Journal articles on the topic 'Extended vocal technique'

An improved surgical technique for epidermoid cysts of the vocal fold is presented. This technique employs a specially designed double-bladed elevator. Following betamethasone injection around the cyst, an incision is made posterior to the cyst at its mediolateral midpoint. The incision is extended anteriorly over the cyst with the use of a double-bladed elevator. The cyst then is elevated carefully from the surrounding tissue and removed. A single incision line on the upper aspect of the vocal fold should be the result. Eight patients were operated on with the present technique. The voice was improved postoperatively in all patients. The voice improvement was reflected objectively in stroboscopic findings, maximum phonation time, airflow rate, fundamental frequency and intensity of phonation, and results of acoustic analyses of voice.

The difficulties in treating granulomas resulting from Teflon injection into the vocal fold are underreported in the literature. We have reviewed our experience with nine patients undergoing 27 procedures for Teflon granuloma. Two patients required tracheotomy before undergoing endoscopic granuloma removal because of airway compromise, and a third required urgent tracheotomy following endoscopy. One of the patients requiring elective tracheotomy had a granuloma that extended across the midline to the contralateral arytenoid, causing its fixation. Arytenoidectomy was required for decannulation in this patient. In all but one patient the granuloma nearly completely replaced the thyroarytenoid muscle. This extensive involvement often precludes the adequate excision of the granuloma in a single procedure; however, the microflap technique allows mucosal preservation to facilitate future procedures. In some cases the granuloma destroys large amounts of mucosa, and a microflap cannot be elevated and saved. The difficulties of excision are related to the near-total replacement of the thyroarytenoid muscle by granuloma. This paper will help the otolaryngologist—head and neck surgeon understand this destructive process and the resulting difficulties in surgical rehabilitation.

Pamela Z is an American composer-performer and audio artist whose use of extended vocal technique and live, body-controlled electronic processing takes place in events ranging in scale from solo events in galleries to large-scale works that combine video, audio, and live musicians, singers, and actors. Her work raises important issues regarding transnationalism, Afrodiasporicism, and identity; acoustic ecologies; the articulation of race and ethnicity; and the place of women in technological media. The essay discusses several of Z's works from the late 1990s and early 2000s, in articulation with cybertheory; the aesthetics of popular and avant-garde music, voice, language, and poetics; intermedia and performance art; and contemporary technological practices.

Objective: This paper aims to describe an unconventional surgical procedure performed in a case of penetrating neck injury involving the larynx. Methods: Design: Case Report Setting: Tertiary Government Hospital Population: One Results: A 38-year-old man sustained a hacking laceration to the anterior neck that extended into the hypopharyngeal area, transecting the thyroid cartilage. After pre-emptive tracheostomy, the patient was referred to otorhinolaryngology – head and neck surgery due to the extensive hypopharyngeal injury. Neck exploration performed to control bleeders confirmed a Schaefer-Fuhrman Classification Group 3 penetrating neck injury. Anastomotic reconstruction of the hypopharynx, transected thyroid cartilage and strap muscles was attempted using absorbable sutures with post-operative re-establishment of structural continuity and documentation of full bilateral vocal fold mobility. The patient was about to be discharged home with a tracheotomy and nasogastric tube when he suddenly deteriorated and expired on the eighth post-operative day. Conclusion: Our technique might be utilized in cases where urgent reconstruction of laryngeal structures is considered despite serious damage to the laryngeal skeleton, and may provide a temporary surgical option for similar cases in an emergent setting. However, we cannot recommend it as a routine standard on the basis of one case. Keywords: larynx; penetrating neck injury; vocal cord; reconstruction, neck exploration

In the decades following the Second World War, novel sound technologies and the proliferation of ethnomusicological field recordings ignited curiosity and experimentation among many musicians; these cultural phenomena also sparked a re-examination of conventional Euro-American musical sound sources. Classically trained instrumentalists and singers – particularly those associated with the ‘experimental tradition’ – cultivated intentionally idiosyncratic musical practices and widened their range of sonic possibility; this cultural zeitgeist included a heightened interest in so-called extended vocal techniques. In this article, I examine the research and creative output of the Extended Vocal Techniques Ensemble (EVTE) of the University of California at San Diego (UCSD). Drawing from published literature, interviews and archival sources to write this account of the EVTE’s multifaceted work, I contextualize the group’s activities within UCSD’s interdisciplinary emphasis as well as in the broader social–historical discourses of ‘extended vocal techniques’. Furthermore, I address the implications of their story within the broader politics of vocal aesthetics and pedagogy in Euro-American classical music contexts. By unearthing the EVTE’s interdisciplinary vision for vocal study, I hope to not only spark interest in this ensemble’s contributions, but also to revive (and build upon) their vision of a radically reimagined vocal artistry and study in academic music and beyond.

Educational learning settings exploit cognitive factors as ultimate feedback to enhance personalization in teaching and learning. But besides cognition, the emotions of the learner which reflect the affective learning dimension also play an important role in the learning process. The emotions can be recognized by tracking explicit behaviors of the learner like facial or vocal expressions. Despite reasonable efforts to recognize emotions, the research community is currently constraints by two issues, namely : i) the lack of efficient feature descriptors to accurately represent and prospectively recogniz e (detecting) the emotions of the learner ; ii) lack of contextual datasets to benchmark performances of emotion recognizers in the learning - speci fic scenarios, resulting in poor generalizations. This paper presents a facial emotion recognition technique (FERT). The FERT is realized through results of preliminary analysis across various facial feature descriptors. Emotions are classified using the m ultiple kernel learning (MKL) method which reportedly possesses good merits. A contextually relevant simulated learning emotion ( SLE ) dataset is introduced to validate the FERT scheme. Recognition performance of the FERT scheme generalizes to 90.3% on the SLE dataset. On more popular but noncontextually datasets, the scheme achi e ved 90.0% and 82.8% respectively extended Cohn Kanade (CK+) and acted facial expressions in the wild ( AFEW ) datasets. A test for the null hypothesis that there is no significant difference in the performances accuracies of the descriptors rather proved otherwise (<em> x²</em> = 14 . 619 , <em>df</em> = 5 , <em>p</em> = 0 . 01212 ) for a model considered at a 95% confidence interval.

Statement of the problem. Within the frameworks of interpretology, the performing style appears as the relation of two subjects (the performer and the subject of the music itself, recorded in the text), a meeting of the composing and performing thinking. It is every performance by Jonas Kaufmann, a prominent singer of the present, that becomes this meeting. According to the singer’s words, the «chamber form» invented by him and called Liederabend is the favourite form of his expression. Liederabend always demonstrates the singer’s outstanding acting skills, stage presence, strong voice and impeccable technique. Among the outstanding events there are the performances of G. Mahler’s chamber opuses (romances, «Song of the Earth», «Songs of the Dead Children», R. Strauss; Liederabends in Bamberg, Munich and the Metropolitan Opera with F. Liszt’s songs «Three Sonnets of Petrarch», G. Mahler, A. Dupark (including on Heine’s and Goethe’s verses), R. Wagner (Five Songs on Matilda Wesendonk’s verses), B. Britten (Seven Sonnets by Michelangelo). The singer’s attention to the AustrianGerman repertoire is the special trait of such chamber evenings. Analysis of recent publications on the topic. The main material on J. Kaufmann’s creative work is contained in numerous interviews, official site materials, Thomas Voigt’s book called «Meinen die wirklich mich», nonfiction articles and reviews on the performance of, in particular, Liederabends (T. Belova, T. Yelagin, E. Shapinska, Tim Ashley, and Christie Franke). From the studies of chamber and vocal performance (I. Gersamiya, T. Madysheva, T. Lymareva), the classification of dialogue quality (E. Stepanidina) in chamber music is involved. The systematic approach allows (based on G. Tsypin’s research) to identify the phenomenon of J. Kaufmann’s creativity. The purpose of the study is the formulation of the basic parameters of his performing style based on the analysis of J. Kaufmann’s Liederabends. Presentation of the main research material. In «The Winter Way» the singer resorts to such expressive means as a little exaggerated, chanted diction of the initial phrases («Sleep quietly»), radically contrasting dynamics of opera ff and subtle pp («Flood»), extremely slow tempo and filigree breathing («Inn»), «performance on the verge» of sound and silence («Loneliness», «Grey Hair», «Crow», and «Last Hope»). The centre of the performance concept is «Loneliness» (according to the singer himself). K. Frank sees the performance by Kaufmann as a rich spectrum of emotions; many listeners note the introversion of his expression. Concerning the conceptual dimension of J. Kaufmann’s interpretation of “The Winter Way”, the following facts were noted: the integrity and the construction of the performance form; the conscious avoidance of unnecessary expressiveness, monologue quality (the master connects the songs, creating an extended monologue), and artistry. Conclusions of the study. The analysis of Liederabends made it possible to find the components of J. Kaufmann’s performing style that characterize his individuality. 1. Intellectualism, conceptual design and «cyclicality» of the embodiment. For Liederabends the singer always chooses sophisticated programs, dominated by song cycles, or even the evenings devoted to the creative work of one composer. From the point of view of dramaturgy, the singer combines several songs into a kind of a micro-cycle, which enhances the monologue of the expression (dialogue «I-I»); the performance by the singer of any composition or cycle is always integral and intends for the catharsis. 2. The system of vocal expressive means that allow the singer to simulate different facets of images. Liederabends reflect the main features of J. Kaufmann’s style, which can also be noted in terms of opera interpretations: the economy of the performer, the singer’s commitment to conducting the cantilena, the role of the rhythmic component in the vocal score, the ability to tune his voice in different vocal ensembles, brilliant piano and mezzo voce, the brightness of forte, the filigree diminuendo and more. Kaufmann’s outwardly restrained manner of performance allows conveying the shades of poetic and musical text, reaching the heights peculiar to him as the performer of the tragic roles of the opera repertoire. In the chamber performance, some things sound even more pronounced. This applies to timbre (the singer can choose the desired colour of the voice, in particular, a matte or «steel» hue), the dynamic hue of ppp (sometimes a barely audible sound of the voice in the vocal cycle by F. Schubert gave a sense of boundary between the worlds, which is as if crossed by the lyric hero), diction (the singer speaks words clearly, and sometimes even sings in a recitative manner, in particular F. Schubert’s «Warrant»), and rhythm (he has a specific «acuteness» with certain disturbances of a uniform course, which has a powerful influence on the audience). Analysing the method of J. Kaufmann’s work with the author’s musical material, it is noted that he respectfully treats the text of the performed compositions, never exaggerates with “liberties” (agogic deviations, text notes, and fioritures). In terms of behavioural characteristics, J. Kaufmann’s performance always prevails in masculinity; from the point of view of the dialogue of the vocal and piano parties in J. Kaufmann’s Liederabends, the monologue quality is of great importance. All of the above allows us to identify another feature of Kaufmann’s performing style – his artistry. Due to his unstoppable artistic energy, which is felt by the listeners and visitors of Liederabends, the singer creates vivid, conceptual song evenings that are generally distinguished by the thoughtfulness of interpretations and which will surely be included in the collection of the world chamber performance. The prospect of further study of the topic is related to the study of J. Kaufmann’s performing style from the standpoint of interpretology.

Neuralgic Amyotrophy (NA) is a rare disturb of the peripheral nervous system that can include extreme pain, multifocal paresis and atrophy of the muscles of the upper limbs. When the nerves located outside of the brachial plexus are involved, the term Neuralgic Amyotrophy Extended (ANE) is used. Diagnosis of NA is clinical and has a series of inclusion and compatibility criteria established by the European CMT Consortium. On this study the clinical history, multidimensional vocal assessment data and the vocal techniques used in five-weeks voice therapy for one patient, professional voice, with ANE are presented. In this case, sudden and recurrent paralysis of his right vocal fold was the only manifestation of the disease. At the end of the fifth week the patient's voice was normal, the spoken and sung vocal ranges were same as before the current episode of ANE and scores of his vocal self-assessment were appropriate.

Congenital saccular cysts of the larynx are a rare cause of airway obstruction in the neonatal population. Symptoms are non-specific and common to other causes of laryngeal obstruction. Prompt recognition and management is important because of the high mortality associated with undiagnosed conditions. CASE A 2-month old female was seen at the Pediatric emergency room because of breathing difficulty. She had productive cough 2 days prior, accompanied by labored breathing, vomiting and poor appetite. She was admitted at the Pediatric ICU with a diagnosis of acute bronchiolitis. Attempting intubation, the pediatric resident noted a cystic mass partially obstructing the laryngeal inlet. The patient was successfully intubated on the third attempt. Review of history revealed stridor at birth, and she was referred to the ENT service for further management. Awake Flexible Laryngoscopy revealed a cystic mass obscuring most of the right vocal fold. The impression was an anterior saccular cyst. The patient underwent microlarygoscopy. The cyst extended posterosuperiorly, resting over the false vocal fold (Figure 1). The presence of a saccular cyst was confirmed by needle aspiration of whitish gelatinous fluid, immediately collapsing the cyst wall (Figure 2). Excision was performed with dissection of the cyst to its base at the saccule orifice. The entire sac was excised with minimal bleeding. After excision, the endotracheal tube was reduced to the next smaller size. She was extubated on the 3rd postoperative day and did not require re-intubation. The patient was kept on intravenous antibiotics and steroids until she was discharged on the 6th postoperative day without further airway symptoms. DISCUSSION Congenital saccular cysts of the larynx are unusual lesions that commonly present with respiratory obstruction in infants and children.1 They are thought to arise in the saccule of the ventricle of the larynx. A laryngeal saccule is a small diverticulum arising out of the laryngeal ventricle. It extends upward between the false vocal fold, the base of the epiglottis, and the thyroid cartilage. It contains mucous glands and secretes mucus through an orifice in the anterior part of the roof of the ventricle. A congenital saccular cyst is believed to form as a result of a developmental failure to maintain patency of the saccular orifice. It is similar to a laryngocele in that it represents an abnormal dilatation or herniation of the saccule, however it is distinct from a laryngocele in that there is no opening to the ventricle of the larynx, and it is filled with mucus.1 On the other hand, a laryngocele is defined as a dilatation or herniation of the laryngeal saccule, which is filled with air. DeSanto, Devine, and Weiland2 classified all cystic laryngeal lesions into saccular, ductal, and thyroid cartilage foraminal cysts. They further classified saccular cysts into anterior and lateral saccular cysts. The anterior saccular cyst extends medially and posteriorly from the saccule and protrudes into the laryngeal lumen between the true and false vocal cords. The lateral saccular cyst typically extends posterosuperiorly into the false vocal cord and aryepiglottic fold. This is the larger of the two types and is the more common form encountered in infants. Large lateral saccular cysts can extend into the lateral vallecula or bulge the medial wall of the pyriform sinus. It can also herniate through the thyrohyoid membrane similar to a laryngocele and can appear in the neck. Recently Forte, Fuoco, and James3 proposed a new classification dividing laryngeal cysts into two types based on the extent of the cyst and on the embryologic tissue of origin. A cyst that is radiologically and clinically determined to be intralaryngeal and can be safely and completely excised endoscopically is classified as Type I. Those with extralaryngeal extension are classified as Type II, subclassified into IIa (endodermal elements only) and IIb (endodermal and mesodermal elements - laryngotracheal duplication or diverticulum). Saccular cysts cause respiratory distress and inspiratory stridor most often at birth. The cry may be muffled, and dysphagia may occur. The diagnosis is suggested by a soft tissue lateral radiograph that shows a mucus-filled sac.1 This can be confirmed by fiberoptic laryngoscopy. The anterior saccular cyst is seen as a small round swelling protruding from the anterior ventricle and overhanging the anterior part of the ipsilateral vocal fold. The lateral saccular cyst appears as a smooth, mucosa-covered swelling of the false vocal fold and aryepiglottic fold. Both computed tomography and MRI may be helpful in delineating the exact location and extent of the mass. In our patient, the diagnosis was arrived at on the basis of clinical presentation and endoscopic findings. A good airway must first be secured prior to definitive management. Fortunately, our patient was successfully intubated, negating the need for a tracheotomy. The classic treatment of the lateral saccular cyst has been endoscopic management.1 Needle aspiration through a direct laryngoscope has been suggested as the initial treatment but recurrence is the norm because of the difficulty in completely obliterating the cyst by this method.1 Endoscopic marsupialization with or without stripping of the cyst lining has been advocated. Abramson and Zielinski4 introduced the application of carbon dioxide laser to incise the cyst and vaporize its lining. Booth and Birck5 used cup forceps to unroof laryngoceles and saccular cysts in neonates, followed by a 3-day intubation. Holinger et al6 performed direct laryngoscopy and endoscopic removal with cup forceps. In this patient, we performed endoscopic excision using cup forceps, dissecting the cyst to its base at the orifice of the saccule before amputation. Intubation was maintained to protect the infant’s airway and likewise act as a stent, similar to the technique described by Booth and Birck.5 Large saccular cysts occasionally require an external approach. A lateral cervical approach extending through the thyrohyoid membrane immediately above the alar of thyroid cartilage is the procedure of choice in such cases.2 ACKNOWLEDGEMENT: We would like to extend our heartfelt thanks to Dr. Samantha S. Castañeda for reviewing the manuscript.

In my dissertation Gender Perspectives in Vocal Performance Art, I examine the history and aesthetics of the genre. The core of my work is a vocal database that focuses especially on the extended vocal techniques of the natural voice. In this article, I concentrate on the electronic aspect of vocal performance art. While I provide a brief historical overview of the developments of vocal performance art and its technological developments from the 1970s to the 1990s, the central question of this article is whether gender patterns exist when these practices are combined with electronic sound technologies.

The present article is the continuation of the text published in issue 12 of “Notes Muzyczny” from December 2019. This paper is devoted to discussing technical issues connected with designing and constructing Opus 1 Portative built by the author; it also touches on practical performance aspects of portative music. The instrument fully designed and constructed by the author is a one-octave portative with stoppedwoodenpipesanditssoundrangeisc1-c2withanoptiontoretunecs1intobandb 1 into cs2 or d2. The default tuning pitch is a=440Hz but it can be altered within 415-465Hz; the temperament may also be freely changed. One wedge bellow placed at the back of the instrument is used for bellow treading. A leather belt worn over the shoulder and the low weight of the construction allow for playing the instrument not only while sitting but also in a standing position. As compared to similar instruments, this portative has more extended case which fully covers the ends of pipes. Opus 1 Portative was built thanks to a few years of research studies and technical work of the author covering the construction of organ components and independent attempts to miniaturise them for the purpose of construction of this specific instrument. Thanks to that, in order to build Opus 1 the author used a few original solutions – e.g. the way of gluing top corners of the bellow, the way of regulating the airflow through the foot of the pipe or the technique of attaching the handle to the stopper of a stopped pipe, with the limited space above its body. The majority of experimental solutions brought satisfactory results and for the remaining ones Piotr Dziewiecki managed to find ways to overcome the difficulties which arose. The author uses the instrument in his own performance practice both for solo music and for playing in ensembles. The portative is very useful for both fields, ensuring wide dynamics and articulation-related capacities. They are connected with an option to very precisely control the pressure of air powering the pipes and with their way of blowing. Its characteristic sound, warm and full of depth, brings associations with human voice. Thanks to that, vocal-and- instrumental music performed on it, with the portative player rendering the singer’s part, sounds good.

Vocal cord injury and its effect on the larynx are topics of considerable importance, yet a clear understanding of acute vocal cord injury from excessive phonation remains elusive. The inability to develop an animal model for vocal abuse has hampered research in this area. This project describes the development of a canine model for acute vocal cord injury from excessive phonation. The method of phonation consisted of a humidified, temperature-controlled, constant flow of air delivered subglottally by an external compressor. A small group of dogs underwent phonation for 2 and 4 hours. Vocal cord injury is described using histologic techniques. Damage to the vocal cords, other than hemorrhage (rare in dogs) and edema, proved to be too elusive for routine microscopy. Scanning and transmission electron microscopy showed extensive surface damage with destruction and loss of the surface microridges and premature desquamation of the vocal cord squamous epithelium. Injury extended to the lamina propria, where the collagen fibers were detached from the basement membrane.

Enchanted by the vocal music of Serbian-born Canadian composer Ana Sokolović, Tamara Bernstein visited the composer at her home in Montreal. Sokolović’s music draws on several sources, including the theatrical world and the culture of the Balkans. The extended vocal techniques in Sokolović’s music are rooted not in the avant-garde music of the twentieth century, but in the oral traditions and poetic voice of Serbia. It seems that the more the composer returns to her cultural roots, the more she embraces the universality of the human soul.

The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra, vocal and choral cycles, chamber compositions (the last group includes 5 string quartets, 3 piano trios, sonatas for string instruments both solo and with piano), 10 piano sonatas, piano solo works (two sets of preludes and fugues – 24 and 34 total, Dies Irae – 39 variations). The composer was born in Kharkiv. In 1966 he completed studies at Kharkiv Conservatory, where he attended the composition class of D. Klebanov. Since 1994, he had been living in St.-Petersburg, and since 1998, in Israel where he died in 2003. Bibik’s formative period coincided with a substantive modernization of Ukrainian culture in the 1960s. During those years, members of the “Kyiv avantgarde” group (L. Hrabovsky, V. Sylvestrov, V. Godziatsky, et al.) sought to utilize modernistic idioms and techniques, such as free atonality, dodecaphony, sonoristic and aleatoric textures, cluster harmony, etc. Unlike the others, Bibik started with a more conservative style, which bore the influences of Shostakovich, Prokofiev, and Bart&#243;k. Bibik’s mature period started several years later in the early 1970s with Piano Trio No. 1 (1972) and the composition Watercolors for soprano and piano (1973). Together with his next piano work 34 Preludes and Fugues, these compositions show extremely individual features of Bibik’s style, such as: 1. Special treatment of the sound, which is considered not just a material for building certain musical structures but a self-valuable substance (Bibik has an original manner of organizing sound). Hence, timbral and textural aspects draw special attention to the composer. 2. The pitch and rhythmic structure of the themes is quite simple. A combination of several simple motives becomes the starting point of long and sophisticated development. These motives are derived from folk music, however, due to rhythmic transformation, they have lost their direct connection with the folk source. 3. Rhythmic structures areal so very simple. They often include sequences of equal rhythmic values (usually crotchets or eights). However, the composer avoids monotony dueto due to variable time signatures and permanent rubato, as well as significant flexibility in phrasing. 4. The development relies mostly on melodic and polyphonic elaboration of initial simple motives. The composer utilizes various kinds of polyphony, such as canonic imitations, various combinations of the main and supportive voices, heterophony, hyper-polyphony. In fugues he employs both traditional and new methods of thematic and tonal distribution. 5. The harmony in Bibik’s works is mostly modal, as well as a combination of modality with free atonality and extended tonality. The structure of the dense chords is close to clusters, while more transparent chords include mostly seconds and fourths (as well as their inversions). He almost never used traditional tonal harmony and chords built up from thirds, and was interested in their color aspect rather than their tonal functionalism. 6. The sonoristic texture is very important. It does not diminish the importance of the melody but gets into special collaboration with it (“singing sonority”). A special “mist” around a clear melodic line is one of Bibik’s most typical devices. Due to special “pedal” orchestration, both the line and the “surrounding” sounds become equally important. 7. Elements of limited aleatoric music may be found in his rhythm and agogics, and sometimes inpitch structures (passages and figurations with free choice of the pitches). His favorite technique is a superposition of two rhythmically and temporally independent textural layers (for instance, a combination of the viola solo and the sonoristic orchestral background in the third movement of the Fourth Symphony). 8. Sonata for mand the fugue were significantly reinterpreted within free atonality and modal harmony. These provisions are the scientific novelty of the study.

The extended vertical partial laryngectomy involves removal of the vocal cord and adjacent arytenoid cartilage. Arytenoid sacrifice predisposes the patient to postoperative aspiration, since adequate laryngeal closure during swallowing cannot be accomplished. Various techniques have been previously described for reconstruction of this defect. We present five patients who had reconstruction of this area with a local, mucosally based corniculate-cuneiform flap. All patients were decannulated, had no long-term aspiration, maintained socially acceptable voice quality, and had no tumor recurrence with a minimum of 3 years of follow-up. Our preliminary data suggest that this flap can be used in previously irradiated patients. The corniculate-cuneiform flap is an effective method of reconstruction in patients undergoing an extended vertical partial laryngectomy.

The effect of isocapnic hypoxia and hyperoxic hypercapnia on the electrical activity of the posterior cricoarytenoid (PCA) muscle was determined in eight normal adult humans by use of standard rebreathing techniques and was compared with PCA activity during voluntary hyperventilation performed under isocapnic and hypocapnic conditions. PCA activity was recorded with intramuscular hooked-wire electrodes implanted through a fiberoptic nasopharyngoscope. During quiet breathing in all subjects, the PCA was phasically active on inspiration and tonically active throughout the respiratory cycle. At comparable increments in respiratory output, hypercapnia, hypoxia, and voluntary hyperventilation appeared to be associated with similar increases in phasic or tonic PCA activity. During quiet breathing, the onset of phasic PCA activity usually occurred before inspiratory airflow and extended beyond the start of expiratory airflow. The duration of phasic PCA preactivation and postinspiratory phasic PCA activity remained unchanged during progressive hypercapnia and progressive hypoxia. The results, in combination with recent findings for vocal cord adductors, suggest that vocal cord position throughout the respiratory cycle during hyperpnea is actively controlled by simultaneously acting and antagonistic intrinsic laryngeal muscles.

AbstractJoan La Barbara's involvement in the New Wilderness Preservation Band is an often cited but virtually unknown period of her history. And yet it may have been one of the most generative periods of her early career. Drawing upon archival documents, unreleased recordings and interviews, I narrate the history of the band, including La Barbara's early use of extended vocal techniques. I argue that her work in the band reflected a mode of collaborative authorship that is often lost in retellings of her history, and that her emergence in 1974 as a composer reflected a broader tension around authorship in bands and ensembles during these years.

Introduction. One of the urgent problems in pediatric surgery and otorhinolaryngology is stenosis of the upper respiratory tract in children. Among many causes leading to airway narrowing , basic ones are: cicatricial stenosis, bilateral vocal cord paralysis and volumetric formations.Diagnostics. Currently, fibroscopy of the upper respiratory tract is a gold standard of this pathology examination.Methods. There are many surgical techniques to treat upper airway stenosis, but currently there is no any unified approach to the choice of surgical tactics. The given article presents an overview on modern techniques of reconstructive surgery which have demonstrated good and excellent results and a high percentage of decannulation. Among them, there are two basic ones - endoluminal surgery and open surgery. Recently, reports on the effectiveness of microsurgical interventions have been published , namely, reinnervation of the larynx to restore vocal cords. The most effective endoscopic surgeries in pediatrics are balloon dilation, bougienage and CO2- laser treatment. Patients with stenosis of stages III-IV, with extended stenosis, marked laryngomalacia, larynx and trachea deformity because of unsuccessful previous surgeries are recommended to have open reconstructive surgery. Laryngoplasty, laryngoplasty with T-tube and crico-tracheal resection are regarded as a choice option in case of ineffective previous surgeries.Conclusion. Thus, type of surgical intervention, indications and patient’s age for surgery are chosen individually for each patient with upper respiratory tract stenosis.

Objective We compare decannulation rates after Laryngotracheal Reconstruction(LTR) and Cricotracheal Resection(CTR) in matched patients. Glottic Stenosis remains a challenge and can be treated by Extended Partial Cricotracheal Resection(PCTR). The objective of the paper is to systematically classify patients to be treated by these different techniques. Methods In 61% of patients, single-stage PCTR with peroperative resection of the tracheostoma was chosen if no more than 5 tracheal rings were resected with the SGS. If the location of the tracheostoma requires the resection of 6 or more tracheal rings, then PCTR was performed in 2 stages. 13% of children in this group sustained an anastomotic dehiscence, compared to 4.5% of children who had a shorter tracheal resection. 17 patients who weighed under 10 kg of body weight and were less than 1 year old underwent CTR and have all been decannulated. Results It is noteworthy that more than a single procedure was necessary in 68% of the cases to reach the aforementioned results with LTRs, whereas only 18% of the cases needed a second open procedure to achieve decannulation with PCTR. Extended PCTR with LT mold for complex frozen larynges has proven to have promise. Complications included anastomotic granulations, minor dehiscence. No patient had a recurrent laryngeal nerve palsy. Conclusions LTR is a less extensive procedure and is preferred for some grade II and less severe grade III stenoses. CTR is reserved for severe grade III and IV stenosis. Stenosis close to the vocal cords remains a challenge and can be treated by extended PCTR.

With this study, we replicated and extended the work of Bergee and Platt (2003). Analyzing ratings outcomes of 7,355 small-ensemble and solo events from two consecutive midwestern state festivals (2001 and 2002), Bergee and Platt found statistically significant differences in the main effects of time of day, type of event (solo/ensemble), and school size. In the replication phase of the present study, we used their procedures to analyze data from the 2003 festival ( N=3,853), finding significant differences in the same three main effects and also performing medium (vocal/instrumental). In both studies, the type of event by performing medium interaction was significant. The extension phase consisted of applying logistic regression techniques to the fitting of a theoretical model of prediction. Two variables were added to the original four-geographical location and district level of expenditure per average daily attendance. All main effects except geographical location (eliminated owing to high collinearity), plus the type of event by performing medium interaction, emerged as strong predictors of ratings outcomes. Afternoon scheduling, entering from a large, relatively high-expenditure school, and performing as a vocalist and a soloist significantly predicted the highest rating. January 18, 2005 March 15, 2005.

Phonological-based features (articulatory features, AFs) describe the movements of the vocal organ which are shared across languages. This paper investigates a domain-adversarial neural network (DANN) to extract reliable AFs, and different multi-stream techniques are used for cross-lingual speech recognition. First, a novel universal phonological attributes definition is proposed for Mandarin, English, German and French. Then a DANN-based AFs detector is trained using source languages (English, German and French). When doing the cross-lingual speech recognition, the AFs detectors are used to transfer the phonological knowledge from source languages (English, German and French) to the target language (Mandarin). Two multi-stream approaches are introduced to fuse the acoustic features and cross-lingual AFs. In addition, the monolingual AFs system (i.e., the AFs are directly extracted from the target language) is also investigated. Experiments show that the performance of the AFs detector can be improved by using convolutional neural networks (CNN) with a domain-adversarial learning method. The multi-head attention (MHA) based multi-stream can reach the best performance compared to the baseline, cross-lingual adaptation approach, and other approaches. More specifically, the MHA-mode with cross-lingual AFs yields significant improvements over monolingual AFs with the restriction of training data size and, which can be easily extended to other low-resource languages.

Introduction. Despite significant progress achieved in the surgical treatment of cicatricial laryngeal stenosis and cervical trachea in recent decades, this issue appears relevant, especially among people of young and working age.Aim of the study: To develop tactics for surgical treatment of post-intubation laryngeal stenosis using a CO2-laser.Materials and methods: During the period from 2015 to 2019, surgical treatment was performed for 105 patients with post-intubation cicatricial stenosis of the larynx using microsurgical techniques and a CO2-laser, provided that the cartilage frame of the larynx was preserved, which was determined in a preoperative examination.Results and discussion: In the postoperative period, patients were monitored from 6 months to 3 years. Localization of cicatricial post-intubation laryngeal stenosis in the vestibular region is quite rare. According to the results of the study, achievement of a stable functional result was obtained in 20 (84%) of 24 patients with lesions of the vocal section of the larynx, in one case a cicatricial membrane of this section of the larynx was required to be excised after one year, and laryngoplasty with extra laryngeal access in four cases. Post-intubation stenosis of sub-folded localization is most widespread, and in our observations they amounted to 79%. The use of endolaryngeal access using a CO2-laser made it possible to achieve a good functional result in 66% of cases, reconstruction of the larynx by extra-laryngeal access was required in 33%, and laryngotracheal resection in 1%.Conclusion: It is shown that the use of a CO2-laser in the surgical treatment of chronic post-intubation laryngeal stenosis significantly expands operational capabilities due to the high accuracy and low level of damage to surrounding tissues. This method allows the formation of minimal wound surfaces by submucosal excision of scar tissue and makes it possible to cover the wound with microlosks of the mucous membrane, reducing the time of epithelization in the intervention area, which is an important prevention of repeated stenosis. In the surgical treatment of extended stenosis of the middle part of the larynx, there are prerequisites for repeated wound replacement with scar tissue, which in our observations was avoided by using endoprostheses. The defeat of the sub-follicular part of the larynx is prone to restenosis even in the absence of data for the defeat of the cartilaginous framework of the larynx.

In North America, post-secondary music education is heavily focused on (and limited to) the repertoire and techniques of the Western Art Music canon. Vocal training at these institutions is no exception: vocalists are trained in the bel canto technique whose lineage reaches back to seventeenth-century Italy. This conservatory-based curriculum supports a categorical vocal pedagogy, one that seeks to produce a particular type of singer with a very specific kind of sound. Instead of embracing what each individual singer is capable of, this model focuses on what singers should be capable of from the perspective of repertoire and technical mastery in the operatic tradition. In this paper I will argue that this model risks our losing sight of what the singer has to say in favour of what the composer has to say. Recently there has been discussion and research around a more inclusionary model of vocal pedagogy that would incorporate other techniques alongside bel canto. However, these discussions have been focused on inclusion of musical theatre and belt techniques, with very little discourse on the inclusion of extended vocal techniques. By drawing on the scholarly discourse on the limits and extensions of technical training in post-secondary vocal performance, as well as interviews with several women working in the performance and teaching of extended vocal techniques in Canada, I will explore the potential for extended vocal techniques to contribute to a more inclusive model of vocal pedagogy.

Emotion Recognition is an important area of work to improve the interaction between human and machine. Complexity of emotion makes the acquisition task more difficult. Quondam works are proposed to capture emotion through unimodal mechanism such as only facial expressions or only vocal input. More recently, inception to the idea of multimodal emotion recognition has increased the accuracy rate of the detection of the machine. Moreover, deep learning technique with neural network extended the success ratio of machine in respect of emotion recognition. Recent works with deep learning technique has been performed with different kinds of input of human behavior such as audio-visual inputs, facial expressions, body gestures, EEG signal and related brainwaves. Still many aspects in this area to work on to improve and make a robust system will detect and classify emotions more accurately. In this paper, we tried to explore the relevant significant works, their techniques, and the effectiveness of the methods and the scope of the improvement of the results.

Song dedications are among commercial radio’s most enduring formats. Yet those very few studies which address music radio rarely consider its role within a consumer economy. As John Patrick noted when analysing ABC broadcaster Christopher Lawrence’s popular (and commercially exploited) Swoon genre as a form of nostalgic Utopianism, many music analysts view music listening as constructing a cultural space of other times and places, when romantic love held sway, when the certainties of religion vanquished doubt, and when authentic folk culture gave a sense of belonging to traditional ways of thinking and feeling (133). This “emotional, largely imaginary” space is explicity constructed outside the pragmatic focus and urgent stylings of commercial sponsorship. Patrick cites Flinn on the capacity of music to seemingly transcend social institutions and discourses. But here I will argue that commercial music-radio practice clearly operates within them. More significantly, it does so by very virtue of this capacity for offering transcendence: Music ... has the peculiar ability to ameliorate the social existence it allegedly overrides, and offers in one form or another the sense of something better. Music extends an impression of perfection and integrity in an otherwise imperfect, unintegrated world (Flinn). This study suggests that it is precisely this lack of any perceived connectedness into the social discourses of the day which marks music as available for the occupancy of individual desires, and which targets its various genres for integration into selected sets of social practice. What we do while listening to the radio… Willis (1990), investigating music as a key element of the “symbolic cultural creativity and informal artistry in people’s lives”, discovered multiple appropriations, creolisings and re-accentuations within social use of broadcast music (85). His empirical work provides accounts of the various uses made of broadcast music, including the audio-taping of new music tracks; planned social listening to particular shows or DJs, often combined with extended phone-call discussions with friends; the use of broadcast music as company in periods of social isolation, or its use in structuring daily living or working routines; the preparation of personal master-mixes and exchange of taped compilations or transcribed song lyrics. To these should be added more contemporary updates: digital sound-bite downloading and re-editing via Internet broadcasts; the burning of personally tailored CDs; MP3 collection-building through web-exchange, and the construction of a personalised virtual sensorium for asserting private space in public through the use of the Sony Walkman or Discplayer (Hosokawa, Chambers, Bull). The capacity music broadcast gives for personal engagement within various music sub-cultures needs further work at exactly this active-reception level. Nor has the activity of broadcasters in constructing technologies of reciprocity around mediated intimacy been fully explored. The social formational power, over 75 years, of the song-dedication formula, in compensating what Thompson described as the “non-reciprocal intimacy” of electronic media, is incalculable. Instead of opening spaces for “free association” working pre-discursively on the “physicality of the listening experience”, music-radio talk has been operating to structure those exact spaces: to create regulated activity, and interactivity, where none has been thought to exist. Fixing a self to a favourite track: music and memory From the 1930s to the 1960s, vastly popular “music request programs” encouraged radio listeners to write in to presenters, not only selecting a favourite music play, but describing in detail the social relation mediated for them by the music and lyrics, and the uniquely individualised expressive weight it was claimed was carried – ironically yet significantly, a reference often immediately generalised by the attachment of several other requestors to the particular track. More recently, Richard Mercer’s evening program of Lovesong dedications on Sydney’s MIX 106.5 connected this drive towards social identity work with the escalating sexual-emotional confessionalism of Australian radio talk. Mercer’s format: extended play of the staple love ballads of the “easy listening” mode – carefully selected to highlight the sexual arousal elements of the breathy female performer or the husky-voiced male balladeer – operated from the centre of the newly reciprocal expression of intimacy, made possible by the live call-in capacity of contemporary radio. Listener-callers can now model their identification techniques directly – or so it is made to appear. In fact, the emotional expressiveness and the centrality of the equation between direct listener-caller comment and emotional-interpretive link into music tracks remains problematic, for a number of reasons. How to construct loving sincerity – through the precision of digital editing Firstly, the apparent spontaneity and direct interface which underlie radio’s “live call-in” relations as a discourse of authenticity, are today heavily, if not obviously, compromised, by the production techniques used to guarantee the focus on caller concerns. This is phone-in but not talkback radio – a distinction not made often enough, in either professional production literature or academic analysis of radio practice. While talkback is relatively raw radio, centring on live-to-air talk-relations between callers and hosts (and thus fostering the highly confrontational hosting persona of the “shock-jock”), phone-in radio seeks briefer, more focused comment on topics pre-selected, constantly monitored and re-themed by both host and call-screening staff, who choose which caller comments get to air, and in which order. Lovesong dedications not only follows this more restrictive practice, but intensifies its commodification of the resultant calls, by a consistent top-and-tail editing of caller contributions before broadcast. This acts to heighten the expressiveness of each segment, and to insert the program ident. into the pivotal “bridge” position between caller-voice and music play. The host is thus able to present to listeners a tautly emotional sequence of seemingly spontaneous sentimental expression; but to his sponsors, a talk-flow which interpolates the show’s name fluently into the core of the fused private/public moment. With all the hesitations, over-explanations, initial embarrassment and on-air inexperience of the average caller cut away, what remains looks like this: Host: Hello Carly - I believe you want to dedicate a lovesong to Damien? Caller: Yes that’s right ... it’s our anniversary? Host: How many years ... Caller: Well actually it’s just our first! Host: And you’ve had a great first year together? Caller: Sure have: I love you more than ever Damien ... Host: And Damien: here’s Carly’s Lovesong dedication to you. The perversity of the practice lies in the way the host’s “prompt” cues, with their invitational suspensions, actually direct the caller contributions, not only to their moment of “personalised” emotion, but to the powerful agency of the program itself, always positioned between caller and dedicatee. Further: the fluency of the talk exchange, and especially its expert segue into the music track, conceal the fact that calls are very often being held before broadcast. Between the average call and its broadcast, a listener-caller’s phoned-in experiences and expressed feelings – even their peak-moment of address to their loved one – may be digitally edited, to remove awkward hesitations and intensify the emotionality. A 24-hour call line operates, highly promoted in other programming, allowing selection and sequencing of requests around music availability – including station play-rotation regimes. Even calls received during broadcast can be delayed, edited, and clustered around the – actually quite limited – availability of music tracks (some callers have reported being offered a playlist of only three tracks through which to “personally address” their loved one). Sincerity is fabricated, at the very moment of promoting its authenticity, and absorbed into the “seamless” flow of MIX106.5’s “easy listening” format. “Schmalzy like Oprah: almost Sleepless in Seattle” The Lovesong dedications host – busy elsewhere – plays a very restrained on-air role: often only three dedications per half-hour of programming. While back-to-back music play dominates, Mercer’s vocal performance marks the show with notably atypical radio qualities. The tone is low and subdued, without ranging into the close-in microphone huskiness of the “late-night listening” mode, which usually performs intimacy. Mercer is closer to the “serious music” style of ABC Classic FM announcers, with the male voice remaining in a medium-to-light vocal range. This is tenor rather baritone, with a clear suppression of its stressing, to produce a restrained authority, rather than a DJ exuberant enthusiasm (Montgomery) or an unassailable certainty (Goffman). Mercer and his interstate colleagues use a normal conversational level, with no electronic enhancement into “fullness of tone” as employed by both DJs and talk hosts to amplify their authority. In contrast, the Lovesong dedications voice is carefully, if naturally, dampened in tone – by which I mean as a result of physical voice-production control, rather than by sound-mixing in the broadcast console. Not only is the pitch slightly subdued and intonations compressed rather than stretched, as in the familiar DJ hype, but the dominant intonation is a very unusual terminal rise/slow fall. This provides a male host’s speech with an interestingly tentative note, which deflects or at least suspends power. Under-toned rather than over-toned, it invites sympathetic listening and increased attentiveness, while its suppression of the sorts of powerful masculine authoritativeness more common in male broadcasting (see Hutchby) cues listeners for conversational participation on their own terms, rather than on those dictated by the host. This structured tonal diffidence in the Lovesong hosts’ self-effacing vocality acts as an invitation to self-direction: a pathway to participation. No surprise then that its careful constructedness has been read as the exact opposite: sincerity. What is more surprising is that it has been read as sexually alluring – given its quite marked deviation from norms of high masculinity in relation to vocalisation. Other attempts to render a desirable masculinity at the level of voice have tended to the over-produced baritones of the traditional matinee idol: the “swoon” voice of lush-toned actorly excess, with deep pitch, slow pace, fruity vowels, and long glides – the vocal equivalent of TV comedy’s “Fabio” as kitsch or camped hyper-masculinity. This vocal problem in radio hosting is also endemic to operatic performance, where male vocal range is read as age. Patriarchy reserves deep voices for authority, therefore also reserving the most powerful roles for “older” characters, performed as baritone and base. Lovesong dedications are far more suitably presented by a male host whose vocality matches the sexually-active age profile suited to romantic seduction – and this calls for the tenor voice of a Richard Mercer. The Daily Telegraph’s Sandra Lee (1998) was among many who succumbed to that “mellifluous voice which drips with genuine sincerity, yes genuine, not that contrived radio fakeness, and is soothing enough to make you believe he really care”. Even when Mercer actually shifted in a phone conversation with Lee from his ordinary voice to “The Loooooovvvvve God with a voice so smooth it could be butter”, she remained a believer. No surprise, then, that as the format is franchised from state to state on the commercial networks, much the same vocalisations are reproduced. The host’s performance formula and the callers’ sentimental witness are both safely encoded as “sincere sentimental expressiveness” – while actually audio-processed and digitally edited to produce those qualities. Here, as elsewhere, Lee’s loathed “contrived radio fakeness” continues to work unseen and unexamined, producing in the service of its own commercial imperatives a surprising yet vastly popular reputation for sentimental expressiveness among “ordinary” Australians. Where music-radio analyst Barnard (2002) considers music-request shows as a cynical commercial device for “establishing a link with the audience” (124) – a key requirement of the sponsorship system of commercial broadcasting from its origins to the current day – Lee’s tabloid populism endorses every detail of Lovesong dedications’ techniques for acting upon and reproducing the lush romanticism it sets out to evoke. Between the two views the cultural work of this programming: the mediation and commodification of interpersonal emotional expressiveness in the homes, workplaces, bedrooms and parked cars of listener-callers around the nation, goes unnoticed. Works Cited Barnard, Stephen. Studying radio. London: Arnold, 2002. Barnard, Stephen. On the radio: Music radio in Britain. Milton Keynes: Open University Press, 1989. Bull, M. “The dialectics of walking: Walkman use and the reconstruction of the site of experience.” Consuming culture: power and resistance. Eds. J. Hearn and S. Roseneil, Basingstoke: Macmillan Press, 1999. 199-220. Chambers, I. “A miniature history of the Walkman.” New formations, 11 (1990): 1-4. Flinn, C. Strains of Utopia. New Jersey: Princeton University Press, 1992. Goffman, Erving. Forms of talk. Oxford: Basil Blackwell, 1981. Hosokawa, S. “The Walkman effect.” Popular music, 4 (1984):165-180. Hutchby, Ian. Confrontation talk: Arguments, asymmetries and power on talk radio. New Jersey: Lawrence Erlbaum, 1996. Lee, Sandra. “When Love God comes to town.” The Daily Telegraph, 30 November 1998: 10. Montgomery, M. “DJ talk.” Media, culture and society, 8.4 (1986): 421-440. Patrick, John. “Swooning on ABC Classic FM.” Australian Journal of Communication (1998) 25.1: 127-138. Thompson, John B. The media and modernity: A social theory of the media. Cambridge: Polity Press, 1995. Willis, Paul. Common culture. Milton Keynes: Open University Press, 1990. Willis, Paul. Moving culture – an inquiry into the cultural activities of young people. London: Calouste Gulbenkian Foundation, 1990. Links http://acnielsen.com/ For information on commercial radio ratings Useful site for watching music radio trends http://www.radioandrecords.com/ Ever wondered where radio presenters get that never-ending supply of historical trivia? Now their secrets can be Yours. http://www.jocksjournal.com/ APRA The Australian Performing Rights Association monitors Australian music content on radio – here’s how they do it. http://www.apra.com.au/Dist/DisRad.htm Two Internet broadcast sites offering online music streaming with an Australian bias. http://www.ozchannel.com.au/village-cgi-... http://www.thebasement.com.au/ FARB: The Federation of Australian Radio Broadcasters – a useful site for the organisation of commercial radio within Australia. http://www.commercialradio.com.au/index.cfm Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Cook, Jackie. "Lovesong Dedications" M/C: A Journal of Media and Culture 5.6 (2002). Dn Month Year < http://www.media-culture.org.au/0211/lovesongdedications.php>. APA Style Cook, J., (2002, Nov 20). Lovesong Dedications. M/C: A Journal of Media and Culture, 5,(6). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0211/lovesongdedications.html

Introduction "Doesn't that wreck your records?" This is one of the first things I generally get asked when someone watches me at work in my home or while spinning at a party. It reminds me of a different but related question I once asked someone who worked at Rotate This!, a particularly popular Toronto DJ refuge, a few days after I had bought my first turntable: DJO: "How do you stop that popping and crackling sound your record gets when you scratch back and forth on the same spot for a while?" CLERK: "You buy two copies of everything, one you keep at home all wrapped-up nice and never use, and the other you mess with." My last $150 had just managed to pay for an old Dual direct drive record player. The precious few recently-released records I had were gifts. I nodded my head and made my way over to the rows of disks which I flipped through to make it look like I was maybe going to buy something. Lp cover after lp cover stared back at me all with names I had absolutely never heard of before, organised according to a hyper- hybridised classification scheme that completely escaped my dictionary-honed alphabetic expectations. Worst of all, there seemed to be only single copies of everything left! A sort of outsider's vertigo washed over me, and 3 minutes after walking into unfamiliar territory, I zipped back out onto the street. Thus was to begin my love/hate relationship with the source of all DJ sounds, surliness and misinformation--the independent record shop. My query had (without my planning) boldly pronounced my neophyte status. The response it solicited challenged my seriousness. How much was I willing to invest in order to ride "the wheels of steel"? Sequence 1 Will Straw describes the meteoric rise to prominence of the CD format, If the compact disk has emerged as one of the most dazzlingly effective of commodity forms, this has little to do with its technical superiority to the vinyl record (which we no longer remember to notice). Rather, the effectiveness has to do with its status as the perfect crossover consumer object. As a cutting-edge audiophile invention, it seduced the technophilic, connoisseurist males who typically buy new sound equipment and quickly build collections of recordings. At the same time, its visual refinement and high price rapidly rendered it legitimate as a gift. In this, the CD has found a wide audience among the population of casual record buyers.(61) Straw's point has to do with the fate of musical recordings within contemporary commodity culture. In the wake of a late 70's record industry slump, music labels turned their attention toward the recapturing of casual record sales (read: aging baby boomers). The general shape of this attempt revolved around a re-configuring of the record- shopping experience dedicated towards reducing "the intimidation seen as endemic to the environment of the record store."(59) The CD format, along with the development of super-sized, general interest (all-genre) record outlets has worked (according to Straw) to streamline record sales towards more-predictable patterns, all the while causing less "selection stress."(59) Re-issues and compilations, special-series trademarks, push-button listening stations, and maze-like display layouts, combined with department store-style service ("Can I help you find anything?") all work towards eliminating the need for familiarity with particular music "scenes" in order to make personally gratifying (and profit engendering) musical choices. Straw's analysis is exemplary in its dissatisfaction with treating the arena of personal musical choice as unaffected by any constraints apart from subjective matters of taste. Straw's evaluation also isolates the vinyl record as an object eminently ready (post-digital revolution) for subcultural appropriation. Its displacement by the CD as the dominant medium for collecting recorded music involved the recasting of the turntable as outdated and inferior, thereby relegating it to the dusty attic, basement or pawn shop (along with crates upon crates upon crates of records). These events set the stage for vinyl's spectacular rise from the ashes. The most prominent feature of this re-emergence has to do not simply with possession of the right kind of stuff (the cachet of having a music collection difficult for others to borrow aside), but with what vinyl and turntable technology can do. Bridge In Subculture: The Meaning of Style, Dick Hebdige claims that subcultures are, cultures of conspicuous consumption...and it is through the distinctive rituals of consumption, through style, that the subculture at once reveals its "secret identity" and communicates its forbidden meanings. It is basically the way in which commodities are used in subculture which mark the subculture off from more orthodox cultural formations.(103 Hebdige borrows the notion of bricolage from Levi Strauss in order to describe the particular kind of use subcultures make of the commodities they appropriate. Relationships of identity, difference and order are developed from out of the minds of those who make use of the objects in question and are not necessarily determined by particular qualities inherent to the objects themselves. Henceforth a safety pin more often used for purposes like replacing missing buttons or temporarily joining pieces of fabric can become a punk fashion statement once placed through the nose, ear or torn Sex Pistols tee-shirt. In the case of DJ culture, it is the practice of mixing which most obviously presents itself as definitive of subcultural participation. The objects of conspicuous consumption in this case--record tracks. If mixing can be understood as bricolage, then attempts "to discern the hidden messages inscribed in code"(18) by such a practice are not in vain. Granting mixing the power of meaning sets a formidable (semiotic) framework in place for investigating the practice's outwardly visible (spectacular) form and structure. Hebdige's description of bricolage as a particularly conspicuous and codified type of using, however, runs the risk of privileging an account of record collecting and mixing which interprets it entirely on the model of subjective expression.(1.) What is necessary is a means of access to the dialogue which takes place between a DJ and her records as such. The contents of a DJ's record bag (like Straw's CD shopping bag) are influenced by more that just her imagination, pocket book and exposure to different kinds of music. They are also determined in an important way by each other. Audio mixing is not one practice, it is many, and the choice to develop or use one sort of skill over another is intimately tied up with the type and nature of track one is working with. Sequence 2 The raw practice of DJing relies heavily on a slider integral to DJ mixers known as the _cross-fader_(ital). With the standard DJ set up, when the cross-fader is all the way to the left, the left turntable track plays through the system; vice versa when the fader is all the way to the right. In between is the "open" position which allows both inputs to be heard simultaneously. The most straightforward mixing technique, "cutting," involves using this toggle to quickly switch from one source to another--resulting in the abrupt end of one sound- flow followed by its instantaneous replacement. This technique can be used to achieve a variety of different effects--from the rather straightforward stringing together of the final beat of a four bar sequence from one track with a strong downbeat from something new in order to provide continuous, but sequential musical output, to the thoroughly difficult practice of "beat juggling," where short excerpts of otherwise self-contained tracks ("breaks") are isolated and then extended indefinitely through the use of two copies of the same record (while one record plays, the DJ spins the other back to the downbeat of the break in question, which is then released in rhythm). In both cases timing and rhythm are key. These features of the practice help to explain DJ predilections for tracks which make heavy, predictable use of their rhythm sections. "Blending" is a second technique which uses the open position on the cross-fader to mix two inputs into a live sonic collage. Tempo, rhythm and "density" of source material have an enormous impact on the end result. While any two tracks can be layered in this way, beats that are not synchronized are quick to create cacophony, and vocals also tend to clash dramatically. Melodic lines in general pose certain challenges here since these are in particular keys and have obvious starts and finishes. This is one reason why tracks produced specifically for DJing often have such long, minimal intros and exits. This makes it much easier to create "natural" sounding blends. Atmospheric sounds, low-frequency hums, speech samples and repetitive loops with indeterminate rhythm structures are often used for these segments in order to allow drawn-out, subtle transitions when moving between tracks. If an intro contains a fixed beat (as is the case often with genres constructed specifically for non-stop dancing like house, techno and to some extent drum and bass), then those who want seamless blends need to "beat match" if they want to maintain a dancer's groove. The roots of this technique go back to disco and demand fairly strict genre loyalty in order to insure that a set's worth of tracks all hover around the same tempo, defined in beats-per- minute, or BPMs. The basic procedure involves finding the downbeat of the track one wishes to mix through a set of headphones, releasing that beat in time with the other record while making fine tempo- adjustments via the turntable's pitch control to the point where the track coming through the earphones and the track being played over the system are in synch. The next step is "back-spinning" or "needle dropping" to the start of the track to be mixed, then releasing it again, this time with the cross-fader open. Volume levels can then be adjusted in order to allow the new track to slowly take prominence (the initial track being close to its end at this point) before the cross-fader is closed into the new position and the entire procedure is repeated. Scratching is perhaps the most notorious mixing technique and involves the most different types of manipulations. The practice is most highly developed in hip hop (and related genres like drum and bass) and is used both as an advanced cutting technique for moving between tracks as well as a sonic end-in-itself. It's genesis is attributed to a South Bronx DJ known as Grand Wizard Theodore who was the first (1977) to try to make creative use of the sound associated with moving a record needle back and forth over the same drumbeat, a phenomena familiar to DJs used to cueing-up downbeats through headphones. This trick is now referred to as the "baby scratch," and it along with an ever-increasing host of mutations and hybrids make- up the skills that pay the bills for hip hop DJs. In the case of many of these techniques, the cross-fader is once again used heavily in order to remove unwanted elements of particular scratches from the mix, as well as adding certain staccato and volume-fading effects. Isolated, "pure" sounds are easiest to scratch with and are therefore highly sought after by this sort of DJ--a pastime affectionately referred to as "digging in the crates." Sources of such sounds are extremely diverse, but inevitably revolve around genre's which use minimal orchestration (like movie-soundtracks), accentuated rhythms with frequent breakdowns (like funk or jazz), or which eschew musical form all together (like sound-effects, comedy and children's records). Exit To answer the question which started this investigation, in the end, how wrecked my records get depends a lot on what I'm using them for. To be sure, super-fast scratching patterns and tricks that use lots of back-spinning like beat-juggling will eventually "burn" static into spots on one's records. But with used records costing as little as $1 for three, and battle records (2.) widely available, the effect of this feature of the technology on the actual pursuit of the practice is negligible. And most techniques don't noticeably burn records at all, especially if a DJ's touch is light enough to allow for minimal tone-arm weight (a parameter which controls a turntable's groove-tracking ability). This is the kind of knowledge which comes from interaction with objects. It is also the source of a great part of the subcultural bricoleur's stylistic savvy. Herein lies the essence of the intimidating power of the indie record shop--its display of intimate, physical familiarity with the hidden particularities of the new vinyl experience. Investigators confronted with such familiarity need to find ways to go beyond analyses which stop at the level of acknowledgment of the visible logic displayed by spectacular subcultural practices if they wish to develop nuanced accounts of subcultural life. Such plumbing of the depths often requires listening in the place of observing--whether to first-hand accounts collected through ethnography or to the subtle voice of the objects themselves. (1.) An example of such an account: "DJ-ing is evangelism; a desire to share songs. A key skill is obviously not just to drop the popular, well-known songs at the right part of the night, but to pick the right new releases, track down the obscurer tunes and newest imports, get hold of next month's big tune this month; you gather this pile, this tinder, together, then you work the records, mix them, drop them, cut them, scratch them, melt them, beat them all together until they unite. Voilà; disco inferno." Dave Haslam, "DJ Culture," p. 169. (2.) Records specifically designed by and for scratch DJs and which consist of long strings of scratchable sounds. References Haslam, David. "DJ Culture." The Clubcultures Reader. Oxford: Blackwell Publishers. 1997 Hebdige, Dick. Subculture: The Meaning of Style. London: Melvin and Co. Ltd.. 1979 Straw, Will. "Organized Disorder: The Changing Space of the Record Shop." The Clubcultures Reader. Oxford: Blackwell Publishers. 1997

IntroductionCoffee, as a stimulant, and the spaces in which it is has been consumed, have long played a vital role in fostering communication, creativity, and sociality. This article explores the interrelationship of café space, communication, creativity, and materialism. In developing these themes, this article is structured in two parts. The first looks back to the coffee houses of the seventeenth and eighteenth centuries to give a historical context to the contemporary role of the café as a key site of creativity through its facilitation of social interaction, communication and information exchange. The second explores the continuation of the link between cafés, communication and creativity, through an instance from the mid-twentieth century where this process becomes individualised and is tied more intrinsically to the material surroundings of the café itself. From this, we argue that in order to understand the connection between café space and creativity, it is valuable to consider the rich polymorphic material and aesthetic composition of cafés. The Social Life of Coffee: London’s Coffee Houses While the social consumption of coffee has a long history, here we restrict our focus to a discussion of the London coffee houses of the seventeenth and eighteenth centuries. It was during the seventeenth century that the vogue of these coffee houses reached its zenith when they operated as a vibrant site of mercantile activity, as well as cultural and political exchange (Cowan; Lillywhite; Ellis). Many of these coffee houses were situated close to the places where politicians, merchants, and other significant people congregated and did business, near government buildings such as Parliament, as well as courts, ports and other travel route hubs (Lillywhite 17). A great deal of information was shared within these spaces and, as a result, the coffee house became a key venue for communication, especially the reading and distribution of print and scribal publications (Cowan 85). At this time, “no coffee house worth its name” would be without a ready selection of newspapers for its patrons (Cowan 173). By working to twenty-four hour diurnal cycles and heightening the sense of repetition and regularity, coffee houses also played a crucial role in routinising news as a form of daily consumption alongside other forms of habitual consumption (including that of coffee drinking). In Cowan’s words, “restoration coffee houses soon became known as places ‘dasht with diurnals and books of news’” (172). Among these was the short-lived but nonetheless infamous social gossip publication, The Tatler (1709-10), which was strongly associated with the London coffee houses and, despite its short publication life, offers great insight into the social life and scandals of the time. The coffee house became, in short, “the primary social space in which ‘news’ was both produced and consumed” (Cowan 172). The proprietors of coffee houses were quick to exploit this situation by dealing in “news mongering” and developing their own news publications to supplement their incomes (172). They sometimes printed news, commentary and gossip that other publishers were not willing to print. However, as their reputation as news providers grew, so did the pressure on coffee houses to meet the high cost of continually acquiring or producing journals (Cowan 173; Ellis 185-206). In addition to the provision of news, coffee houses were vital sites for other forms of communication. For example, coffee houses were key venues where “one might deposit and receive one’s mail” (Cowan 175), and the Penny Post used coffeehouses as vital pick-up and delivery centres (Lillywhite 17). As Cowan explains, “Many correspondents [including Jonathan Swift] used a coffeehouse as a convenient place to write their letters as well as to send them” (176). This service was apparently provided gratis for regular patrons, but coffee house owners were less happy to provide this for their more infrequent customers (Cowan 176). London’s coffee houses functioned, in short, as notable sites of sociality that bundled together drinking coffee with news provision and postal and other services to attract customers (Cowan; Ellis). Key to the success of the London coffee house of the seventeenth and eighteenth centuries was the figure of the virtuoso habitué (Cowan 105)—an urbane individual of the middle or upper classes who was skilled in social intercourse, skills that were honed through participation in the highly ritualised and refined forms of interpersonal communication, such as visiting the stately homes of that time. In contrast to such private visits, the coffee house provided a less formalised and more spontaneous space of sociality, but where established social skills were distinctly advantageous. A striking example of the figure of the virtuoso habitué is the philosopher, architect and scientist Robert Hooke (1635-1703). Hooke, by all accounts, used the opportunities provided by his regular visits to coffee houses “to draw on the knowledge of a wide variety of individuals, from servants and skilled laborers to aristocrats, as well as to share and display novel scientific instruments” (Cowan 105) in order to explore and develop his virtuoso interests. The coffee house also served Hooke as a place to debate philosophy with cliques of “like-minded virtuosi” and thus formed the “premier locale” through which he could “fulfil his own view of himself as a virtuoso, as a man of business, [and] as a man at the centre of intellectual life in the city” (Cowan 105-06). For Hooke, the coffee house was a space for serious work, and he was known to complain when “little philosophical work” was accomplished (105-06). Sociality operates in this example as a form of creative performance, demonstrating individual skill, and is tied to other forms of creative output. Patronage of a coffee house involved hearing and passing on gossip as news, but also entailed skill in philosophical debate and other intellectual pursuits. It should also be noted that the complex role of the coffee house as a locus of communication, sociality, and creativity was repeated elsewhere. During the 1600s in Egypt (and elsewhere in the Middle East), for example, coffee houses served as sites of intensive literary activity as well as the locations for discussions of art, sciences and literature, not to mention also of gambling and drug use (Hattox 101). While the popularity of coffee houses had declined in London by the 1800s, café culture was flowering elsewhere in mainland Europe. In the late 1870s in Paris, Edgar Degas and Edward Manet documented the rich café life of the city in their drawings and paintings (Ellis 216). Meanwhile, in Vienna, “the kaffeehaus offered another evocative model of urban and artistic modernity” (Ellis 217; see also Bollerey 44-81). Serving wine and dinners as well as coffee and pastries, the kaffeehaus was, like cafés elsewhere in Europe, a mecca for writers, artists and intellectuals. The Café Royal in London survived into the twentieth century, mainly through the patronage of European expatriates and local intellectuals such as Wyndham Lewis, Ezra Pound, T. S. Elliot, and Henri Bergson (Ellis 220). This pattern of patronage within specific and more isolated cafés was repeated in famous gatherings of literary identities elsewhere in Europe throughout the twentieth century. From this historical perspective, a picture emerges of how the social functions of the coffee house and its successors, the espresso bar and modern café, have shifted over the course of their histories (Bollerey 44-81). In the seventeenth and eighteenth centuries, the coffee house was an important location for vibrant social interaction and the consumption and distribution of various forms of communication such as gossip, news, and letters. However, in the years of the late nineteenth and early twentieth centuries, the café was more commonly a site for more restricted social interaction between discrete groups. Studies of cafés and creativity during this era focus on cafés as “factories of literature, inciters to art, and breeding places for new ideas” (Fitch, The Grand 18). Central in these accounts are bohemian artists, their associated social circles, and their preferred cafés de bohème (for detailed discussion, see Wilson; Fitch, Paris Café; Brooker; Grafe and Bollerey 4-41). As much of this literature on café culture details, by the early twentieth century, cafés emerge as places that enable individuals to carve out a space for sociality and creativity which was not possible elsewhere in the modern metropolis. Writing on the modern metropolis, Simmel suggests that the concentration of people and things in cities “stimulate[s] the nervous system of the individual” to such an extent that it prompts a kind of self-preservation that he terms a “blasé attitude” (415). This is a form of “reserve”, he writes, which “grants to the individual a [certain] kind and an amount of personal freedom” that was hitherto unknown (416). Cafés arguably form a key site in feeding this dynamic insofar as they facilitate self-protectionism—Fitch’s “pool of privacy” (The Grand 22)—and, at the same time, produce a sense of individual freedom in Simmel’s sense of the term. That is to say, from the early-to-mid twentieth century, cafés have become complex settings in terms of the relationships they enable or constrain between living in public, privacy, intimacy, and cultural practice. (See Haine for a detailed discussion of how this plays out in relation to working class engagement with Paris cafés, and Wilson as well as White on other cultural contexts, such as Japan.) Threaded throughout this history is a clear celebration of the individual artist as a kind of virtuoso habitué of the contemporary café. Café Jama Michalika The following historical moment, drawn from a powerful point in the mid-twentieth century, illustrates this last stage in the evolution of the relationship between café space, communication, and creativity. This particular historical moment concerns the renowned Polish composer and conductor Krzysztof Penderecki, who is most well-known for his avant-garde piece Threnody to the Victims of Hiroshima (1960), his Polymorphia (1961), and St Luke Passion (1963-66), all of which entailed new compositional and notation techniques. Poland, along with other European countries devastated by the Second World War, underwent significant rebuilding after the war, also investing heavily in the arts, musical education, new concert halls, and conservatoria (Monastra). In the immediate post-war period, Poland and Polish culture was under the strong ideological influence exerted by the Soviet Union. However, as Thomas notes, within a year of Stalin’s death in 1953, “there were flickering signs of moderation in Polish culture” (83). With respect to musical creativity, a key turning point was the Warsaw Autumn Music Festival of 1956. “The driving force” behind the first festival (which was to become an annual event), was Polish “composers’ overwhelming sense of cultural isolation and their wish to break the provincial nature of Polish music” at that time (Thomas 85). Penderecki was one of a younger generation of composers who participated in, and benefited from, these early festivals, making his first appearance in 1959 with his composition Strophes, and successive appearances with Dimensions of Time and Silence in 1960, and Threnody in 1961 (Thomas 90). Penderecki married in the 1950s and had a child in 1955. This, in combination with the fact that his wife was a pianist and needed to practice daily, restricted Penderecki’s ability to work in their small Krakow apartment. Nor could he find space at the music school which was free from the intrusion of the sound of other instruments. Instead, he frequented the café Jama Michalika off the central square of Krakow, where he worked most days between nine in the morning and noon, when he would leave as a pianist began to play. Penderecki states that because of the small space of the café table, he had to “invent [a] special kind of notation which allowed me to write the piece which was for 52 instruments, like Threnody, on one small piece of paper” (Krzysztof Penderecki, 2000). In this, Penderecki created a completely new set of notation symbols, which assisted him in graphically representing tone clustering (Robinson 6) while, in his score for Polymorphia, he implemented “novel graphic notation, comparable with medical temperature charts, or oscillograms” (Schwinger 29) to represent in the most compact way possible the dense layering of sounds and vocal elements that is developed in this particular piece. This historical account is valuable because it contributes to discussions on individual creativity that both depends on, and occurs within, the material space of the café. This relationship is explored in Walter Benjamin’s essay “Polyclinic”, where he develops an extended analogy between the writer and the café and the surgeon and his instruments. As Cohen summarises, “Benjamin constructs the field of writerly operation both in medical terms and as a space dear to Parisian intellectuals, as an operating table that is also the marble-topped table of a café” (179). At this time, the space of the café itself thus becomes a vital site for individual cultural production, putting the artist in touch with the social life of the city, as many accounts of writers and artists in the cafés of Paris, Prague, Vienna, and elsewhere in Europe attest. “The attraction of the café for the writer”, Fitch argues, “is that seeming tension between the intimate circle of privacy in a comfortable room, on the one hand, and the flow of (perhaps usable) information all around on the other” (The Grand 11). Penderecki talks about searching for a sound while composing in café Jama Michalika and, hearing the noise of a passing tram, subsequently incorporated it into his famous composition, Threnody (Krzysztof Penderecki, 2000). There is an indirect connection here with the attractions of the seventeenth century coffee houses in London, where news writers drew much of their gossip and news from the talk within the coffee houses. However, the shift is to a more isolated, individualistic habitué. Nonetheless, the aesthetic composition of the café space remains essential to the creative productivity described by Penderecki. A concept that can be used to describe this method of composition is contained within one of Penderecki’s best-known pieces, Polymorphia (1961). The term “polymorphia” refers not to the form of the music itself (which is actually quite conventionally structured) but rather to the multiple blending of sounds. Schwinger defines polymorphia as “many formedness […] which applies not […] to the form of the piece, but to the broadly deployed scale of sound, [the] exchange and simultaneous penetration of sound and noise, the contrast and interflow of soft and hard sounds” (131). This description also reflects the rich material context of the café space as Penderecki describes its role in shaping (both enabling and constraining) his creative output. Creativity, Technology, Materialism The materiality of the café—including the table itself for Penderecki—is crucial in understanding the relationship between the forms of creative output and the material conditions of the spaces that enable them. In Penderecki’s case, to understand the origins of the score and even his innovative forms of musical notation as artefacts of communication, we need to understand the material conditions under which they were created. As a fixture of twentieth and twenty-first century urban environments, the café mediates the private within the public in a way that offers the contemporary virtuoso habitué a rich, polymorphic sensory experience. In a discussion of the indivisibility of sensation and its resistance to language, writer Anna Gibbs describes these rich experiential qualities: sitting by the window in a café watching the busy streetscape with the warmth of the morning sun on my back, I smell the delicious aroma of coffee and simultaneously feel its warmth in my mouth, taste it, and can tell the choice of bean as I listen idly to the chatter in the café around me and all these things blend into my experience of “being in the café” (201). Gibbs’s point is that the world of the café is highly synaesthetic and infused with sensual interconnections. The din of the café with its white noise of conversation and overlaying sounds of often carefully chosen music illustrates the extension of taste beyond the flavour of the coffee on the palate. In this way, the café space provides the infrastructure for a type of creative output that, in Gibbs’s case, facilitates her explanation of expression and affect. The individualised virtuoso habitué, as characterised by Penderecki’s work within café Jama Michalika, simply describes one (celebrated) form of the material conditions of communication and creativity. An essential factor in creative cultural output is contained in the ways in which material conditions such as these come to be organised. As Elizabeth Grosz expresses it: Art is the regulation and organisation of its materials—paint, canvas, concrete, steel, marble, words, sounds, bodily movements, indeed any materials—according to self-imposed constraints, the creation of forms through which these materials come to generate and intensify sensation and thus directly impact living bodies, organs, nervous systems (4). Materialist and medium-oriented theories of media and communication have emphasised the impact of physical constraints and enablers on the forms produced. McLuhan, for example, famously argued that the typewriter brought writing, speech, and publication into closer association, one effect of which was the tighter regulation of spelling and grammar, a pressure toward precision and uniformity that saw a jump in the sales of dictionaries (279). In the poetry of E. E. Cummings, McLuhan sees the typewriter as enabling a patterned layout of text that functions as “a musical score for choral speech” (278). In the same way, the café in Penderecki’s recollections both constrains his ability to compose freely (a creative activity that normally requires ample flat surface), but also facilitates the invention of a new language for composition, one able to accommodate the small space of the café table. Recent studies that have sought to materialise language and communication point to its physicality and the embodied forms through which communication occurs. As Packer and Crofts Wiley explain, “infrastructure, space, technology, and the body become the focus, a move that situates communication and culture within a physical, corporeal landscape” (3). The confined and often crowded space of the café and its individual tables shape the form of productive output in Penderecki’s case. Targeting these material constraints and enablers in her discussion of art, creativity and territoriality, Grosz describes the “architectural force of framing” as liberating “the qualities of objects or events that come to constitute the substance, the matter, of the art-work” (11). More broadly, the design features of the café, the form and layout of the tables and the space made available for individual habitation, the din of the social encounters, and even the stimulating influences on the body of the coffee served there, can be seen to act as enablers of communication and creativity. Conclusion The historical examples examined above indicate a material link between cafés and communication. They also suggest a relationship between materialism and creativity, as well as the roots of the romantic association—or mythos—of cafés as a key source of cultural life as they offer a “shared place of composition” and an “environment for creative work” (Fitch, The Grand 11). We have detailed one example pertaining to European coffee consumption, cafés and creativity. While we believe Penderecki’s case is valuable in terms of what it can tell us about forms of communication and creativity, clearly other cultural and historical contexts may reveal additional insights—as may be found in the cases of Middle Eastern cafés (Hattox) or the North American diner (Hurley), and in contemporary developments such as the café as a source of free WiFi and the commodification associated with global coffee chains. Penderecki’s example, we suggest, also sheds light on a longer history of creativity and cultural production that intersects with contemporary work practices in city spaces as well as conceptualisations of the individual’s place within complex urban spaces. References Benjamin, Walter. “Polyclinic” in “One-Way Street.” One-Way Street and Other Writings. Trans. Edmund Jephcott and Kingsley Shorter. London: Verso, 1998: 88-9. 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