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Czajkowski, Anne-Marie Louise, Alinka Elizabeth Greasley, and Michael Allis. "Mindfulness for Singers: A Mixed Methods Replication Study." Music & Science 4 (January 1, 2021): 205920432110448. http://dx.doi.org/10.1177/20592043211044816.
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Objectives: Mindfulness has been explored in the clinical and educational fields but has rarely been studied in the music domain. This study investigated the effects of teaching eight-week Mindfulness for Singers courses on vocalists’ music education and performance. Methods: A mixed methods approach was utilized, which included controlled and randomized controlled trials using standardized and novel mindfulness measures pre- and post-intervention, interviews post-intervention and three months later, concurrent diaries, and a blinded teacher study. Participants included singing students (total n=52) and their teachers ( n=11) from a university and a music college over a period of two years. Results: Levels of mindfulness increased over the intervention for experimental participants in comparison to controls. Considering their total student cohort, teachers identified 61% of eligible mindfulness singing participants as having completed the mindfulness intervention. Experimental participants reported that learning mindfulness had positive effects in lessons, solo and group instrumental practices, and when performing on stage. They described more focus and attention, positive effects of increased body awareness on singing technique, enhanced socio-collaborative relationships, reductions in performance anxiety, and beneficial effects whilst performing, such as more expressivity and enjoyment. Conclusions: Learning mindfulness had positive holistic effects on vocal students and was well received by their mindfulness-naïve singing teachers. Findings suggest that it would be highly beneficial for mindfulness to be made available in music conservatoires and university music departments alongside singing lessons for singers to enhance their present experience as vocal students and their futures as performers and teachers.
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Helb, Hans-Wolfgang, Françoise Dowsett-Lemaire, Hans-Heiner Bergmann, and Klaus Conrads. "Mixed Singing in European Songbirds - a Review." Zeitschrift für Tierpsychologie 69, no. 1 (April 26, 2010): 27–41. http://dx.doi.org/10.1111/j.1439-0310.1985.tb00754.x.
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Buryak, Marina K. "Creative Work of Novgorod Original Singers as a Reference for Modern Folk-Singing Education." Musical Art and Education 8, no. 3 (2020): 159–74. http://dx.doi.org/10.31862/2309-1428-2020-8-3-159-174.
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The article presents the theoretical grounding of the folk-singing technologies of Novgorod original singers (authentic performers) as fundamental to the developed author’s methods: intonational-formulaic, vocal-phonatory, polyphonic-specific, local-style. The identified features of authentic intonation-formulaic education and the study resulted singing fund of children’s song folklore became “key” and end-to-end mechanisms in the author’s method of forming and developing skills of sustainable singing intonation with each participant in the educational process aimed at preserving and further developing the traditions of Novgorod folk-song creation. Based on the study of the general-style singing specifics, vocal-phonation and polyphonic texture of ensemble singing of Novgorod authentic singers developed local-style singing classification, which, according to the terminology of the author of the article, Novgorod folk-singing styles are: old Slavic, Old Russian, part singing, as well as four mixed folk-singing styles. The differentiating mechanism of classification is the potential of the applied types of folk vocal phonation, polyphony in the ensemble singing and the type of singing articulation. On this local-style foundation, the author formed a specific Novgorod mixed folk-singing style, combining locally-style folk-singing technologies of Novgorod authentic performers and the academic school of Russian folk singing. This style is used in the singing of teachers and students of the Novgorod Children’s Music School of Russian Folklore. The implementation of the technologies developed by the author in pedagogical practice helps children achieve a high level of singing training and become ethno performer, a future ethnophore and a bearer of Russian local / regional folk song traditions.
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Thompson, Andrew D., R. Haven Wiley, and Renée Godard. "Use of Two Singing Modes By Hooded Warblers as Adaptations for Signalling." Behaviour 129, no. 3-4 (1994): 243–78. http://dx.doi.org/10.1163/156853994x00631.
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AbstractHooded warblers Wilsonia citrina use two modes of singing, repeat mode (one pattern sung repeatedly) and mixed mode (2-4 other patterns sung in irregular sequence). Intensive focal-individual sampling of 14 males documented the use of these modes of singing throughout the nesting cycle. Males of different ages (first breeding season or later) did not differ in use of the two modes. Time spent singing in repeat mode decreased markedly after acquiring a mate, but time spent singing mixed mode did not change significantly across stages of the nesting cycle. Males sang more when their neighbors sang at a distance of 25 m or more. Repeat mode increased in this situation before a male acquired a mate, while mixed mode increased afterwards. Near a neighbor (within 25 m), males avoided use of repeat mode. Nearby females before the onset of incubation evoked increased use of repeat mode. More distant, calling females elicited little response before incubation, but thereafter calling females tended to suppress all singing. Males used mixed mode proportionately more in locations nearer neighbors. There were no indications that variation in singing influenced the dates on which males acquired mates. Unmated males late in the breeding season sang persistently in repeat mode, even more than eventually mated males had early in the season before they acquired mates. These results provide support, with some reservations, for three hypotheses for the evolution of distinct modes of singing: (1) specializations for male and female listeners; (2) specializations for indicating conditional behavioral tendencies; and (3) specializations for communication in low- and high-noise situations. These hypotheses are not mutually exclusive, and all three in combination might offer the strongest explanation for the evolution of distinct singing modes in this species and other paruline warblers.
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Gallo, Donna J. "Formative assessment practices and children’s singing accuracy: A mixed methods inquiry." International Journal of Music Education 37, no. 4 (August 2, 2019): 593–607. http://dx.doi.org/10.1177/0255761419852172.
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The purpose of this mixed methods study was to determine the effect of formative assessment strategies on second grade students’ singing accuracy and to examine how music educators planned for and enacted these practices. Student participants ( n = 63) were divided into three groups over a six-week period: (a) a partial treatment group where the teacher used data from the pretest to improve areas of singing weakness; (b) a full treatment group where the teacher used data to improve areas of weakness and engaged students in self- and peer-assessment techniques; and (c) a control group who received no formalized treatment. Linear regression analysis indicates that the “partial treatment” group had the largest gains in singing accuracy, but the case study analysis revealed that the teachers’ knowledge and values mediated their enactment of these practices as they adopted and adapted them in varied ways. The “partial treatment” teacher’s motivation and proclivity for creating new assessment practices indicates that gains in this group’s singing accuracy may have been due to teacher effects and not the strategies themselves. Implications for teacher professional development and practical considerations for embedding meaningful formative assessment in music contexts are provided.
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Moss, Hilary, Julie Lynch, and Jessica O’Donoghue. "Exploring the perceived health benefits of singing in a choir: an international cross-sectional mixed-methods study." Perspectives in Public Health 138, no. 3 (November 15, 2017): 160–68. http://dx.doi.org/10.1177/1757913917739652.
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Aim: This mixed-methods exploratory study investigates the perceived health benefits of singing in a choir from an international sample of choristers. Method: An online questionnaire including demographic information, 28 quantitative statements and two qualitative questions relating to the perceived health benefits of singing in a choir was distributed via email and social media over a period of 4 months to a sample of 1,779 choristers. Basic descriptives and comparisons between subgroups of the sample are presented along with thematic analysis of qualitative comments. Results: Basic descriptives suggest an overwhelmingly positive response. Females scored significantly higher than males on physical benefits, social benefits and emotional benefits. Professional singers reported significantly more physical, social and spiritual benefits than amateur singers. Bias may be present in these findings as the results were entirely self-reported by people who already sing in choirs. Qualitative thematic analysis identified six key themes which may counter this bias by providing deeper understanding of the perceived benefits for choir singers. These include social connection, physical and physiological benefits (specifically respiratory health), cognitive stimulation, mental health, enjoyment and transcendence. Conclusion: Choral singing elicits a positive response in the chorister across a plethora of domains. This research confirms previous findings on the health benefits of singing but offers evidence from the largest sample of singers to date. However, results are based on self-perceptions of choristers, and findings are, therefore, limited. Results may be used as a base on which to develop further research in this area. It also provides confirmatory evidence to support choral singing as a means of improving wellbeing in many populations, including but not limited to workplaces, schools, nursing homes, communities and churches.
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Souriau, Abel, Hana Kohoutová, Jiří Reif, Jana Vokurková, Adam Petrusek, Radka Reifová, and Tereza Petrusková. "Can mixed singing facilitate coexistence of closely related nightingale species?" Behavioral Ecology 29, no. 4 (April 18, 2018): 925–32. http://dx.doi.org/10.1093/beheco/ary053.
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Giroux, Monique. "Singing For Frog Plain." Ethnologies 37, no. 1 (May 3, 2017): 43–64. http://dx.doi.org/10.7202/1039655ar.
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Pierre Falcon is the earliest known Metis composer. Born in 1793 in Fort La Coude (Elbow Fort) in what is now west-central Manitoba, his adult life spanned the “Golden Years” (Shore 2001) of the western Metis nation. Known as the Bard of the Prairies, Falcon’s songs drew on events of local importance during this period, providing a means to remember and share Metis history, and to solidify a sense of Metis nationalism. Beginning in the late-1800s historians, novelists, folklorists, journalists, and musicians began turning their attention to Falcon, resulting in a strikingly large number of popular and academic references to his life and songs. While these references are varied, together they tell a story about the relationship between Canada and the Metis Nation. On the one hand, references to Falcon often draw from, and in fact help create, images of the Imaginary Indian (Francis 1992). Yet on the other hand, many references to Falcon erase his Indigeneity, or blend his Metis identity seamlessly into a Franco-Manitoban, or western Canadian identity. These seemingly contradictory representations, as I will argue in this paper, ultimately point to the ambiguous positioning of Metis people as Indigenous peoples, and speak to an obsession with mixed-ness that denies the Metis their full and authentic Indigeneity.
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Pongan, Elodie, Floriane Delphin-Combe, Pierre Krolak-Salmon, Yohana Leveque, Barbara Tillmann, Romain Bachelet, Jean-Claude Getenet, et al. "Immediate Benefit of Art on Pain and Well-Being in Community-Dwelling Patients with Mild Alzheimer's." American Journal of Alzheimer's Disease & Other Dementias® 35 (July 9, 2019): 153331751985920. http://dx.doi.org/10.1177/1533317519859202.
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Objective: The present report aims to evaluate whether singing intervention can bring an immediate benefit that is greater than the one provided by painting intervention on pain and well-being. Methods: Fifty-nine mild patients with Alzheimer disease were randomized to a 12-week singing (n = 31) or painting group (n = 28). In the present analysis, the immediate evolution of pain and well-being was compared across sessions between the 2 groups using mixed-effects models. Results: We observed a significant improvement in well-being for both singing and painting groups immediately after sessions, compared to the assessment before the sessions. We did not observe this improvement across the sessions for pain intensity measurement. Discussion: Our results revealed that both painting and singing interventions provide an immediate benefit on the patients’ well-being.
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Gao, Yongwei, Xulong Zhang, and Wei Li. "Vocal Melody Extraction via HRNet-Based Singing Voice Separation and Encoder-Decoder-Based F0 Estimation." Electronics 10, no. 3 (January 26, 2021): 298. http://dx.doi.org/10.3390/electronics10030298.
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Vocal melody extraction is an important and challenging task in music information retrieval. One main difficulty is that, most of the time, various instruments and singing voices are mixed according to harmonic structure, making it hard to identify the fundamental frequency (F0) of a singing voice. Therefore, reducing the interference of accompaniment is beneficial to pitch estimation of the singing voice. In this paper, we first adopted a high-resolution network (HRNet) to separate vocals from polyphonic music, then designed an encoder-decoder network to estimate the vocal F0 values. Experiment results demonstrate that the effectiveness of the HRNet-based singing voice separation method in reducing the interference of accompaniment on the extraction of vocal melody, and the proposed vocal melody extraction (VME) system outperforms other state-of-the-art algorithms in most cases.
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Kreutz, Gunter. "Does Singing Facilitate Social Bonding?" Music and Medicine 6, no. 2 (October 25, 2014): 51. http://dx.doi.org/10.47513/mmd.v6i2.180.
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Psychobiological effects of amateur choral singing were studied in a naturalistic controlled within-subjects trial. A mixed group of novice and experienced singers (N = 21) filled out brief ad hoc questionnaires of psychological wellbeing and gave samples of saliva for measuring levels of salivary oxytocin, cortisol, and dehydroepiandrosteron (DHEA) at the beginning of 2 rehearsal sessions and 30 minutes later. The singing condition included warm-up vocal exercises and repertoire pieces. In the chatting condition, dyads of participants talked to each other about recent positive life experiences. Within-subjects, repeated measures analysis of variance (ANOVA) on self-reported and physiological measures revealed significant Time X Condition interactions for psychological wellbeing and oxytocin. Comparisons of mean scores showed patterns of changes favouring singing over chatting. There were no significant interactions for cortisol, DHEA as well as for the cortisol-DHEA-ratio. These results suggest that singing enhances individual psychological wellbeing as well as induces a socio-biological bonding response.
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Ross Lein, M., and Glen Chilton. "Songs and Sexual Responses of Female White-Crowned Sparrows (Zonotrichia Leucophrys) From a Mixed-Dialect Population." Behaviour 133, no. 3-4 (1996): 173–98. http://dx.doi.org/10.1163/156853996x00107.
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AbstractSome researchers have suggested that female songbirds mate with males singing local song types in preference to males singing dialects from more distant populations. Such behaviour might promote genetic isolation among dialect populations. We studied captive female white-crowned sparrows (Zonotrichia leucophrys) from a population in which two song types were equally common, as a model for behaviour at dialect boundaries. Subjects were captured as adults, and the song type of the mate of each was known. Treated with estradiol, females gave sexual displays in response to playback of conspecific male song. As a group, they solicited no more strongly to either local song type, suggesting that males singing either local song type should be able to attract mates. Individuals solicited no more strongly to their mate's song type than to the other local song type. This suggests that strength of response of captive females to song playback may not accurately reflect the behaviour of free-living individuals. Subjects were also treated with testosterone to induce singing. Individuals sang their mates' song type more often than expected by chance. Given that female white-crowned sparrows in this population do not consistently choose mates of one song type, we develop the argument that females learn, for performance, the song type of their first mate. However, the type of song learned for performance appears unlikely to restrict their subsequent mate choice decisions. Our results suggest that female white-crowned sparrows do not base their choice of mates on dialectal variation in male song, and that it is unlikely that mate choice decisions based on song dialect promote the genetic isolation of dialect populations.
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Toles, Laura E., Andrew J. Ortiz, Katherine L. Marks, James A. Burns, Tiffiny Hron, Jarrad H. Van Stan, Daryush D. Mehta, and Robert E. Hillman. "Differences Between Female Singers With Phonotrauma and Vocally Healthy Matched Controls in Singing and Speaking Voice Use During 1 Week of Ambulatory Monitoring." American Journal of Speech-Language Pathology 30, no. 1 (January 27, 2021): 199–209. http://dx.doi.org/10.1044/2020_ajslp-20-00227.
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Purpose Previous ambulatory voice monitoring studies have included many singers and have combined speech and singing in the analyses. This study applied a singing classifier to the ambulatory recordings of singers with phonotrauma and healthy controls to determine if analyzing speech and singing separately would reveal voice use differences that could provide new insights into the etiology and pathophysiology of phonotrauma in this at-risk population. Method Forty-two female singers with phonotrauma (vocal fold nodules or polyps) and 42 healthy matched controls were monitored using an ambulatory voice monitor. Weeklong statistics (average, standard deviation, skewness, kurtosis) for sound pressure level (SPL), fundamental frequency, cepstral peak prominence, the magnitude ratio of the first two harmonics ( H 1 –H 2 ), and three vocal dose measures were computed from the neck surface acceleration signal and separated into singing and speech using a singing classifier. Results Mixed analysis of variance models found expected differences between singing and speech in each voice parameter, except SPL kurtosis. SPL skewness, SPL kurtosis, and all H 1 –H 2 distributional parameters differentiated patients and controls when singing and speech were combined. Interaction effects were found in H 1 –H 2 kurtosis and all vocal dose measures. Patients had significantly higher vocal doses in speech compared to controls. Conclusions Consistent with prior work, the pathophysiology of phonotrauma in singers is characterized by more abrupt/complete glottal closure (decreased mean and variation for H 1 –H 2 ) and increased laryngeal forces (negatively skewed SPL distribution) during phonation. Application of a singing classifier to weeklong data revealed that singers with phonotrauma spent more time speaking on a weekly basis, but not more time singing, compared to controls. Results are used as a basis for hypothesizing about the role of speaking voice in the etiology of phonotraumatic vocal hyperfunction in singers.
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Park, Min-Yong. "Noise Evaluation of Karaoke Facilities in Korea." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 39, no. 15 (October 1995): 1053–56. http://dx.doi.org/10.1177/154193129503901519.
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An experiment was conducted to evaluate potential noise exposures to naive commercial “Karaoke” users using a 2-way, mixed-factors design with 2 independent variables of Noise Source (no-singer, 1-singer, and 2-singer) and Music Type (Trot, Ballad, and Rock). Each member of two singer groups (a total of 18 subjects) sang 5 popular songs of each music type in each singing condition. Equivalent continuous sound pressure levels (Leq) and maximum sound pressure levels (Max Lp) were measured for data analysis purposes. The statistical analyses indicate that noise levels were significantly different according to noise source and music type. The levels under most popular singing conditions were very serious, especially when two people were singing: higher than the OSHA's 95 dBA exposure limit. Rock music generated above 95 dBA even under 1-singer source. Max Lp often exceeded the OSHA's 115 dBA non-permissible level under some singing situations. A spectrum analysis revealed that Karaoke noise may have a potential impact on the speech band (500 − 4000 Hz) hearing. Some noise abatement strategies and ergonomic issues are discussed.
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Parr, Sean M. "Vocal Vulnerability: Tenors, Voix mixte and Late Nineteenth-Century French Opera." Cambridge Opera Journal 30, no. 2-3 (November 2018): 138–64. http://dx.doi.org/10.1017/s0954586719000041.
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AbstractIt is now a historical commonplace that nineteenth-century operatic singing became generally louder and heavier over the course of the century. Early in the century, before the advent of singers such as Gilbert-Louis Duprez, tenors sang high notes with a light, mixed voice, sometimes even falsetto. Strikingly, while such singing was virtually eliminated from Italian opera by the end of the century, the vocal practice continued in certain cases in the French repertory, some of which were created with one particular tenor in mind, Jean-Alexandre Talazac (1851–1896). Talazac was praised for his unique ability to sing high notes both softly and loudly. This article investigates the physical practice of producing what pedagogues and critics have called voix mixte, an enigmatic timbre applied to moments of soft, high tenor singing. In exploring these moments of what I call ‘léger mode’, I suggest that, by singing high notes softly in a post-Duprez operatic world, tenors transcend stage gestures through their use of a formerly normative performance style to mark moments musically as representations of vocal and masculine vulnerability. The historical evidence also argues for a renewed focus on what soft tenor singing might do for opera today.
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Demartsev, Vlad, Amiyaal Ilany, Adi Barocas, Einat Bar Ziv, Inbar Schnitzer, Lee Koren, and Eli Geffen. "A mixed strategy of counter-singing behavior in male rock hyrax vocal competitions." Behavioral Ecology and Sociobiology 70, no. 12 (September 30, 2016): 2185–93. http://dx.doi.org/10.1007/s00265-016-2222-z.
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Anisimov, Nikolai, Irina Pchelovodova, and Ekaterina Sofronova. "Migrant and Autochthonous Traditions within Udmurt Folksong (on the Example of the Siberian Udmurt)." Journal of Ethnology and Folkloristics 14, no. 1 (June 1, 2020): 85–110. http://dx.doi.org/10.2478/jef-2020-0006.
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AbstractThis article* investigates, for the first time, the local musical tradition of the Udmurt of Chainsk district (Tomsk oblast). The overwhelming majority of migrants in this region arrived from the Sharkan district of the Udmurt Republic, in Siberia, at the beginning of the 20th century. For a long time they kept their original culture in an ethnically alien environment. However, at the beginning of the 21st century, their singing tradition started to fade under the influence of different factors (such as the disappearance of Udmurt rituals and festivals, as well as mixed marriages). The aim of this article is to compare the ‘Chainsk migrational’ singing tradition to the ‘Sharkan original’ musical tradition. The main collection of audio recordings covering the Chainsk district Udmurt musical tradition is conserved in the archives of the Udmurt Research Institute at the Russian Academy of sciences.1 It is comprised of fieldwork material gathered by researchers from the Institute in 1974 and 2006. We discovered new sources of audio and video recordings of the singing tradition in this territory, which allowed us to integrate more song samples. The analysis of both traditions reveals the basic genres of ritual singing, each of which has been examined from the point of view of the topic of the poetic text, the mood structures, and the metro-rhythmic and melodic peculiarities of their development.
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Bishop, Kathy, Catherine Etmanski, and M. Beth Page. "Engaged Scholarship and the Arts." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (June 1, 2019): I—viii. http://dx.doi.org/10.15402/esj.v5i2.68329.
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Singing and songwriting; graffiti, protest art, and mobile art installations; oral, digital, video, literary, métissage, and mixed media storytelling; drawing, photography, and other visual arts; Witness Blanketing and body mapping; embodying Indigenous literatures and expressing values through metaphor; dancing, performing, and more—as you will read in this special issue, these creative actions have become essential to the practice of engaged scholarship.
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Vokurková, Jana, Tereza Petrusková, Radka Reifová, Alexandra Kozman, Libor Mořkovský, Silke Kipper, Michael Weiss, Jiří Reif, Paweł T. Dolata, and Adam Petrusek. "The Causes and Evolutionary Consequences of Mixed Singing in Two Hybridizing Songbird Species (Luscinia spp.)." PLoS ONE 8, no. 4 (April 5, 2013): e60172. http://dx.doi.org/10.1371/journal.pone.0060172.
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Kovalev, Andrey B. "The “Theotokos Chants” Spiritual Concert by Andrei Mikita, Its Genre and Composition." Observatory of Culture, no. 6 (December 28, 2014): 42–47. http://dx.doi.org/10.25281/2072-3156-2014-0-6-42-47.
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Analyses multipartite spiritual (religious) concert by Andrey Mikita, one of the prominent Moscow composers. The “Theotokos Chants” concert was written for mixed choir a cappella on liturgical texts of the Theotokos feasts: Nativity of the Theotokos, Annunciation, Assumption, Protection of the Theotokos. The genre and composition particularities of this concerto are related to the elements of liturgical singing tradition on the one hand and composer’s personal musical representation of religious texts on the other. All this determined the nonliturgical genre of this choral.
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Einarsson, Anna. "Experiencing Responsive Technology in a Mixed Work: Interactive music as embodied and situated activity." Organised Sound 22, no. 3 (November 24, 2017): 418–27. http://dx.doi.org/10.1017/s1355771817000425.
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How is performing with responsive technology in a mixed work experienced by performers, and how may the notion of embodied cognition further our understanding of this interaction? These questions are addressed here analysing accounts from singers performing the author’s mixed work Metamorphoses (2015). Combining semi-structured interviews and inspiration from Interpretative Phenomenological Analysis, questions concerning the ‘self’ when listening, singing, moving and relating to fellow musicians, as well as the relationship towards the computer, are explored. The results include a notion of the computer as neither separated nor detached but both, and highlight the importance of the situation, including not only the here and now but also social and cultural dimensions. The discussion emphasises the role of sensorimotor interaction and bodily experience in human meaning-making.
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Fancourt, Daisy, Katey Warran, Saoirse Finn, and Theresa Wiseman. "Psychosocial singing interventions for the mental health and well-being of family carers of patients with cancer: results from a longitudinal controlled study." BMJ Open 9, no. 8 (August 2019): e026995. http://dx.doi.org/10.1136/bmjopen-2018-026995.
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ObjectiveThe mental health challenges facing people who care for somebody with cancer are well documented. While many support interventions focus on provision of information or cognitive behavioural therapy, the literature suggests that psychosocial interventions could also be of value, especially given the low social support frequently reported by carers. Singing is a psychosocial activity shown to improve social support, increase positive emotions, and reduce fatigue and stress. This study explored whether weekly group singing can reduce anxiety, depression and well-being in cancer carers over a 6-month period.DesignA multisite non-randomised longitudinal controlled study.SettingThe Royal Marsden National Health Service Trust in Greater London.Participants62 adults who currently care for a spouse, relative or close friend with cancer who had not recently started any psychological therapy or medication.InterventionsOn enrolment, participants selected to join a weekly community choir for 12 weeks (n=33) or continue with life as usual (n=29).Outcome measuresThe primary outcome was mental health using the Hospital Anxiety and Depression Scale. The secondary outcome was well-being using the Warwick Edinburgh Mental Wellbeing Scale. Using linear mixed effects models, we compared the change in mental health and well-being over time between the two groups while adjusting for confounding variables including demographics, health-related variables, musical engagement and length of time caring.ResultsParticipants in the choir group showed a significantly greater decrease in anxiety over time than participants in the control group (B=−0.94, SE=0.38, p=0.013) and a significantly greater increase in well-being (B=1.25, SE=0.49, p=0.011). No changes were found for depression. Sub-group analyses showed carers with anxiety or below-average well-being were most likely to benefit.ConclusionsThis study builds on previous research showing the mental health benefits of singing for people with cancer by showing that weekly singing can also support anxiety and well-being in cancer carers.
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Marley, John, Bernadette Matthias, Linda Worrall, Maya Guest, and Christopher Allan. "From Soundwaves to BrainWaves: The effects of choral singing on recovery from stroke and aphasia." British Journal of General Practice 68, suppl 1 (June 2018): bjgp18X696821. http://dx.doi.org/10.3399/bjgp18x696821.
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BackgroundStroke is a leading cause of death and disability. Recovery is frequently compromised by reduced well-being, mood, socialisation and quality of life. Music and singing are recognised as enhancing well-being and benefit people with chronic illness. Evidence suggested that choir singing may improve the fluency of people with aphasia. Choirs existed for people with brain impairment; no studies had robust design and outcome measurement.AimTo conduct a pilot study in Newcastle, Australia in a collaboration between Hunter New England Health and the University of Newcastle. To explore the effects of choral singing on quality of life, well-being, mood, social participation and communication skills of community-dwelling stroke survivors including people with aphasia.MethodA mixed methods waitlist control design was used. 39 people at least 6 months post-stroke were assessed before and after a 12-week choir rehearsal period. Carers were invited to participate. Subjects were interviewed at the end of the period.ResultsMeasures of communication improved significantly and a trend to improvement in overall quality of life was seen. Depression and disability were significant in their impact on overall quality of life scores. Qualitative work reported increased quality of life, confidence, independence, mood and socialization and improvements in speech and communication were also reported.ConclusionOur pilot showed that a 12-week choir program for stroke survivors and carers is feasible and benefits quality of life, well-being, mood, community participation and communication in people with aphasia.
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Zapata, Gloria P., and David J. Hargreaves. "The effects of musical activities on the self-esteem of displaced children in Colombia." Psychology of Music 46, no. 4 (July 17, 2017): 540–50. http://dx.doi.org/10.1177/0305735617716756.
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This article presents some of the results of a research project undertaken in a school located in a deprived neighbourhood of Bogotá, the capital of Colombia. The project investigated the effects of musical experiences on 6- to 8-year-olds’ social and musical development by means of a mixed-methods approach involving the children, their parents and teachers. The project comprised three studies, and this article reports the results of the first, an experimental intervention study which was carried out with two groups of 52 children. The experimental group followed an 18-week music programme of singing workshops involving Colombian traditional songs and musical improvisation, whereas the control group had no such musical programme. Harter’s (1999) Perceived Competence Scale for Children was administered before and after the 18-week singing programme to assess its effects on the children’s self-esteem. Analysis revealed that musical activities had a significant impact on children’s self-esteem, and especially upon its cognitive component. These results are of crucial importance in the context of forced displacement in the Colombian population as a result of violence.
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Tarrant, Mark, Mary Carter, Sarah Gerard Dean, Rod S. Taylor, Fiona C. Warren, Anne Spencer, Jane Adamson, Paolo Landa, Chris Code, and Raff Calitri. "Singing for people with aphasia (SPA): a protocol for a pilot randomised controlled trial of a group singing intervention to improve well-being." BMJ Open 8, no. 9 (September 2018): e025167. http://dx.doi.org/10.1136/bmjopen-2018-025167.
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IntroductionThe singing for people with aphasia (SPA) intervention aims to improve quality of life and well-being for people with poststroke aphasia. A definitive randomised controlled trial (RCT) is required to assess the clinical and cost effectiveness of SPA. The purpose of this pilot study is to assess the feasibility of such a definitive trial and inform its design.Methods and analysisA two-group, assessor-blinded, randomised controlled external pilot trial with parallel mixed methods process evaluation and economic evaluation. Forty-eight participants discharged from clinical speech and language therapy will be individually randomised 1:1 to SPA (10 group sessions plus a resource booklet) or control (resource booklet only). Outcome assessment at baseline, 3 and 6 months postrandomisation include: ICEpop CAPability measure for adults, Stroke and Aphasia Quality of Life, EQ-5D-5L, modified Reintegration into Normal Living Index, Communication Outcome After Stroke, Very Short Version of the Minnesota Aphasia Test, Service Receipt Inventory and Care Related Quality of Life. Feasibility, acceptability and process outcomes include recruitment and retention rates, with measurement burden and trial experiences being explored in qualitative interviews (15 participants, 2 music facilitators and 2 music champions). Analyses include: descriptive statistics, with 95% CIs where appropriate; qualitative themes; intervention fidelity from videos and session checklists; rehearsal of health economic analysis.Ethics and disseminationNHS National Research Ethics Service and the Health Research Authority confirmed approval in April 2017; recruitment commenced in June 2017. Outputs will include: pilot data to inform whether to proceed to a definitive RCT and support a funding application; finalised intervention manual for multicentre replication of SPA; presentations at conferences, public involvement events; internationally recognised peer reviewed journal publications, open access sources and media releases.Trial registration numberNCT03076736.
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Kang, Seungtae, Jeong-Sik Park , and Gil-Jin Jang . "Improving Singing Voice Separation Using Curriculum Learning on Recurrent Neural Networks." Applied Sciences 10, no. 7 (April 3, 2020): 2465. http://dx.doi.org/10.3390/app10072465.
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Single-channel singing voice separation has been considered a difficult task, as it requires predicting two different audio sources independently from mixed vocal and instrument sounds recorded by a single microphone. We propose a new singing voice separation approach based on the curriculum learning framework, in which learning is started with only easy examples and then task difficulty is gradually increased. In this study, we regard the data providing obviously dominant characteristics of a single source as an easy case and the other data as a difficult case. To quantify the dominance property between two sources, we define a dominance factor that determines a difficulty level according to relative intensity between vocal sound and instrument sound. If a given data is determined to provide obviously dominant characteristics of a single source according to the factor, it is regarded as an easy case; otherwise, it belongs to a difficult case. Early stages in the learning focus on easy cases, thus allowing rapidly learning overall characteristics of each source. On the other hand, later stages handle difficult cases, allowing more careful and sophisticated learning. In experiments conducted on three song datasets, the proposed approach demonstrated superior performance compared to the conventional approaches.
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Tarrant, Mark, Mary Carter, Sarah Gerard Dean, Rod Taylor, Fiona C. Warren, Anne Spencer, Jane Adamson, et al. "Singing for people with aphasia (SPA): results of a pilot feasibility randomised controlled trial of a group singing intervention investigating acceptability and feasibility." BMJ Open 11, no. 1 (January 2021): e040544. http://dx.doi.org/10.1136/bmjopen-2020-040544.
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ObjectivesPilot feasibility randomised controlled trial (RCT) for the singing groups for people with aphasia (SPA) intervention to assess: (1) the acceptability and feasibility of participant recruitment, randomisation and allocation concealment; (2) retention rates; (3) variance of continuous outcome measures; (4) outcome measure completion and participant burden; (5) fidelity of intervention delivery; (6) SPA intervention costs; (7) acceptability and feasibility of trial and intervention to participants and others involved.DesignA two-group, assessor-blinded, randomised controlled external pilot trial with parallel mixed methods process evaluation and economic evaluation.SettingThree community-based cohorts in the South-West of England.ParticipantsEligible participants with post-stroke aphasia were randomised 1:1 to SPA or control.InterventionThe manualised SPA intervention was delivered over 10 weekly singing group sessions, led by a music facilitator and assisted by an individual with post-stroke aphasia. The intervention was developed using the Information-Motivation-Behavioural skills model of behaviour change and targeted psychosocial outcomes. Control and intervention participants all received an aphasia information resource pack.Outcome measuresCollected at baseline, 3 and 6 months post-randomisation, candidate primary outcomes were measured (well-being, quality of life and social participation) as well as additional clinical outcomes. Feasibility, acceptability and process outcomes included recruitment and retention rates, and measurement burden; and trial experiences were explored in qualitative interviews.ResultsOf 87 individuals screened, 42 participants were recruited and 41 randomised (SPA=20, control=21); 36 participants (SPA=17, control=19) completed 3-month follow-up, 34 (SPA=18, control=16) completed 6-month follow-up. Recruitment and retention (83%) were acceptable for a definitive RCT, and participants did not find the study requirements burdensome. High fidelity of the intervention delivery was shown by high attendance rates and facilitator adherence to the manual, and participants found SPA acceptable. Sample size estimates for a definitive RCT and primary/secondary outcomes were identified.ConclusionsThe SPA pilot RCT fulfilled its objectives, and demonstrated that a definitive RCT of the intervention would be both feasible and acceptable.Trial registration numberNCT03076736.
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Yang, NaYoung, Rosemary Jenkins, Elizabeth Dubois, Harumi Quezada-Yamamoto, Helen Ward, and Cornelia Junghans. "Small music programs for mental health and well-being: an evaluation framework." Music and Medicine 13, no. 1 (January 23, 2021): 47–56. http://dx.doi.org/10.47513/mmd.v13i1.739.
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While there is growing interest in the intersection of music and health, current scientific literature in this field often lacks the rigor and strength of studies grounded in quantitative research. Also, a lack of framework to organize data decentralizes the information. The broad definition and subjective nature of music makes it difficult to design evaluations that would yield strong evidence to support the holistic benefits on well-being. This paper proposes a three-category framework to organize raw data to trace the interactions and interlinked nature of the effects of participating in group music activities. The proposed method was used to evaluate two choirs in the Royal Borough of Kensington and Chelsea (RBKC), UK: the Sing to Live, Live to Sing in 2016, a singing program based in community centers across RBKC, and the GLUE Sings program, an adolescent music-making and singing program piloted by the Tabernacle W11 in 2018 to increase community engagement and participation after the 2017 Grenfell Fire. Both programs were found to better the holistic well-being of their respective participants. While the framework is useful in these evaluations, future research would benefit even more through utilizing mixed methodologies and increasing collaboration amongst funders, researchers, and program managers.
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Reagon, Carly, Nichola Gale, Stephanie Enright, Mala Mann, and Robert van Deursen. "A mixed-method systematic review to investigate the effect of group singing on health related quality of life." Complementary Therapies in Medicine 27 (August 2016): 1–11. http://dx.doi.org/10.1016/j.ctim.2016.03.017.
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Moss, Hilary, and Jessica O’Donoghue. "An evaluation of workplace choir singing amongst Health Service staff in Ireland." Health Promotion International 35, no. 3 (May 27, 2019): 527–34. http://dx.doi.org/10.1093/heapro/daz044.
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Abstract This paper explores the well-being [‘well-being’ and ‘wellbeing’ are used interchangeably in the literature. Well-being is used in this paper (except in the reference list where exact wording is maintained)] benefits of participation in a workplace choir for health service staff. A mixed method study, this project combines quantitative measures of work engagement, perceived stress, resilience levels and work absences with qualitative interviews with choir participants. It is the first study of workplace choirs in Ireland and one of very few studies internationally that research health service staff choirs. There is some preliminary evidence of benefits that choir attendance may increase positive perception of workers’ mental health as well as effect depression rates. However, evidence is limited quantitatively and difficulties in measuring the health benefits of arts interventions are noted. Qualitative data, however, confirms previous study findings, namely that a workplace choir can promote social connectedness, enjoyment at work and staff engagement. Work place choir was also noted to appeal mainly to a limited demographic of work place staff and people with relatively positive health and well-being. Efforts must be made to engage staff from lower socio-economic backgrounds, diverse cultural backgrounds and male staff in work place health promotion activities, as these groups were found less likely to join a work place choir. Given the low cost and low risk of this activity, and the qualitative benefits reported, it is recommended to continue to develop and evaluate health service workplace choirs.
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Wang, Jingtao. "Exploration on the Artistic Value and Realization Path of the Nationalization of Bel Canto Singing." Advances in Higher Education 3, no. 3 (August 30, 2019): 112. http://dx.doi.org/10.18686/ahe.v3i3.1479.
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<p>With the progress of the society, the international music culture is widely spread, and people's attention to the multicultural gradually increased, so that people love the music with the characteristics of the times, and their demand for different style of music is higher and higher. Since bel canto music was introduced into the Chinese music industry, it has been fully integrated into the folk music. In the process of integration, it just applies the correct scientific pronunciation to the traditional music sound system, making the folk music gradually mature. In particular, the mixed resonance singing method is applied to traditional music, and the translucency of sound and the extensibility of sound range are used to make the sound louder and more transparent, thus ensuring the richness of timbre. This paper mainly analyzes and explores the artistic value and realization path of bel canto's nationalization.</p>
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Sorjonen, Jorma. "Mixed Singing and Interspecific Territoriality - Consequences of Secondary Contact of Two Ecologically and Morphologically Similar Nightingale Species in Europe." Ornis Scandinavica 17, no. 1 (March 1986): 53. http://dx.doi.org/10.2307/3676753.
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Graziano, John. "The Early Life and Career of the "Black Patti": The Odyssey of an African American Singer in the Late Nineteenth Century." Journal of the American Musicological Society 53, no. 3 (2000): 543–96. http://dx.doi.org/10.2307/831938.
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The early career of the African American singer Matilda Sissieretta Jones (1868-1933), known as the "Black Patti," was unique in nineteenth-century America. Reviewers gave high praise to her singing, and she attracted large mixed-race audiences to her concerts across the country. Her fame was such that, during the early 1890s, she appeared as the star of several companies in which she was the only black performer. This article documents her early life in Portsmouth, Virginia, and Providence, Rhode Island; her two tours, in 1888 and 1890, to the Caribbean and South America; and her varied concert appearances in the United States and Europe up to the formation of the Black Patti Troubadours in the fall of 1896.
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Heo, Woon-Haeng, Hyemi Kim, and Oh-Wook Kwon. "Source Separation Using Dilated Time-Frequency DenseNet for Music Identification in Broadcast Contents." Applied Sciences 10, no. 5 (March 3, 2020): 1727. http://dx.doi.org/10.3390/app10051727.
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We propose a source separation architecture using dilated time-frequency DenseNet for background music identification of broadcast content. We apply source separation techniques to the mixed signals of music and speech. For the source separation purpose, we propose a new architecture to add a time-frequency dilated convolution to the conventional DenseNet in order to effectively increase the receptive field in the source separation scheme. In addition, we apply different convolutions to each frequency band of the spectrogram in order to reflect the different frequency characteristics of the low- and high-frequency bands. To verify the performance of the proposed architecture, we perform singing-voice separation and music-identification experiments. As a result, we confirm that the proposed architecture produces the best performance in both experiments because it uses the dilated convolution to reflect wide contextual information.
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Swift, L. A. "Mixed choruses and marriage songs: a new interpretation of the third stasimon of the Hippolytos." Journal of Hellenic Studies 126 (November 2006): 125–40. http://dx.doi.org/10.1017/s0075426900007692.
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AbstractThis article uses evidence drawn from hymenaios and wedding ritual to reach a new interpretation of the third stasimon of the Hippolytos, and its rôle in the play. There is longstanding contention about whether a second (male) chorus participates in the ode, singing in antiphony with the existing tragic chorus. Even scholars who accept that a second chorus is present have tended to regard it as an aberration which needs to be explained away, rather than a deliberate choice with poetic significance. I discuss the cultural implications of such a chorus, examining our evidence for real-life mixed choruses, and then applying this to the ode itself. The evidence for mixed choruses suggests they are strongly associated with marriage. Looking more closely at the language and imagery of the ode, there are allusions to the topoi of wedding songs and ritual running through it. The ode can use these as a device to trigger deep-rooted responses and associations from the audience, as these motifs are drawn from the cultural tradition which the audience shares. The topoi tie in with the theme of marriage and sexuality within the Hippolytos as a whole. But while their usual purpose is to set up conventional models and ways of thinking, the way they are deployed in the ode in fact serves to undermine these models, and to put a darker spin on the norms of sexual behaviour. This strand of imagery therefore also provides a filter for interpreting Hippolytos' own attitude towards sexuality, and a guide to how we are meant to respond to it.
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Acquah, Emmanuel Obed. "Choral Singing and Wellbeing: Findings from a Survey of the Mixed-Chorus Experience from Music Students of the University of Education Winneba, Ghana." Legon Journal of the Humanities 27, no. 2 (June 19, 2017): 1. http://dx.doi.org/10.4314/ljh.v27i2.1.
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Roseen, Eric J., Oscar Cornelio-Flores, Chelsey Lemaster, Maria Hernandez, Calvin Fong, Kirsten Resnick, Jon Wardle, Suzanne Hanser, and Robert Saper. "Inpatient Massage Therapy Versus Music Therapy Versus Usual Care: A Mixed-methods Feasibility Randomized Controlled Trial." Global Advances in Health and Medicine 6 (January 2017): 2164957X1773581. http://dx.doi.org/10.1177/2164957x17735816.
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Background Little is known about the feasibility of providing massage or music therapy to medical inpatients at urban safety-net hospitals or the impact these treatments may have on patient experience. Objective To determine the feasibility of providing massage and music therapy to medical inpatients and to assess the impact of these interventions on patient experience. Design Single-center 3-arm feasibility randomized controlled trial. Setting Urban academic safety-net hospital. Patients Adult inpatients on the Family Medicine ward. Interventions Massage therapy consisted of a standardized protocol adapted from a previous perioperative study. Music therapy involved a preference assessment, personalized compact disc, music-facilitated coping, singing/playing music, and/or songwriting. Credentialed therapists provided the interventions. Measurements Patient experience was measured with the Hospital Consumer Assessment of Healthcare Providers and Systems (HCAHPS) within 7 days of discharge. We compared the proportion of patients in each study arm reporting “top box” scores for the following a priori HCAHPS domains: pain management, recommendation of hospital, and overall hospital rating. Responses to additional open-ended postdischarge questions were transcribed, coded independently, and analyzed for common themes. Results From July to December 2014, 90 medical inpatients were enrolled; postdischarge data were collected on 68 (76%) medical inpatients. Participants were 70% females, 43% non-Hispanic black, and 23% Hispanic. No differences between groups were observed on HCAHPS. The qualitative analysis found that massage and music therapy were associated with improved overall hospital experience, pain management, and connectedness to the massage or music therapist. Conclusions Providing music and massage therapy in an urban safety-net inpatient setting was feasible. There was no quantitative impact on HCAHPS. Qualitative findings suggest benefits related to an improved hospital experience, pain management, and connectedness to the massage or music therapist.
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Porter, Laraine. "OK for Sound? The Reception of the Talkies in Britain, 1928–32." Journal of British Cinema and Television 17, no. 2 (April 2020): 212–32. http://dx.doi.org/10.3366/jbctv.2020.0520.
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The arrival of the talkies in Britain evoked mixed responses. While popular audiences enthusiastically embraced Hollywood musicals like the Al Jolson hit The Singing Fool (1928), the literati were often scathing of ‘mechanical’ music and dialogue. Hollywood dictated the speed of change and economics and public demand soon forced the British film industry to convert to sound, but critics, intellectuals, educators, artists, literary figures and musicians were openly hostile to the new art form, opening a chasm between popular taste and intellectual response. The cacophony of dissenting voices was joined by various official reports from bodies like the Trades Union Congress and the Federation of British Industries who predicted the deleterious effect of the talkies on everything from British jobs in manufacturing to diminishing Britain's influence across its colonies and dominions. This article will map these discourses and examine attitudes to the introduction of the talkies in Britain between 1929 and 1932 as the new technology gathered momentum across the UK and film criticism developed as a distinct discipline.
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Moussard, Aline, Emmanuel Bigand, Sylvie Belleville, and Isabelle Peretz. "Music as an Aid to Learn New Verbal Information in Alzheimer's Disease." Music Perception 29, no. 5 (June 1, 2012): 521–31. http://dx.doi.org/10.1525/mp.2012.29.5.521.
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the goal of this study is to assess whether new lyrics are better learned and memorized when presented in a spoken or sung form. In normal young adults, mixed results have been reported, with studies showing a positive, a negative, or a null effect of singing on verbal recall. Several factors can account for this limited aid of music. First, the familiarity of the melody might play a role. Second, successive learning sessions and long-term retention intervals may be necessary. These two factors are considered here in a case study of a participant who suffers from mild Alzheimer's disease. As expected, initial learning of new lyrics showed better performance for the spoken condition over the sung version unless the lyrics are learned on a familiar melody. After repeated learning episodes, learning sung lyrics – even on an unfamiliar melody – led to better retention of words. Thus, music may provide a more robust aid for consolidation in memory than spoken lyrics alone. The therapeutic implications of these results are discussed.
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Liebert, E. A. "German dialects of the Tomsk and Novosibirsk regions (based on the open online archive of German dialects in Siberia)." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 275–87. http://dx.doi.org/10.17223/18137083/72/21.
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The paper interprets the data from the open online archive of German dialects (https:// www.tomdeutsche.ru/dialects/). This work was started ten years ago in Tomsk by Prof. Z. M. Bogoslovskaya and her students. The archive provides the records of the native dialects and folklore of Russian Germans whose speech originates from different mother tongues and has different degrees of preservation. Archival materials were collected on the territory of Tomsk and Novosibirsk regions during linguistic expeditions of recent years. Many dialects of the upper German and middle German types appear to be mixed, containing (primarily in phonological terms) the features of different dialect systems, mixed as early as last century. These are secondary language formations that are exclusively spoken by older people. It is not the case in the German-Mennonite dialect (Plautdietsch), which is based on the Low German language substrate. This dialect has a higher degree of preservation and is spoken not only by older people but also by young people and children. The genre component of the collected samples of folklore and religious practices does not show much diversity. The archive contains only a few samples of songs, ditties, and jokes that old speakers can still perform in their native dialect. A special role is played by literary German – it is the language of liturgical practices, of prayers and spiritual singing. The paper presents a number of dialect material transcriptions.
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Azul, David, and Christiane Neuschaefer-Rube. "Voice Function in Gender-Diverse People Assigned Female at Birth: Results From a Participant-Centered Mixed-Methods Study and Implications for Clinical Practice." Journal of Speech, Language, and Hearing Research 62, no. 9 (September 20, 2019): 3320–38. http://dx.doi.org/10.1044/2019_jslhr-s-19-0063.
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Purpose The purpose of this study was to investigate whether there were indications of restrictions to voice function in our group of gender-diverse people assigned female at birth (GD people AFAB ) and whether the participants would benefit from professional voice support. Method We conducted a descriptive, cross-sectional, mixed-methods study combining qualitative content analyses of semistructured interviews, phoniatric examinations, and acoustical voice analyses. Fourteen German-speaking GD people AFAB participated. The data were examined for indications of restrictions to voice function according to the results of participant self-evaluation, auditory-perceptual analyses, laryngostroboscopic examinations, and acoustical measurements. Results All participants presented with indications of restrictions to voice function, with vocal power, voice quality, singing voice, laryngeal function, pitch range/variability, and vocal control having found to be most frequently affected (in over 60% of participants). Sixty-four percent of participants expressed an interest in professional voice support, with clinicians and researchers recommending professional voice support for 67% and 71%, respectively. Conclusions GD people AFAB may experience restrictions to a range of domains of voice function and request or be recommended to participate in professional voice support. Research into this area needs to be intensified so that a more in-depth understanding of the potential voice problems GD people AFAB might experience can be produced and members of this group can be provided with more comprehensive, evidence-based, and high-quality professional support if and when they need it.
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Alagha, Joseph. "Hizbullah’s Post-Islamist Trends in the Performing Arts." Religions 11, no. 12 (December 2, 2020): 645. http://dx.doi.org/10.3390/rel11120645.
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This article outlines Hizbullah’s shift to post-Islamism and its various cultural activities in Lebanese society that underpin this shift. The Party’s involvement in these activities is integrated in current research on post-Islamism and its various social, political, and cultural manifestations. In its Islamist stage, Hizbullah anathematized the Lebanese political system and state institutions. In its post-Islamist phase, Hizbullah became pragmatic by embarking on a policy of opening-up (infitah) in politics along with cultural and social practices. This article studies Hizbullah’s popular culture and lifestyles by focusing on its purposeful art or ‘resistance art’, which is a cultural resistance against oppression, domestic deprivation, disenfranchisement, and repression, as well as foreign aggression, invasion, occupation, and subjugation. Hizbullah exploits the concepts of cultural citizenship and cultural politics to encourage, in mixed gender spaces, purposeful performing arts: music, dancing, singing, revolutionary theater, and satire. Hizbullah appears to equate modernity with European art forms rather than indigenous forms. In its ideology and politics, Hizbullah fluctuated between Islamism and post-Islamism. While in its performing arts, Hizbullah conveyed a post-Islamist face legitimized by the principle of maslaha (public interest).
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Trudell, Scott A. "Shakespeare's Notation: Writing Sound in Much Ado about Nothing." PMLA/Publications of the Modern Language Association of America 135, no. 2 (March 2020): 370–77. http://dx.doi.org/10.1632/pmla.2020.135.2.370.
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In Act 5 of Much Ado About Nothing, Shakespeare Dramatizes Two Consecutive Episodes in Which Writing Poetry is Mixed suggestively with singing, recalling, or imitating music. The first comes when Benedick sings or speaks several lines from the popular ballad “The God of Love.” The second is Claudio's musical rite of contrition for slandering Hero and (he believes) causing her death. In both cases, poetry is produced through writing practices that are interwoven with song. Indeed, Shakespeare yokes literacy and aurality together in the same keyword, noting, which referred both to writing and to musical notes, and which (as scholars have long observed) is how nothing was pronounced in early modern English. Benedick seeks poetic inspiration from the notes of balladry, then bemoans his inability to versify in rhyme. Claudio not only sees that his epitaph is notated, read aloud, and hung on the tomb; he calls for a corresponding hymn to be sung. Taken together, the scenes attune us to forms of poetic making that are irreducible to writing or language—those overdetermined categories in literary studies that have enabled our neglect of the role that nonverbal sound has played in poetic composition.
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Mcreynolds-Pérez, Julia, and Michael S. O’Brien. "Doing Murga, Undoing Gender: Feminist Carnival in Argentina." Gender & Society 34, no. 3 (May 26, 2020): 413–36. http://dx.doi.org/10.1177/0891243220916456.
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Murga porteña, the satirical street theatre tradition associated with Carnival in Buenos Aires, Argentina, is historically a strongly patriarchal institution. Prominent roles such as reciting poetry, singing, and playing percussion instruments have been reserved exclusively for men. As the feminist movement in Argentina has grown in visibility and importance in recent years, feminist murga participants disrupted these patriarchal patterns. Women murga performers (murgueras) have begun to use murga as a space for feminist practice, both by creating women-only organizations to learn murga skills and by bringing feminist perspectives into mixed-gender murgas. Murgueras are engaged in a multifaceted feminist project that disrupts gendered patterns by building women-only spaces to develop competence in the performance of historically masculine skills such as percussion. Drawing on ethnographic participant-observation of murga events as well as in-depth interviews with key organizers at the confluence of murga and feminism, we explore the ways in which murga has provided the spaces and strategies for collective feminist engagement. Murgas have become important social institutions in which women are “undoing gender” and disseminating feminist perspectives, even as most members join them not as explicitly feminist institutions.
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Waas, Joseph R. "Song pitch – habitat relationships in white-throated sparrows: cracks in acoustic windows?" Canadian Journal of Zoology 66, no. 11 (November 1, 1988): 2578–81. http://dx.doi.org/10.1139/z88-379.
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I compared the hypothesis that birds singing from song posts above 1–2 m should sing in as low a pitch as possible regardless of habitat type, with the traditional "acoustic window" hypothesis which argues that selection favours an inverse relationship between song pitch and foliage density. Songs of white-throated sparrows, Zonotrichia albicollis, were obtained from four habitats which could be arranged in a gradient of foliage density. The pitch of these songs was found to be inversely related to the density of foliage in the habitat occupied, consistent with the acoustic window hypothesis. Significant pitch variation occurred not only between open and forest habitats, but also between mixed and boreal forest habitats. I distinguish between hypotheses that could explain support for the traditional hypothesis despite recent data suggesting that low pitched sound travels best regardless of habitat at song post heights used by white-throated sparrows (5–10 m). I conclude that the acoustic window model may make the right prediction for the wrong reason in white-throated sparrows. I emphasize the need to define and test the assumptions of models before the models themselves are accepted on the basis of support for their predictions.
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Kobryn, Nataliia. "The activity of the singing society «Lutna» (based on the publications of the daily «Dilo» in the 1880s)." Proceedings of Research and Scientific Institute for Periodicals, no. 9(27) (2019): 181–97. http://dx.doi.org/10.37222/2524-0331-2019-9(27)-10.
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The paper seeks to develop new avenues for the study of the singing society «Lutna» (based in Lviv, late 19th century). There were several music associations with differing objectives in musical activities in the 80s of the 19th century in Lviv. Specifically, they were the Galician Musical Society, the Association «Harmony» and the Choir «Lutna». None of them was specifically the Ukrainian institution, but many Ukrainians were the members of the «Lutna». Therefore, the «Lutna» had the repertoire of the Ukrainian musical works and took part in the nationwide musical life of Ukrainians (specifically, in Lviv). The paper aims to study the participation of the «Lutna» in the Ukrainian concerts at the 1880s in Lviv as well as to outline the works of Ukrainian composers and its repertoire. Our research is based on the daily newspaper «Dilo». We used chronological, historiography, comparative and analytical methods to explore the content of publications concerning the «Lutna» and to form the concert chronicle of the choir among the Ukrainian residents of Lviv. Our findings show that the choral society «Lutna» was founded as the «Men Choir of Lviv» to be based on the multinational principles in 1881. The first concert of the renewed society as the mixed choir «Lutna» was held in 1883. The critics of «Dilo» followed the Choir at Ukrainian concerts, analyzed their performing of the Ukrainian music and observed every change of its repertoire. About 20 Ukrainians were indicated in the «Lutna» registry documents spanning 1880s, specifically, A. Vakhnianyn, M. Vitoshynsky, S. Fedak, V. Shukhevych and others. Traditionally, the «Lutna» with S. Cetvinsky’s con ducting participated at the Shevchenko concerts as well as the other national cultural events during the 1880s. The society was the most active in Ukrainian music life at its early years. The musical works by A. Vakhnianyn, M. Verbytskyi, S. Vorobkevych, M. Lysenko, P. Nishchyn skyi and others were in the repertoire of the «Lutna». The «Lutna»’s performing of M. Lysenko’s choral poem «Zapovit» and his cantata «Biut Porohy» and P. Nishchynskyi’s «Zakuvala ta syva zozulia» were the most significant art events of that time. We conclude that the annual concerts of the «Lutna» along with other Ukrainian organizations and the large Ukrainian repertoire of the choir had a significant influence on the revival of the Ukrainian musical life in Galicia at the end of the 19th century. Keywords: Ukrainian concert life, choir society «Lutna», Ukrainian musical critics, the newspaper «Dilo» («Work»), Lviv.
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MacKay, M. M., B. Würsig, C. E. Bacon, and J. D. Selwyn. "North Atlantic humpback whale (Megaptera novaeangliae) hotspots defined by bathymetric features off western Puerto Rico." Canadian Journal of Zoology 94, no. 7 (July 2016): 517–27. http://dx.doi.org/10.1139/cjz-2015-0198.
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North Atlantic humpback whales (Megaptera novaeangliae (Borowski, 1781)) are increasing in number, necessitating current data from winter areas for assessing potential interactions with humans. Occurrence patterns of humpback whales wintering off Puerto Rico were investigated to predict where whales aggregate in nearshore areas. Here we describe the relationship between group associations of humpback whales and bathymetric features off western Puerto Rico. Data were collected from 2011 to 2014. Effort consisted of 240.9 vessel h, 13.0 aerial h, and 303.6 h of land observations conducted over 165 days. A total of 197 humpback whale groups were observed with n = 331 individuals: 91 (46.2%) singletons, 67 (34%) dyads, 17 (8.6%) mother–calf pairs, 8 (4.1%) competitive groups, 8 (4.1%) mother–calf–escort groups, and 6 (3.1%) mixed-species associations. A linear regression model supported that group composition correlated with hotspots associated with four bathymetric features. Dyads and competitive groups were dispersed among features in deeper water. Singletons were observed farther from a shelf edge, whereas singing males were closely associated with a shelf edge. Mother–calf pairs occurred nearshore in shallow water; however, when mother–calf pairs were sighted with an escort, they were offshore. This study is especially important ahead of possible removal from the Endangered Species list.
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Van Minh, Tran. "MICROPROPAGATION OF CHUKRASIA TABULARIS A. FUSS BY SOMATIC EMBRYOGENESIS TECHNIQUE." CBU International Conference Proceedings 7 (September 30, 2019): 960–68. http://dx.doi.org/10.12955/cbup.v7.1485.
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Chukrasia tabularis belongs to the Meliaceae family, which is native to many Asian countries, including Vietnam. It is a precious wood species with beautiful wood grain, light-loving tree with evergreen leaves, widely grown in many places Cameroon, Costa Rica, Nigeria, Puerto Rico, South Africa, United States, China ... for many different purposes: planting economic forests, alternative forests, protective forest belts and urban greenery. In Vietnam, Chukrasia tabularis are usually distributed naturally in the northern, central highland and southern provinces. From Nghe Tinh onwards, there are many varieties such as Dong Nai Chukrasia tabularis (Chukrasia tabularis var. Dongnaiensis), Con Dao Chukrasia tabularis (C. tabularis sp.), small fruit Chukrasia tabularis (C. tabularis var. Microcarpa), and hairy Chukrasia tabularis (C. tabularis var. Velutina). Chukrasia tabularis often grow on well-drained soil, at an altitude of 300-800 m.asl, the annual average temperature is from 2-43oC, rainfall is 1,800-3,800 mm. Singing and development occurs in high limestone mountains, meaty soil, mixed meat, nutrient poor sandy soil at an altitude of less than 100 m. The tree is regenerated by seed but grows slowly and with high genetic diversity. Techniques of somatic embryo culture are applied to preserve and develop Chukrasia tabularis plants with urgent needs.
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Van Der Wildt, Anouk, Piet Van Avermaet, and Mieke Van Houtte. "Do birds singing the same song flock together? A mixed-method study on language as a tool for changing social homophily in primary schools in Flanders (Belgium)." International Journal of Intercultural Relations 49 (November 2015): 168–82. http://dx.doi.org/10.1016/j.ijintrel.2015.10.002.
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Kondrashkova, Lada. "Singing manuscripts of mixed style of the late 17th — early 18th centuries: the problem of interaction between partsong and non-linear polyphony at the turn of the epochs." St.Tikhons' University Review. Series V. Christian Art 30 (June 30, 2018): 96–122. http://dx.doi.org/10.15382/sturv201830.96-122.
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