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At least 217 records · Page 12Linked to original sources
PubMed2000

Application of singing techniques for the treatment of dysphonia.

Management of voice disorders requires careful examination of vocal control and compensation, with exercises designed to improve efficient compensation while reducing effects of pathology on vocal production. Specific singing exercises have been proven to be beneficial in the resolution and compensation for pathology. Detailed assessment and intervention strategies are outlined from the perspective of the vocologist, who specializes in combining vocal arts with voice therapy.

Humans↗
PubMedDate not supplied

Influence of food and water availability on undirected singing and energetic status in adult male zebra finches (Taeniopygia guttata).

The songs of adult male zebra finches are termed "directed" and "undirected," depending on the social context in which they occur. Females elicit directed song, whereas undirected song is not addressed to a particular conspecific and even occurs at high levels in social isolation. We tested the hypothesis that the production of undirected song is more sensitive to a brief period of food deprivation than a comparable period of water deprivation. The hypothesis was based on prior findings suggesting that song production is energetically expensive and that food deprivation constitutes a more serious energetic challenge to zebra finches than does water deprivation. Two days of food or water deprivation were imposed on several groups of birds that provided song production data and a variety of energetic measures; normative data obtained in a baseline period when food and water were available ad libitum provided a standard for comparison. Singing, which occurred exclusively in the light phase of the day, was reduced at the onset of food deprivation, ceased completely within 4 h, and did not occur at all on the second day. When water was removed, the birds showed a slower and less substantial reduction in daily song production across the 2 days of deprivation. Energetic measures indicated that food deprivation was a greater energetic challenge than water deprivation. Our results demonstrate that undirected song in zebra finches is sensitive to nonsocial environmental factors that pose an energetic challenge and raise new questions about how birds calibrate their level of song production to the availability of nutrients in the environment.

Animals↗
PubMed2003

The presence of partially 3-O-methylated mannogalactan from the fruit bodies of edible basidiomycetes Pleurotus ostreatus 'florida' Berk. and Pleurotus ostreatoroseus Sing.

The partially 3-O-methylated mannogalactans were isolated from the fruiting bodies of edible basidiomycetes Pleurotus ostreatus 'florida' Berk. and Pleurotus ostreatoroseus Sing. They were obtained via successive aqueous extraction, freeze thawing, and precipitation with Fehling solution and then investigated using (13)C- and (1)H-nuclear magnetic resonance spectroscopy (including COSY, TOCSY and HMQC techniques), methylation analysis and Smith degradation. The main chain consisted of (1-->6)-linked alpha-D-galactopyranosyl residues containing 3-O-Me-alpha-D-galactopyranoses, a part of these units being substituted in the position O-2 with beta-D-mannopyranose residues. The heteropolysaccharides found were similar with differences only in the levels of the 3-O-Me-alpha-D-galactopyranoses residues. The presence of partially 3-O-methylated mannogalactan appears to be typical of Pleurotus spp.

Carbohydrate Conformation↗
PubMed2001

Soft phonation in the male singing voice: a preliminary study.

Sustained high notes, diminishing gradually from the loudest to the softest phonation within a maneuver called messa di voce, are examined in two contrasting professional tenor voices. Signals of the sound pressure level, electroglottograph, and mean esophageal pressure are recorded, and similar maneuvers by the same subjects are examined stroboscopically. The lyric voice is found to make a gradual diminuendo while maintaining nearly constant posture of the vocal tract together with a phase of complete closure in the glottal cycle. The robust voice, by contrast, passes abruptly from a production of high subglottal pressure and a high closed quotient to one of low pressure and incomplete closure, and the transition is marked by a sudden opening of the previously constricted laryngeal collar. It is proposed that the mode of soft voice production demonstrated by the robust voice be recognized as a distinct register of the singing voice.

Electromyography↗
PubMed2002

Velum behavior in professional classic operatic singing.

The velopharyngeal opening (VPO) is analyzed in 17 professional operatic singers, 3 high sopranos, 3 sopranos, 2 mezzo-sopranos, 3 tenors, 2 baritones, 2 bass-baritones, and 2 basses singing the vowels [a, i, u] at middle degree of vocal loudness at different pitches throughout their pitch range. Three methods were used for detection of a VPO. One was nasofiberscopy, which revealed VPO of various shapes in several singers. Another method was recording nasal and oral airflow by means of a divided flow mask. These measurements showed a nasal DC airflow at least at some pitches in a majority of the singers. A third method was a comparison of the level of the fundamental in the nasal and oral airflow signals; this level difference was less than 15 dB in cases where a nasal DC airflow was observed. Values less than 15 dB were observed in some cases, thus suggesting the presence of a VPO. The tokens produced by the singers were assessed by an expert panel with respect to nasal quality of the vowel timbre; no correlation was found between rated nasal quality and the presence of a VPO.

Adult↗
PubMed2003

Dissimilarity and the classification of female singing voices: a preliminary study.

Traditionally, timbre has been defined as that perceptual attribute that differentiates two sounds when pitch and loudness are equal and thus is a measure of dissimilarity. By such a definition, each voice possesses a set of timbres, and the identity of any voice or voice category across different pitch-loudness-vowel combinations must be due to an abstraction of the pattern of timbre transformation. Using stimuli produced across the singing range by singers from different voice categories, this study sought to examine how timbre and pitch interact in the perception of dissimilarity. This study also investigated whether listener experience affects the perception of timbre as a function of pitch. The resulting multidimensional scaling (MDS) representations showed that for all stimuli and listeners, dimension 1 correlated with pitch, whereas dimension 2 correlated with spectral centroid and separated vocal stimuli into the categories mezzo-soprano and soprano. Dimension 3 appeared highly idiosyncratic depending on the nature of the stimuli and on the experience of the listener. Inexperienced listeners appeared to rely more heavily on pitch in making dissimilarity judgments than did experienced listeners. The resulting MDS representations of dissimilarity across pitch provide a glimpse of the timbre transformation of voice categories across pitch.

Female↗
PubMed1995

Acoustic concomitants of emotional expression in operatic singing: the case of Lucia in Ardi gli incensi.

Two excerpts from the cadenza in Ardi gli incensi from Donizetti's opera Lucia di Lammermoor were acoustically analyzed for five recorded versions of the cadenza by Toti dal Monte, Maria Callas, Renata Scotto, Joan Sutherland, and Edita Gruberova. These acoustic parameters of the singing voices were correlated with preference and emotional expression judgments, based on pairwise comparisons, made by a group of experienced listener-judges. In addition to showing major differences in the voice quality of the five "dive" studied, the acoustic parameters suggested which vocal cues affect listener judgments. Two component scores, based on a factorial-dimensional analysis of the acoustic parameters, predicted 84% of the variance in the preference ratings.

Affect↗
PubMed1995

Measurement of formant frequencies and bandwidths in singing.

That singers under certain circumstances adjust the articulation of the vocal tract (formant tuning) to enhance acoustic output is both apparent from measurements and understood in theory. The precise effect of a formant on an approaching (retreating) harmonic as the latter varies in frequency during actual singing, however, is difficult to isolate. In this study variations in amplitude of radiated sound components as well as supraglottal and subglottal (esophageal) pressures accompanying the vibrato-related sweep of voice harmonics were used as a basis for estimating the effective center frequencies and bandwidths of the first and second formants.

Humans↗
PubMed1994

The integration of voice science, voice pathology, medicine, public speaking, acting, and singing.

The integration of voice science, voice pathology, medicine, public speaking, acting, and singing has been central to evolution in all fields. The Voice Foundation Symposia have played a seminal and central role in fostering integration among disciplines. The result has been an improvement in the knowledge and practice in each field. And the future promises to be even more informative and exciting.

Congresses as Topic↗
PubMed1994

Perceptual aspects of singing.

The relations between acoustic and perceived characteristics of vowel sounds are demonstrated with respect to timbre, loudness, pitch, and expressive time patterns. The conditions for perceiving an ensemble of sine tones as one tone or several tones are reviewed. There are two aspects of timbre of voice sounds: vowel quality and voice quality. Although vowel quality depends mainly on the frequencies of the lowest two formants. In particular, the center frequency of the so-called singer's formant seems perceptually relevant. Vocal loudness, generally assumed to correspond closely to the sound pressure level, depends rather on the amplitude balance between the lower and the higher spectrum partials. The perceived pitch corresponds to the fundamental frequency, or for vibrato tones, the mean of this frequency. In rapid passages, such as coloratura singing, special patterns are used. Pitch and duration differences are categorically perceived in music. This means that small variations in tuning or duration do not affect the musical interval and the note value perceived. Categorical perception is used extensively in music performance for the purpose of musical expression because without violating the score, the singer may sharpen or flatten and lengthen or shorten the tones, thereby creating musical expression.

Auditory Perception↗
PubMed1994

The Lombard effect in choral singing.

Selected vocal-intensity response-level readings of singers' ability to resist the Lombard effect in choral singing before and after verbal instructions were compared. Twenty-seven adults sang The Star Spangled Banner along with a choir heard through headphones. After instructions to resist increasing vocal intensity as the choir increased, each subject sang again. The performances were recorded, and vocal-intensity readings from selected places in the song were obtained from a graphic-level recorder. A 3 x 3 x 2 multiple analysis of variance procedure was performed on the scores; the main factors tested were experience level, pretest-posttest differences, and places in the song. No significant difference (0.05 level) for levels of experience was observed, but the effect of the instructions was significant (p < 0.05), suggesting that choral singers can learn to resist the Lombard effect and consciously regulate their vocal intensity to some extent in the face of masking sound.

Adult↗
PubMed1993

Short-term variation of subglottal pressure for expressive purposes in singing and stage speech: a preliminary investigation.

According to previous investigations, subglottal pressure in singing is adapted not only to loudness but also to fundamental frequency. Here the significance of musical expression to subglottal pressure is analyzed in terms of alternations between stressed and unstressed bar positions. Esophageal pressure was recorded together with the audio signal in a male and a female professional singer using a paranasally introduced pressure transducer while the subjects performed vocal exercises. Also, the subjects gave examples of actors' speech by reading poetry aloud. The results show that subglottal pressure can be used for stressing the first beat in bars and also for increasing the sound level in voiced consonants in actor's speech.

Air Pressure↗
PubMed1997

The "singing-acting" child: the laryngologist's perspective--1995.

A survey of pediatric otolaryngologists about voice disorders in children suggests that approximately 1% of children examined were noted to have voice problems, and in only one fifth of these children (0.2%) were the voice problems related to professional use of the voice, such as singing. Direct flexible laryngoscopy was the sole method of examination for 80% of the children examined by these pediatric specialists. Voice therapy for 6 months was generally recommended (88%). The survey represents an estimated clinical experience of > 160,000 children per year, and it achieved a response rate of 40% of pediatric otolaryngologists (48/120). Results suggest that the use of video and stroboscopy for examination of the pediatric voice would enhance understanding and assure correct diagnosis and treatment.

Child↗
PubMed1997

The singing teacher as vocal parent.

Vocal parenting is a pedagogical approach that views the teaching of singing to children as a nurturing process. It encompasses the development of fundamentally sound vocal technique, guidance in repertoire selection and performance practices, and concern for the physical, mental, and emotional well-being of the child as a singer, performer, and person. Role-play and storytelling are among the strategies employed to fully integrate vocal technique with the personality of the singer.

Adolescent↗
PubMed1998

Relating objective measurements to expert evaluation of voice quality in Western classical singing: critical perceptual parameters.

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.

Humans↗
PubMed2006

Difference in the volatile composition of pine-mushrooms (Tricholoma matsutake Sing.) according to their grades.

The differences in volatile components of pine-mushrooms (Tricholoma matsutake Sing.) according to their grades were observed by applying multivariate statistical methods to GC-MS data sets. A total of 35 and 37 volatile components were identified in raw and cooked pine-mushrooms, respectively. The volatile components in pine-mushrooms were primarily composed of C8 species, such as 3-octanol, 1-octen-3-ol, 1-octanol, (E)-2-octen-1-ol, 3-octanone, 1-octen-3-one, (E)-2-octenal, and octanoic acid. The levels of ethyl octanoate, junipene, and 3-methyl-3-buten-2-one were much higher in raw pine-mushroom of higher grades, whereas the reverse was true for C8 components. On the other hand, furfuryl alcohol, benzyl alcohol, phenylethyl alcohol, dihydro-5-methyl-2(3H)-furanone, 2(5H)-furanone, (E)-2-methyl-2-butenal, furfural, phenylacetaldehyde, benzoic acid methyl ester, camphene, and beta-pinene were the major components of cooked mushrooms. These volatile components formed by various thermal reactions could be mainly responsible for the difference in volatile components of cooked pine-mushrooms according to their grades.

Agaricales↗
PubMed2006

Characterization of aroma-active compounds in raw and cooked pine-mushrooms (Tricholoma matsutake Sing.).

The characteristic aroma-active compounds in raw and cooked pine-mushrooms (Tricholoma matsutake Sing.) were investigated by gas chromatography-olfactometry using aroma extract dilution analysis. 1-Octen-3-one (mushroom-like) was the major aroma-active compound in raw pine-mushrooms; this compound had the highest flavor dilution factor, followed by ethyl 2-methylbutyrate (floral and sweet), linalool (citrus-like), methional (boiled potato-like), 3-octanol (mushroom-like and buttery), 1-octen-3-ol (mushroom-like), (E)-2-octen-1-ol (mushroom-like), and 3-octanone (mushroom-like and buttery). By contrast, methional, 2-acetylthiazole (roasted), an unknown compound (chocolate-like), 3-hydroxy-2-butanone (buttery), and phenylacetaldehyde (floral and sweet), which could be formed by diverse thermal reactions during the cooking process, together with C8 compounds, were identified as the major aroma-active compounds in cooked pine-mushrooms.

Agaricales↗
PubMed1998

Loss of singing ability caused by vincristine.

Two patients who received vincristine therapy for lymphoma suffered marked impairment of ability to sing as a consequence of neurotoxicity. Slow recovery occurred on drug withdrawal.

Aged↗