurs the boundaries between sound production and musical processing. By focusing on physical gestures that might otherwise be overlooked in traditional music-theoretic analysis, we aim to advocate that each physical movement, from subtle to overt, plays a role in the surface-to-structure process. Paying close attention to such gestures can alter how we hear the music by allowing new nuances to enrich the musical performance and its perception.
C1 [Gardner, Samuel] Oberlin Coll & Conservatory, 173 W Lorain St, Oberlin, OH 44074 USA.
[Shea, Nicholas J.] Arizona State Univ, Sch Mus Dance & Theatre, 50 E Gammage Pkwy, Tempe, AZ 85281 USA.
C3 University System of Ohio; Oberlin College; Arizona State University;
Arizona State University-Tempe
RP Gardner, S (corresponding author), Oberlin Coll & Conservatory, 173 W Lorain St, Oberlin, OH 44074 USA.
EM sgardner@oberlin.edu; njshea@asu.edu
NR 57
TC 0
Z9 0
U1 0
U2 1
PU SOC FOR MUSIC THEORY
PI CHICAGO
PA UNIV, CHICAGO, EPT MUSIC, 1010 EAST 59TH STREET, CHICAGO, IL 60637-1512
USA
SN 1067-3040
J9 MUSIC THEORY ONLINE
JI Music Theory Online
PD SEP
PY 2022
VL 28
IS 3
PG 16
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA E4RN6
UT WOS:000975431600003
DA 2025-03-18
ER
PT J
AU Wang, SH
AF Wang, Shanhu
TI Vocal improvisation using interactive music technology
SO INTERACTIVE LEARNING ENVIRONMENTS
LA English
DT Article
DE Classical vocalist; classical vocals; musical repertoire; national
musical instruments; vocal training
AB This paper aims to study the features of vocal improvisation using interactive musical technologies. The survey method contributed to determining the level of vocal skills of 214 respondents auditioned before the experiment. The authors developed a training programme based on previously received information. It included breathing, technical, aesthetic, and vocal improvisation skills. The results showed that 93% of the experimental group believed that interactive technologies had advantages in the educational process, and 63% of the control group believed that they had no advantages. The survey of the students allowed identifying elements that required improvement or changes in the curriculum. The students of the experimental group showed that using national Chinese instruments for accompaniment was important for 32% of the respondents, 27% chose the answer "other", which included systematic and more frequent cross-sections of knowledge, the involvement of foreign approaches to learning. The calculation of the level of knowledge obtained showed that 88% of the students demonstrated a high level in the experimental group, a low one was only in 2%. Study prospects relate to studying technical and aesthetic elements to be applied during classical and folk vocal performance.
C1 [Wang, Shanhu] Suzhou Univ, Sch Mus, Suzhou, Peoples R China.
C3 Suzhou University
RP Wang, SH (corresponding author), Suzhou Univ, Sch Mus, Suzhou, Peoples R China.
EM shanhuwang73@yahoo.com
NR 31
TC 0
Z9 0
U1 2
U2 9
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1049-4820
EI 1744-5191
J9 INTERACT LEARN ENVIR
JI Interact. Learn. Environ.
PD JAN 2
PY 2024
VL 32
IS 1
BP 245
EP 256
DI 10.1080/10494820.2022.2084755
EA JUN 2022
PG 12
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA JL2O9
UT WOS:000808187800001
DA 2025-03-18
ER
PT J
AU James, R
AF James, Robin
TI Must Be Love On The Brain? Feminist responses to the "can we separate
artwork from artist" question in the era of #MeToo popular
feminisms
SO JOURNAL OF POPULAR MUSIC STUDIES
LA English
DT Article
DE #MeToo; feminism; ethics; Rihanna
ID POWER
AB As #MeToo activism has revealed cascades of famous and influential men to be serial sexual harassers and rapists, the question of what to do about aesthetically pleasing art made by morally and politically disgusting men has received renewed interest and urgency. I identify two different types of feminist responses to this question. The first kind of response modifies post-feminist and post-race approaches to diversity as a kind of beauty: replacing beauty with disgust, these approaches treat sexism and misogyny as individual-level flaws that can be eliminated through appropriate aesthetic judgments. The second kind of response begins from the premise that centuries of white supremacist capitalist cisheteropatriarchy have shaped our aesthetic principles and conventions such that sexism and misogyny are systemic problems baked into all works of art. I examine how Angela Davis's revision of Marcuse's concept of the aesthetic dimension, Katherine McKittrick's and Alexander Weheliye's concept of "emulation," and Rihanna's vocal performance choices on her 2016 single "Love On The Brain" are all instances of this latter type of response.
C1 [James, Robin] Univ N Carolina, Charlotte, NC 28223 USA.
C3 University of North Carolina; University of North Carolina Charlotte
RP James, R (corresponding author), Univ N Carolina, Charlotte, NC 28223 USA.
EM rjames7@uncc.edu
NR 31
TC 2
Z9 3
U1 0
U2 8
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 1524-2226
EI 1533-1598
J9 J POP MUSIC STUD
JI J. Pop. Music Stud.
PD DEC
PY 2020
VL 32
IS 4
BP 75
EP 94
DI 10.1525/jpms.2020.32.4.75
PG 20
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA PE5OI
UT WOS:000598414500007
DA 2025-03-18
ER
PT J
AU Scherer, KR
Sundberg, J
Fantini, B
Trznadel, S
Eyben, F
AF Scherer, Klaus R.
Sundberg, Johan
Fantini, Bernardino
Trznadel, Stephanie
Eyben, Florian
TI The expression of emotion in the singing voice: Acoustic patterns in
vocal performance
SO JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA
LA English
DT Article
ID PERCEPTION; COMMUNICATION
AB There has been little research on the acoustic correlates of emotional expression in the singing voice. In this study, two pertinent questions are addressed: How does a singer's emotional interpretation of a musical piece affect acoustic parameters in the sung vocalizations? Are these patterns specific enough to allow statistical discrimination of the intended expressive targets? Eight professional opera singers were asked to sing the musical scale upwards and downwards (using meaningless content) to express different emotions, as if on stage. The studio recordings were acoustically analyzed with a standard set of parameters. The results show robust vocal signatures for the emotions studied. Overall, there is a major contrast between sadness and tenderness on the one hand, and anger, joy, and pride on the other. This is based on low vs high levels on the components of loudness, vocal dynamics, high perturbation variation, and a tendency for high low-frequency energy. This pattern can be explained by the high power and arousal characteristics of the emotions with high levels on these components. A multiple discriminant analysis yields classification accuracy greatly exceeding chance level, confirming the reliability of the acoustic patterns. (C) 2017 Author(s).
C1 [Scherer, Klaus R.] Univ Geneva, Dept Psychol, Blvd Pont dArve, 40, CH-1211 Geneva, Switzerland.
[Sundberg, Johan] KTH Royal Inst Technol, Sch Comp Sci & Commun, Dept Speech Mus Hearing, SE-10044 Stockholm, Sweden.
[Fantini, Bernardino] Univ Geneva, 24 Rue Gen Dufour, CH-1211 Geneva, Switzerland.
[Trznadel, Stephanie] Univ Geneva, Swiss Ctr Affect Sci, Campus Biotech 9,Chemin Mines, CH-1202 Geneva, Switzerland.
[Eyben, Florian] audEERING GmbH, Landsbergerstr 46 D, D-82205 Gilching, Germany.
C3 University of Geneva; Royal Institute of Technology; University of
Geneva; University of Geneva
RP Scherer, KR (corresponding author), Univ Geneva, Dept Psychol, Blvd Pont dArve, 40, CH-1211 Geneva, Switzerland.
EM Klaus.Scherer@unige.ch
FU ERC in the European Community [230331-PROPEREMO]; National Center of
Competence in Research (NCCR) Affective Sciences - Swiss National
Science Foundation [51NF40-104897]
FX The work reported here was conducted by members of the Music and Emotion
Focus of the Swiss Center for Affective Sciences (K.R.S., B.F., Eduardo
Coutinho, and their collaborators). The research was funded by an ERC
Advanced Grant in the European Community's 7th Framework Programme under
grant agreement 230331-PROPEREMO (Production and perception of emotion:
an affective sciences approach) to K.R.S and by the National Center of
Competence in Research (NCCR) Affective Sciences financed by the Swiss
National Science Foundation (51NF40-104897) and hosted by the University
of Geneva. The authors thank the opera singers for their collaboration
and Lucas Tamarit for supervising the recordings.
NR 49
TC 40
Z9 50
U1 3
U2 27
PU ACOUSTICAL SOC AMER AMER INST PHYSICS
PI MELVILLE
PA STE 1 NO 1, 2 HUNTINGTON QUADRANGLE, MELVILLE, NY 11747-4502 USA
SN 0001-4966
EI 1520-8524
J9 J ACOUST SOC AM
JI J. Acoust. Soc. Am.
PD OCT
PY 2017
VL 142
IS 4
BP 1805
EP 1815
DI 10.1121/1.5002886
PG 11
WC Acoustics; Audiology & Speech-Language Pathology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Acoustics; Audiology & Speech-Language Pathology
GA FK5HP
UT WOS:000413528900021
PM 29092548
OA hybrid
DA 2025-03-18
ER
PT J
AU Ward, T
AF Ward, Thomas
TI Effacing the music in edmund waller's poems
SO RENAISSANCE STUDIES
LA English
DT Article
DE Henry Lawes; musical settings of poetry; Edmund Waller
AB Returning to London from exile in 1652, Edmund Waller found that his poems had been circulating, without his knowledge or permission, in at least two separate printed editions; within the next five years, six of his lyrics would appear as musical settings in printed collections of songs by the composer Henry Lawes. This article takes at face value Waller's own somewhat surprising expression of relief to discover that his texts had been corrupted by mistaking Printer' and ill Reciter' alike. Through close readings of To Mr. Henry Lawes, who had then newly set a song of mine in the year 1635' and To a lady singing a song of his own composing', I argue that poems ostensibly about song also articulate anxieties about the work of art in the age of (early) mechanical reproduction: not that the author might become alienated from his own words through the unpredictable vicissitudes of transmission and circulation, but that his text could become estranged, paradoxically, through overly precise replication. Waller's poems explore how perfect, echoic repetition of the poetic text, whether through vocal performance or printed book, presented a possible threat to a sense of authorial voice.
C1 [Ward, Thomas] US Naval Acad, Annapolis, MD 21402 USA.
C3 United States Department of Defense; United States Navy; United States
Naval Academy
RP Ward, T (corresponding author), US Naval Acad, Annapolis, MD 21402 USA.
RI Ward, Thomas/ABB-9710-2021
NR 34
TC 0
Z9 0
U1 0
U2 0
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0269-1213
EI 1477-4658
J9 RENAISS STUD
JI Renaiss. Stud.
PD NOV
PY 2017
VL 31
IS 5
BP 735
EP 754
DI 10.1111/rest.12270
PG 20
WC Medieval & Renaissance Studies
WE Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics
GA FJ3WN
UT WOS:000412663300004
DA 2025-03-18
ER
PT J
AU Norton, P
Scharff, C
AF Norton, Philipp
Scharff, Constance
TI "Bird Song Metronomics": lsochronous Organization of Zebra Finch Song
Rhythm
SO FRONTIERS IN NEUROSCIENCE
LA English
DT Article
DE zebra finch; birdsong; rhythm; pulse; music; gestures
ID CONTEXT-DEPENDENT CHANGES; NEURAL MECHANISMS; EVOLUTION; COURTSHIP;
FEMALE; DANCE; DISPLAY; MUSIC; CHOREOGRAPHY; PERCEPTION
AB The human capacity for speech and vocal music depends on vocal imitation. Songbirds, in contrast to non-human primates, share this vocal production learning with humans. The process through which birds and humans learn many of their vocalizations as well as the underlying neural system exhibit a number of striking parallels and have been widely researched. In contrast, rhythm, a key feature of language, and music, has received surprisingly little attention in songbirds. Investigating temporal periodicity in bird song has the potential to inform the relationship between neural mechanisms and behavioral output and can also provide insight into the biology and evolution of musicality. Here we present a method to analyze birdsong for an underlying rhythmic regularity. Using the intervals from one note onset to the next as input, we found for each bird an isochronous sequence of time stamps, a "signal-derived pulse," or pulses, of which a subset aligned with all note onsets of the bird's song. Fourier analysis corroborated these results. To determine whether this finding was just a byproduct of the duration of notes and intervals typical for zebra finches but not dependent on the individual duration of elements and the sequence in which they are sung, we compared natural songs to models of artificial songs. Note onsets of natural song deviated from the pulses significantly less than those of artificial songs with randomized note and gap durations. Thus, male zebra finch song has the regularity required for a listener to extract a perceived pulse (pulseP), as yet untested. Strikingly, in our study, pulsess that best fit note onsets often also coincided with the transitions between sub-note elements within complex notes, corresponding to neuromuscular gestures. Gesture durations often equaled one or more pulses periods. This suggests that gesture duration constitutes the basic element of the temporal hierarchy of zebra finch song rhythm, an interesting parallel to the hierarchically structured components of regular rhythms in human music.
C1 [Norton, Philipp; Scharff, Constance] Free Univ Berlin, AG Verhaltensbiol, Berlin, Germany.
C3 Free University of Berlin
RP Scharff, C (corresponding author), Free Univ Berlin, AG Verhaltensbiol, Berlin, Germany.
EM scharff@zedat.fu-berlin.de
RI Scharff, Constance/HHN-0673-2022
FU BMBF project "Variable Tone" [FKZ: 01GQ0961]; Excellence Cluster
"Languages of Emotion" project "Do birds Tango?" [201]
FX This research was funded by the BMBF project "Variable Tone" (FKZ:
01GQ0961) and the Excellence Cluster "Languages of Emotion" project "Do
birds Tango?" (201).
NR 73
TC 48
Z9 50
U1 2
U2 29
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
EI 1662-453X
J9 FRONT NEUROSCI-SWITZ
JI Front. Neurosci.
PD JUL 6
PY 2016
VL 10
AR 309
DI 10.3389/fnins.2016.00309
PG 15
WC Neurosciences
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Neurosciences & Neurology
GA DQ7QK
UT WOS:000379402200001
PM 27458334
OA Green Published, gold
DA 2025-03-18
ER
PT J
AU Cevasco, AM
Grant, RE
AF Cevasco, AM
Grant, RE
TI Comparison of different methods for eliciting exercise-to-music for
clients with Alzheimer's disease
SO JOURNAL OF MUSIC THERAPY
LA English
DT Article
ID GERIATRIC MENTAL-PATIENTS; OLDER ADULTS; PROGRAM; POPULATION; RESPONSES;
DANCE
AB Many of the noted problems associated with Alzheimer's disease (AD) sometimes can be delayed, retarded, or even reversed with proper exercise and interaction with the environment. An overwhelming body of research efforts has revealed that music activity brings about the greatest degree of responsiveness, including exercise, in clients with AD, yet, specific techniques which elicit the greatest amount of physical responses during the music activities remain unidentified. The purpose of this study was two-fold. comparing two methods of intervention and comparing responses to vocal versus instrumental music during exercise and exercise with instruments. In Experiment 1 the authors compared 2 treatment conditions to facilitate exercise during music activities: (a) verbalizing the movement for each task once, one beat before commencing, followed by visual cueing for the remainder of the task, (b) verbal and visual cueing for each revolution or change in rhythm for the duration of the task. Data collection over 38 sessions consisted of recording the participation of each client at 30-second intervals for the duration of each treatment condition, indicating at each interval whether the client was participating in the designated movement (difficult), participating in exercise approximating the designated movement (easy), or not participating. Results indicated that the continuous verbal cueing/easy treatment elicited significantly greater participation than one verbal cue/difficult treatment, p < .05. Furthermore, the approximation/precise response (easy) resulted in significantly greater responses than the precise response (difficult), p < .001.
In Experiment 2 the responses to types of music, vocal versus instrumental, during types of activities, exercise with and without instruments, were examined. Data were collected over 26 sessions, 52 activities, in the same 2 assisted living facilities as those in Experiment 1, but one year later Results indicated that both the type of activity and the type of music had some effect on participation. Also, data indicated participation in exercise to instrumental music was significantly greater than exercise with instruments to vocal music, p < .05.
C1 Univ Georgia, Athens, GA 30602 USA.
C3 University System of Georgia; University of Georgia
RP Cevasco, AM (corresponding author), Univ Georgia, Athens, GA 30602 USA.
NR 38
TC 22
Z9 27
U1 0
U2 27
PU NATL ASSOC MUSIC THERAPY INC
PI SILVER SPRING
PA 8455 COLESVILLE RD, STE 1000, SILVER SPRING, MD 20910 USA
SN 0022-2917
J9 J MUSIC THER
JI J. Music Ther.
PD SPR
PY 2003
VL 40
IS 1
BP 41
EP 56
DI 10.1093/jmt/40.1.41
PG 16
WC Music; Rehabilitation
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Rehabilitation
GA 677VF
UT WOS:000182828400004
PM 17590967
DA 2025-03-18
ER
PT J
AU Aaen, M
McGlashan, J
Christoph, N
Sadolin, C
AF Aaen, Mathias
McGlashan, Julian
Christoph, Noor
Sadolin, Cathrine
TI Deconstructing Timbre into 5 Physiological Parameters: Vocal Mode,
Amount of Metal, Degree of Density, Size of Larynx, and Sound Coloring
SO JOURNAL OF VOICE
LA English
DT Article
DE Timbre; Sound color; Source and filter; Laryngostroboscopy; Complete
vocal technique; CVT
ID CLASSIFICATION; DISSIMILARITY; SINGERS
AB Timbre has been related to adjustment at the source as well as adjustments in resonance, including laryngeal height and hypopharynx area and volume. However, it is often presented in vocal pedagogy as solely related to resonance. Very little data is available on the laryngeal adjustments at both source and resonance involved in achieving various timbres across a variety of phonation types. Purpose. To systematically assess the independent laryngeal adjustments at the source and independent laryngeal adjustments in the vocal tract necessary to obtain the lightest and darkest timbral extremes for four different phonation types. Methods. Twenty-one professional singers produced a sustained vowel "EH" as in "stay" in each of the four phonation types ("UH" as in "hungry" for one type), varying the sound coloring to the lightest and darkest of their ability without altering pitch, vowel, or loudness. The singers were observed using laryngostroboscopy and electroglottography. A systematic assessment protocol covering 31 laryngeal gestures was developed based on previous research for objectively classifying changes in laryngeal setups. Results. Darkening and lightening the sound color involved altering the size of the vocal tract space related to lowering/raising the larynx, widening/closing the piriform sinuses, increasing/decreasing the distance between stylopharyngeus and palatopharyngeus, increasing/decreasing anterior -posterior narrowing (and the resulting view of the vocal folds), medialising/retracting ventricular folds, and altering supraglottic funnel depth. The phonation types did not show equal ability to be colored. Female singers exhibited less coloring variation compared to the males. Classical singing exhibited both lightening and darkening colouring features. Conclusions. The singers were able to produce a variety of different timbral expressions within each of the investigated four phonation types by coloring the sustained note darker or lighter using laryngeal adjustments. Timbre is deconstructed as a perceptual artefact de fined by (1) the choice of vocal mode, (2) the amount of metallic character, (3) the degree of density in the note, (4) the chosen sound color, and (5) the natural size of the larynx and vocal tract.
C1 [Aaen, Mathias; McGlashan, Julian] Nottingham Univ Hosp, Queens Med Ctr Campus, Dept Otorhinolaryngol, Nottingham, England.
[Christoph, Noor] Hosgesch InHolland, Domein Gezondheid Sport & Welzijn, Amsterdam, Netherlands.
[Aaen, Mathias; Sadolin, Cathrine] Complete Vocal Inst, Kompagnistr 32A, DK-1208 Copenhagen K, Denmark.
C3 University of Nottingham; Nottingham University Hospital NHS Trust
RP Aaen, M (corresponding author), Complete Vocal Inst, Kompagnistr 32A, DK-1208 Copenhagen K, Denmark.
EM mathias@shout.dk
RI Aaen, Mathias/KIM-7617-2024
OI Aaen, Mathias/0000-0003-4441-1103
NR 47
TC 5
Z9 5
U1 0
U2 2
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAY
PY 2024
VL 38
IS 3
DI 10.1016/j.jvoice.2021.11.013
EA APR 2024
PG 17
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA TF9V5
UT WOS:001239977800001
PM 34973893
DA 2025-03-18
ER
PT J
AU Anyanwu, GE
Nto, JN
Agu, AU
Ekezie, J
Esom, EA
AF Anyanwu, G. E.
Nto, J. N.
Agu, A. U.
Ekezie, J.
Esom, E. A.
TI Musical preferences and learning outcome of medical students in cadaver
dissection laboratory: A Nigerian survey
SO ANNALS OF ANATOMY-ANATOMISCHER ANZEIGER
LA English
DT Article
DE Background noise; Musical genre; Lyric; Anatomy education; Cadaver
dissection laboratory; Stress; Learning outcome
ID COGNITIVE TEST-PERFORMANCE; BACKGROUND MUSIC; DIFFERENTIAL DISTRACTION;
INSTRUMENTAL MUSIC; TASK-PERFORMANCE; SOCIAL IDENTITY; INTROVERTS;
EXTROVERTS; IMPACT; STYLE
AB Background music has been reported to enhance learning in the cadaver dissection laboratory. This study was designed to determine the impact of various forms of musical genre and some of their characteristics on students' learning outcome in the dissection laboratory. Some selected musical genre in vocal and non vocal forms and at different tempi and volume were played as background music (BM) to 253 Medical and Dental students during various sessions of cadaver dissection. Psychological Stress assessment was done using Psychological stress measure-9. Participants love for music, preferred musical genre and other musical characteristics were assessed. The impact of the various musical genre and their characteristics on learning was done via written examination on the region dissected during each musical session. A positive relationship was noted between students' preference for musical genre during leisure with their preference for BM during private study time (P < 0.01). Statistically significant differences (P < 0.01) were established in the impacts of the selected musical genre on some selected learning factors. Country and Classical music gave the highest positive impact on the various learning factors in CDL followed by R&B. No significant difference was noted between the cognitive values of vocal and non-vocal music. Classical music most effectively reduced the stress induced by dissection in the CDL while Reggae and High life musical genre created a more stressful environment than regular background noise (P < 0.01). Moderate volume level and Tempo were most preferred during both cadaver dissection activity and leisure hours. This study shows statistically significant differences in the cognitive values of some of the studied musical genre and their various characteristics. The inability to isolate the particular musical genre with these desired properties could account for the controversies in the reports of the role of music in academic environment. (C) 2016 Elsevier GmbH. All rights reserved.
C1 [Anyanwu, G. E.; Nto, J. N.; Agu, A. U.; Esom, E. A.] Univ Nigeria, Dept Anat, Fac Basic Med Sci, Coll Med, Enugu Campus, Nsukka, Nigeria.
[Ekezie, J.] Fed Univ Technol Owerri, Sch Hlth Technol, Dept Anat, Owerri, Nigeria.
C3 University of Nigeria
RP Anyanwu, GE (corresponding author), Univ Nigeria, Dept Anat, Fac Basic Med Sci, Coll Med, Enugu Campus, Nsukka, Nigeria.
EM anyanwugemeks@yahoo.com
RI Agu, Augustine/IUM-2749-2023; ANYANWU, EMEKA/AAP-8370-2020; EKEZIE,
JERVAS/A-1267-2018; Nto, Nto/GWV-2633-2022
OI ANYANWU, EMEKA/0000-0002-7367-807X; Nto, Nto Johnson/0000-0001-9601-9870
NR 64
TC 6
Z9 6
U1 6
U2 8
PU ELSEVIER GMBH
PI MUNICH
PA HACKERBRUCKE 6, 80335 MUNICH, GERMANY
SN 0940-9602
EI 1618-0402
J9 ANN ANAT
JI Ann. Anat.-Anat. Anz.
PY 2016
VL 208
BP 228
EP 233
DI 10.1016/j.aanat.2016.07.010
PG 6
WC Anatomy & Morphology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Anatomy & Morphology
GA EB6UO
UT WOS:000387521300036
PM 27507150
DA 2025-03-18
ER
PT J
AU Kouba, J
AF Kouba, Jan
TI ADDENDA TO A DICTIONARY OF HYMNOGRAPHERS
SO HUDEBNI VEDA
LA Czech
DT Article
DE sacred songs; hymn books; Czech hymnology; Bohemical hymnography
AB The present text relates to Slovnik staroceskych hymnografeu (13.-18. stoleti) ("A Dictionary of Early Bohemian Hymnographers (13th-18th Centuries)"), published 2017 by the Institute of Ethnology of the Academy of Sciences of the Czech Republic. In its 522 pages, this hymnological handbook lists major authors of sacred songs and hymn books active on the territory of the present-day Czech Republic from the medieval Gothic period to the early stages of the Age of the Enlightenment, including also post-1621 exiles from this territory. The dictionary comprises both Catholic and Protestant authors who produced their writings in Czech, Latin, and German. In all, the compendium contains 71 name entries, most of them extensive, dealing with the typographical, literary and musical aspects of all hymnographic works produced by the individual authors. Beyond that, the entries also include information about anonymous Bohemian hymn books, the history of Czech Reformation liturgy, various specific genres of sacred vocal music and other themes, which makes of this dictionary a compendium in its own right of Bohemical hymnography before the year 1800.
The present Addenda to A Dictionary of Hymnographers first expounds the primarily bibliographical concept of the dictionary, and specifies the scope of its contents, pointing out that the book offers either detailed or at least partial commented references to approximately 430 hymnographic sources, with cross-references to about 800 titles of relevant literature. This introduction is followed by a general survey of hymnological studies in the Czech language in the period from 2000-2020, the time of the dictionary's making, correlating this production with the contents of the dictionary. The present text's main section, Addenda et corrigenda, presents new findings related to the dictionary's various entries, which have emerged in the course of the three years since its publication. Apart from that, this section includes additional bibliographical data citing several earlier studies, plus the author's own corrections of several formulations in the dictionary. The text is rounded off by the complete list of quoted titles.
NR 42
TC 0
Z9 0
U1 0
U2 1
PU CZECH ACAD SCIENCES PRESS
PI PRAGUE 6
PA PUSHKIN US 9, PRAGUE 6 160 00, CZECH REPUBLIC
SN 0018-7003
J9 HUDEBNI VEDA
JI Hudebni Veda
PY 2020
VL 57
IS 3
BP 363
EP +
PG 15
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA OR4ZQ
UT WOS:000589480800004
DA 2025-03-18
ER
PT J
AU Bonenfant, Y
AF Bonenfant, Yvon
TI Children's Queered Voicings: Questions of (voiced) power
SO PERFORMANCE RESEARCH
LA English
DT Article
AB Beginning in 2012, the Wellcome Trust, Arts Council England and a number of other stakeholders supported voice artist Yvon Bonenfant to undertake a sustained process of performance-making for children aged 6-11. Taking advantage of the decreasing cost of working with audience-responsive digital infrastructure, Bonenfant and his team developed a live, interactive touring performance; an interactive installation artwork; and an iPad app. These artworks all intended to elicit the unusual voicings of their audience, and then entice the audience into generating increasingly sophisticated, inter-sensory vocal art, made from non-normative (or extended, unusual) vocal sounds. Through so doing, the artworks intended to celebrate the joy of vocal difference with their users. However, the works raised interesting questions about participation, invitation, coercion, discourses of freeing the voice', and the nature of the power structures embedded in this kind of participatory performance with children. Four problematic dynamics are addressed: Firstly, we explore how the artworks took advantage of a seeming neurodevelopmental predisposition to respond to their invitations. Secondly, we explore the role of live performers, the pace at which they move children through participatory activities, and to what degree their actions open up a sense of participant choice, or inversely, highlight a lack thereof. Next, the design language of the artworks, and both its inviting and coercive qualities, is explored. Finally, the nature of the internal story' told by the bodies of the participants to the participants themselves within the experience of the works is discussed. Through so doing, the article asserts that because the intention to take our child audience into a space of vocal freedom' and the attendant liberatory affect, is realised largely when the wider culture constructs such sound as forbidden; and its conclusions meditate on the implications of this.
C1 [Bonenfant, Yvon] Univ Winchester, Artist Proc Voice & Extended Practices, Winchester, Hants, England.
C3 University of Winchester
RP Bonenfant, Y (corresponding author), Univ Winchester, Artist Proc Voice & Extended Practices, Winchester, Hants, England.
OI Bonenfant, Yvon/0000-0003-2189-0826
NR 10
TC 2
Z9 2
U1 0
U2 1
PU TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OR14 4RN, OXON, ENGLAND
SN 1352-8165
EI 1469-9990
J9 PERFORM RES
JI Perform. Res.
PY 2018
VL 23
IS 1
BP 52
EP 60
DI 10.1080/13528165.2018.1460448
PG 9
WC Theater
WE Arts & Humanities Citation Index (A&HCI)
SC Theater
GA GJ9GE
UT WOS:000435705500007
OA Bronze
DA 2025-03-18
ER
PT J
AU Zhang, X
AF Zhang, Xi
TI Tones shape notes: The realization of lexical tones in Chaozhou songs
SO PSYCHOLOGY OF MUSIC
LA English
DT Article
DE tone language; Chaozhou; realization of tone; song performance; pitch
change
ID SUNG
AB In tone languages where pitch is used to distinguish word meanings, questions arise about how tonal pitch is preserved in singing. While most studies focus on tone-melody matching by examining pitch changes between tones/notes, the pitch change of tones realized within individual notes is less investigated. This article explores how singers realized tones when singing in Chaozhou, a Southern Chinese language with a complex tonal system. It used a Chaozhou song containing 10 tonal patterns to collect data from 34 Chaozhou singers. Results show that tones are realized to varying degrees when sung, and pitch range, pitch level, and neighboring pitch of tones appear to be influential factors. Vocal training affected the realization of falling tones /53/ and /42/ by reducing the pitch fall and also affected rising tone /23/ with a larger pitch change being found for non-professional singers than for professionals. However, the singers' experience of singing in Chaozhou did not greatly affect the tone realization. An effect of the metrical structure was only found for tones /53/ and /42/. In addition, tone sandhi affects tones /53/ and /21/. The analysis also hints at the potential effect of melodic intervals on the pitch change of tones when sung.
C1 [Zhang, Xi] Univ Cambridge, Fac Mus, Ctr Mus & Sci, 11 West Rd, Cambridge CB3 9DP, England.
C3 University of Cambridge
RP Zhang, X (corresponding author), Univ Cambridge, Fac Mus, Ctr Mus & Sci, 11 West Rd, Cambridge CB3 9DP, England.
EM xz349@cam.ac.uk
RI Zhang, Xi/KPA-4245-2024
OI Zhang, Xi/0000-0003-0072-305X
NR 34
TC 0
Z9 0
U1 5
U2 7
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0305-7356
EI 1741-3087
J9 PSYCHOL MUSIC
JI Psychol. Music
PD MAR
PY 2025
VL 53
IS 2
BP 192
EP 207
DI 10.1177/03057356231221958
EA FEB 2024
PG 16
WC Psychology, Educational; Psychology, Applied; Music; Psychology,
Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Psychology; Music
GA Z8O9F
UT WOS:001157835800001
OA hybrid
DA 2025-03-18
ER
PT J
AU Flanagan, PJ
AF Flanagan, Paul J.
TI "A Certain Romance': Style shifting in the language of Alex Turner in
Arctic Monkeys songs 2006-2018
SO LANGUAGE AND LITERATURE
LA English
DT Article
DE Accent; Arctic Monkeys; dialect; identity; northern English;
non-standard; vernacular
ID INDIE; POP
AB This paper reports on a diachronic study of the language employed by Arctic Monkeys frontman Alex Turner in his songs over a 13-year period. The analysis adapts Simpson's (1999) USA-5 model for studying accent in vocal performance, and focuses on the realisation of three phonological variables and two dialect variables in a 16,000-word corpus of 69 songs across all six albums released by the band. Hailing from High Green, Sheffield, Turner speaks with a vernacular Yorkshire accent, and the band's early appeal (particularly in northern England) is often accredited partially to their authentic down-to-earth image, content and performance. Throughout their career, the band have evolved in terms of their musical genre and style, and, having recorded their first two albums in England, later albums were recorded and produced mostly in Los Angeles. Simpson's model is modified in order to analyse trends in usage of five linguistic variables with non-standard variants iconic of northern British identity, with a view to analysing how Turner's changing linguistic practice relates to his affiliation with vernacular and institutional norms, and thus his performance of different identities within songs.
C1 [Flanagan, Paul J.] Univ Chester, English Language, Hist Linguist Language Typol & Language Ident & P, Chester, Cheshire, England.
C3 University of Chester
RP Flanagan, PJ (corresponding author), Univ Chester, Parkgate Rd, Chester CH1 4BJ, Cheshire, England.
EM p.flanagan@chester.ac.uk
NR 35
TC 5
Z9 5
U1 0
U2 9
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 0963-9470
EI 1461-7293
J9 LANG LIT
JI Lang. Lit.
PD FEB
PY 2019
VL 28
IS 1
BP 82
EP 98
DI 10.1177/0963947019827075
PG 17
WC Linguistics; Language & Linguistics
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Linguistics
GA IH7VN
UT WOS:000474712500006
OA Bronze
DA 2025-03-18
ER
PT J
AU Noson, D
Sato, S
Sakai, H
Ando, Y
AF Noson, D
Sato, S
Sakai, H
Ando, Y
TI Melisma singing and preferred stage acoustics for singers
SO JOURNAL OF SOUND AND VIBRATION
LA English
DT Article; Proceedings Paper
CT 17th International Conference on Acoustics (ICA)
CY SEP 03-08, 2001
CL ROME, ITALY
ID SINGLE REFLECTION; SOUND; DELAY; TIME
AB Vocal performance characteristics, such as tempo; colour, and expressiveness of singers are part of the unique artistic impression of individual performers and individual performances. Subjective pair-comparison studies of singers in a previous study demonstrated that singers prefer added reflections with delays in the range of 10-20 ms. However, the range of values between singers, for the effective duration of the autocorrelation of the singer's voice, was limited, and insufficient to demonstrate a relationship between individual vocal characteristics and the preferred delay time of reflections. In this study, to investigate the singer's preferred acoustics with a change in singing style, subjects were asked to perform non-plosive, non-fricative text for the lyrics, using exclusively "la" syllables (melisma singing). A resulting shift in preferred time delay was observed. The extent of the shift in preferred reflection time delays is shown to be directly related to the minima of the effective duration of the running autocorrelation function calculated from each singer's voice. Singers were also subjected to training, to assist in identifying sound fields. After training, the average preferred delay time of the reflection did not change, but the statistical variability of the singer's subjective rating of the sound fields was strongly reduced. (C) 2002 Elsevier Science Ltd. All rights reserved.
C1 Kobe Univ, Grad Sch Sci & Technol, Kobe, Hyogo 6578501, Japan.
BRC Acoust, Seattle, WA 98134 USA.
C3 Kobe University
RP Kobe Univ, Grad Sch Sci & Technol, Kobe, Hyogo 6578501, Japan.
EM dnoson@brcacoustics.com
RI Sato, Shin-ichi/HNQ-5677-2023
OI Sato, Shin-ichi/0000-0001-6771-5615
NR 14
TC 5
Z9 8
U1 0
U2 4
PU ACADEMIC PRESS LTD- ELSEVIER SCIENCE LTD
PI LONDON
PA 24-28 OVAL RD, LONDON NW1 7DX, ENGLAND
SN 0022-460X
EI 1095-8568
J9 J SOUND VIB
JI J. Sound Vibr.
PD NOV 28
PY 2002
VL 258
IS 3
BP 473
EP 485
DI 10.1006/jsvi.2002.5270
PG 13
WC Acoustics; Engineering, Mechanical; Mechanics
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI); Conference Proceedings Citation Index - Science (CPCI-S)
SC Acoustics; Engineering; Mechanics
GA 620FL
UT WOS:000179523300008
DA 2025-03-18
ER
PT J
AU Shoffel-Havakuk, H
Lava, CX
Reuven, Y
Moog, D
Odell, K
Reder, LS
Hapner, ER
Johns, MM
AF Shoffel-Havakuk, Hagit
Lava, Christian X.
Reuven, Yonatan
Moog, Dominic
Odell, Karla
Reder, Lindsay S.
Hapner, Edie R.
Johns, Michael M., III
TI Effect of Vitamin B12 Injection on the Vocal Performance of
Professional Singers A Randomized, Double-blind, Placebo-Controlled,
Crossover Trial
SO JAMA OTOLARYNGOLOGY-HEAD & NECK SURGERY
LA English
DT Article
ID IMPORTANT DIFFERENCE; FOLATE; HOMOCYSTEINE; DEFICIENCY; DEPRESSION;
VALIDATION; WOMEN
AB IMPORTANCE One-third of singers and vocal professionals report experiencing a benefit from empirical vitamin B-12 injections for improvement of mild singing-related symptoms (eg, reduced stamina, vocal fatigue, and effort). However, there is no objective evidence to support or refute these claims.
OBJECTIVE To assess the presence and magnitude of the effect of empirical vitamin B-12 injection on the vocal performance of singers.
DESIGN, SETTING, AND PARTICIPANTS A randomized, double-blind, placebo-controlled, crossover trial was conducted from November 7, 2017, to November 30, 2018, at an academic voice center among 20 active adult singers without dysphonia but with mild vocal symptoms. Individuals with known or suspected vitamin B-12 deficiency or active or recent vitamin B-12 treatment were excluded. Analysis was on a per-protocol basis.
INTERVENTIONS Participants were randomized to receive an intramuscular (deltoid) injection of either vitamin B-12 (1000 mu g of cyanocobalmin) or placebo (0.9% sodium chloride). After a washout period of at least 4 weeks, participants were crossed over to receive the opposite injection. Both the investigators and participants were blinded to the order of injections.
MAIN OUTCOMES AND MEASURES The participants completed the Singing Voice Handicap Index-10 (SVHI-10), the Voice Fatigue Index (VFI), and the Evaluation of the Ability to Sing Easily (EASE) before each injection and at intervals of 1 hour, 3 hours, 24 hours, 72 hours, and 1 week after the injection. The primary time point assessment was 72 hours after injection, and the SVHI-10 score was the primary outcome measure.
RESULTS Twenty singers (10 men; median age, 22 years [range, 19-42 years]) were enrolled. The improvements after either placebo or vitamin B-12 injections were comparable to each other. At 72 hours after the vitamin B-12 injection, the median difference in the SVHI-10 score was 1 (95% CI, -1 to 2) compared with 3 (95% CI, 0-4) after placebo. The median difference between differences at 72 hours between placebo and vitamin B-12 injections were 1.5 (95% CI, -2 to 5) for the SVHI-10, 1 (95% CI, -9 to 9) for the VFI, and -1 (95% CI, -3 to 2) for the EASE. The improvements after both injections failed to reach the estimated minimal clinically important difference. Of the 20 participants, 4 (20%) reached the estimated minimal clinically important difference in their SVHI-10 score after 72 hours for both vitamin B-12 and placebo injections.
CONCLUSIONS AND RELEVANCE This randomized, double-blind, placebo-controlled, crossover trial found that after empirical vitamin B-12 injection to improve mild voice-related symptoms, the improvement in self-reported voice measures in singers shows no meaningful difference compared with placebo.
C1 [Shoffel-Havakuk, Hagit; Reuven, Yonatan] Rabin Med Ctr, Dept Otolaryngol Head & Neck Surg, Petah Tiqwa, Israel.
[Shoffel-Havakuk, Hagit; Reuven, Yonatan] Tel Aviv Univ, Sackler Fac Med, Tel Aviv, Israel.
[Lava, Christian X.; Moog, Dominic; Odell, Karla; Reder, Lindsay S.; Johns, Michael M., III] Univ Southern Calif, Dept Otolaryngol Head & Neck Surg, Los Angeles, CA 90007 USA.
[Hapner, Edie R.] Univ Alabama Birmingham, UAB Voice Ctr, Otolaryngol, Birmingham, AL USA.
C3 Rabin Medical Center; Tel Aviv University; Sackler Faculty of Medicine;
University of Southern California; University of Alabama System;
University of Alabama Birmingham
RP Johns, MM (corresponding author), USC Voice Ctr, Dept Otolaryngol Head & Neck Surg, 1540 Alcazar,Ste 204M, Los Angeles, CA 90033 USA.
EM michael.johns@med.usc.edu
OI Reuven, Yonatan/0000-0002-9850-8229
NR 32
TC 2
Z9 2
U1 0
U2 4
PU AMER MEDICAL ASSOC
PI CHICAGO
PA 330 N WABASH AVE, STE 39300, CHICAGO, IL 60611-5885 USA
SN 2168-6181
EI 2168-619X
J9 JAMA OTOLARYNGOL
JI JAMA Otolaryngol-Head Neck Surg.
PD JAN
PY 2021
VL 147
IS 1
BP 9
EP 15
DI 10.1001/jamaoto.2020.4026
EA NOV 2020
PG 7
WC Otorhinolaryngology; Surgery
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Otorhinolaryngology; Surgery
GA PT4YQ
UT WOS:000592279100003
PM 33180098
OA Green Published
DA 2025-03-18
ER
PT J
AU Dalla Bella, S
Berkowska, M
Sowinski, J
AF Dalla Bella, Simone
Berkowska, Magdalena
Sowinski, Jakub
TI Moving to the Beat and Singing are Linked in Humans
SO FRONTIERS IN HUMAN NEUROSCIENCE
LA English
DT Article
DE singing; synchronization; auditory-motor integration; poor-pitch
singing; beat deafness
ID SENSORIMOTOR SYNCHRONIZATION; CONGENITAL AMUSIA; PREMOTOR CORTEX;
SPECIAL-ISSUE; MUSIC; PERCEPTION; PROFICIENCY; EVOLUTION; INFANTS;
RHYTHM
AB 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.
C1 [Dalla Bella, Simone] Univ Montpellier, EuroMov, F-34059 Montpellier, France.
[Dalla Bella, Simone] IUF, Paris, France.
[Dalla Bella, Simone] Int Lab Brain Mus & Sound Res BRAMS, Montreal, PQ, Canada.
[Dalla Bella, Simone; Berkowska, Magdalena; Sowinski, Jakub] Univ Finance & Management Warsaw, Dept Cognit Psychol, Warsaw, Poland.
C3 Universite de Montpellier; Universite de Montreal
RP Dalla Bella, S (corresponding author), Univ Montpellier, EuroMov, F-34059 Montpellier, France.
EM simone.dalla-bella@univ-montp1.fr
OI Sowinski, Jakub/0009-0001-3890-9370; Sowinski,
Jakub/0000-0002-8075-7120; Berkowska, Magdalena/0000-0002-5812-495X;
Berkowska, Magdalena/0000-0001-6803-7377
FU International Reintegration Grant from the European Commission [14847];
grant of the Grammy Foundation
FX This research was supported by an International Reintegration Grant (n.
14847) from the European Commission and by a grant of the Grammy
Foundation to the first author. We wish to thank Simone Falk and Nicolas
Farrugia for thoughtful comments on a previous version of the
manuscript.
NR 119
TC 17
Z9 18
U1 3
U2 31
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
SN 1662-5161
J9 FRONT HUM NEUROSCI
JI Front. Hum. Neurosci.
PD DEC 18
PY 2015
VL 9
AR 663
DI 10.3389/fnhum.2015.00663
PG 13
WC Neurosciences; Psychology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Neurosciences & Neurology; Psychology
GA CZ4CF
UT WOS:000367049900001
PM 26733370
OA gold, Green Published
DA 2025-03-18
ER
PT J
AU Hoffman-Ruddy, B
Lehman, J
Crandell, C
Ingram, D
Sapienza, C
AF Hoffman-Ruddy, B
Lehman, J
Crandell, C
Ingram, D
Sapienza, C
TI Laryngostroboscopic, acoustic, and environmental characteristics of
high-risk vocal performers
SO JOURNAL OF VOICE
LA English
DT Article; Proceedings Paper
CT 28th Annual Symposium on Care of the Professsional Voice
CY JUN 03-06, 1999
CL PHILADELPHIA, PENNSYLVANIA
SP Voice Fdn
DE high-risk; vocal performer; disorder; acoustic
ID FATIGUE
AB Vocal performance often requires excessively high vocal demand. In particular "high-risk" performers, a group of individuals who use their voices at their maximum effort level, are often exposed to unique vocal abuse characteristics which include high environmental and performance demands and inconsistencies of cast performance. Three categories of high-risk performers were studied: musical theater, choral ensemble, and street theater. Musical theater performers produce a Broadway, West End "belting" style voice. Street theater performers use a high-energy pitch varying dialogue in order to imitate a desired character voice. Choral ensemble performance requires group cohesion and blending of four-part harmony. The melodies require sustained vocal durations within each of the respective registers. For each of these studied groups vocal tasks of sustained production of /i/ and /a/ were subjected to analysis. Acoustic measures included fundamental frequency, standard deviation of fundamental frequency, jitter percent, shimmer percent, and noise-to-harmonic ratio. Laryngostroboscopic parameters were assessed during sustained /i/. Environmental acoustic sound field measurements were made using an A weighting and linear weighting sound pressure level. These weightings were used to describe noise levels and vocal output, respectively, within the performance environments. Results of the analysis suggest that high-risk performers are a unique performance type defined by distinctive, acoustic, laryngostroboscopic, and environmental characteristics.
C1 Univ Florida, Dept Commun Sci & Disorders, Gainesville, FL 32611 USA.
Ear Nose Throat & Plast Surg Associates, Winter Pk, FL USA.
C3 State University System of Florida; University of Florida
RP Hoffman-Ruddy, B (corresponding author), Univ Florida, Dept Commun Sci & Disorders, POB 117420, Gainesville, FL 32611 USA.
NR 19
TC 32
Z9 40
U1 0
U2 3
PU SINGULAR PUBLISHING GROUP INC
PI CLIFTON PARK
PA 5 MAXWELL DR, CLIFTON PARK, NY 12065 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD DEC
PY 2001
VL 15
IS 4
BP 543
EP 552
DI 10.1016/S0892-1997(01)00054-6
PG 10
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Conference Proceedings Citation Index - Science (CPCI-S); Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 503MT
UT WOS:000172802800009
PM 11792030
DA 2025-03-18
ER
PT J
AU Liu, B
Ye, F
AF Liu, Bo
Ye, Fang
TI The problem-based approach in online music education: how to teach
students to control singing with piano accompaniment?
SO INTERACTIVE LEARNING ENVIRONMENTS
LA English
DT Article
DE Artistic skills; musical intonation; music emotionality; piano
performance; piano playing peculiarities; China
ID OPTIMIZATION; UNIVERSITY
AB The vocal performance is based on a variety of colours and shades influenced by the musical ear and vocal apparatus development. The research aim is to apply a problem-based approach to online music education with a special emphasis on vocal singing with piano accompaniment. The scholars used the oscillation coefficient to identify the main advantages of the singing and piano accompaniment performed at the same time. The results showed that the proposed approach to music performance influenced the development of the musical ear (0.22), improved vocal skills and piano playing skills (0.19). The musician's individuality has not been influenced greatly but holds all the elements mentioned above. The research developed a specialised training programme with three modules for online musical and theoretical training, the development of practical skills, and the development of artistic skills. The research found that 83% of students admitted high effectiveness of the training programme for concert performances and musical competitions. The research's practical significance can be explained by the possibility of developing vocal and instrumental data during the online learning process. The research is important for a comparative analysis to identify the training effectiveness among different groups of vocalists.
C1 [Liu, Bo; Ye, Fang] Yangtze Univ, Sch Art, Jingzhou, Peoples R China.
C3 Yangtze University
RP Ye, F (corresponding author), Yangtze Univ, Sch Art, Jingzhou, Peoples R China.
EM emmaye0110@163.com
RI Liu, Bo/JBJ-7722-2023
OI liu, bo/0000-0002-7840-9450
NR 34
TC 7
Z9 7
U1 7
U2 18
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 1049-4820
EI 1744-5191
J9 INTERACT LEARN ENVIR
JI Interact. Learn. Environ.
PD JUL 2
PY 2024
VL 32
IS 6
BP 2862
EP 2873
DI 10.1080/10494820.2022.2160471
EA DEC 2022
PG 12
WC Education & Educational Research
WE Social Science Citation Index (SSCI)
SC Education & Educational Research
GA G1Y7I
UT WOS:000906972400001
DA 2025-03-18
ER
PT J
AU Harley, A
Zittlau, A
AF Harley, Anne
Zittlau, Andrea
TI Jenny Lind. Of Echoes and Traces
SO CAHIERS VICTORIENS & EDOUARDIENS
LA English
DT Article
DE Lind (Jenny); Historically Informed Performance (HIP); nationhood;
America; soprano; birdsong; anthem; slavery; echo; traces
AB In September 1850, the celebrated soprano Jenny Lind, better known as the Swedish Nightingale, arrived in the United States for what would be her last major musical tour. Her wild success in the young nation was built upon an advertising campaign by Phineas Taylor Barnum that leveraged her talent and various aspects of her identity. In this article, we consider the music written for Lind and how the sound she produced impacted her audiences, as well as those who did not even hear her. It is not an attempt to recreate Lind's voice but to mark its absence by `audiolizing' the genres it produced. We describe the tension between the written sheet music found in the archives and the corresponding performances by Lind and her imitators, as described in the press. Lind's voice communicated to American society in several registers simultaneously: her vocal performance is variously described as a model for the voice of the masses, a respondent in sing-along sessions with audiences in the street, and also as an indescribable vehicle for spiritual transcendence. We will trace the correspondence of these identities and in so doing, hope to amplify the popular soundscapes of the mid-nineteenth century America.
C1 [Harley, Anne] Scripps Coll, Mus, Claremont, CA 91711 USA.
[Zittlau, Andrea] Univ Rostock, Amer Studies Dept, Literature & Cultural Anal, Rostock, Germany.
C3 Claremont Colleges; Scripps College; University of Rostock
RP Harley, A (corresponding author), Scripps Coll, Mus, Claremont, CA 91711 USA.
NR 28
TC 1
Z9 1
U1 0
U2 0
PU UNIV P MONTPELLIERI III-PAUL VALERY, SERVICES PUBLICATIONS
PI MONTPELLIER-CEDEX 1
PA ROUTE MENDE, BP 5043, 34032 MONTPELLIER-CEDEX 1, FRANCE
SN 0220-5610
J9 CAH VICTOR EDOUARD
JI Cah. Victoriens Edouardiens
PY 2021
IS 94
PG 16
WC Literature, British Isles
WE Arts & Humanities Citation Index (A&HCI)
SC Literature
GA XJ4VZ
UT WOS:000726788900009
DA 2025-03-18
ER
PT J
AU Rangarathnam, B
Paramby, T
McCullough, GH
AF Rangarathnam, Balaji
Paramby, Towino
McCullough, Gary H.
TI "Prologues to a Bad Voice": Effect of Vocal Hygiene Knowledge and
Training on Voice Quality Following Stage Performance
SO JOURNAL OF VOICE
LA English
DT Article
DE Stage actors; Phonotrauma; Vocal hygiene; Vocal training; Stage
performances
ID ACTORS; EDUCATION; FATIGUE; CARE
AB Purpose. The purpose of this investigation was to determine the effects of intensive stage rehearsal and performance on perceptual, acoustic, and aerodynamic measures of voice, and to determine the impact of knowledge and practice of vocal hygiene on measures of voice during intensive vocal performance.
Methods. Nineteen stage actors who were participating in the Arkansas Shakespeare Theatre festival took part in the study. Each participant completed auditory-perceptual, acoustic, aerodynamic, and quality of life measures before and after 1 month of intensive rehearsals and stage performances. They also completed a questionnaire documenting their vocal use, vocal hygiene, and previous vocal training, if any.
Results. Subjects demonstrated statistically significant deterioration in auditory-perceptual measures and mean expiratory airflow. Other acoustic measures trended toward poorer outcomes after the performances; however, these were not statistically significant. Knowledge of vocal hygiene and vocal training did not have an impact on the change in vocal measures.
Conclusions. Stage performances do impact vocal outcomes with reduction in quality and efficient use of airflow for voice production. Knowledge and practice of vocal hygiene have some impact on these changes; however, vocal hygiene may not be the best preventive strategy of potential phonotrauma in this subject population.
C1 [Rangarathnam, Balaji] East Carolina Univ, Dept Commun Sci & Disorders, 600 Moye Blvd,Mailstop 668, Greenville, NC 27834 USA.
[Paramby, Towino] Univ Cent Arkansas, Dept Commun Sci & Disorders, Conway, AR USA.
[McCullough, Gary H.] Appalachian State Univ, Beaver Coll Hlth Sci, Boone, NC 28608 USA.
C3 University of North Carolina; East Carolina University; University of
Central Arkansas; University of North Carolina; Appalachian State
University
RP Rangarathnam, B (corresponding author), East Carolina Univ, Dept Commun Sci & Disorders, 600 Moye Blvd,Mailstop 668, Greenville, NC 27834 USA.
EM rangarathnamb@ecu.edu
OI Rangarathnam, Anand Balaji/0000-0001-6521-4542
FU University of Central Arkansas (UCA) Research Council Grant; National
Institutes of Health/NIDCD [R15 DC013137-01A1]
FX This work was funded by a University of Central Arkansas (UCA) Research
Council Grant. Thanks to Hylan Pickett, MS, CCC-SLP for her help with
perceptual assessment of voice samples. This study was partly supported
by a grant from the National Institutes of Health/NIDCD R15
DC013137-01A1.
NR 19
TC 14
Z9 17
U1 3
U2 19
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAY
PY 2018
VL 32
IS 3
BP 300
EP 306
DI 10.1016/j.jvoice.2017.05.026
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA GG1QU
UT WOS:000432462500006
PM 28684251
OA Green Submitted
DA 2025-03-18
ER
PT J
AU Franca, MC
Bass-Ringdahl, S
AF Franca, Maria Claudia
Bass-Ringdahl, Sandie
TI A clinical demonstration of the application of audiovisual biofeedback
in the treatment of puberphonia
SO INTERNATIONAL JOURNAL OF PEDIATRIC OTORHINOLARYNGOLOGY
LA English
DT Article
DE Puberphonia; Functional and psychosocial aspects voice disorders;
Audiovisual feedback
ID VOICE HANDICAP INDEX; PERSONALITY; VALIDATION
AB Purpose: The objective of this study was to demonstrate the effect of vocal audiovisual biofeedback in the treatment of puberphonia.
Method: This is a report of a single subject research study encompassing intervention and observation of results, involving three phases: baseline, treatment, and follow-up. Therefore, this study applied an A-B case study experimental design with follow-up for observation of treatment outcomes. Self-reported complementary data regarding feelings of voice usage included comparisons between pre and post intervention scores of the Voice Handicap Index (VHI) survey.
Results: In this study, acoustic voice parameters measured revealed changes in vocal performance in the desired direction, as demonstrated by visual inspection and estimation of effect size of the data; changes were maintained during the follow-up phase. Examination of VHI results suggested post intervention improvement in functional and psychosocial aspects related to voice use.
Conclusions: Based on the results of this study, audiovisual feedback approaches are effective in the treatment of puberphonia. Results will apply to future considerations in the application of technology support for treatment of puberphonia and other voice related disorders. (C) 2015 Elsevier Ireland Ltd. All rights reserved.
C1 [Franca, Maria Claudia; Bass-Ringdahl, Sandie] So Illinois Univ, Commun Disorders & Sci Rehabil Inst, Carbondale, IL 62901 USA.
C3 Southern Illinois University System; Southern Illinois University
RP Franca, MC (corresponding author), So Illinois Univ, Commun Disorders & Sci Rehabil Inst, Carbondale, IL 62901 USA.
EM franca@siu.edu; sandie.bass.ringdahl@siu.edu
OI Bass-Ringdahl, Sandie/0000-0001-7540-5481; Franca, Maria
Claudia/0000-0002-5976-0640
NR 63
TC 3
Z9 3
U1 0
U2 17
PU ELSEVIER IRELAND LTD
PI CLARE
PA ELSEVIER HOUSE, BROOKVALE PLAZA, EAST PARK SHANNON, CO, CLARE, 00000,
IRELAND
SN 0165-5876
EI 1872-8464
J9 INT J PEDIATR OTORHI
JI Int. J. Pediatr. Otorhinolaryngol.
PD JUN
PY 2015
VL 79
IS 6
BP 912
EP 920
DI 10.1016/j.ijporl.2015.04.013
PG 9
WC Otorhinolaryngology; Pediatrics
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Otorhinolaryngology; Pediatrics
GA CJ8RV
UT WOS:000355772100027
PM 25912681
DA 2025-03-18
ER
PT J
AU Chen, SH
AF Chen, Sheng Hwa
TI Voice range profiles for tonal dialect of Min
SO FOLIA PHONIATRICA ET LOGOPAEDICA
LA English
DT Article
DE voice range profile; Min; maximum range of vowel frequency change;
dynamic intensity range
ID VOCAL FUNCTION EXERCISES; SOUND PRESSURE LEVELS; FUNDAMENTAL
FREQUENCIES; PHONATIONAL PROFILES; FEMALE VOICES; SINGERS; PHONETOGRAMS;
NONSINGERS; INTENSITY; SPEECH
AB The influence of frequency and intensity in Min dialect on maximum vocal performance has not been investigated. The purposes of this study are ( 1) to investigate the physiological frequency and intensity ranges of the tonal dialect of Min, and ( 2) to compare the physiological frequency and intensity ranges of Min to those of nontonal languages. The subjects were 40 normal Taiwanese adults. All subjects were native Min speakers. The lowest frequency, the highest frequency, the maximum range of vowel frequency change ( MRVFC), soft voice, loud voice, and the dynamic intensity range were obtained from voice range profiles. The independent t test was used to find the statistical significance of all frequency and intensity variables between female and male speakers in vocal range profiles. The results revealed that female speakers had significantly greater lowest frequency and highest frequency than male speakers. Male speakers had a significantly greater MRVFC than female speakers. Moreover, Min speakers had a greater MRVFC and dynamic intensity range than most of nontonal language speakers. The data provide an assessment tool of vocal function for Min speakers. Copyright (c) 2007 S. Karger AG, Basel.
C1 [Chen, Sheng Hwa] Natl Taipei Coll Nursing, Dept Speech & Hearing Disorders & Sci, Taipei, Taiwan.
RP Chen, SH (corresponding author), 7F 31 Alley 52,Lane 117,Tien Mu W Rd, Taipei 112, Taiwan.
EM shchen@ntcn.edu.tw
RI Chang, Yu-Chan/W-3582-2019
NR 42
TC 12
Z9 14
U1 0
U2 0
PU KARGER
PI BASEL
PA ALLSCHWILERSTRASSE 10, CH-4009 BASEL, SWITZERLAND
SN 1021-7762
J9 FOLIA PHONIATR LOGO
JI Folia Phoniatr. Logop.
PY 2008
VL 60
IS 1
BP 4
EP 10
DI 10.1159/000111798
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology;
Rehabilitation
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology;
Rehabilitation
GA 263WW
UT WOS:000253248200002
PM 18057905
DA 2025-03-18
ER
PT J
AU Laoire, LO
AF Laoire, Lillis O.
TI Towards an Aesthetics of Gaelic Song Performance
SO FOLK LIFE-JOURNAL OF ETHNOLOGICAL STUDIES
LA English
DT Article
DE Aesthetics; ethics; performance; poetry; music; song; dance; performance
honour; metaphor; warmth; cold; the body
AB Identifying criteria for the judgement of execution and performance in folk or traditional contexts presents considerable challenges. Primarily addressing the question of the presence of the body in entertainment and performance, this paper interprets various examples from Ireland and Scotland to initiate a discussion around such questions. Drawing on the ethnographic present and historical evidence from the past to argue that such matters originate in the body and that metaphors arising from traditional discourse foreground the body as a site upon which these ideas are culturally inscribed. Dancing, singing and performance in general speak to an aesthetic where the body is engaged and active, usually in the presence of others either in dance or song or in combination. The Reformation, colonialism, the rapid onset of modernity and other processes have disguised, but not eradicated, the continuity of these deeply ingrained attitudes. Modern folk aesthetics relate diachronically to the cosmological concept enech, a term meaning both 'face' and 'honour', engaging an idea situated at the interstices of aesthetics, politics and indeed, economics, within an older Gaelic worldview. The paper argues for an ethically grounded notion of aesthetic principles, capable of great transformations when executed with proper ability, skill and judgement. Although focusing on the Gaelic world, the paper suggests that such concepts also apply to other cultures beyond it.
C1 [Laoire, Lillis O.] Natl Univ Ireland Univ Coll Galway, Sch Languages Literatures & Cultures, Galway, Ireland.
C3 Ollscoil na Gaillimhe-University of Galway
RP Laoire, LO (corresponding author), Natl Univ Ireland Univ Coll Galway, Sch Languages Literatures & Cultures, Galway, Ireland.
EM lillis.olaoire@nuigalway.ie
RI O Laoire, Lillis/J-6824-2015
OI O Laoire, Lillis/0000-0001-9372-3264
NR 73
TC 0
Z9 0
U1 0
U2 1
PU ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
PI ABINGDON
PA 2-4 PARK SQUARE, MILTON PARK, ABINGDON OX14 4RN, OXON, ENGLAND
SN 0430-8778
EI 1759-670X
J9 FOLK LIFE
JI Folk Life
PY 2016
VL 54
IS 1
BP 49
EP 67
DI 10.1080/04308778.2016.1159790
PG 19
WC Folklore
WE Arts & Humanities Citation Index (A&HCI)
SC Arts & Humanities - Other Topics
GA DP7DA
UT WOS:000378658000004
DA 2025-03-18
ER
PT J
AU Bugos, J
DeMarie, D
Torres, M
Fuller, N
AF Bugos, Jennifer
DeMarie, Darlene
Torres, Miranda
Fuller, Nicole
TI Face the music: Children's facial affect in musical imitation and
improvisation tasks
SO PSYCHOLOGY OF MUSIC
LA English
DT Article
DE facial affect; music training; improvisation; singing; children
ID EMOTION; EXPRESSIONS; DISTINCTION; COMPETENCE; APPARENT; REAL
AB The purpose of this study was to examine facial affect of young children who completed a singing task that included imitation and improvisation. Eighty-nine children (4-6 years: 45 male and 44 female participants) completed three singing conditions from a standard singing test battery (i.e., Advancing Interdisciplinary Research in Singing-Test Battery of Singing Skills [AIRS-TBSS]). These included singing a favorite song, imitating a song, and improvising a song ending. Facial affect was analyzed with Noldus FaceReader software, and subjective responses also were collected. Results revealed children exhibited a happy emotion most prominently during the improvisation and favorite song conditions compared with the imitation condition. However, a higher percentage of surprised emotions were found during the imitation condition. Frequency analysis revealed a significantly different range and final note for the improvisation condition compared with imitation. Children's self-reported ratings of happiness were related to their displayed facial affect (i.e., happiness) scores in FaceReader (p < .05). Qualitative data analysis revealed three emerging themes of song familiarity, object association, and song preference. Children exhibited more positive affect when singing a favorite song or improvising. Based on the type of vocal performance task, it is necessary to consider how young children respond to vocal tasks.
C1 [Bugos, Jennifer; DeMarie, Darlene; Torres, Miranda; Fuller, Nicole] Univ S Florida, Tampa, FL 33620 USA.
C3 State University System of Florida; University of South Florida
RP Bugos, J (corresponding author), Univ S Florida, Tampa, FL 33620 USA.
EM bugosj@usf.edu
RI DeMarie, Darlene/AAL-3418-2020
OI Bugos, Jennifer/0000-0001-8061-3752
FU Research: Art Works program at the National Endowment for the Arts
[16-3800-7013]
FX The author(s) disclosed receipt of the following financial support for
the research, authorship, and/or publication of this article: This
project was supported in part or in whole by an award from the Research:
Art Works program at the National Endowment for the Arts:
Grant#16-3800-7013.
NR 48
TC 5
Z9 6
U1 2
U2 11
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0305-7356
EI 1741-3087
J9 PSYCHOL MUSIC
JI Psychol. Music
PD MAR
PY 2022
VL 50
IS 2
BP 460
EP 474
AR 03057356211003320
DI 10.1177/03057356211003320
EA APR 2021
PG 15
WC Psychology, Educational; Psychology, Applied; Music; Psychology,
Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Psychology; Music
GA ZR6AQ
UT WOS:000644052600001
DA 2025-03-18
ER
PT J
AU Brosius, A
AF Brosius, Amy
TI Courtesan Singers as Courtiers: Power, Political Pawns, and the Arrest
of virtuosa Nina Barcarola
SO JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
LA English
DT Article
DE Nina Barcarola; courtesans; female singers; power; gender; performance
ID WOMEN; 17TH-CENTURY; ROME; NETWORKS; THEATER; MUSIC; LIFE
AB This article gives a close reading of the "avvisi di Roma"-unpublished archival documents reporting on daily life in the city-that record the arrest in 1645 of famous Roman courtesan singer Nina Barcarola. Organized by the political enemies of Nina's main protector, Cardinal Antonio Barberini, the arrest was orchestrated so as to compromise the public honor of both. The reports of the arrest reflect a growing elite interest in female vocal performance in Rome, and attest to a rise in the social value of courtesan singers. Examining details provided in these reports, the article explores various aspects of Nina's life and courtesan singing culture more generally: the public honor and social practices of courtesan singers; the positive effect of singing on courtesan honor; the types of gatherings hosted by Nina; and her politically satirical public performances. It also analyzes Nina's relationship to various areas of contemporary politics-social, state, familial, and gender. The reports reveal that, in the public sphere, Nina, like Barberini's male dependents, served as a symbolic extension of the cardinal. By introducing courtesan singers-a significant, marginalized population-into musicological discourse on seventeenth-century Rome, the article broadens our understanding of Roman singing culture in this period.
C1 [Brosius, Amy] Univ Birmingham, Mus, Birmingham, W Midlands, England.
C3 University of Birmingham
RP Brosius, A (corresponding author), Univ Birmingham, Mus, Birmingham, W Midlands, England.
NR 144
TC 3
Z9 3
U1 0
U2 0
PU UNIV CALIFORNIA PRESS
PI OAKLAND
PA 155 GRAND AVE, SUITE 400, OAKLAND, CA 94612-3758 USA
SN 0003-0139
EI 1547-3848
J9 J AM MUSIC SOC
JI J. Am. Musicicol. Soc.
PD SUM
PY 2020
VL 73
IS 2
BP 207
EP 266
DI 10.1525/jams.2020.73.2.207
PG 60
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA OZ9BL
UT WOS:000595212400001
OA Bronze, Green Published
DA 2025-03-18
ER
PT J
AU Ryan, M
Kenny, DT
AF Ryan, Maree
Kenny, Dianna T.
TI Perceived Effects of the Menstrual Cycle on Young Female Singers in the
Western Classical Tradition
SO JOURNAL OF VOICE
LA English
DT Article
DE Menstrual cycle; Classical singing; Vocal quality; Perceptual effects
ID PREMENSTRUAL-SYNDROME; HORMONE-RECEPTORS; VOICE; PSYCHOENDOCRINOLOGY;
ENJOYMENT; QUALITY; MOODS
AB This study investigated the perceived effects of the female hormonal cycle on young female classical singers. All the singers, including male controls, were tertiary singing students from the Sydney Conservatorium of Music, Australia, who were selected for entry into vocal study programs by competitive audition. Female participants completed a questionnaire and daily diary in the first and third months of the study. Male controls completed the diary for the first month only. The questionnaire and diary focused on singers' physical symptoms, their mood states, and vocal production. Analysis of the diaries indicated that although 81% of female singers reported regular menstrual cycles and 43% reported using an oral contraceptive, neither of these factors was related to the voice quality variables as measured on the first day of the cycle. Singers who were not taking a contraceptive pill rated their voice quality lower and their mood higher than those on the pill. There was no relationship between temperature recording in the females and day of cycle. Perceived voice quality for female singers was lower on days 1-3 compared to the remainder of the cycle and there was a trend for ratings to improve through days 1-7. The voice parameters for male singers tended to be slightly flatter over the cycle days than for females. Although voice quality in females indicated a tendency to be lower on average during days 24-4 of the cycle, voice quality for males tended to be more alike during the two phases, days 24-4 and days 5-23. Overall, reduced voice quality was associated with more negative mood experiences. The six most severely affected females completed voice recordings of specific vocal tasks on the first day of the cycle and again in mid-cycle. These recordings were randomly presented to both the participants and expert vocal pedagogues to ascertain whether significant differences in vocal quality were perceptually identifiable. Singers, but not pedagogues, were able to accurately identify the timing of the recordings. Although the singer recognized that greater effort is required to produce the sound during menstruation, discernible differences were not detected by expert listeners.
C1 [Ryan, Maree; Kenny, Dianna T.] Univ Sydney, ACARMP, Sydney Conservatorium Mus, Sydney, NSW 2006, Australia.
C3 University of Sydney
RP Kenny, DT (corresponding author), Univ Sydney, ACARMP, Sydney Conservatorium Mus, Sydney, NSW 2006, Australia.
EM d.kenny@usyd.edu.au
OI Kenny, Dianna/0000-0003-1934-0163
NR 33
TC 10
Z9 14
U1 0
U2 5
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JAN
PY 2009
VL 23
IS 1
BP 99
EP 108
DI 10.1016/j.jvoice.2007.05.004
PG 10
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 394ZR
UT WOS:000262492200014
PM 17658719
DA 2025-03-18
ER
PT J
AU Finnegan, DA
AF Finnegan, Diarmid A.
TI Finding a scientific voice: performing science, space and speech in the
19th century
SO TRANSACTIONS OF THE INSTITUTE OF BRITISH GEOGRAPHERS
LA English
DT Article
DE speech spaces; 19th century; science lectures; Michael Faraday; Thomas
Henry Huxley; oratorical culture
ID GEOGRAPHY; BRITAIN; HISTORY; KNOWLEDGE; LECTURES
AB Taking as a point of departure recent scholarly interest in the geographies of spoken communication, this paper situates the cultivation of a scientific voice in a range of 19th-century contexts and locations. An examination of two of the century's most celebrated science lecturers, Michael Faraday and Thomas Henry Huxley, offers a basis for more general claims about historical relations between science, speech and space. The paper begins with a survey of the geography of Victorian oratory in which advocates of science sought to carve out an effective niche. It then turns to a reconstruction of the varying and variously interpreted assumptions about authoritative and authentic speech that shaped how the platform performances of Faraday and Huxley were constructed, contested and re-mediated in print. Particular attention is paid to sometimes clashing ideals of vocal performance and paralinguistic communication and to the ways in which these were inflected by convictions about gender and class. This signals an interest in the performative dimensions of science lectures rather more than their specific cognitive content. In exploring these concerns, the paper argues that 'finding a scientific voice' was a fundamentally geographical enterprise driven by attempts to make science resonate with a wider oratorical culture without losing distinctive appeal and special authority.
C1 [Finnegan, Diarmid A.] Queens Univ Belfast, Sch Geog Archaeol & Palaeoecol, Belfast BT7 1NN, Antrim, North Ireland.
C3 Queens University Belfast
RP Finnegan, DA (corresponding author), Queens Univ Belfast, Sch Geog Archaeol & Palaeoecol, Belfast BT7 1NN, Antrim, North Ireland.
EM d.finnegan@qub.ac.uk
OI Finnegan, Diarmid/0000-0002-2765-5301
NR 86
TC 16
Z9 17
U1 1
U2 7
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0020-2754
EI 1475-5661
J9 T I BRIT GEOGR
JI Trans. Inst. Br. Geogr.
PD JUN
PY 2017
VL 42
IS 2
BP 192
EP 205
DI 10.1111/tran.12159
PG 14
WC Geography
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Geography
GA EU0KQ
UT WOS:000400701000004
OA Green Accepted
DA 2025-03-18
ER
PT J
AU Devaney, J
AF Devaney, Johanna
TI Recapturing the musical performance data in Seashore's published
performance scores
SO MUSICAE SCIENTIAE
LA English
DT Article
DE Carl Seashore; music performance; optical plot recognition; signal
processing; singing
ID PITCH; ART
AB In the first half of the 20th century, Carl Seashore and colleagues undertook extensive work in performance analysis of a variety of instruments. Their data were embodied in so-called performance scores, which still exist as illustrations of laborious work undertaken by the early pioneers of music performance research and, in their original form, offer today's researchers the opportunity to only visually examine the experimental data. This article describes the use of image-processing methods to accurately convert the visual data in Seashore's performance scores into data points. This use of technology offers researchers the opportunity to directly engage with the data collected in Seashore's laboratory, either for the purposes of validation or performing analyses for which the researchers in Seashore's time did not have the computational facilities or algorithms to perform. This paper also presents a proof-of-concept study of the vocal performance scores in Harold Seashore's An Objective Analysis of Artistic Singing (1936). Specifically, this study analyzes extracted fundamental frequency data in regards to vibrato rate and depth. Discrepancies between the statistics calculated on the digitized data and those reported in H. Seashore's publication are discussed, as well as other types of analysis that may be performed on the extracted data.
C1 [Devaney, Johanna] Ohio State Univ, Columbus, OH 43210 USA.
C3 University System of Ohio; Ohio State University
RP Devaney, J (corresponding author), Ohio State Univ, Sch Mus, Hughes Hall,1899 N Coll Rd, Columbus, OH 43210 USA.
EM devaney.12@osu.edu
RI Devaney, Johanna/K-4512-2012
OI Devaney, Johanna/0000-0002-7353-5271
FU Division of Arts and Humanities, College of Arts and Sciences, The Ohio
State University
FX This project is funded in part by a grant from the Division of Arts and
Humanities, College of Arts and Sciences, The Ohio State University.
NR 14
TC 4
Z9 4
U1 1
U2 1
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 1029-8649
EI 2045-4147
J9 MUSIC SCI
JI Music Sci.
PD JUN
PY 2015
VL 19
IS 2
BP 214
EP 222
DI 10.1177/1029864915580472
PG 9
WC Music; Psychology, Experimental
WE Social Science Citation Index (SSCI); Arts & Humanities Citation Index (A&HCI)
SC Music; Psychology
GA CJ2OR
UT WOS:000355324800005
DA 2025-03-18
ER
PT J
AU Zhang, J
AF Zhang, Juan
TI The role of innovative musical education in the development of social
skills in children and adolescents
SO JOURNAL OF PSYCHOLOGISTS AND COUNSELLORS IN SCHOOLS
LA English
DT Article
DE Articulatory approaches; communicative skills; digital applications;
emotional expression in performance; precision in execution
AB This article aims to investigate the significance of innovative musical education in fostering social skills among children and adolescents. To achieve this objective, the authors devised teaching approaches centered on the development of social skills through vocal training, utilizing modern technologies such as Minute Voice WarmUp and Swiftscales. The curriculum was designed to facilitate the formation of articulatory approaches to vocal singing, the enhancement of technical skills in vocal performance, the cultivation of emotional expression in execution, and the establishment of dual-voice rendition. Findings revealed that emotional expression in singing (0.491) and articulation (0.483) played pivotal roles in developing social skills, along with dual-voice rendition (0.207), influencing the freedom and confidence in execution. Moreover, the study results demonstrated that among the acquired social skills in children and adolescents, presenting vocal capabilities effectively (1.96) stood out prominently, enabling individuals to express their opinions in the interpretation of melodies. Additionally, students developed voice control skills (1.83), closely associated with the precision of word pronunciation and the conveyance of inherent intonation. The practical significance of this work lies in the potential for shaping social skills through vocal singing, guided by the utilization of digital applications such as Minute Voice WarmUp and Swiftscales.
C1 [Zhang, Juan] Jinzhong Univ, Jinzhong, Peoples R China.
C3 Jinzhong University
RP Zhang, J (corresponding author), Jinzhong Univ, Mus Dept, Jinzhong 030621, Peoples R China.
EM juanzhang74@gmx.com
NR 31
TC 0
Z9 0
U1 9
U2 9
PU SAGE PUBLICATIONS LTD
PI LONDON
PA 1 OLIVERS YARD, 55 CITY ROAD, LONDON EC1Y 1SP, ENGLAND
SN 2055-6365
EI 2055-6373
J9 J PSYCHOL COUNS SCH
JI J. Psychol. Couns. Sch.
PD DEC
PY 2024
VL 34
IS 4
BP 463
EP 477
DI 10.1177/20556365241290871
EA OCT 2024
PG 15
WC Education & Educational Research; Social Work
WE Social Science Citation Index (SSCI)
SC Education & Educational Research; Social Work
GA P2Z4G
UT WOS:001345856500001
DA 2025-03-18
ER
PT J
AU Angelakis, E
Andreopoulou, A
Georgaki, A
AF Angelakis, E.
Andreopoulou, A.
Georgaki, A.
TI Multisensory biofeedback: Promoting the recessive somatosensory control
in operatic singing pedagogy
SO BIOMEDICAL SIGNAL PROCESSING AND CONTROL
LA English
DT Article
DE Opera singing; Somatosensory; Singing pedagogy; Auditory feedback; Motor
training; Sensors
ID HUMAN VOICE; INTELLIGIBILITY; GUIDELINES; PATTERNS; KINECT; VOLUME; TOOL
AB The quality level in Operatic Singing has been repeatedly reported as declining by a number of academic scholars, music critics, and distinguished opera professionals and teachers, during the last few decades. This narrative review attempts to combine scientific research results from Physiology, Acoustics, Psychoacoustics, Sociology, and Cognitive Sciences, in order to find possible causes for such a change and suggest applicable solutions. The opera singing profession has been widely regarded as an extremely demanding specialty, requiring high levels of cognitive awareness and muscular motor control. The stagnant empiric vocal pedagogy system in conjunction with other aspects of the modern way of life are possible factors impeding the achievement of such an elite level. Today, we have the technological resources and scientific data available, but they have not necessarily been widely used toward the development of tools for the aspiring operatic singers' training. Moreover, any such tools are usually concerned specifically with the acoustic analysis and contemporary vocal performance, but rarely factor in the kinesthetic singing properties. In this review, we suggest that Opera singers would benefit from educational strategies and specialized multi-sensory biofeedback tools that will a) promote their somatosensory control and b) heighten their awareness of their breathing, phonatory, and articulatory biomechanical functions and abilities.
C1 [Angelakis, E.; Andreopoulou, A.; Georgaki, A.] Univ Athens, Lab Mus Acoust & Technol LabMAT, Athens, Greece.
C3 National & Kapodistrian University of Athens
RP Angelakis, E (corresponding author), Univ Athens, Lab Mus Acoust & Technol LabMAT, Athens, Greece.
EM angelakisv@music.uoa.gr
RI ; Andreopoulou, Areti/AAD-8372-2020
OI Angelakis, Evangelos/0000-0002-5242-5006; Andreopoulou,
Areti/0000-0003-0287-0459
NR 124
TC 3
Z9 3
U1 0
U2 9
PU ELSEVIER SCI LTD
PI OXFORD
PA THE BOULEVARD, LANGFORD LANE, KIDLINGTON, OXFORD OX5 1GB, OXON, ENGLAND
SN 1746-8094
EI 1746-8108
J9 BIOMED SIGNAL PROCES
JI Biomed. Signal Process. Control
PD APR
PY 2021
VL 66
AR 102400
DI 10.1016/j.bspc.2020.102400
EA JAN 2021
PG 12
WC Engineering, Biomedical
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Engineering
GA RH5DX
UT WOS:000636240200018
DA 2025-03-18
ER
PT J
AU Shair, N
AF Shair, Nabil
TI INVESTIGATING A VOCAL IMPROVISATORY GENRE (MAWWAL) IN ARAB MUSIC:
A CASE STUDY OF A MAWWAL PERFORMANCE BY WADI' AL-SAFI
SO MUSIC ANALYSIS
LA English
DT Article
ID CREATIVITY
AB Although recent decades have witnessed a significant growth and expansion of studies dealing with the performing practice of Arab music improvisation, most such studies are focused on instrumental, not vocal, performing practices. As a result, Arab vocal performing practice, especially that of vocal improvisatory genres, still lacks a comprehensive theoretical approach. In this article I examine the maqam (Arab modal framework) phenomenon by analysing a piece in its preeminent improvisatory genre (mawwal) composed and performed by an eminent musician: mawwal 'Tal al-Sabah' by Wadi' al-Safi. Most vocal improvisation is presented in Arab music literature without a defined or definite melodic (or rhythmic) structure. I posit that the mawwal genre has defined and quasi-defined structures on the macro and micro levels of the piece, since a major part of those structures is manifested as recurring, defined compositional devices and interrelationships throughout the piece within the improvisational frame of the mawwal genre, a reflection of its structural intricacy. This article thus contributes to the existing literature on classical Arab vocal performance by implementing the theory of natural schemata as an analytical framework along with a structural analysis based on a detailed descriptive transcription of the piece, and thus characterising the largest and smallest strata of musical structures in the mawwal genre.
C1 [Shair, Nabil] Jerusalem Acad Music & Dance, Eastern Music Dept, Jerusalem, Israel.
[Shair, Nabil] Tel Aviv Univ, Tel Aviv, Israel.
C3 Tel Aviv University
RP Shair, N (corresponding author), Jerusalem Acad Music & Dance, Eastern Music Dept, Jerusalem, Israel.; Shair, N (corresponding author), Tel Aviv Univ, Tel Aviv, Israel.
NR 52
TC 0
Z9 0
U1 0
U2 0
PU WILEY
PI HOBOKEN
PA 111 RIVER ST, HOBOKEN 07030-5774, NJ USA
SN 0262-5245
EI 1468-2249
J9 MUSIC ANAL
JI Music Anal.
PD MAR
PY 2024
VL 43
IS 1
BP 114
EP 135
DI 10.1111/musa.12227
EA APR 2024
PG 22
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA QM2S4
UT WOS:001214516700001
DA 2025-03-18
ER
PT J
AU Kooijman, PGC
Thomas, G
Graamans, K
de Jong, FICRS
AF Kooijman, Piet G. C.
Thomas, G.
Graamans, K.
de Jong, F. I. C. R. S.
TI Psychosocial impact of the teacher's voice throughout the career
SO JOURNAL OF VOICE
LA English
DT Article
DE teachers; teaching years; voice complaints; voice handicap; psychosocial
impact
ID TERM AVERAGE SPECTRA; PREVALENCE; DISORDERS; SPEAKERS; INDEX
AB It is generally accepted that vocal performance decreases with age. This decrease can be expected to be more pronounced in voice loading professions, which may lead to occupational dysphonia. The aim of this study was to investigate the course of voice complaints, experienced handicap, and absenteeism of work due to voice problems throughout the teaching years. Questionnaires were distributed among teachers of primary and secondary education, and 4875 were analyzed. The questionnaire was designed in such a way that personal aspects and questions about periods with symptoms and absence from work were included. The Voice Handicap Index (VHI) developed by Jacobson et al was sent along with the questionnaire. Surprisingly, a significant decrease of voice complaints during the career of the teachers was observed. The expectation that the percentage of teachers with a history of voice problems should experience more psychosocial impact, measured with the VHI, along their professional career could not be confirmed by this study. These results indicate that serious attention has to be paid to teachers with voice complaints. The fact that teachers in the beginning of their career complain more than in the end of their career emphasizes the importance of adequate aimed prevention programs for future teachers and for starting teachers with regard to their voice.
C1 Radboud Univ Nijmegen, Nijmegen Med Ctr, Dept ORL 383, NL-6500 HB Nijmegen, Netherlands.
Radboud Univ Nijmegen, Med Ctr, Dept Otorhinolaryngol, Nijmegen, Netherlands.
Univ Hosp KULeuven, Dept Otorhinolaryngol Head & Neck Surg, Louvain, Belgium.
C3 Radboud University Nijmegen; Radboud University Nijmegen; KU Leuven;
University Hospital Leuven
RP Kooijman, PGC (corresponding author), Radboud Univ Nijmegen, Nijmegen Med Ctr, Dept ORL 383, Ph Van Leydenlaan 15,Postbox 9101, NL-6500 HB Nijmegen, Netherlands.
EM p.kooijman@kno.umcn.nl
OI Graamans, Kees/0009-0001-2051-0978
NR 20
TC 45
Z9 61
U1 0
U2 9
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
J9 J VOICE
JI J. Voice
PD MAY
PY 2007
VL 21
IS 3
BP 316
EP 324
DI 10.1016/j.jvoice.2005.12.007
PG 9
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA 171AQ
UT WOS:000246707700006
PM 16545941
DA 2025-03-18
ER
PT J
AU Franca, MC
AF Franca, Maria Claudia
TI A comparison of vocal demands with vocal performance among classroom
student teachers
SO JOURNAL OF COMMUNICATION DISORDERS
LA English
DT Article
DE Teaching voice; Voice acoustics and aerodynamics; Voice monitoring
ID VOICE DISORDERS; RISK-FACTORS; PREVALENCE; CONSTITUTION; FATIGUE
AB Purpose: This investigation compared voice performance of student teachers across an academic semester in order to examine the effect of increasing demands on their voice.
Method: A repeated measures design was applied to the data analysis: all participants were tested three separate times throughout the semester. The equipments used for monitoring vocal behavior were the Ambulatory Phonation Monitor (APM), the Computerized Speech Lab (CSL), and the Phonatory Aerodynamic System (PAS), which are computer-based systems for acoustic and aerodynamic assessment of voice. Additionally, participants completed surveys related to voice usage.
Results: In this study, most voice parameters of student teachers measured in a natural setting and in a controlled environment indicated changes that revealed progressive instability and noise in the course of an academic semester. Additional comparisons demonstrated differences between voice usage in the school environment and voice produced in the voice lab. Self-reported information demonstrated overall reduced awareness regarding preventive methods for voice disorders.
Conclusions: Based on the results of this study, increased teaching-related voice demands associated with reduced awareness of voice production and preventive measures of voice disorders may have a detrimental impact on voice performance, leading to a risk of developing voice disorders.
Learning outcomes: Participants will recognize the importance of clarifying and quantifying the relationship of vocal demands and voice performance among student teachers. (c) 2012 Elsevier Inc. All rights reserved.
C1 So Illinois Univ Carbondale, Commun Disorders & Sci Rehabil Inst, Carbondale, IL 62901 USA.
C3 Southern Illinois University System; Southern Illinois University
RP Franca, MC (corresponding author), So Illinois Univ Carbondale, Commun Disorders & Sci Rehabil Inst, Carbondale, IL 62901 USA.
EM franca@siu.edu
FU Faculty Seed Grant Program, from the Office of Sponsored Projects
Administration (OSPA) of Southern Illinois University Carbondale (SIUC)
FX This work was supported by the Faculty Seed Grant Program, from the
Office of Sponsored Projects Administration (OSPA) of Southern Illinois
University Carbondale (SIUC). The collaboration of Dr. Jan E. Waggoner,
director of the SIUC Teacher Education Program was fundamental for the
successful implementation of this project. I thank Laurian Dicks for the
assisting in the research procedures, and the participants for sharing
their valuable time.
NR 78
TC 12
Z9 17
U1 0
U2 14
PU ELSEVIER SCIENCE INC
PI NEW YORK
PA STE 800, 230 PARK AVE, NEW YORK, NY 10169 USA
SN 0021-9924
EI 1873-7994
J9 J COMMUN DISORD
JI J. Commun. Disord.
PD JAN-FEB
PY 2013
VL 46
IS 1
BP 111
EP 123
DI 10.1016/j.jcomdis.2012.11.001
PG 13
WC Audiology & Speech-Language Pathology; Linguistics; Rehabilitation
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Linguistics; Rehabilitation
GA 078ZS
UT WOS:000314140200008
PM 23218408
DA 2025-03-18
ER
PT J
AU Zuim, AF
Lloyd, AT
Gerhard, J
Rosow, D
Lundy, D
AF Zuim, Ana Flavia
Lloyd, Adam T.
Gerhard, Julia
Rosow, David
Lundy, Donna
TI Associations of Education and Training with Perceived Singing Voice
Function Among Professional Singers
SO JOURNAL OF VOICE
LA English
DT Article
DE Professional singers; Singer's education; Singer's perception; Vocal
Health; Vocal Function; EASE score
ID VALIDATION
AB Background. The educational backgrounds of professional singers vary greatly and span from no formal training to advanced degrees in music or theater. Consequently, professional singers have a wide range of knowledge regarding basic voice care. The objective of this study was to examine associations between singers' educational backgrounds, specifically their knowledge of vocal pedagogy and awareness of vocal health, and their perceptions of their current vocal function associated with singing.
Study Design. Cross sectional survey.
Methods. An online survey was distributed nationwide to over 1,000 self-identifying as a professional singer working full time as a performer. The survey included 54 questions about their background education, performance history, years of professional experience, affiliation to a professional union, general health and wellness, and the Evaluation of the Ability to Sing Easily (EASE), a 20-item scale to assess singers' perceptions of the current status of their vocal function.
Results. A total of 396 amateur and professional singers completed the survey yielding a 40% response rate. Of 396 surveys received, 154 were excluded because the respondent was not a professional singer and/or the survey was incomplete and four were excluded because the respondent was <19 years old (396-158 = 238). Of 238, 199 completed the EASE (included in this analysis sample). The respondents identified their primary singing genre(s) as follows: 29% classical, 22% musical theatre, 45% both classical and musical theatre, and 5% other contemporary styles. Overall mean (SD, range) Rasch converted EASE score was 19.9 units (9.0, 0-50). Mean EASE score was 19.6 for primary classical, 22.7 for primary musical theatre, 18.4 for both classical and musical theatre, and 23.3 for other contemporary styles (P = 0.03). Participants who were older, had more years of singing training, had a college degree or higher in music, studied classical singing in an academic or private setting, and those who received education in vocal health had significantly lower (better) EASE scores (P-values < 0.05).
Conclusions. Professional singers' perception of their current vocal function differed according to their singing genre, age, extent and type of vocal training and vocal health education. Singing teachers, speech-language pathologists, and physicians could use these results to tailor voice education messages to professional singers. This knowledge could help voice care professionals to educate and treat this elite group of voice users to avoid long-term sequelae from suboptimal voice care.
C1 [Zuim, Ana Flavia] NYU, Steinhardt Sch, Dept Mus & Performing Arts Profess, 35 West 4th St,Off 975, New York, NY 10012 USA.
[Lloyd, Adam T.; Rosow, David; Lundy, Donna] Univ Miami, Miller Sch Med, Dept Otolaryngol, Miami, FL 33136 USA.
[Gerhard, Julia] Florida Hosp, Winter Pk, FL USA.
C3 New York University; University of Miami; Adventist Health Services;
AdventHealth; (AdventHealth) Central Florida Division; Central Florida
Hospital - South; AdventHealth Winter Park
RP Zuim, AF (corresponding author), NYU, Steinhardt Sch, Dept Mus & Performing Arts Profess, 35 West 4th St,Off 975, New York, NY 10012 USA.
EM afz1@nyu.edu
OI Lloyd, Adam/0000-0002-0985-397X
NR 13
TC 6
Z9 6
U1 1
U2 5
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAY
PY 2021
VL 35
IS 3
DI 10.1016/j.jvoice.2019.10.003
EA MAY 2021
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA SJ6QU
UT WOS:000655658000040
PM 31679926
DA 2025-03-18
ER
PT J
AU Lenti, MV
Cammarota, G
Vidali, F
Masala, G
Bendinelli, B
Gasbarrini, G
Corazza, GR
Di Sabatino, A
AF Lenti, Marco Vincenzo
Cammarota, Giovanni
Vidali, Francesca
Masala, Giovanna
Bendinelli, Benedetta
Gasbarrini, Giovanni
Corazza, Gino Roberto
Di Sabatino, Antonio
TI Reflux symptoms in professional opera soloists
SO DIGESTIVE AND LIVER DISEASE
LA English
DT Article
DE Heartburn; Regurgitation; Singer; Voice types
ID QUALITY-OF-LIFE; GASTROESOPHAGEAL-REFLUX; LARYNGOPHARYNGEAL REFLUX;
DISEASE; PREVALENCE; RISK; EPIDEMIOLOGY; ASSOCIATION; DISORDERS;
SEVERITY
AB Background: Professions distinguished by repeated vocal stress carry a high risk of developing gastroesophageal reflux symptoms (GERS) which may affect vocal performance.
Aims: To investigate the prevalence of self-reported GERS in professional opera soloists.
Methods: A validated questionnaire regarding self-reported GERS (heartburn, regurgitation, chest pain, dysphagia, hoarseness, and cough) and lifestyle habits was administered to 116 professional opera soloists (mean age 34.1 +/- 7.3 years, F:M ratio 1:1.1). Age and sex-matched opera choristers and control subjects were used as control. Prevalence rate ratios (PRRs) adjusted for confounding factors were evaluated.
Results: Among GERS, belching (33.6%), heartburn (19.8%), and dysphagia (15.5%) were the most commonly reported by soloists. In particular, a higher risk of heartburn (PRR 2.61, 95% CI 1.45-4.69) and dysphagia (PRR 2.58, 95% CI 1.31-5.10) was reported in soloists as compared to choristers. The prevalence of obesity and late dinner was higher in both choristers and soloists in comparison to the population sample (p < 0.001). GERS was more common among soloists who received pharmacologic treatment and their prevalence was unrelated to the years of singing activity.
Conclusions: Professional opera soloists, regardless of the length of their career, are predisposed to developing GERS. Physicians should encourage patients to correct preventable risk factors. A prolonged pharmacological treatment might be needed. (C) 2018 Editrice Gastroenterologica Italiana S.r.l. Published by Elsevier Ltd. All rights reserved.
C1 [Lenti, Marco Vincenzo; Vidali, Francesca; Corazza, Gino Roberto; Di Sabatino, Antonio] Univ Pavia, San Matteo Hosp Fdn, Dept Internal Med 1, Pavia, Italy.
[Cammarota, Giovanni; Gasbarrini, Giovanni] Catholic Univ Med & Surg, Inst Internal Med, Rome, Italy.
[Masala, Giovanna; Bendinelli, Benedetta] Inst Canc Res Prevent & Clin Network ISPRO, Canc Risk Factors & Lifestyle Epidemiol Unit, Florence, Italy.
C3 University of Pavia; Catholic University of the Sacred Heart; IRCCS
Policlinico Gemelli
RP Di Sabatino, A (corresponding author), Fdn IRCCS Policlin S Matteo, Clin Med 1, Piazzale Golgi 19, I-27100 Pavia, Italy.
EM a.disabatino@smatteo.pv.it
RI Cammarota, Giovanni/AAD-1732-2022; Masala, Giovanna/AAC-5474-2022;
vidali, francesca/AAE-8779-2022; Lenti, Marco Vincenzo/F-9044-2018; Di
Sabatino, Antonio/K-8015-2016
OI Lenti, Marco Vincenzo/0000-0002-6654-4911; Cammarota,
Giovanni/0000-0002-3626-6148; Masala, Giovanna/0000-0002-5758-9069;
Bendinelli, Benedetta/0000-0002-4796-1517; Di Sabatino,
Antonio/0000-0002-0302-8645
FU University of Pavia
FX Dr. Marco Vincenzo Lenti is grateful to University of Pavia for
supporting his research projects.
NR 35
TC 3
Z9 3
U1 0
U2 1
PU ELSEVIER SCIENCE INC
PI NEW YORK
PA STE 800, 230 PARK AVE, NEW YORK, NY 10169 USA
SN 1590-8658
EI 1878-3562
J9 DIGEST LIVER DIS
JI Dig. Liver Dis.
PD JUN
PY 2019
VL 51
IS 6
BP 798
EP 803
DI 10.1016/j.dld.2018.11.026
PG 6
WC Gastroenterology & Hepatology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Gastroenterology & Hepatology
GA IA1MD
UT WOS:000469324900007
PM 30578108
DA 2025-03-18
ER
PT J
AU D'haeseleer, E
Meerschman, I
Claeys, S
Leyns, C
Daelman, J
Van Lierde, K
AF D'haeseleer, Evelien
Meerschman, Iris
Claeys, Sofie
Leyns, Clara
Daelman, Julie
Van Lierde, Kristiane
TI Vocal Quality in Theater Actors
SO JOURNAL OF VOICE
LA English
DT Article
DE Vocal quality; Acoustic analysis; Vocal symptoms; Theater actors;
Theater performance
ID VOICE QUALITY; FATIGUE
AB Objectives. The purpose of this study was to investigate vocal quality,vocal complaints, and risk factors for developing voice disorders in theater actors, Secondly, the impact of one vocal performance on the voice was investigated by comparing objective and subjective vocal quality before and after a theater performance.
Study Design. Prospective study of the actors' voice prior to and after a performance
Methods. Speech samples of 26 theater actors (15 men, 11 women, mean age 41,9 years) were recorded before and after a theater performance of one and a half hour and analyzed using the software program Praw, Speech samples consisted of the combination of sustained phonation and continuous speech, For each speech sample, the Acoustic Voice Quality Index was calculated. Auditory perceptual evaluations were performed using the GRBASI scale. Questionnaires were used to inventory vocal symptoms and influencing factors.
Results. Acoustic analysis showed a mean Acoustic VOice Quality Index (AVQI) of 3.48 corresponding with a mild dysphonia. Fifty percent of the theater actors reported having (sometimes or regularly) vocal complaints after a performance. The questionnaire revealed a high presence of vocally violent behavior and poor vocal hygiene habits. Objective vocal quality, measured by the AVQI, did not change after a theater performance. The auditory perceptual evaluation of the overall grade of dysphonia showed a subtle amelioration of the vocal quality.
Conclusions. The results of this study showed the presence of mild dysphonia, regular vocal complaints, and poor vocal hygiene habits in theater actors. A theater performance did not have an impact on the objective vocal quality.
C1 [D'haeseleer, Evelien; Meerschman, Iris; Leyns, Clara; Daelman, Julie; Van Lierde, Kristiane] Univ Ghent, Dept Speech Language & Hearing Sci, Pintelaan 185,2P1, B-9000 Ghent, Belgium.
[Claeys, Sofie] Ghent Univ Hosp, Dept Otorhinolaryngol Head & Neck Surg, Ghent, Belgium.
[Van Lierde, Kristiane] Univ Pretoria, Dept Speech Language Pathol & Audiol, Pretoria, South Africa.
C3 Ghent University; Ghent University Hospital; Ghent University; Ghent
University Hospital; University of Pretoria
RP D'haeseleer, E (corresponding author), Univ Ghent, Dept Speech Language & Hearing Sci, Pintelaan 185,2P1, B-9000 Ghent, Belgium.
EM Evelien.Dhaeseleer@ugent.be
RI Meerschman, Iris/AAP-1537-2020; Leyns, Clara/GWZ-8560-2022; Daelman,
Julie/IUQ-7977-2023; D'haeseleer, Evelien/AHD-2474-2022
OI Van Lierde, kristiane/0000-0002-7683-260X; Leyns,
Clara/0000-0001-8130-8768; Meerschman, Iris/0000-0003-1147-1708;
D'haeseleer, Evelien/0000-0002-3956-5936; Daelman,
Julie/0000-0003-1562-8477
NR 25
TC 14
Z9 16
U1 5
U2 21
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JUL
PY 2017
VL 31
IS 4
AR 510.e7
DI 10.1016/j.jvoice.2016.11.008
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA FB4YC
UT WOS:000406147000036
PM 27979333
DA 2025-03-18
ER
PT J
AU Lau, HYC
Scherer, RC
AF Lau, Hiu Yan Crystal
Scherer, Ronald C.
TI Objective Measures of Two Musical Interpretations of an Excerpt From
Berlioz's "La mort d'Ophelie"
SO JOURNAL OF VOICE
LA English
DT Article
DE Art song; Emotional interpretation; Objective measures; Musical
interpretation; Singing; Voice
ID SINGING VOICE; EMOTION; EXPRESSION
AB Objective/Hypothesis. This study aimed to determine objective production differences relative to two emotional interpretations in performing an excerpt from a classical art song. The null hypothesis was proposed.Methods. The first author recorded an excerpt from an art song. The excerpt was sung with two contrasting musical interpretations: an "empathetic legato" approach, and a "sarcastic" approach characterized by emphatic attacks. Microphone, airflow, and electroglottography signals were digitized. The vowels were analyzed in terms of intensity, long term average spectra, fundamental frequency (f(o)), airflow vibrato rate and extent, vowel onsetslope, intensity comparison of harmonic frequencies, and glottal measures based on electroglottograph wave-forms. Four consonant tokens were analyzed relative to airflow, voice onset time, and production duration.Results & Conclusions.The emphatic performance had faster vowel onset, increased glottal adduction,increased intensity of harmonics in 2-3 kHz, increased intensity in the fourth andfifth formants, inferred subglot-tal pressure increase, increased airflow for /f/, and greater aspiration airflow for /p, t/. Vibrato extents for inten-sity,f(o), and airflow were wider in the emphatic approach. Findings revealed larger EGGW25 and peak-to-peakamplitude values of the electroglottography waveform, suggesting greater vocal fold contact area and longer glot-tal closure for the emphatic approach. Long-term average spectrum analyses of the entire production displayedminor variation across all formant frequencies, suggesting an insignificant change in vocal tract shaping betweenthe two approaches. This single-case objective study emphasizes the reality of physiological, aerodynamic, andacoustic production differences in the interpretive and pedagogical aspects of art song performance
C1 [Lau, Hiu Yan Crystal] Bowling Green State Univ, Interdisciplinary Studies, Bowling Green, OH USA.
[Scherer, Ronald C.] Bowling Green State Univ, Dept Commun Sci & Disorders, Bowling Green, OH USA.
[Scherer, Ronald C.] Bowling Green State Univ, 243 Hlth & Human Serv Bldg, Bowling Green, OH 43403 USA.
C3 University System of Ohio; Bowling Green State University; University
System of Ohio; Bowling Green State University; University System of
Ohio; Bowling Green State University
RP Scherer, RC (corresponding author), Bowling Green State Univ, 243 Hlth & Human Serv Bldg, Bowling Green, OH 43403 USA.
EM ronalds@bgsu.edu
NR 24
TC 0
Z9 0
U1 0
U2 1
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAR
PY 2023
VL 37
IS 2
BP 301e9
EP 301e25
DI 10.1016/j.jvoice.2020.12.045
EA MAR 2023
PG 17
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA A6DQ1
UT WOS:000956011200001
PM 33589372
DA 2025-03-18
ER
PT J
AU Latham, K
Messing, B
Bidlack, M
Merritt, S
Zhou, X
Akst, LM
AF Latham, Katherine
Messing, Barbara
Bidlack, Melissa
Merritt, Samantha
Zhou, Xian
Akst, Lee M.
TI Vocal Health Education and Medical Resources for Graduate-Level Vocal
Performance Students
SO JOURNAL OF VOICE
LA English
DT Article
DE Vocal hygiene; Singers; Vocal pedagogy; Voice training; Vocal health
education
ID HYGIENE EDUCATION; HABITS
AB Objective/Hypothesis. 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.
Study Design. This is an online survey of music schools with graduate singing programs.
Methods. 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.
Results. 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).
Conclusion. 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.
C1 [Latham, Katherine; Messing, Barbara; Bidlack, Melissa; Merritt, Samantha; Akst, Lee M.] GBMC, Johns Hopkins Voice Ctr, Milton J Dance Jr Head & Neck Ctr, Baltimore, MD USA.
[Zhou, Xian] Johns Hopkins Univ, Sch Med, Div Biostat & Bioinformat, Baltimore, MD USA.
[Akst, Lee M.] Johns Hopkins Outpatient Ctr, Johns Hopkins Dept Otolaryngol, 6th Floor,601 N Caroline St, Baltimore, MD 21287 USA.
C3 Johns Hopkins University; Johns Hopkins University; Johns Hopkins
Medicine
RP Akst, LM (corresponding author), Johns Hopkins Outpatient Ctr, Johns Hopkins Dept Otolaryngol, 6th Floor,601 N Caroline St, Baltimore, MD 21287 USA.
EM LAKST1@jhmi.edu
OI Akst, Lee/0000-0002-8925-0545
NR 14
TC 8
Z9 10
U1 6
U2 10
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAR
PY 2017
VL 31
IS 2
AR 251.e1
DI 10.1016/j.jvoice.2016.07.011
PG 7
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA EQ2RT
UT WOS:000397918800044
PM 27567393
DA 2025-03-18
ER
PT S
AU Dalla Bella, S
Berkowska, M
AF Dalla Bella, Simone
Berkowska, Magdalena
BE DallaBella, S
Kraus, N
Overy, K
Pantev, C
Snyder, JS
Tervaniemi, M
Tillmann, B
Schlaug, G
TI Singing Proficiency in the Majority Normality and "Phenotypes" of Poor
Singing
SO NEUROSCIENCES AND MUSIC III: DISORDERS AND PLASTICITY
SE Annals of the New York Academy of Sciences
LA English
DT Article; Proceedings Paper
CT Conference on the Neurosciences and Music III
CY JUN 25-28, 2008
CL McGill Univ, Montreal, CANADA
HO McGill Univ
DE musical disorders; tone deafness; poor singing; congenital amusia;
singing proficiency; vocal performance; music performance
ID SELECTIVE DEFICIT; ABSOLUTE PITCH; TONE-DEAFNESS; MEMORY; PERCEPTION;
TEMPO
AB 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.
C1 [Dalla Bella, Simone; Berkowska, Magdalena] Univ Finance & Management Warsaw, Dept Cognit Psychol, PL-01030 Warsaw, Poland.
[Dalla Bella, Simone] Int Lab Brain Mus & Sound Res BRAMS, Montreal, PQ, Canada.
C3 Universite de Montreal
RP Dalla Bella, S (corresponding author), Univ Finance & Management Warsaw, Dept Cognit Psychol, Ul Pawia 55, PL-01030 Warsaw, Poland.
EM sdallabella@vizja.pl
OI Berkowska, Magdalena/0000-0001-6803-7377; Berkowska,
Magdalena/0000-0002-5812-495X; Dalla Bella, Simone/0000-0001-9813-7408
NR 22
TC 42
Z9 46
U1 2
U2 16
PU WILEY-BLACKWELL
PI HOBOKEN
PA 111 RIVER STREET, HOBOKEN, NJ, UNITED STATES
SN 0077-8923
BN 978-1-57331-739-9
J9 ANN NY ACAD SCI
JI Ann.NY Acad.Sci.
PY 2009
VL 1169
BP 99
EP 107
DI 10.1111/j.1749-6632.2009.04558.x
PG 9
WC Psychology, Developmental; Multidisciplinary Sciences; Neurosciences;
Psychology; Psychology, Experimental
WE Conference Proceedings Citation Index - Science (CPCI-S); Conference Proceedings Citation Index - Social Science & Humanities (CPCI-SSH); Science Citation Index Expanded (SCI-EXPANDED)
SC Psychology; Science & Technology - Other Topics; Neurosciences &
Neurology
GA BKY88
UT WOS:000269652300012
PM 19673762
DA 2025-03-18
ER
PT J
AU Kwak, PE
Stasney, CR
Hathway, JR
Guffey, D
Minard, CG
Ongkasuwan, J
AF Kwak, Paul E.
Stasney, C. Richard
Hathway, Jeremy R.
Guffey, Danielle
Minard, Charles G.
Ongkasuwan, Julina
TI Physiologic and Acoustic Effects of Opera Performance
SO JOURNAL OF VOICE
LA English
DT Article; Proceedings Paper
CT Annual Spring Meeting of the American-Laryngological-Association (ALA)
at COSM
CY MAY 15, 2014
CL Las Vegas, NV
SP Amer Laryngol Assoc
DE Professional voice; Stroboscopy; Acoustic measures of voice; Opera;
Vocal performance
ID VOCAL FOLD
AB Introduction/Hypothesis. Opera performance is physiological and emotional, and singing performers utilize their larynges in often strenuous ways. Historically, the training of a classical voice has been considered the paragon of healthy singing. However, the natural history of a performing larynx has not been studied systematically. There is paucity of scientific studies to guide practice patterns, particularly with regard to the course and extent of post-performance physiologic and acoustic changes.
Study Design. A prospective case series was carried out.
Methods. Principal singers in the Houston Grand Opera's 2012-2013 repertory were enlisted, for a total of seven singers. Stroboscopy was performed prior to the start of rehearsals, and at the completion of the opera's run. Data points included erythema, edema, masses or lesions, mucosal waveform, supraglottic posture; acoustic measurements were also performed.
Results. There were statistically significant differences (P < 0.05) in the mucosal wave on pre- and postperformance stroboscopic examinations. Acoustical measures did not achieve statistical significance, but there was a trend toward increased harmonic-to-noise ratio in postperformance measures, as well as decreased frequency range and reading F-0. Measures of intra- and inter-rater reliability indicated varying levels of intra- rater reliability, and generally poor inter-rater reliability.
Conclusions. This pilot study describes physiologic and acoustic changes that may occur over the course of a series of rehearsals and performances in the operatic larynx. In so doing, it highlights a need for larger studies with increased frequency of serial examinations to study in a systematized way what may be natural reactive changes that occur during performance.
C1 [Kwak, Paul E.] Harvard Med Sch, Massachusetts Gen Hosp, Div Laryngeal Surg, Boston, MA USA.
[Stasney, C. Richard; Hathway, Jeremy R.] Houston Methodist Hosp, Texas Voice Ctr, Houston, TX USA.
[Guffey, Danielle; Minard, Charles G.] Baylor Coll Med, Dan L Duncan Inst Clin & Translat Res, Houston, TX 77030 USA.
[Ongkasuwan, Julina] Baylor Coll Med, Bobby R Alford Dept Otolaryngol Head & Neck Surg, Houston, TX 77030 USA.
C3 Harvard University; Harvard Medical School; Harvard University Medical
Affiliates; Massachusetts General Hospital; Houston Methodist; Baylor
College of Medicine; Baylor College of Medicine
RP Kwak, PE (corresponding author), Massachusetts Gen Hosp, Div Laryngeal Surg, One Bowdoin Sq,11th Floor, Boston, MA 02114 USA.
EM pkwak@partners.org
RI Ongkasuwan, Julina/I-1322-2019
OI Guffey, Danielle/0000-0003-3721-614X; Minard,
Charles/0000-0003-4631-6943; Ongkasuwan, Julina/0000-0001-8621-5456;
Kwak, Paul/0000-0002-3864-9935
NR 10
TC 2
Z9 2
U1 1
U2 7
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD JAN
PY 2017
VL 31
IS 1
AR UNSP 117.e11
DI 10.1016/j.jvoice.2016.03.004
PG 6
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Arts & Humanities Citation Index (A&HCI); Conference Proceedings Citation Index - Science (CPCI-S)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA EI6QF
UT WOS:000392619900038
PM 27208902
DA 2025-03-18
ER
PT J
AU Zeitels, SM
Hillman, RE
Mauri, M
Desloge, R
Doyle, PB
AF Zeitels, SM
Hillman, RE
Mauri, M
Desloge, R
Doyle, PB
TI Phonomicrosurgery in singers and performing artists: Treatment outcomes,
management theories, and future directions
SO ANNALS OF OTOLOGY RHINOLOGY AND LARYNGOLOGY
LA English
DT Article; Proceedings Paper
CT 82nd Annual Meeting of the American-Broncho-Esophagological-Association
CY MAY 11-12, 2002
CL BOCA RATON, FL
SP Amer Broncho Esophagol Assoc
DE dysphonia; ectasia; laryngoscopy; microlaryngoscopy; microsurgery;
nodule; phonomicrosurgery; phonosurgery; polyp; singer; varix; vocal
cord; vocal fold; voice
ID OPTICAL COHERENCE TOMOGRAPHY; VOCAL FOLD; LARYNGOTRACHEAL
RECONSTRUCTION; LARYNGOSCOPIC EXPOSURE; VOICE QUALITY; MICROFLAP;
BIOMECHANICS; NODULES; POLYPS
AB Phonomicrosurgery in performing artists has historically been approached with great trepidation, and vocal outcome data are sparse. The vocal liability of surgically disturbing the superficial lamina propria (SLP) and epithelium must be balanced with the inherent detrimental vocal effect of the lesion(s). A prospective investigation was performed on 185 performing artists who underwent phonomicrosurgical resection of 365 lesions: 201 nodules, 71 polyps, 66 varices and ectasias, 13 cysts, 8 keratotic lesions, 2 granulomas, 2 Reinke's edema, and 2 papillomas. Nearly all patients with SLP lesions reported improvement in their postsurgical vocal function. This subjective result was supported by objective acoustic and aerodynamic measures. All postsurgical objective vocal function measures fell within normal limits, including a few that displayed presurgical abnormalities. However, given the relative insensitivity of standard objective measures to assess higher-level vocal performance-related factors, it is even more noteworthy that 8 of 24 objective measures displayed statistically significant postsurgical improvements in vocal function. Such changes in objective measures mostly reflect overall enhancement in the efficiency of voice production. Phonomicrosurgical resection of vocal fold lesions in performing artists is enjoying an expanding role because of a variety of improvements in diagnostic assessment, surgical instrumentation and techniques, and specialized rehabilitation. Most of these lesions are the result of phonotraurna and arise within the SLP. Successful management depends on prudent patient selection and counseling, ultraprecise technique, and vigorous vocal rehabilitation. Furthermore, an understanding of the vocal function and dysfunction of this high-performance population provides all otolaryngologists who manage laryngeal problems with valuable information that they can extrapolate for use in their practices.
C1 Massachusetts Eye & Ear Infirm, Div Laryngol, Boston, MA 02114 USA.
Massachusetts Eye & Ear Infirm, Voice & Speech Lab, Boston, MA 02114 USA.
Harvard Univ, Sch Med, Dept Otol & Laryngol, Boston, MA 02115 USA.
Massachusetts Gen Hosp, Inst Hlth Profess, Dept Commun Sci & Disorders, Boston, MA 02114 USA.
C3 Harvard University; Harvard University Medical Affiliates; Massachusetts
Eye & Ear Infirmary; Harvard University; Harvard University Medical
Affiliates; Massachusetts Eye & Ear Infirmary; Harvard University;
Harvard Medical School; Harvard University; Harvard University Medical
Affiliates; Massachusetts General Hospital
RP Massachusetts Eye & Ear Infirm, Div Laryngol, 243 Charles St, Boston, MA 02114 USA.
RI Mauri, Michele/A-3561-2013
NR 63
TC 104
Z9 121
U1 0
U2 7
PU SAGE PUBLICATIONS INC
PI THOUSAND OAKS
PA 2455 TELLER RD, THOUSAND OAKS, CA 91320 USA
SN 0003-4894
EI 1943-572X
J9 ANN OTO RHINOL LARYN
JI Ann. Otol. Rhinol. Laryngol.
PD DEC
PY 2002
VL 111
IS 12
SU 190
BP 21
EP 40
PN 2
PG 20
WC Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Conference Proceedings Citation Index - Science (CPCI-S)
SC Otorhinolaryngology
GA 627BZ
UT WOS:000179909700003
PM 12498380
DA 2025-03-18
ER
PT J
AU Brockmann-Bauser, M
Balandat, B
Bohlender, JE
AF Brockmann-Bauser, M.
Balandat, B.
Bohlender, J. E.
TI Immediate Lip Trill Effects on the Standard Diagnostic Measures Voice
Range Profile, Jitter, Maximum Phonation Time, and Dysphonia Severity
Index
SO JOURNAL OF VOICE
LA English
DT Article
DE Lip trill; SOVTE; Instrumental acoustic measures; Voice diagnostics;
Voice therapy
ID OCCLUDED VOCAL-TRACT; ACOUSTIC ANALYSIS; EXERCISES; THERAPY; QUALITY;
STRAW; VIBRATION; LARYNGEAL; EFFICACY
AB Objectives. Semi-occluded vocal tract exercises are widely applied to improve vocal performance in speakers, singers, and voice patients. This study investigates immediate lip trill effects on standard voice assessment measures including voice range profiles, jitter, maximum phonation time, and Dysphonia Severity Index in vocally healthy women.
Study Design. Experimental study.
Setting. Otolaryngology clinic within tertiary hospital.
Subjects and Methods. Twenty-five vocally healthy women between 19 and 58 years (mean 38.4) were assessed before and after 3 minutes of standardized lip trill training combined with defined voice fundamental frequency and intensity modulations. Main outcome measures were fundamental frequency (F0) during counting (F0 counting), the singing voice range profile parameters minimum, maximum and range of F0 and voice sound pressure level (voice SPL), jitter (%), maximum phonation time (MPT), and the Dysphonia Severity Index (DSI). Wilcoxon signed rank test was applied to determine significant changes after exercise.
Results. After exercise the singing F0 and SPL range significantly increased from 549 (SD 217) to 612 (238) Hz and 45.1 (10.1) to 47.3 (9.8) dBA, resepctively (P < 0.05). Maximum voice SPL significantly increased from 90.9 (10.3) to 94 (9.7) dBA (P < 0.05). Mean F0 during counting showed a highly significant increase from 198 (SD 25.6) to 209 Hz (SD 25.4, P < 0.01). No significant changes were found for all other parameters.
Conclusions. In vocally healthy women, lip trill training immediately facilitates increases in mean F0 during counting, and singing F0 and SPL range. Future studies should investigate, if changes to these parameters indicate immediate responsiveness to voice exercise also in voice patients, and if these findings transfer to long-term effects through prolonged training.
C1 [Brockmann-Bauser, M.; Balandat, B.; Bohlender, J. E.] Univ Hosp Zurich, Dept Phoniatr & Speech Pathol, Frauenklin Str 24, CH-8091 Zurich, Switzerland.
[Balandat, B.; Bohlender, J. E.] Univ Zurich, Zurich, Switzerland.
C3 University of Zurich; University Zurich Hospital; University of Zurich
RP Brockmann-Bauser, M (corresponding author), Univ Hosp Zurich, Dept Phoniatr & Speech Pathol, Frauenklin Str 24, CH-8091 Zurich, Switzerland.
EM meike.brockmann-bauser@usz.ch
RI Brockmann-Bauser, Meike/HNI-9561-2023
OI Brockmann-Bauser, Meike/0000-0002-2548-7383
NR 48
TC 10
Z9 15
U1 3
U2 15
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD NOV
PY 2020
VL 34
IS 6
BP 874
EP 883
DI 10.1016/j.jvoice.2019.04.011
PG 10
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED); Social Science Citation Index (SSCI)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA RM1WA
UT WOS:000639449500011
PM 31196690
DA 2025-03-18
ER
PT J
AU Moura, N
Dias, P
Veríssimo, L
Oliveira-Silva, P
Serra, S
AF Moura, Nadia
Dias, Pedro
Verissimo, Lurdes
Oliveira-Silva, Patricia
Serra, Sofia
TI Solo music performance assessment criteria: a systematic review
SO FRONTIERS IN PSYCHOLOGY
LA English
DT Article
DE instrumental and vocal performance evaluation; judges; rating scales;
music pedagogy; music competitions; western classical music; systematic
review
ID RATING-SCALES; STRING PERFORMANCE; INSTRUMENT; VALIDATION; LEVEL
AB Assessment is a crucial aspect of music performance. In pedagogical contexts, an effective assessment process can measure student achievement and inform instructional decisions that contribute to improving teaching and learning. However, music performance assessment is particularly challenging due to its inherent subjectivity, involving personal expression and interpretation, which can lead to divergent opinions. In this PRISMA systematic review (registration DOI: 10.17605/OSF.IO/CSM8Q), we aimed to delimit and analyze solo music performance assessment systems found in the literature to date, including their corresponding evaluation categories and descriptive criteria, rating methodology, and target audience. A search in three main scientific databases (Web of Science, Scopus, ERIC) was conducted using keywords associated with the topic of assessment in the field of solo music performance. Ultimately, 20 papers were selected and examined, resulting in 26 original assessment systems for analysis. Regarding sample characteristics, we found that studies mainly focused on evaluating high school and university students, with music teachers and faculty members serving as primary evaluators. Many assessment systems were designed to be applicable across various instruments, although some were tailored to specific instruments (e.g., piano, voice) and families (e.g., brass, woodwind). Systems typically structured evaluation around technical, interpretative/expressive, and various musical feature categories (e.g., pitch, rhythm, intonation), further elaborated with descriptive items. While five-point Likert scales were commonly used, recent studies indicated a shift towards rubrics for detailed feedback, which aids examiners' understanding and supports student progress. No differentiation was found in assessment criteria based on students' learning stages, suggesting an area for improvement in refining these assessment methods. This study identifies gaps and proposes improvements in existing assessment systems, providing a foundation for educators and policymakers to enhance curriculum design and instructional practices in music education.
C1 [Moura, Nadia] Univ Coimbra, Fac Letters & Humanities, CEIS20, Coimbra, Portugal.
[Moura, Nadia] Univ Catolica Portuguese, Sch Arts, Res Ctr Sci & Technol Arts, Porto, Portugal.
[Dias, Pedro] Univ Azores, Dept Psychol, Azores, Portugal.
[Dias, Pedro; Verissimo, Lurdes; Oliveira-Silva, Patricia] Univ Catolica Portuguese, Res Ctr Human Dev, Porto, Portugal.
[Verissimo, Lurdes; Oliveira-Silva, Patricia] Univ Catolica Portuguesa, Fac Educ & Psychol, Porto, Portugal.
[Oliveira-Silva, Patricia] Univ Catolica Portuguese, Fac Educ & Psychol, Human Neurobehav Lab, Porto, Portugal.
[Serra, Sofia] Univ Aveiro, Inst Ethnomusicol, Dept Commun & Arts, Ctr Studies Mus & Dance, Aveiro, Portugal.
C3 Universidade de Coimbra; Universidade Catolica Portuguesa; Universidade
dos Acores; Universidade Catolica Portuguesa; Universidade Catolica
Portuguesa; Universidade Catolica Portuguesa; Universidade de Aveiro
RP Moura, N (corresponding author), Univ Coimbra, Fac Letters & Humanities, CEIS20, Coimbra, Portugal.; Moura, N (corresponding author), Univ Catolica Portuguese, Sch Arts, Res Ctr Sci & Technol Arts, Porto, Portugal.; Serra, S (corresponding author), Univ Aveiro, Inst Ethnomusicol, Dept Commun & Arts, Ctr Studies Mus & Dance, Aveiro, Portugal.
EM nmoura@ftuc.pt; sofia.serra@ua.pt
RI Moura, Nádia/HMP-6103-2023; Serra, Sofia/LLM-3785-2024; Dias,
Pedro/JFK-7260-2023; Oliveira-Silva, Patrícia/AAV-7158-2021;
Oliveira-Silva, Patricia/L-3259-2014
OI Verissimo, Lurdes/0000-0002-6725-4043; Dias, Pedro/0000-0002-1936-5363;
Oliveira-Silva, Patricia/0000-0001-6550-3790
FU FundacAo para a Ciencia e Tecnologia (Portugal) [2022.05771.PTDC]
FX The author(s) declare that financial support was received for the
research, authorship, and/or publication of this article. This research
was funded by the FundacAo para a Ciencia e Tecnologia (Portugal) under
the IC&DT project with reference 2022.05771.PTDC.
NR 53
TC 0
Z9 0
U1 5
U2 5
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
SN 1664-1078
J9 FRONT PSYCHOL
JI Front. Psychol.
PD OCT 9
PY 2024
VL 15
AR 1467434
DI 10.3389/fpsyg.2024.1467434
PG 32
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA O3G1V
UT WOS:001370046700001
PM 39444835
OA gold
DA 2025-03-18
ER
PT J
AU Barrett, GD
AF Barrett, G. Douglas
TI 'How We Were Never Posthuman': Technologies of the Embodied Voice in
Pamela Z's Voci
SO TWENTIETH-CENTURY MUSIC
LA English
DT Article
ID COMPUTER; MUSIC
AB This article analyses composer Pamela Z's work in light of critiques of posthumanism from Black studies and sound/music studies. Z's large-scale multimedia work Voci (2003), which the artist describes as a 'polyphonic mono-opera', consists of a series of eighteen scenes that combine vocal performance with digital video and audio processing. Z manipulates these sources using the BodySynth, an alternate controller interface that converts bodily gestures into expressive control signals. Z's work has been considered through cyborgian, Afrofuturist, and posthumanist discourses. But rather than affirm her practice as fully consonant with technological visions of the posthuman, I argue that she challenges the very liberal humanism upon which the posthuman is built. For a key tenet of liberal humanism, as Alexander G. Weheliye observes, was the racial and gendered apportionment of humanity into full humans, not-quite-humans, and non-humans. We have never been completely human, he suggests, let alone posthu man.
Z uses technologies of the embodied voice to confront both the posthuman imaginary and the continued effects of its ideological preconditions in racio-colonial liberal humanism. In a Voci scene entitled 'Voice Studies', for instance, Z engages the problem of 'linguistic profiling' as it applies to housing discrimination, citing the work of Stanford linguistics researcher John Baugh. Against a backdrop of percussive vocalizations, Z explains, 'Studies reveal that people can often infer the race of an individual based on the sound of their voice', subsequently playing back recordings of housing applicants containing vocal signifiers of racial difference. The article then contrasts this kind of 'aural dimension of race' found in Jennifer Lynn Stoever's notion of the 'sonic color line' with Pierre Schaeffer's attempt to separate sound from the social - as well as from bodies and identities - in his practice of acousmatic reduction. With this in mind, I show how Z construes the voice as an acous(ma)tic technology of embodiment while reframing opera's humanist legacy through Voci's allegorical narration of the 'prehuman', 'human', and 'posthuman'. Moving with and against a posthuman imaginary, Z suggests that although we have never quite been human or posthuman, we may nevertheless narrate new versions of each.
EM gdouglasbarrett@gmail.com
RI Barrett, Douglas/LWI-8613-2024
OI Barrett, G Douglas/0000-0001-9201-7659
NR 94
TC 1
Z9 1
U1 0
U2 0
PU CAMBRIDGE UNIV PRESS
PI CAMBRIDGE
PA EDINBURGH BLDG, SHAFTESBURY RD, CB2 8RU CAMBRIDGE, ENGLAND
SN 1478-5722
EI 1478-5730
J9 TWENT-CENTURY MUSIC
JI Twent.-Century Music
PD FEB
PY 2022
VL 19
IS 1
BP 3
EP 27
DI 10.1017/S1478572221000074
PG 25
WC Music
WE Arts & Humanities Citation Index (A&HCI)
SC Music
GA 0H2NG
UT WOS:000778573300004
DA 2025-03-18
ER
PT J
AU Zuim, AF
Gerhard, J
Lloyd, AT
Rosow, DE
Lundy, DS
AF Zuim, Ana Flavia
Gerhard, Julia
Lloyd, Adam T.
Rosow, David E.
Lundy, Donna S.
TI Independence of Vocal Load From Vocal Pathology Across Singing Genres
SO JOURNAL OF VOICE
LA English
DT Article
DE Singing; Vocal load; Vocal pedagogy; Vocal pathology
ID ABNORMAL LARYNGEAL FINDINGS; PREVALENCE
AB Objective. To investigate the extent to which vocal load is associated with previous diagnosis of a vocal pathology among four major genres of singers (primarily classical, primarily musical theatre (MT), classical and MT combined, and contemporary commercial music only).
Study design. Cross sectional survey.
Methods/design. An anonymous online survey was sent out to about 1000 professional singers through convenience sampling to touring companies, opera companies, MT companies, agents, directors and musical directors. Social media and email were used to solicit participation in the study. We utilized means and standard deviations for continuous characteristics and frequencies and percentages for categorical characteristics and calculated P values to assess whether differences were statistically significant.
Results. A total of 396 professional singers completed the survey, yielding a 40% response rate. Nonprofessional singers, incomplete surveys, and respondents <18 years old were excluded, resulting in a total of 238 responses. Among the 238 participants, 32% were performing in the classical style primarily, 33% in the MTstyle primarily, 15% in both classical and MT, and 20% in other contemporary styles only. Mean age was highest among CV + MT and lowest among primarily MT. Combined classical/MT singers were most likely to have a career outside of vocal performance and continue to work in that career followed by other contemporary styles, classical and MT (P = 0.02). Participants in the combined classical/MT group were most likely to have a reported history of vocal pathology followed by classical, other contemporary styles and MT (not statistically significant). How-ever, participants in the contemporary styles were most likely to have a history of more than one type of vocal pathology. Mean vocal load was highest for the MT group. Other nonsinging factors proved significant such as allergy, hydration and acid reflux. Symptoms of allergies were found to be significant across singing genres. A possible reverse causality association was identified in regards to water intake. Participants with acid reflux were three times more likely to have ever reported vocal pathology.
Conclusion. Vocal load was not significantly associated with vocal pathology across singing genres; however other nonsinging factors such as allergy, reflux and water intake were significantly associated with vocal pathology.
C1 [Zuim, Ana Flavia] New York Univ Steinhardt, Dept Mus & Performing Arts Profess, Sch Culture Educ & Human Dev, New York, NY USA.
[Lloyd, Adam T.; Rosow, David E.; Lundy, Donna S.] Univ Miami Miller, Sch Med, Dept Otolaryngol, Miami, FL USA.
[Zuim, Ana Flavia] NYU, Steinhardt Sch, Dept Mus & Performing Arts Profess, 35 West 4th St,Off 975, New York, NY 10012 USA.
C3 New York University; University of Miami; New York University
RP Zuim, AF (corresponding author), NYU, Steinhardt Sch, Dept Mus & Performing Arts Profess, 35 West 4th St,Off 975, New York, NY 10012 USA.
EM afz1@nyu.edu
NR 16
TC 3
Z9 3
U1 0
U2 5
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD MAR
PY 2023
VL 37
IS 2
DI 10.1016/j.jvoice.2020.12.038
EA MAR 2023
PG 6
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA D2RN6
UT WOS:000967247300001
PM 33500198
DA 2025-03-18
ER
PT J
AU Mahony, SE
Juncos, DG
Winter, D
AF Mahony, Sarah E.
Juncos, David G.
Winter, Debbie
TI Acceptance and Commitment Coaching for Music Performance Anxiety:
Piloting a 6-Week Group Course With Undergraduate Dance and Musical
Theatre Students
SO FRONTIERS IN PSYCHOLOGY
LA English
DT Article
DE music performance anxiety (MPA); acceptance and commitment coaching;
acceptance and commitment therapy; psychological flexibility; group
coaching; performing arts students; vocal performance anxiety
ID RANDOMIZED CONTROLLED-TRIAL; COGNITIVE-BEHAVIOR THERAPY; LOW-BACK-PAIN;
PSYCHOMETRIC PROPERTIES; FOLLOW-UP; MINDFULNESS; DISORDER;
PSYCHOTHERAPY; INTERVENTIONS; METAANALYSIS
AB Treatments for students with problematic levels of music performance anxiety (MPA) commonly rely on approaches in which students are referred to psychotherapists or other clinical professionals for individual care that falls outside of their music training experience. However, a more transdisciplinary approach in which MPA treatment is effectively integrated into students' training in music/performing arts colleges by teachers who work in consultation with clinical psychologists may prove more beneficial, given the resistance students often experience toward psychotherapy. Training singing teachers, and perhaps music teachers at large, to use an evidence-based coaching strategy like Acceptance and Commitment Coaching (ACC) to directly manage students' MPA is one such approach. Building on the work of a previous study in which ACC was administered by a singing teacher to a musical theatre student with problematic MPA, we piloted the effectiveness of a six-session, group ACC course for a sample of performing arts students (N = 6) with MPA related to vocal performances, using a mixed-methods design. The coach here was also a singing teacher without a clinical background, and her training in ACC by a clinical psychologist was of a similar duration (8 h) as the previous teacher's (7 h). Similar to the musical theatre student, the students reported being significantly less fused with their MPA-related cognitions, more accepting of their MPA-related physiological symptoms, and more psychologically flexible while performing in general, and these improvements were maintained after 3 months. Furthermore, they appeared to lower their shame over having MPA and change how they thought in relation to one another. Of note, these improvements were similar to those shown by seven vocal students with MPA after they received Acceptance and Commitment Therapy from a clinical psychologist, but with larger reductions in shame and better acceptance of MPA, which suggests a non-clinical, group ACC intervention that includes supportive discussions to normalize MPA and challenges attempts to control it may be more helpful than individual psychotherapy. These results are promising and indicate a brief training in ACC (<10 h) may be sufficient for singing teachers to provide significant benefit for students with problematic MPA.
C1 [Mahony, Sarah E.] Performers Coll, Corringham, England.
[Mahony, Sarah E.; Juncos, David G.; Winter, Debbie] Voice Study Ctr, East Bergholt, England.
[Juncos, David G.] LifeStance Hlth, Philadelphia, PA 19104 USA.
RP Juncos, DG (corresponding author), Voice Study Ctr, East Bergholt, England.; Juncos, DG (corresponding author), LifeStance Hlth, Philadelphia, PA 19104 USA.
EM drdavidjuncos@gmail.com
OI Winter, Deborah/Debbie/0009-0000-4870-2448
NR 117
TC 8
Z9 9
U1 5
U2 17
PU FRONTIERS MEDIA SA
PI LAUSANNE
PA AVENUE DU TRIBUNAL FEDERAL 34, LAUSANNE, CH-1015, SWITZERLAND
SN 1664-1078
J9 FRONT PSYCHOL
JI Front. Psychol.
PD MAR 18
PY 2022
VL 13
AR 830230
DI 10.3389/fpsyg.2022.830230
PG 23
WC Psychology, Multidisciplinary
WE Social Science Citation Index (SSCI)
SC Psychology
GA 0I2RS
UT WOS:000779272500001
PM 35369260
OA gold, Green Published
DA 2025-03-18
ER
PT J
AU Brar, G
Silverstein, E
Zheng, MLS
Castro, E
Goldsworthy, R
Helding, L
Johns, MM III
AF Brar, Gurmehr
Silverstein, Einav
Zheng, Melissa
Castro, Eugenia
Goldsworthy, Raymond
Helding, Lynn
Johns III, Michael M.
TI Perceptions of Vocal Performance Impairment in Singers with and without
Hearing Loss
SO JOURNAL OF VOICE
LA English
DT Article
DE Singers; Hearing impairment; Self-perception; Voice problem; Voice
satisfaction
ID SPEECH PRODUCTION; PITCH; VALIDATION
AB Introduction. It is well understood that hearing plays an important role in accurate vocal produc-tion. Singers in particular rely on auditory cues and auditory feedback to reproduce specific pitch contours. Therefore, even mild hearing loss may have a detrimental effect on a singer's ability to perform. This study inves-tigates the effect of hearing loss on self-reported vocal production in singers, specifically in the domains of pitch matching, pitch maintenance, vowel production, and dynamic control as well as the effect of hearing loss on vocal handicap.Methods. An 18-item electronic self-report survey was distributed to the members of the National Association of Teachers of Singing and to the Voice Foundation. Data collected included demographics, the Singing Voice Handicap Index-10 (SVHI-10), and a series of closed and open-ended questions. Demographic variables, varia-bles related to the SVHI-10, and variables related to the newly introduced survey were included in a hierarchical regression analysis to determine significant relationships.Results. Among 206 eligible participants, 37 individuals reported a voice problem, 58 reported hearing loss, and 19 reported concurrent hearing loss and a voice problem. Among males, there were no significant differences between hearing impaired and normal hearing singers in reported pitch matching, pitch maintenance, dynamic control, and vowel matching when those with voice problems were excluded and included. However, in females, when singers with voice problems were excluded, there was a significant difference between hearing impaired and normal hearing singers in pitch matching (P = 0.38). Additionally, when singers with voice problems were included in the female subset, significant differences emerged between the hearing impaired and normal hearing singers in areas of pitch matching (P = 0.01) and vowel matching (P = 0.02). Further, controlling for gender, when excluding voice problems, there was a significant difference between the SVHI-10 scores of normal hearing (mean = 9.03) and hearing impaired participants (mean = 11.30, P = 0.02). This difference continued to be signif-icant when including those with voice problems (normal hearing mean = 9.97, hearing impaired mean=14.1, P <0.0001). Additionally, individuals with hearing impairments were more likely to report higher perceived vocal handicap scores as reflected on the SVHI-10 than normal hearing respondents (P = 0.002). Other factors associ-ated with higher likelihood of SVHI-10 score include older age (P = 0.008), having a voice problem (P <0.0001), and being paid to sing within the past six months (P = 0.001).Conclusion. When controlling for voice problems, singers with hearing impairments subjectively did not per-ceive that they performed less accurately on pitch matching, pitch maintenance, dynamic control, and vowel matching, yet they scored higher on the SVHI-10 indicating vocal handicap. Further study is needed to character-ize the relationship between perceived and measured vocal accuracy in singers with hearing loss.
C1 [Brar, Gurmehr; Johns III, Michael M.] Loyola Univ Chicago, Stritch Sch Med, Chicago, IL USA.
[Silverstein, Einav] Univ Southern Calif, Keck Sch Med, Los Angeles, CA USA.
[Zheng, Melissa; Castro, Eugenia; Goldsworthy, Raymond] Univ Southern Calif, USC Voice Ctr, Dept Otolaryngol Head & Neck Surg, Tina & Rick Caruso, Los Angeles, CA USA.
[Helding, Lynn] Univ Southern Calif, USC Thornton Sch Mus, Los Angeles, CA USA.
[Johns III, Michael M.] Univ Southern Calif 1540 Alcazar St, USC Voice Ctr Tina & Rick Caruso, Dept Otolaryngol Head & Neck Surg, Suite 204, Los Angeles, CA 90033 USA.
C3 Loyola University Chicago; University of Southern California; University
of Southern California; University of Southern California
RP Johns, MM III (corresponding author), Univ Southern Calif 1540 Alcazar St, USC Voice Ctr Tina & Rick Caruso, Dept Otolaryngol Head & Neck Surg, Suite 204, Los Angeles, CA 90033 USA.
RI Castro, M. Eugenia/LMN-4644-2024; Zheng, Melissa/JVO-2000-2024
OI Castro, M. Eugenia/0000-0002-8904-8806
NR 13
TC 0
Z9 0
U1 1
U2 2
PU MOSBY-ELSEVIER
PI NEW YORK
PA 360 PARK AVENUE SOUTH, NEW YORK, NY 10010-1710 USA
SN 0892-1997
EI 1873-4588
J9 J VOICE
JI J. Voice
PD NOV
PY 2023
VL 37
IS 6
DI 10.1016/j.jvoice.2021.06.021
EA NOV 2023
PG 8
WC Audiology & Speech-Language Pathology; Otorhinolaryngology
WE Science Citation Index Expanded (SCI-EXPANDED)
SC Audiology & Speech-Language Pathology; Otorhinolaryngology
GA Z1ET3
UT WOS:001109589700001
PM 34315652
OA Green Accepted
DA 2025-03-18
ER
EF