Journal articles: '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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Killian, Janice N., and Lynn Basinger. "Perception of Choral Blend Among Choral, Instrumental, and Nonmusic Majors Using the Continuous Response Digital Interface." Journal of Research in Music Education 55, no. 4 (December 2007): 313–25. http://dx.doi.org/10.1177/0022429408317373.

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The concept of choral blend is often adjudicated but seldom researched. Voice matching to achieve choral blend (placing specific voices next to one another to achieve a blended sound within a section) is frequently recommended. The authors asked participants ( N = 55) comprised of vocal, instrumental, and nonmusic majors to move a continuous response digital interface dial to indicate judgment of blend quality while listening to voice-matched choral groupings. Graphic analyses indicated general agreement in judgments of good blend and bad blend among all three groups especially within alto and bass excerpts. Less agreement appeared for soprano and tenor excerpts. Pearson correlations between repeated excerpts were highly positive for vocalists but less consistent for others. Vocalists listened longer before making a judgment. Few group differences in judgment magnitude appeared, but general tendencies toward good blend judgments were evident. Discussion included future research implications and applications for educators.

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Yu, Ping, Joana Revis, Floris L. Wuyts, Michel Zanaret, and Antoine Giovanni. "Correlation of Instrumental Voice Evaluation with Perceptual Voice Analysis Using a Modified Visual Analog Scale." Folia Phoniatrica et Logopaedica 54, no. 6 (2002): 271–81. http://dx.doi.org/10.1159/000066150.

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Shidlovskaya, Tetiana A., and Tetyana V. Volkova. "Clinical and instrumental characteristics of vocal apparatus condition of patients suffering chronic functional hypotonic dysphonia." OTORHINOLARYNGOLOGY, no. 4-5(2) 2019 (March 11, 2020): 27–37. http://dx.doi.org/10.37219/2528-8253-2019-4-27.

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A lot of researchers are concerned about the problem of diagnosis of functional diseases of vocal apparatus and their treatment. It is due to diagnostic difficulty of these diseases, a fairly high prevalence of the pathology among people of voice professions, untimely detection of voice disorders. Besides, young people of working age can also suffer these disorders. In case of impaired function disorders associated with changes in timbre, intensity,voice modulation, motor and vibration abilities of the vocal cords come to the fore. Moreover, almost a quarter of patients, suffering chronic functional hypotonic dysphonia, CFHD, had frequent relapses, persistent voice disorders and complicated course of the disease. Purpose of the study is to give a detailed clinical and instrumental characterization of vocal apparatus condition of patients suffering CFHD and having various degrees of voice disorders. Materials and methods: 123 patients aged 19 to 44, suffering CFHD and having various degrees of voice disorders, have been examined. In the control group there were included 15 healthy people aged 18 to 23, having not any voice disorders. In total, 138 people were examined. A detailed anamnesis and analysis of patients complaints were made. General clinical ENT and specialized phoniatric examination were performed as well. Video laryngological examination was performed with the help of a video laryngoscope ,manufactured by Karl Shtorz, Germany. Results and discussion: All the examined patients suffering CFHD were divided into 4 groups depending on the degree of vocal disorders, according to the results of specialized phoniatric examination and videolaryngostroboscopy. The patients, suffering functional hypotonic dysphonia and mild disorders in functioning of vocal apparatus, were included to group 1. Group 2 included patients having more severe laryngeal mobility disorders. Group 3 was formed of 34 patients having severe disorders of voice apparatus (like those in group 2), along with complicated course of the disease (prenodulus state, vocal cords nodules, Mediale Edge thinning). Group 4 included patients having severe disorders of voice apparatus, as well as various degrees of hypertonicity of vestibular larynx, which in some cases was transformed into pseudo-folded mechanism of voice formation. Due to the analysis of otolaryngological and specialized phoniatric examination, the data of patients suffering FHD were found to differ significantly according to clinical condition and degree of voice disorders. This allows to form groups of patients taking into account the data of clinical and instrumental studies in order to determine treatment tactics. Distribution of patients suffering CFHD into appropriate groups provides more differentiated approach to their treatment.Besides, this makes forecasting of further course of the disease and effectiveness of therapeutic measures more objective. It is important for solving issues of labor examination and professional suitability of people of voice professions. Conclusions: 1.Clinical signs and changes of laryngoscopic picture in case of functional voice disorders can be unexpressed and variable. It complicates the diagnosis, that is why, patients suffering functional hypotonic dysphonia need to be examined thoroughly including usage of additional instrumental methods. 2. In case patients suffering CFHD are not provided with specialized care on time, a number of complications can develop (Mediale Edge thinning, prenodulus state, hypertonicity of vestibular larynx, pseudo-folded mechanism of voice formation etc.) It can complicate the treatment and reduce its effectiveness. 3. In the presence of such signs, it is important to determine whether they testify of independent nosology or a complicated course of chronic functional hypotonic dysphonia. It proves to be defining to determine treatment tactics, which in such cases does not seem to be effective without correction of functional disorders of voice formation. 4. Target data analysis during otolaryngological and specialized phoniatric examination of patients suffering CFHD permits to create groups, based on the results of clinical and instrumental studies. Such distribution of patients into appropriate groups provides more differentiated approach to their treatment, and makes both forecasting of the disease and therapeutic measures more effective. It matters to solving issues of labor examination and professional suitability of people of voice profession.

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Mawer, Deborah. "Bridging the divide: embedding voice-leading analysis in string pedagogy and performance." British Journal of Music Education 16, no. 2 (July 1999): 179–95. http://dx.doi.org/10.1017/s026505179900025x.

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Experience as a music lecturer in higher/further education and as an instrumental teacher suggests that instrumental pedagogy – focused on strings – and music analysis could usefully be brought closer together to enhance performance. The benefits of linkage include stimulating intellectual enquiry and creative interpretation, as well as honing improvisatory skills; voice-leading analysis, particularly, may even aid technical issues of pitching, fingering, shifting and bowing. This article details an experimental curriculum, entitled ‘Voice-leading for Strings’, which combines voice-leading principles with approaches to string teaching developed from Nelson, Rolland and Suzuki, supplemented by Kodály's hand-signs. Findings from informal trials at Lancaster University (1995–7), which also adapted material for other melody instruments and keyboard, strongly support this perceived symbiotic relationship.

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Korsgaard, M. Audrey, and Loriann Roberson. "Procedural Justice in Performance Evaluation: The Role of Instrumental and Non-Instrumental Voice in Performance Appraisal Discussions." Journal of Management 21, no. 4 (August 1995): 657–69. http://dx.doi.org/10.1177/014920639502100404.

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Audrey Korsgaard, M. "Procedural justice in performance evaluation: the role of instrumental and non-instrumental voice in performance appraisal discussions." Journal of Management 21, no. 4 (1995): 657–69. http://dx.doi.org/10.1016/0149-2063(95)90004-7.

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JOHNSON, BRUCE. "Hamlet: voice, music, sound." Popular Music 24, no. 2 (May 2005): 257–67. http://dx.doi.org/10.1017/s0261143005000413.

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The literary canonisation of Hamlet means that it is now most frequently encountered as a printed text. This crucially reconfigures its character, since Shakespeare wrote for sound, not print, and for an audience habituated to finely nuanced auditory semiotics. Hamlet generates its own soundscape as the major bearer of meanings. Apart from dialogue, its complex repertoire of auditory effects includes instrumental music and song. If we examine the play as an acoustic experience, we can situate it more ‘soundly’ in its epoch, and perhaps also reinterpret its puzzles, most notably Hamlet's procrastination, an issue that only began to be raised by later critics working in a more print-oriented era. If we reclaim the sonic dimensions of the play, his inexplicable indecisiveness may be seen as the point, not the puzzle, of the play, and a metaphor of the liminal epistemology of Shakespeare's age.

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Robison, Tiger. "Overcoming the Octave Displacement: Vocal Modeling Strategies for Male Elementary General Music Teachers." General Music Today 31, no. 3 (April 2018): 66–72. http://dx.doi.org/10.1177/1048371318768486.

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The purpose of this article is to address the issue that children’s natural singing voices and pitch perception are in a treble range, and a male elementary general music teacher’s natural singing voice is an octave below. There are many strategies to overcome this significant but manageable obstacle in daily teaching, including monitoring of vocal health, use of instrumental accompaniment, encouragement of student vocal modeling, specific vocal exercises and cues, and cognitive strategies to help students discern between child and adult voices. Specific games, prompts, and rubrics are also included in this article to help guide any male elementary general music teacher to the most appropriate long-term vocal modeling solutions.

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De Cremer, David, and Maarten Wubben. "When Does Voice Have to be More Than Only Listening? Procedural Justice Effects as a Function of Confident Leadership." Journal of Personnel Psychology 9, no. 2 (January 2010): 69–78. http://dx.doi.org/10.1027/1866-5888/a000011.

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The present research examined how voice procedures and leader confidence affect participants’ negative emotions and willingness to withdraw. It was predicted that receiving voice would be valued out of instrumental concerns, but only when the enacting leader was high in confidence. Two laboratory experiments indeed showed an interaction between type of voice (pre-decisional vs. post-decisional) and leader’s confidence (low vs. high) on participants’ negative emotions and willingness to withdraw. In particular, post-decision voice only led to more negative responses than did pre-decision voice when the enacting leader was high in confidence. Negative emotions mediated this interaction effect of type of voice on willingness to withdraw. Implications for integrating the leadership and procedural justice literatures are discussed.

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FELIX, BRUNO. "O Self que (não) fala: um modelo baseado em identidades sobre voz e silêncio de empregados." Cadernos EBAPE.BR 18, no. 3 (September 20, 2020): 557–71. http://dx.doi.org/10.1590/1679-395120190037.

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Abstract The literature on employee voice and silence has typically explored these behaviors as being motivated by calculative-instrumental purposes (what will I gain/lose if I volunteer information?). I argue that voice and silence are social-functional behaviors that are embedded within everyday interactions at work, and I draw on social identity theory to propose an identity-based model of employee voice and silence (how does speaking up affect my definition of who I am?). The presented model explains how individuals can volunteer information or remain silent by preserving or restructuring their sense of self in the face of identity threats. I also explore the conditions for each identity-based speaking behavior and offer contributions to both the Organizational Behavior and Industrial Relations literature on employee voice and silence.

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Wheelock, Gretchen A. "Marriage à la Mode: Haydn's Instrumental Works "Englished" for Voice and Piano." Journal of Musicology 8, no. 3 (1990): 357–97. http://dx.doi.org/10.2307/763786.

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Lind, E. Allan, Ruth Kanfer, and P. Christopher Earley. "Voice, control, and procedural justice: Instrumental and noninstrumental concerns in fairness judgments." Journal of Personality and Social Psychology 59, no. 5 (1990): 952–59. http://dx.doi.org/10.1037/0022-3514.59.5.952.

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Cahill, Louise M., Bruce E. Murdoch, Timothy McGahan, Harry Gibbs, Jennifer Lethean, and Kirsty MacKenzie. "Perceptual and instrumental evaluation of voice and tongue function after carotid endarterectomy." Journal of Vascular Surgery 39, no. 4 (April 2004): 742–48. http://dx.doi.org/10.1016/j.jvs.2003.12.028.

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Dimolitsas, S., F. L. Corcoran, J. G. Phipps, and M. Baraniecki. "Estimation of digital low-rate encoded voice link performance from instrumental measurements." IEEE Transactions on Instrumentation and Measurement 42, no. 4 (1993): 799–805. http://dx.doi.org/10.1109/19.234488.

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Wheelock, Gretchen A. "Marriage a la Mode: Haydn's Instrumental Works "Englished" for Voice and Piano." Journal of Musicology 8, no. 3 (July 1990): 357–97. http://dx.doi.org/10.1525/jm.1990.8.3.03a00030.

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Girelli, Karina, Sady Costa, Marcus Collares, and Silvia Dornelles. "Correlation of Vocal Intensity with Velopharyngeal Closing Mechanism in Individuals with and without Complaint of Velopharyngeal Dysfunction." International Archives of Otorhinolaryngology 20, no. 01 (November 24, 2015): 018–24. http://dx.doi.org/10.1055/s-0035-1567809.

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Introduction Velopharyngeal sphincter is a portion of the muscle of the palatopharyngeal arch that is capable of separating the oral cavity from the nasal cavity. It has not been determined yet whether voice intensity has an influence on this capacity. Velopharyngeal sphincter closure is accomplished by elevating and retracting the soft palate at the same time as the nasopharyngeal walls are constricted. Objective This study aims to correlate voice intensity with velopharyngeal sphincter closure in individuals without velopharyngeal dysfunction and patients with cleft lip and palate. Methods We conducted a cross-sectional, comparative, and contemporary study. The sample consisted of 16 individuals in the control group and 16 individuals in the study group. Patients underwent instrumental assessment, which we subsequently analyzed using a computer program, and a brief medical history review. The mean age of the control group was 27.6 years, whereas the mean age of the case group was 15.6 years. Results Cases showed higher voice intensity in regular and weak fricative sentences when compared with controls. There was no agreement on the analysis of the instrumental assessment between the assessors and the computer program. Regardless of voice intensity, the computer program demonstrated a similar closure pattern. Conclusion The computer program showed similar closure pattern for the three levels of intensity. There was no agreement between the three assessors and the closure pattern determined by the computer program. There was no statistically significant correlation between voice intensity and degree of velopharyngeal sphincter closure.

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Withington, Thomas. "The Other Allies: Russia, India, and Afghanistan's United Front." Current History 101, no. 651 (January 1, 2002): 40–44. http://dx.doi.org/10.1525/curh.2001.101.651.40.

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Russia and India can argue that without their support, the United Front would have not defeated the Taliban…. Because of this instrumental support, India and Russia will undoubtedly expect to have a voice in Afghanistan's future.

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FELIX, BRUNO. "The (un)speaking self: an identity-based model for employee voice and silence." Cadernos EBAPE.BR 18, no. 3 (September 20, 2020): 557–71. http://dx.doi.org/10.1590/1679-395120190037x.

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Abstract The literature on employee voice and silence has typically explored these behaviors as being motivated by calculative-instrumental purposes (what will I gain/lose if I volunteer information?). I argue that voice and silence are social-functional behaviors that are embedded within everyday interactions at work, and I draw on social identity theory to propose an identity-based model of employee voice and silence (how does speaking up affect my definition of who I am?). The presented model explains how individuals can volunteer information or remain silent by preserving or restructuring their sense of self in the face of identity threats. I also explore the conditions for each identity-based speaking behavior and offer contributions to both the Organizational Behavior and Industrial Relations literature on employee voice and silence.

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Schrama, Els. "The Instrumental Phase of the Voice Program at the Utrecht School of Acting." Folia Phoniatrica et Logopaedica 60, no. 6 (2008): 291–93. http://dx.doi.org/10.1159/000170078.

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Cabrini, M. "Upstaging the voice: diegetic sound and instrumental interventions in the French Baroque cantata." Early Music 38, no. 1 (February 1, 2010): 73–90. http://dx.doi.org/10.1093/em/caq004.

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Ilari, Beatriz, and Megha Sundara. "Music Listening Preferences in Early Life." Journal of Research in Music Education 56, no. 4 (January 2009): 357–69. http://dx.doi.org/10.1177/0022429408329107.

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This study investigated infant listening preferences for two versions of an unfamiliar Chinese children's song: unaccompanied (i.e., voice only) and accompanied (i.e., voice and instrumental accompaniment). Three groups of 5-, 8- and 11-month-old infants were tested using the Headturn Preference Procedure. A general linear model analysis of variance was carried out with gender and age as the between-subjects variables and listening time to the two renditions (unaccompanied, accompanied) as the within-subjects variable. Results indicated a clear preference for the unaccompanied version of the song in all age groups.

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Gyssels, Kathleen. "His Master's Voice: avons-nous écouté Damas?" Dossier spécial Léon-Gontran Damas, no. 116 (August 13, 2020): 9–17. http://dx.doi.org/10.7202/1071040ar.

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As many critics have seen, the musicality of Damassian poetry would be the expression of “negro” rhythm, and of the poets of his generation, he would have been the most jazzy. The poetry of Damas deserves better: it is enough to listen to it set to music by Pigments - The Clarinet Choir, to understand how it transcends Black Africa and the Caribbean, because, through the added value of an instrumental interpretation and a rare poetic recitation, these are the dramas of the individual uprooted and demotivated by a social body and an hostile environment. Drama of loneliness and drama of incomprehension, hope for reconciliation and rage against the impasse of the racial question in a supposedly multicultural France take turns. In three excerpts from their amazing project, Pigments - The Clarinet Choir offer a breathtaking score of the “Master’s Voice”.

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DRABKIN, WILLIAM. "SCHUBERT, SCHENKER AND THE ART OF SETTING GERMAN POETRY." Eighteenth Century Music 5, no. 2 (September 2008): 209–36. http://dx.doi.org/10.1017/s1478570608001498.

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Nearly half a century after gaining a solid footing in the academic world, the achievements of Heinrich Schenker remain associated more with tonal structure and coherence than with musical expression. The focus of his published work, exemplified largely by instrumental music from the eighteenth and early nineteenth centuries, supports this view. There are just five short writings about music for voices: two essays on Bach’s St Matthew Passion, one on the opening number from Haydn’s Creation, and two on Schubert songs. To be sure, romantic lieder appear as music examples for the larger theory books, but there they serve as illustrations of harmony, voice leading and form, rather than the relationship of word to tone.

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Chan, Roger Wai Kai. "Does the voice improve with vocal hygiene education? A study of some instrumental voice measures in a group of kindergarten teachers." Journal of Voice 8, no. 3 (September 1994): 279–91. http://dx.doi.org/10.1016/s0892-1997(05)80300-5.

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Shrestha, Susmita, Bijaya Kharel, Yogendra Amatya, Anil K. Adhikary, and Yogesh Neupane. "Prevalence of voice disorders in tertiary care hospital." International Journal of Scientific Reports 7, no. 3 (February 20, 2021): 143. http://dx.doi.org/10.18203/issn.2454-2156.intjscirep20210508.

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Background: Human voice is unique due to laryngeal configuration. However, change in voice is common with age and gender. It can also be altered by vocal abuse and misuse leading to different types of voice disorders. So, the present study aims to study the prevalence of voice disorder in patients visiting the voice clinic ENT-HNS department of Tribhuvan University Teaching Hospital tertiary care center. Methods: This was a retrospective study carried out among the patients visiting voice clinic in the department of ENT-HNS for a duration of one year. The patients were evaluated for voice disorder by a team of ENT doctors and Speech pathologists using perceptual and instrumental evaluation. The patients who required surgical intervention were excluded. A descriptive study was done among patients with voice disorders requiring voice therapy. Results: Out of 296 patients, the most common age group was 25-50 years with more females compared to males. Structural cause for voice disorder was most common in all age groups and gender in both professional and non-professional voice users but it was more prevalent in professional voice users.Conclusions: Voice disorders were more frequent in females than males and also in professional voice users as they tend to use voice more daily. The structural cause for voice disorder is the major cause of voice problems in all age groups.

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Helena Mendes, Maria, Thais Catalani Morata, and Jair Mendes Marques. "Acceptance of hearing protection aids in members of an instrumental and voice music band." Brazilian Journal of Otorhinolaryngology 73, no. 6 (November 2007): 785–92. http://dx.doi.org/10.1016/s1808-8694(15)31175-7.

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November, N. "Instrumental Arias or Sonic Tableaux: 'Voice' in Haydn's String Quartets Opp. 9 and 17." Music and Letters 89, no. 3 (August 1, 2008): 346–72. http://dx.doi.org/10.1093/ml/gcm130.

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Volpi, Frédéric. "Constructing the ‘Ummah’ in European Security: Between Exit, Voice and Loyalty." Government and Opposition 42, no. 3 (2007): 451–70. http://dx.doi.org/10.1111/j.1477-7053.2007.00231.x.

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AbstractThe security discourses and practices that grew exponentially in Europe after 9/11 facilitated the elaboration of a counter-discourse on identity and security among many Muslim communities. In this context, the state's attempts to ‘discipline’ the Muslim communities produced an instrumental alliance between officials and those Islamic leaders deemed moderate enough to represent the ‘Muslim community’. Undermining this alliance of convenience are not primarily the global terror networks that triggered the securitization overdrive but rather those ‘amateur jihadists’ whose individualized approaches to religiosity increasingly undermine the political efforts to organize and institutionalize Islamic authority inside the framework of the nation-state.

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Vallee, Mickey. "Giving account of the voice-of-encounter: Anecdotes from the Occupy movement." Sociological Review 65, no. 4 (December 1, 2016): 714–28. http://dx.doi.org/10.1177/0038026116681442.

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This article proposes a new sociological conception of voice as a voice-of-encounter and is grounded in anecdotes from the 2011 Occupy movement. Voice has occupied a place in sociological analysis insofar as it designates a space for collective representation, a capacity for collective resistance, and a strategy for collective action. But this article argues for the adoption of a new sociological conception of voice by theorizing a voice-of-encounter, broadly defined as a place-making capacity that spontaneously constructs inclusive and exclusive edges with pervious commitments to a predetermined form. The article uses, as an instrumental case study, personal encounters with the Occupy protest movement in 2011, for the purpose of elucidating voice’s affective distributions of edges in the context of new decentralized and social media based resistances. Methodologically, the article relies on inclusive and exclusive ‘encounters’ between the author and a local Occupy configuration out of which a social critique of voice is constructed. The purpose is not so much to offer a new theorization of the Occupy movement than to use the Occupy movement as an example of the effect decentralization is having on ‘giving voice’ in social movements. Thus, while voice, in the sociological literature, has been theorized as the capacity to give voice to an issue as well as to a collective and heretofore underrepresented minority, a capacity for ‘giving account of oneself’, this article takes a contrary yet complementary approach, claiming that a voice-of-encounter focuses on an orientation to possibilities of encounter across subjects rather than to the expression of any one specific subjectivity.

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Шапочкіна, О. В. "Characteristics of the paradigm of the category of voice in the Old Saxon language." Studia Philologica, no. 10 (2018): 34–38. http://dx.doi.org/10.28925/2311-2425.2018.10.5.

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The article attempts to characterize the paradigm of the category of the voice of the Old Saxon language, based on the texts of the ancient saxon poem “The Savior” (“Heliand”). The author states that the category of the voice of the Old Saxon language was represented by pre-categorical inverse constructions with reflexive, reciprocal and inverse shades and participle passive constructions, namely copulative structures “to be / become” + II participle and non-copulative participle structures that broadcast different types of voice relations. It is proved that the active voice of the Old Saxon language was represented by the indicative (real voice), with the subject that was an active performer of the action. In particular, the active voice structures could be factual (agential). As in other Old Germanic languages, in the Old Saxon language the active voice expresses the reality of action, events, their prediction and shades of command. In particular, it is determined in the article that as an opposition of active voice were grammatical constructions that had shades of reversion (inverse, reciprocal, inverse), the so-called “branching” in shades of voice values: the actual inverse constructions, mutually reverse, indirectly reverse, ingressive, active-nonobjective. Shades of passivity were formed predominantly on the basis of pre-categorical constructions with the verbs “to be” / “to become” + participle II. In particular, in the corps of the ancient Saxon “Savior” there were a large number of non-copulative (free) structures with participle II, which could express passive or partiallypassive value. The author also notes that in addition to the typological distribution of the category of voice in the context of the opposition, “active-passive-reflexive”, in the Old Saxon paradigm of the category of voice there were observed subjective-objective relations, which in their turn had varieties: transformative, creative, addressive, factual, perceptual, emotional, instrumental.

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Patel, Aniruddh D. "A neurobiological strategy for exploring links between emotion recognition in music and speech." Behavioral and Brain Sciences 31, no. 5 (October 2008): 589–90. http://dx.doi.org/10.1017/s0140525x0800544x.

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AbstractAre the neural systems involved in recognizing affective prosody in language also used for emotion recognition in instrumental music? One way to test this idea is to study musical affect perception in patients with receptive affective aprosodia (RAA). Music perception in RAA is totally unexplored and could provide a powerful way to test the idea that we perceive music as a kind of emotional voice.

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Baker, Thomas. "Shared Race/Ethnicity With Police and Male Offenders’ Self-Regulating Beliefs: Exploring the Salience of Instrumental and Normative Factors for Securing Obedience." Criminal Justice and Behavior 45, no. 12 (August 22, 2018): 1918–35. http://dx.doi.org/10.1177/0093854818794228.

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This study examines the impact of shared race/ethnicity with police on male offenders’ perceptions of voice, procedural justice, and obligation to obey. In addition to exploring propositions of the process-based model of self-regulation, this study also examines elements of sanction-based models of social control. Findings indicate that respondents who shared the race/ethnicity with police experienced more voice and a greater obligation to obey. In addition, male offenders who perceived the police as more procedurally just reported significantly greater obligation to obey while perceived certainty of arrest and ambiguity of arrest risk were not significantly related to respondent’s self-regulating beliefs.

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Janssen, Leah M. "FROM PERSONAL TO GLOBAL: CULTIVATING YOUR GERONTOLOGICAL VOICE." Innovation in Aging 3, Supplement_1 (November 2019): S852—S853. http://dx.doi.org/10.1093/geroni/igz038.3136.

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Abstract From intro-level undergraduates to advanced graduate students in gerontology, understanding and developing a “gerontological voice” is often an elusive concept and challenging process to articulate. How we view, understand, and give voice to aging-related issues is influenced by a number of different factors: Micro-level factors (e.g., personality, personal experiences with older adults, and personal interests and values); meso-level factors (e.g., coursework in aging and academic major/discipline); and, macro-level factors (e.g., societal and cultural values, media, activism, and advocacy). As an adaptable teaching exercise for all levels of students, this poster presents a novel framework to support students’ exploration and cultivation of their unique gerontological voice. Through this three-level scaffolded discovery, students across disciplines strengthen their awareness and understanding of their distinct voice and build confidence to activate around aging-related issues pertinent to their specific interests and passions. From personal to global, this guided introspective exercise provides an opportunity for students to focus and embed their voice into the larger tapestry of gerontology, an inclusive community rich with perspective and diversity. Encouraging the development of students is an essential part of building social capital which is instrumental to the creation of strong networks to serve older adults through a multitude of disciplines.

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Hussain, Humaira. "PRESENCE OF DYSPHONIA IN INDIVIDUALS WITH TOURETTE’S SYNDROME." Pakistan Journal of Rehabilitation 4, no. 1 (January 10, 2015): 42–47. http://dx.doi.org/10.36283/pjr.zu.4.1/009.

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Professionals working in the field of voice disorders have come to recognize the variability of vocal qualities in different populations. While voice disorders can be of organic, neurogenic, or functional etiology, concomitant disorders often directly impact the vocal features. Such a disorder is Tourette’s Syndrome which is an impairment characterized by motor and vocal tics. This study examined the prevalence of voice disorders in individuals with Tourette’s Syndrome. Research was conducted over the duration of two years with clientele aged 15;2 to 26;5. Participants were receiving continuous treatment from a team of neurologist and psychologist at private clinics situated around a suburban area. Two case studies consisting of 1-2 individuals were also closely examined to further distinguish the types of voice disorders present given the severity of motor and vocal tics. Instrumental and perceptual analysis was obtained to accurately diagnose the voice disorder. Given the sample of participants, presence of spasmodic dysphonia and falsetto were noted. Results of this study indicates a strong presence of dysphonia in individuals with Tourette’s Syndrome, particularly spasmodic dysphonia and falsetto. Additionally, dysphonic vocal qualities were irrelevant to the existence of vocal tics. Further research with this population is mandated to determine assessment and treatment strategies

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Weiss, Michael W., E. Glenn Schellenberg, and Sandra E. Trehub. "Generality of the Memory Advantage for Vocal Melodies." Music Perception 34, no. 3 (February 1, 2017): 313–18. http://dx.doi.org/10.1525/mp.2017.34.3.313.

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Children and adults, with or without music training, exhibit better memory for vocal melodies (without lyrics) than for instrumental melodies (Weiss, Schellenberg, Trehub, & Dawber, 2015; Weiss, Trehub, & Schellenberg, 2012; Weiss, Trehub, Schellenberg, & Habashi, 2016; Weiss, Vanzella, Schellenberg, & Trehub, 2015). In the present study, we compared adults’ memory for vocal and instrumental melodies, as before, but with two additional singers, one female (same pitch level as the original female) and one male (7 semitones lower). In an exposure phase, 90 participants (M = 4.1 years training, SD = 3.9) rated their liking of 24 melodies—6 each in voice, piano, banjo, and marimba. After a short break, they heard the same melodies plus 24 timbre-matched foils (6 per timbre) and rated their recognition of each melody. Recognition was better for vocal melodies than for melodies in every other timbre, replicating previous findings. Importantly, the memory advantage was comparable across voices, despite the fact that liking ratings for vocal melodies differed by singer. Our results provide support for the notion that the vocal advantage in memory for melodies is independent of the idiosyncrasies of specific singers or of vocal attractiveness, arising instead from enhanced processing of a biologically significant timbre.

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Baker, Vicki D., and Nicki Cohen. "University Vocal Training and Vocal Health of Music Educators and Music Therapists." Update: Applications of Research in Music Education 35, no. 3 (March 15, 2016): 46–54. http://dx.doi.org/10.1177/8755123316638517.

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The purpose of this study was to describe the university vocal training and vocal health of music educators and music therapists. The participants ( N = 426), music educators ( n = 351) and music therapists ( n = 75), completed a survey addressing demographics, vocal training, voice usage, and vocal health. Both groups reported singing at least 50% of the work day; moreover, music educators complained of vocal fatigue and hoarseness at the end of the week. Music educators expressed concern about their vocal health, due to the unique demands of music instruction and large classes. A majority of participants, particularly instrumental concentration majors, expressed a desire for more career-focused vocal training. Results suggest that additional university training in vocal health could help prevent vocal abuse and misuse among music educators and therapists; furthermore, music educators may be better qualified to promote healthy singing among developing voices.

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Berehova, Olena. "Instrumental Theater in the Modern Ukrainian Composers’ Creativity." Culturology Ideas, no. 14 (2'2018) (2018): 102–8. http://dx.doi.org/10.37627/2311-9489-14-2018-2.102-108.

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Relevance of research. Instrumental theatre as a specific phenomenon of musical creativity was first recognized in the mid-1960s. Researchers note the following features of the instrumental theatre: the search for a new musical language; the presence of sound drama; appeal to the voice and the word as a background or semantic subtext; hidden polyphony; openness to protest and provocation; the stage game of the musicians-performers. However, this original artistic phenomenon remains little investigated in Ukrainian musicology. The purpose of the article is to actualize the samples of the instrumental theatre in Ukrainian musicology, presented in the works of L. Yurina, S. Zagitchka and S. Yarunsky, and based on the analysis of new works to conclude the directions of the development of contemporary musical thinking. Methods of the research – analytical, the complex of musicological methods’ research (based on the classification of works by the number of participants). Conclusions. Regardless of the genre variety, practically for all considered opuses, characteristic fixation in the scores of the smallest nuances of execution is common. Changing the paradigms of writing, performing and perceiving music, in many works the spectacular factor dominates over the actual musical, the increasing visualization and theatricalization of the musical process became evidence of the transformation of modern musical thinking. Practical significance. The instrumental theatre is a relatively new phenomenon both in world culture and in Ukrainian music. Further research of this phenomenon will help not only to distinguish its specific features, but also to realize new spiritual constants of the present.

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Schall, Sonja, Stefan J. Kiebel, Burkhard Maess, and Katharina von Kriegstein. "Early auditory sensory processing is facilitated by visual mechanisms." Seeing and Perceiving 25 (2012): 184–85. http://dx.doi.org/10.1163/187847612x648143.

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There is compelling evidence that low-level sensory areas are sensitive to more than one modality. For example, auditory cortices respond to visual-only stimuli (Calvert et al., 1997; Meyer et al., 2010; Pekkola et al., 2005) and conversely, visual sensory areas respond to sound sources even in auditory-only conditions (Poirier et al., 2005; von Kriegstein et al., 2008; von Kriegstein and Giraud, 2006). Currently, it is unknown what makes the brain activate modality-specific, sensory areas solely in response to input of a different modality. One reason may be that such activations are instrumental for early sensory processing of the input modality — a hypothesis that is contrary to current text book knowledge. Here we test this hypothesis by harnessing a temporally highly resolved method, i.e., magnetoencephalography (MEG), to identify the temporal response profile of visual regions in response to auditory-only voice recognition. Participants () briefly learned a set of voices audio–visually, i.e., together with a talking face in an ecologically valid situation, as in daily life. Once subjects were able to recognize these now familiar voices, we measured their brain responses using MEG. The results revealed two key mechanisms that characterize the sensory processing of familiar speakers’ voices: (i) activation in the visual face-sensitive fusiform gyrus at very early auditory processing stages, i.e., only 100 ms after auditory onset and (ii) a temporal facilitation of auditory processing (M200) that was directly associated with improved recognition performance. These findings suggest that visual areas are instrumental already during very early auditory-only processing stages and indicate that the brain uses visual mechanisms to optimize sensory processing and recognition of auditory stimuli.

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Hoover, Amy K., Paul A. Szerlip, and Kenneth O. Stanley. "Functional Scaffolding for Composing Additional Musical Voices." Computer Music Journal 38, no. 4 (December 2014): 80–99. http://dx.doi.org/10.1162/comj_a_00269.

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Many tools for computer-assisted composition contain built-in music-theoretical assumptions that may constrain the output to particular styles. In contrast, this article presents a new musical representation that contains almost no built-in knowledge, but that allows even musically untrained users to generate polyphonic textures that are derived from the user's own initial compositions. This representation, called functional scaffolding for musical composition (FSMC), exploits a simple yet powerful property of multipart compositions: The pattern of notes and rhythms in different instrumental parts of the same song are functionally related. That is, in principle, one part can be expressed as a function of another. Music in FSMC is represented accordingly as a functional relationship between an existing human composition, or scaffold, and a generated set of one or more additional musical voices. A human user without any musical expertise can then explore how the generated voice (or voices) should relate to the scaffold through an interactive evolutionary process akin to animal breeding. By inheriting from the intrinsic style and texture of the piece provided by the user, this approach can generate additional voices for potentially any style of music without the need for extensive musical expertise.

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Platow, Michael J., Rachael A. Eggins, Rachana Chattopadhyay, Greg Brewer, Lisa Hardwick, Laurin Milsom, Jacinta Brocklebank, et al. "Two experimental tests of relational models of procedural justice: Non-instrumental voice and authority group membership." British Journal of Social Psychology 52, no. 2 (January 17, 2012): 361–76. http://dx.doi.org/10.1111/j.2044-8309.2011.02083.x.

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Journal articles on the topic 'Instrumental Voice'

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