| 1. |
- Sundberg, Johan
(author)
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Articulatory Configuration and Pitch in a Classically Trained Soprano Singer
- 2009
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In: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 23:5, s. 546-551
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Journal article (peer-reviewed)abstract
- Previous studies suggest that singers modify articulation to avoid that the pitch frequency F0 exceeds the normal value of the first formant F1(Normal). Using magnetic resonance imaging at a rate of 5 frames/s, articulation was analyzed in a professional soprano singing an ascending triad pattern from C4 to G5 (262-784 Hz) on the vowels /i, e, u, o, a/. Lip and jaw opening and tongue dorsum height were measured and analyzed as function of pitch. Four or five semitones below the pitch where F0 = F1(Normal) the tongue dorsum height was reduced in /i, e, u, a/, whereas in /o/ the lip opening was widened and in /a/ also the jaw opening was widened. At higher pitches, the jaw opening was widened in all vowels. These articulatory maneuvers are likely to raise F1 in these vowels.
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| 2. |
- Reid, Katherine L. P., et al.
(author)
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The acoustic characteristics of professional opera singers performing in chorus versus solo mode
- 2007
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In: Journal of Voice. - : Elsevier. - 0892-1997 .- 1873-4588. ; 21:1, s. 35-45
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Journal article (peer-reviewed)abstract
- In this study, members of a professional opera chorus were recorded using close microphones, while singing in both choral and solo modes. The analysis included computation of long-term average spectra (LTAS) for the two song sections performed and calculation of singing power ratio (SPR) and energy ratio (ER), which provide an indication of the relative energy in the singer's formant region. Vibrato rate and extent were determined from two matched vowels, and SPR and ER were calculated for these vowels. Subjects sang with equal or more power in the singer's formant region in choral versus solo mode in the context of the piece as a whole and in individual vowels. There was no difference in vibrato rate and extent between the two modes. Singing in choral mode, therefore, required the ability to use a similar vocal timbre to that required for solo opera singing.
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| 3. |
- Berglund, Jenny, 1968-
(author)
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Teaching Islam : Islamic Religious Education at Three Muslim Schools in Sweden
- 2009
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Doctoral thesis (other academic/artistic)abstract
- This study concerns the formulation of Islamic religious education (IRE) at three Swedish Muslim schools which offered IRE as an extra curricular subject, one to three hours per week. The study contributes to the understanding of how IRE is formed as a confessional school subject within the framework and under the jurisdiction of the Swedish school system. The meaning of the studied IRE was construed as a way of building connectedness between pupils to both the common Islamic tradition and the Swedish society, but also highlighting and establishing connections between these two entities. The primary finding is that it is inaccurate to speak about IRE in homogeneous terms since the content varies distinctively between different schools. In addition, it has been found that the educational questions considered by the involved teachers are similar to those considered by many other types of teachers. Although classroom observations and teacher interviews showed that the general content of all three IRE classrooms included the teaching of the Quran, Islamic history through religious narratives and song, specific content variations were evident. Differences concerned approaches to the teaching of the Quran, ways of using religious narratives and genre of songs. Therefore pupils in each school received somewhat different answers to local and global questions that were raised in the classrooms, indicating somewhat different interpretations of Islam. These differences suggest that the depiction of IRE as a transmission of Islam to the younger generation is not accurate since it leads to the impression that religions are insulated entities that are capable of being passed from one generation to the next without any change taking place. Instead this study shows that the teachers translate the content of IRE according to their perception of what is vital for their pupils to know and suitable for them to comprehend since they constantly choose content and negote its meaning.
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| 4. |
- Cernerud, Lars
(author)
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Salutogenic Effects of Music
- 2007
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In: XXXIX ASPHER Annual Conference in Valencia 2007.
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Conference paper (peer-reviewed)abstract
- Category: ResearchSubject: Health promotion: Essential dimensions, services and educational needsAuthor: Lars Cernerud, MD, MPH, PhD, Associate Professor, Department of Caring and Public Health Sciences, Mälardalen University, PO Box 883, SE-721 23 Västerås, SwedenTitle: Salutogenic effects of musicObjective: The objective was to explore salutogenic effects of singing in choir.Introduction: There is evidence for endocrinological, neurological, physiological, psychological and sociological influence of music on human health. Music used in medical therapy is proportionately well described and established. However, the salutogenic effects of music on human well being need scrutiny. Listening to music, practicing music and creating music are means by which music may act salutogenic. Practisers may sing or use instruments alone (as soloists) or in group (choir or orchestra). In the present study members of church choirs were asked about self perceived benefits and disadvantages for health by singing in choir.Results: There was a strong agreement about the enhancing effects on well being among the choir singers. Joy, stimulation, concentration and relaxation were common experiences. The choir was also denoted as a retreat for feelings, creative work and social community. The church choir members also highlighted some negative (non-salutogenic) aspects of singing in choir, which are worthwhile to go deeper into for analysis and discussion.Discussion and Conclusion: In this study the psychological and sociological aspects of practising music in group were obvious. Actually the answers might also have been received from i.e. members of the church sewing association. However, the members of the church choirs have one thing in common, the love of singing church music together and the feelings evoked by it. This makes them stick together and experience salutogenic feelings. There are examples of nations under occupation where a strong culture of singing in choir helps citizens to stand the hardship and survive mentally.Keywords: Salutogenic factors, Music, Singing, Choir
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| 5. |
- Echternach, Matthias, et al.
(author)
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Vocal tract and register changes analysed by real-time MRI in male professional singers - a pilot study
- 2008
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In: Logopedics, Phoniatrics, Vocology. - : Informa UK Limited. - 1401-5439 .- 1651-2022. ; 33:2, s. 67-73
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Journal article (peer-reviewed)abstract
- Changes of vocal tract shape accompanying changes of vocal register and pitch in singing have remained an unclear field. Dynamic real-time magnetic resonance imaging (MRI) was applied to two professional classical singers (a tenor and a baritone) in this pilot study. The singers sang ascending scales from B3 to G#4 on the vowel /a/, keeping the modal register throughout or shifting to falsetto register for the highest pitches. The results show that these singers made few and minor modifications of vocal tract shape when they changed from modal to falsetto and some clear modifications when they kept the register. In this case the baritone increased his tongue dorsum height, widened his jaw opening, and decreased his jaw protrusion, while the tenor merely lifted his uvula. The method used seems promising and should be applied to a greater number of singer subjects in the future.
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| 6. |
- Enflo, Laura, 1980-, et al.
(author)
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Vocal fold collision threshold pressure: An alternative to phonation threshold pressure?
- 2009
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In: Logopedics, Phoniatrics, Vocology. - : Informa UK Limited. - 1401-5439 .- 1651-2022. ; 34:4, s. 210-217
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Journal article (peer-reviewed)abstract
- Phonation threshold pressure (PTP), frequently used for characterizing vocal fold properties, is often difficult to measure. This investigation analyses the lowest pressure initiating vocal fold collision (CTP). Microphone, electroglottograph (EGG), and oral pressure signals were recorded, before and after vocal warm-up, in 15 amateur singers, repeating the syllable /pa:/ at several fundamental frequencies with gradually decreasing vocal loudness. Subglottal pressure was estimated from oral pressure during the p-occlusion, using the audio and the EGG amplitudes as criteria for PTP and CTP. The coefficient of variation was mostly lower for CTP than for PTP. Both CTP and PTP tended to be higher before than after the warm-up. The results support the conclusion that CTP is a promising parameter in investigations of vocal fold characteristics.
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| 7. |
- Geisler, Ursula
(author)
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Körsång i fokus - rapport från symposium om körforskning
- 2008
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Reports (pop. science, debate, etc.)abstract
- De intresseområden som representerades vid forskningssymposiet kan ses på en skala med fokus som varierar mellan mikro- och makroperspektiv: Från fokus på den enskilde tonsättarens, körledarens eller körsångarens musikaliska uttryck till fokus på frågor om körsångens betydelse ur ett större samhälleligt och internationellt perspektiv.
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| 8. |
- Lindblom, Björn, et al.
(author)
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The Human Voice in Speech and Singing
- 2007
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In: Handbook of acoustics. - New York, NY : Springer-Verlag New York. - 9780387304465 ; , s. 669-712
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Book chapter (peer-reviewed)abstract
- This chapter describes various aspects of the human voice as a means of communication in speech and singing. From the point of view of function, vocal sounds can be regarded as the end result of a three stage process: (1) the compression of air in the respiratory system, which produces an exhalatory airstream, (2) the vibrating vocal folds’ transformation of this air stream to an intermittent or pulsating air stream, which is a complex tone, referred to as the voice source, and (3) the filtering of this complex tone in the vocal tract resonator. The main function of the respiratory system is to generate an overpressure of air under the glottis, or a subglottal pressure. Section 16.1 describes different aspects of the respiratory system of significance to speech and singing, including lung volume ranges, subglottal pressures, and how this pressure is affected by the ever-varying recoil forces. The complex tone generated when the air stream from the lungs passes the vibrating vocal folds can be varied in at least three dimensions: fundamental frequency, amplitude and spectrum. Section 16.2 describes how these properties of the voice source is affected by the subglottal pressure, the length and stiffness of the vocal folds and how firmly the vocal folds are adducted. Section 16.3 gives an account of the vocal tract filter, how its form determines the frequencies of its resonances, and Sect. 16.4 gives an account for how these resonance frequencies or formants shape the vocal sounds by imposing spectrum peaks separated by spectrum valleys, and how the frequencies of these peaks determine vowel and voice qualities. The remaining sections of the chapter describe various aspects of the acoustic signals used for vocal communication in speech and singing. The syllable structure is discussed in Sect. 16.5, the closely related aspects of rhythmicity and timing in speech and singing is described in Sect. 16.6, and pitch and rhythm aspects in Sect. 16.7. The impressive control of all these acoustic characteristics of vocal signals is discussed in Sect. 16.8, while Sect. 16.9 considers expressive aspects of vocal communication.
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| 9. |
- Mürbe, Dirk, et al.
(author)
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Effects of professional singing education on vocal vibrato - A longitudinal study
- 2007
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In: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 21:6, s. 683-688
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Journal article (peer-reviewed)abstract
- 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.
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| 10. |
- Roers, Friederike, et al.
(author)
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Predicted Singers' Vocal Fold Lengths and Voice Classification - A Study of X-Ray Morphological Measures
- 2009
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In: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 23:4, s. 408-413
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Journal article (peer-reviewed)abstract
- Students admitted to the solo singing education at the University of Music Dresden, Germany have been submitted to a detailed physical examination of a variety of factors with relevance to voice function since 1959. In the years 1959-1991, this scheme of examinations included X-ray profiles of the singers' vocal tracts. This material of 132 X-rays of voice professionals was used to investigate different laryngeal morphological measures and their relation to vocal fold length. Further, the study aimed to investigate if there are consistent anatomical differences between singers of different voice classifications. The study design used was a retrospective analysis. Vocal fold length could be measured in 29 of these singer subjects directly. These data showed a strong correlation with the anterior-posterior diameter of the subglottis and the trachea as well as with the distance from the anterior contour of the thyroid cartilage to the anterior contour of the spine. These relations were used in an attempt to predict the 132 singers' vocal fold lengths. The results revealed a clear covariation between predicted vocal fold length and voice classification. Anterior-posterior subglottic-tracheal diameter yielded mean vocal fold lengths of 14.9, 16.0, 16.6, 18.4, 19.5, and 20.9 mm for sopranos, mezzo-sopranos, altos, tenors, baritones, and basses, respectively. The data support the assumption that there are consistent anatomical laryngeal differences between singers of different voice classifications, which are of relevance to pitch range and timbre of the voice.
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