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Relevant bibliographies by topics / Instrumental Voice

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Academic literature on the topic 'Instrumental Voice'

Author: Grafiati

Published: 10 September 2021

Last updated: 2 February 2022

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Journal articles on the topic "Instrumental Voice"

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Takahashi, Akio. "Generating synthesized voice and instrumental sound." Journal of the Acoustical Society of America 115, no. 4 (2004): 1401. http://dx.doi.org/10.1121/1.1738272.

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Platow, Michael J., Francesca Filardo, Linda Troselj, Diana M. Grace, and Michelle K. Ryan. "Non-instrumental voice and extra-role behaviour." European Journal of Social Psychology 36, no. 1 (January 2006): 135–46. http://dx.doi.org/10.1002/ejsp.293.

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Magner, Nace, and A. Blair Staley. "Roles of instrumental and noninstrumental voice in members' reactions toward interorganizational committees." International Journal of Organization Theory & Behavior 17, no. 3 (March 1, 2017): 311–34. http://dx.doi.org/10.1108/ijotb-17-03-2014-b003.

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Interorganizational committees make decisions that apply to various organizations and their members are representatives of these organizations. This paper examines how interorganizational committee membersʼ perceptions of noninstrumental voice, instrumental voice, and decision outcome favorability are related to their committee identification, helping behavior, and perception of go-along-to-get-ahead political behavior. Questionnaire data from 197 Pennsylvania tax collection committee members were analyzed with regression. Of primary interest, perceived instrumental voice had a unique relationship with all three committeereferenced reactions, while perceived noninstrumental voice was not uniquely related to any of them. These results suggest that interorganizational committee members react to voice for instrumental reasons related to perceived influence over other members rather than noninstrumental reasons concerning their committee status.

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Patel, Rita R., Shaheen N. Awan, Julie Barkmeier-Kraemer, Mark Courey, Dimitar Deliyski, Tanya Eadie, Diane Paul, Jan G. Švec, and Robert Hillman. "Recommended Protocols for Instrumental Assessment of Voice: American Speech-Language-Hearing Association Expert Panel to Develop a Protocol for Instrumental Assessment of Vocal Function." American Journal of Speech-Language Pathology 27, no. 3 (August 6, 2018): 887–905. http://dx.doi.org/10.1044/2018_ajslp-17-0009.

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Purpose The aim of this study was to recommend protocols for instrumental assessment of voice production in the areas of laryngeal endoscopic imaging, acoustic analyses, and aerodynamic procedures, which will (a) improve the evidence for voice assessment measures, (b) enable valid comparisons of assessment results within and across clients and facilities, and (c) facilitate the evaluation of treatment efficacy. Method Existing evidence was combined with expert consensus in areas with a lack of evidence. In addition, a survey of clinicians and a peer review of an initial version of the protocol via VoiceServe and the American Speech-Language-Hearing Association's Special Interest Group 3 (Voice and Voice Disorders) Community were used to create the recommendations for the final protocols. Results The protocols include recommendations regarding technical specifications for data acquisition, voice and speech tasks, analysis methods, and reporting of results for instrumental evaluation of voice production in the areas of laryngeal endoscopic imaging, acoustics, and aerodynamics. Conclusion The recommended protocols for instrumental assessment of voice using laryngeal endoscopic imaging, acoustic, and aerodynamic methods will enable clinicians and researchers to collect a uniform set of valid and reliable measures that can be compared across assessments, clients, and facilities.

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Manzanero, Antonio L., and Susana Barón. "Recognition and discrimination of unfamiliar male and female voices." Behavior & Law Journal 3, no. 1 (December 1, 2017): 52–60. http://dx.doi.org/10.47442/blj.v3.i1.44.

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The aim of this study was examined the ability to identify voices of unfamiliar people. In experiment 1, participants performed tried to recognize the voice of unfamiliar man or woman. Results showed that subjects generally matched 83.11% when the target voice was present and made 56.45% false alarms when it was not. Discrimination was different from chance and subjects used liberal response criteria. In experiment 2, men and women tried to identify the same voices of men and women as in previous experiment. Between stimulus presentation and the recognition task, subjects listened instrumental music for 2.38 minutes, with the aim of making it harder that the voice remain active in working memory. Results showed that ability of men and women to identify an unfamiliar voice was null, in both cases with liberal response criterion. Men matched 12.06%, with 65.51% false alarms, and women 25.80% and 56.45% respectively. There was no differences in the ability to identify male and female voices, although women tend to choose more than men, even when no target voice was present.

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Behrman, Alison, and Robert F. Orlikoff. "Instrumentation in Voice Assessment and Treatment." American Journal of Speech-Language Pathology 6, no. 4 (November 1997): 9–16. http://dx.doi.org/10.1044/1058-0360.0604.09.

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Sophisticated, computer-based instrumentation has become increasingly available to the voice clinician. Yet substantial questions remain regarding its clinical necessity and usefulness. A theoretical model based on the scientific method is developed as a framework that can be used to guide the clinician in the selection and application of instrumental measures. Using the process of hypothesis testing, instrumentation is presented as an integral component of clinical practice. The uses of instrumental measures, and their relevance to long- and short-term treatment goals, are addressed. Clinical examples are presented to illustrate the incorporation of instrumentation and the scientific method into assessment and treatment.

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Willson, Rachel Beckles. "Kurtág's Instrumental Music, 1988–1998." Tempo, no. 207 (December 1998): 15–21. http://dx.doi.org/10.1017/s0040298200006811.

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During the 20 years that followed the completion of his first vocal work, The sayings of Páter Boniemisza op.7 (1963–68), György Kurtág established himself as a composer with an exceptional aptitude for vocal writing. His compositions for voice outweigh those for instruments alone in both quantity and substance throughout this period, during which his second string quartet, Hommage à Mihály András (12 Microludes) op. 13 (1977), is a ravishingly beautiful anomaly.

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Zorin, Vasyl, Olena Borovytska, and Iryna Yuldasheva. "ON THE ISSUE OF HISTORICAL AND CULTURAL DEVELOPMENT OF CHAMBER AND VOCAL PIANO WORKS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 174–78. http://dx.doi.org/10.36550/2415-7988-2021-1-195-174-178.

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One of the leading groups of genres in which the interaction of vocal and instrumental principles is possible is chamber-vocal works, where one of the participants in the creative dialogue is the piano. The development of chamber and vocal works demonstrated the vitality and leading importance of the genre for musical culture. In the context of the history of music, we can distinguish various forms of interaction between voice and piano. The field of chamber and vocal creativity has repeatedly attracted the attention of scientists. However, due to the fact that it has been developing since the XIX century, the period of its existence to this day often remains little studied. Accordingly, the question of the formation of chamber and vocal piano works is a problem that opens a significant field for studying aspects of the formation of this group of genres. The combination of vocal and instrumental principles has an extremely long history. For a long period of time, vocal was given priority over the instruments that accompanied it. Regarding the question of the unity of vocal and instrumental principles in one work, it was present as early as the times of ancient cultures. As a rule, the instrumental accompaniment played a secondary function in relation to the voice, providing support, tuning, shading the voice or simply filling in the pauses necessary for the rest of the vocalist. With the advent of the Renaissance and the development of various secular vocal genres, there are various works, both purely vocal (polyphonic) and vocal-instrumental. Among the polyphonic genres can be distinguished barcarole, villanelli, frottoli, madrigals, canzones. They are dominated by a polyphonic composition, which provides for «equality» of all voices. Chamber-vocal piano works occupy an important place in the singer's activity. The process of forming a duet of voice and piano had a long prehistory. The stage of the final formation of this genre falls on the XVIII century, and this is facilitated by a number of factors – the arrival of the piano to replace keyboard instruments, its predecessors, and the worldview of the Classicist era. A very important factor is the formation of dialogue between the instrument and the voice, which changes the priority of the vocals. During this period, a kind of summary of the achievements of previous centuries is carried out and conditions are laid for the following directions, in which chamber vocal-instrumental piano works will acquire a fundamentally different quality level.

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Pridmore, Helen M. "The Naked Voice." Brock Review 12, no. 2 (February 16, 2012): 27–35. http://dx.doi.org/10.26522/br.v12i2.368.

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Unaccompanied singing dates back thousands of years, yet solo voice onstage today is still relatively uncommon in our Western musical world. The singer alone seems exposed and vulnerable, unsupported by the usual instrumental accompaniment; but in spite of -- because of --this vulnerability, solo voice can create an intense and powerful means of musical expression. Much of the existing repertoire for solo voice overlaps with theatre work, as the singer alone will inevitably explore character presentation and development, through music and text. This short paper discusses some important repertoire in the solo voice genre and introduces new Canadian works.

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Anderson, Julian. "HARMONIC PRACTICES IN OLIVER KNUSSEN'S MUSIC SINCE 1988: PART II." Tempo 57, no. 223 (January 2003): 16–41. http://dx.doi.org/10.1017/s0040298203000020.

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Songs without Voices, composed in 1991–2, is a set of four pieces for small instrumental ensemble comprising flute, cor anglais, clarinet, horn, piano, violin, viola and cello, lasting about eleven minutes. It follows on naturally from Knussen's Whitman Settings which preceded it, as three of its four movements derive their main melodic lines from purely instrumental settings of Whitman texts from the collection Leaves of Grass. Indeed the first movement's source text, Soon shall the winter's foil be here, is placed by Whitman in the collection immediately after The Voice of the Rain, the final text of Knussen's Whitman Settings.

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Dissertations / Theses on the topic "Instrumental Voice"

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Lee, Su-ying Alice. "Perceptual and instrumental analysis of hypernasality /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B30397108.

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Lee, Su-ying Alice, and 李雪瑩. "Perceptual and instrumental analysis of hypernasality." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45014905.

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Mautner, Helene. "A Cross-System Instrumental Voice Profile of the Aging Voice: With Considerations of Jaw Posture Effects." Thesis, University of Canterbury. Communication Disorders, 2011. http://hdl.handle.net/10092/5183.

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Purpose: An open mouth approach is used in voice therapy for enhancing speech and voice production and relaxing the laryngeal musculature. The acoustic and physiological consequences of an open jaw posture, however, have not been clearly understood due to a paucity of cross-system studies taking the age effect into consideration. The major aims of this study are twofold (1) to examine if the geriatric voice may be improved using an “open jaw” posture and (2) if an aging effect on the voice of normal healthy adults can be detected through acoustic and physiological measures Method: The main part of this study involved simultaneous multi-channel voice recordings obtained from 85 healthy adults aged between 38 and 93 years. A convenience sampling strategy was used to recruit at least five females and five males in each of four age groups, 35-59 years (35+), 60-69 (60+), 70-79 (70+), and above 80 (80+). For simultaneous acoustic, electroglottographic (EGG), and jaw displacement recordings, participants were asked to perform two tasks which included a sustained vowel task and a sentence production task. The sustained vowel task involved sustaining the vowel /a/ in five different conditions, an isolated vowel /a/ produced at normal, low, and high pitch levels and the vowel /a/ initiated with a consonant (/m/ and /h/). The sentence production task involved production of the sentence 'We saw two cars,' containing the vowels /i, ɔ, u, a/. For simultaneous airflow-EGG recordings, participants were asked to sustain the vowel /a/ at normal pitch. For simultaneous airflow-air pressure-EGG recordings, participants were asked to repeat /pa/ five times in one breath. Participants were asked to perform all of the tasks using two jaw postures (normal and open). A series of univariate analysis of variances were used to identify instrumental measures sensitive for discriminating between the four age groups and the two jaw postures. A follow-up perceptual study was conducted to determine the effect of an open jaw posture on vowel intelligibility and voice clarity. A quota sampling strategy was used to recruit 40 normal hearing participants, including 20 females (age range = 18-42 years, mean = 25.3, SD = 7.9) and 20 males (age range = 18-47, mean = 23.6, SD = 6.7). These listeners were presented with vowels segmented from the sentences recorded in the first experiment and asked to perform a vowel identification and a voice clarity discrimination task. The vowel samples were taken from 40 speakers, with five females and five males in each of the four age groups (35+, 60+, 70+, and 80+). The percentages of correct vowel identification for voices produced with normal and open jaw postures were compared. The percentages of vowels judged as 'clearer' in a normal-open jaw contrast pairs were also calculated for comparison. Results: Significant age group effects were found in this study for both genders on fundamental frequency (F0), voice onset time (VOT) (/ka/), open quotient (OQ), and speed quotient (SQ), with additional age differences detected for females on %jitter, %shimmer, signal-to-noise ratio (SNR), and the second formant frequency (F2), and for males a significant age group effect was found on VOT (/tu/). Results for both females and males revealed significant open jaw posture effects on F0, F2, VOT (/ka/), MFR, SPL and vowel space area. In addition, for females significant posture effects were found on F1, subglottal pressure and the H1-H2 amplitude difference, and for males, significant posture effects were found on %jitter and VOT-/tu/. Results from the follow-up perceptual study revealed that an open jaw posture was associated with better vowel identification and better voice clarity. Conclusions: A selection of instrumental measures was shown to be useful for detecting voice changes due to aging. Instrumental and perceptual evidence was found that an open jaw posture was associated with positive changes in vocal behaviours, including improved phonatory stability, vocal power, and voice clarity.

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Healy, Kristine. "Imagined vocalities : exploring voice in the practice of instrumental music performance." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34692/.

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To play an instrument in a way that is considered “vocal” has been an emblem of artistry for instrumental musicians in the Western classical tradition for centuries. Despite the ubiquity of vocal references in the talk and texts produced within this community, there is little consensus as to what vocality means for instrumental musicians, and few questions are asked of those who claim to advocate for a vocal style of playing. Whilst vocality for instrumentalists has been dealt with in existing scholarship through discussion about the emulation of specific techniques such as vibrato and portamento, by investigating the principles of rhetoric and their relationship to temporal and articulatory issues, and in philosophical commentary on vocality as an ideal to which instrumentalists aspire, attention has not yet been paid to how “voice” is produced and manipulated discursively by instrumental musicians in the social contexts of their professional lives. Therefore, this thesis explores some of the ways in which instrumental musicians construct vocality in contemporary discourse about the practice of performance. In this thesis, a series of excerpts from pedagogical texts on instrumental music performance written in the eighteenth, nineteenth, and twentieth centuries is presented to illuminate a discussion about vocality that has long been ongoing. Subsequently, a discourse approach is taken to the analysis of transcribed excerpts from four audio-visual recordings of instrumental masterclasses, alongside additional excerpts drawn from interviews with instrumental musicians and a variety of other contemporary texts. During the analytical process, two interpretative repertoires—recurring ways in which instrumental musicians construct vocality—are identified: the knowing voice and the disciplined voice. The discursive actions facilitated by musicians’ employment of these repertoires are examined in relation to the discourse excerpts. In response to this analysis, three claims are made. The first is that vocality is polysemic: it is constructed according to the social context and action-orientation of the discourse in which it is embedded. The second is that vocality is linked to the reproduction and naturalisation of normative musical practices. The third is that in musicians’ talk and texts, the construction of musical ideas is entangled with the construction of identities, and stories of voice provide especially rich material for authoring selves in the context of the masterclass. This thesis calls for expert performers to acknowledge, question, and engage critically with the ways in which they produce and perpetuate musical principles in their day-to-day practices, and for them to make space for developing musicians to do the same.

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Burkhardt, Rick. "Pipeline : for voice, bass flute, cello, and percussion /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236631.

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Plazak, Joseph Stephen. "An empirical investigation of a sarcastic tone of voice in instrumental music." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306897682.

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Brock, Nathan Brock Nathan Brock Nathan Brock Nathan. "Two scenes from Beowulf ; and, selections from the Tesserae/Tesseract cycle /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3282869.

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Thesis (Ph. D.)--University of California, San Diego, 2007.
Selections from a cantata for TBarB soloists, large chorus, chamber orchestra, and percussion ensemble, and three pieces from a projected cycle for soprano, flute, and string trio. Words to Beowulf adapted by the composer from Seamus Heaney's translation; also printed as text preceding score on p. 6-30. Words to Tesserae/Tesseract use poem by the composer, both as text and as the source of additional phonemes used by the singer. Vita. Accompanying disc is recorded DVD-R and contains complete text of dissertation, all scores, and master-quality and CD-quality audio tracks.

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Levine, Josh Levine Josh Levine Josh Levine Josh. "Between image, process, and memory /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3049670.

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Weirmeir, Jude Thomas. "Aspic trails : [for soprano, flute, and 'cello : 2004-06 : opus -1] /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236632.

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Nakano, Koji. "Time song II : howling through time : for female singer, flutist, and percussionist /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236635.

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Books on the topic "Instrumental Voice"

1

Stiller, Andrew. Three songs. Philadelphia: Kallisti Music Press, 1996.

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Davies, Peter Maxwell. Miss Donnithorne's maggot: Music-theatre work for mezzo-soprano and instrumental ensemble. London: Boosey & Hawkes, 1996.

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Herschel, Gower, ed. Jeannie Robertson: Emergent singer, transformative voice. East Linton: Tuckwell Press, 1995.

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Herschel, Gower, ed. Jeannie Robertson: Emergent singer, transformative voice. Knoxville: University of Tennessee Press, 1995.

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Chamber music for solo voice and instruments, 1960-1989: An annotated guide. Berkeley, Calif: Fallen Leaf Press, 1994.

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Chaminade, Cécile. Portrait: Valse chantée : soprano voice, flute & piano. [New York]: Classical Vocal Reprints, 1998.

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Hasse, Jean. Five poems from the Japanese: For mezzo-soprano, clarinet, and piano (1991). [S.l.]: Visible Music, 1994.

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Starer, Robert. To think of time: (1985) : voice and piano. St. Louis, MO: MMB Music, 1986.

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Beck. Project Beck: For voice, baritone saxophone, & string quartet. [Manlius, N.Y.]: Dacia Music, 2013.

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Ravel, Maurice. Trois poèmes de Stéphane Mallarmé: For voice and piano. Boca Raton, Fla: Masters Music Publications, 1991.

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Book chapters on the topic "Instrumental Voice"

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Peters, Deniz. "Instrumentality as Distributed, Interpersonal, and Self-Agential: Aesthetic Implications of an Instrumental Assemblage and Its Fortuitous Voice." In Musical Instruments in the 21st Century, 67–78. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2951-6_6.

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Kalss, Susanne. "Voice — verbandsrechtliche Instrumente." In Anlegerinteressen, 383–450. Vienna: Springer Vienna, 2001. http://dx.doi.org/10.1007/978-3-7091-6261-3_7.

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Reichl, Karl. "Voice and Instrument." In The Oral Epic, 130–48. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003189114-10.

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Huhtinen-Hildén, Laura, and Jessica Pitt. "Voice and Body as First Instruments." In Taking a Learner-Centred Approach to Music Education, 100–133. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315526539-10.

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Windsor, W. Luke. "Instruments, voices, bodies and spaces." In Body, Sound and Space in Music and Beyond: Multimodal Explorations, 111–28. Abingdon, Oxon; New York, NY: Routledge, 2017. | Series: SEMPRE studies in the psychology of music: Routledge, 2017. http://dx.doi.org/10.4324/9781315569628-7.

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Titze, I. R. "The human voice as a biological musical instrument." In Music, Language, Speech and Brain, 232–42. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-12670-5_22.

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Hamdan, Abdul-Latif, and Valerie Trollinger. "Orthodontic Treatment and Voice and Wind Instrument Performance." In Dentofacial Anomalies, 177–89. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69109-7_11.

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Peel, Deborah. "A British perspective on strategic land banking: critical voices on land banking." In Instruments of Land Policy, 284–88. 1 Edition. | New York : Routledge, 2018. | Series: Urban planning and environment: Routledge, 2018. http://dx.doi.org/10.4324/9781315511658-35.

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Eargle, John M. "Frequency Ranges of Musical Instruments and the Human Voice." In Electroacoustical Reference Data, 324–25. Boston, MA: Springer US, 1994. http://dx.doi.org/10.1007/978-1-4615-2027-6_156.

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Tsuji, Kinko, and Stefan C. Müller. "Selected Instruments 2—Chordophones, Membranophones, Idiophones and Human Voice." In Physics and Music, 205–45. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68676-5_8.

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Conference papers on the topic "Instrumental Voice"

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Moura, Shayenne, and Marcelo Queiroz. "Instrumental Sensibility of Vocal Detector Based on Spectral Features." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10451.

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Detecting voice in a mixture of sound sources remains a challenging task in MIR research. The musical content can be perceived in many different ways as instrumentation varies. We evaluate how instrumentation affects singing voice detection in pieces using a standard spectral feature (MFCC). We trained Random Forest models with song remixes for specific subsets of sound sources, and compare it to models trained with the original songs. We thus present a preliminary analysis of the classification accuracy results.

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Hou, Yuanbo, Frank K. Soong, Jian Luan, and Shengchen Li. "Transfer Learning for Improving Singing-Voice Detection in Polyphonic Instrumental Music." In Interspeech 2020. ISCA: ISCA, 2020. http://dx.doi.org/10.21437/interspeech.2020-1806.

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Tat-Wan Leung, Chong-Wah Ngo, and R. W. H. Lau. "ICA-FX features for classification of singing voice and instrumental sound." In Proceedings of the 17th International Conference on Pattern Recognition, 2004. ICPR 2004. IEEE, 2004. http://dx.doi.org/10.1109/icpr.2004.1334222.

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Bowman, Casady, Takashi Yamauchi, and Kunchen Xiao. "Emotion, voices and musical instruments: Repeated exposure to angry vocal sounds makes instrumental sounds angrier." In 2015 International Conference on Affective Computing and Intelligent Interaction (ACII). IEEE, 2015. http://dx.doi.org/10.1109/acii.2015.7344641.

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Amini Khoiy, Keyvan, Alireza Mirbagheri, Farzam Farahmand, and Saeed Bagheri. "Marker-Free Detection of Instruments in Laparoscopic Images to Control a Cameraman Robot." In ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-28452.

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Assistant robots are widely used in laparoscopic surgery to facilitate the camera holding and manipulation task. A variety of a hands-free operator interfaces have been implemented for user control of the robots, including voice commands, foot pedals, and eye and head motion tracking systems. This paper proposes a novel user control interface, based on processing of the laparoscopic images, that enables the robot to automatically adjust the view of the laparoscopic camera without disturbing the surgeon’s concentration. An effective marker-free detection method was investigated to track the instrument position in the laparoscopic images in real time so that the robot could center the instrument tip in the camera view. Considering several available methods it was found that a color space analysis, based on the quantitative comparison of the background’s and instrument’s pixels color contexts, provides the best results. The color contexts were presented in covariance matrix and mean values and analyzed using Mahalanobis distance measure in RGB color space. Tests on laparoscopic images with controlled conditions, e.g., sufficient light and low noises, revealed 86 percent correct detection with a processing rate of 3.7 frames per second on a conventional PC. Further work is going on to improve the algorithm.

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Chhajed, Pritesh V., Mugdha A. Bondre, Vaibhav M. Rekhate, Pushkar C. Chaudhari, Priyanka G. Aher, and S. P. Metkar. "Humanizing the Interface: Voice Activated Devices." In 2013 Texas Instruments India Educators' Conference (TIIEC). IEEE, 2013. http://dx.doi.org/10.1109/tiiec.2013.49.

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Borovikova, Darya V., Vladimir K. Makukha, and Anatoly E. Tsvetkov. "Comparative analysis of different Voice Coefficient variations for children's voice disorders detection." In 2016 13th International Scientific-Technical Conference on Actual Problems of Electronics Instrument Engineering (APEIE). IEEE, 2016. http://dx.doi.org/10.1109/apeie.2016.7802193.

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Ottensmeyer, Mark P., Michael Yip, Conor J. Walsh, James B. Kobler, James T. Heaton, and Steven M. Zeitels. "Intra-Operative Laryngoscopic Instrument for Characterizing Vocal Fold Viscoelasticity." In ASME 2007 2nd Frontiers in Biomedical Devices Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/biomed2007-38077.

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Our society depends on communication, the most natural form of which is speech. Trauma, disease and the normal aging process will cause many to suffer degraded or lost vocal fold function, and it has been observed that this number is growing [1]. The vocal folds are the vibrating structures in the larynx that enable us to generate voice, from speech to opera singing. The vibrating portions of the folds consist of an external 0.1mm thick layer of epithelial cells, a soft, gel-like 0.5mm thick layer called the lamina propria (LP), a 0.3mm thick vocal ligament and an underlying thyroarytenoid muscle [2]. The fundamental frequency of speech in men is in the 100–150Hz range, and between 200 and 300Hz in women [3].

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Zhang, Jingtao, Yunjun Wang, Qi Zhang, and Xiangjun Xin. "The intelligent fiber optic video surveillance system based on voice-leading." In International Conference on Optical Instruments and Technology (OIT2013), edited by Yi Dong, Xiaoyi Bao, Chao Lu, Xiangjun Xin, Scott S. Yam, and Xuping Zhang. SPIE, 2013. http://dx.doi.org/10.1117/12.2035313.

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Hou-Tsan Lee, Ming-Chiuan Shiu, Chin-Yi Lin, Ming-Huei Lin, Yu-Yao Luo, and Sin-Ya Chen. "Voice-controlled CD feed forward robot." In SICE 2008 - 47th Annual Conference of the Society of Instrument and Control Engineers of Japan. IEEE, 2008. http://dx.doi.org/10.1109/sice.2008.4654885.

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