Academic literature on the topic 'Vocal range'
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Journal articles on the topic "Vocal range"
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Yen, You-Zhen, Chia-Hsin Wu, and Roger W. Chan. "A Mandarin Chinese Reading Passage for Eliciting Significant Vocal Range Variations." Journal of Speech, Language, and Hearing Research 64, no. 4 (April 14, 2021): 1117–35. http://dx.doi.org/10.1044/2020_jslhr-20-00424.
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Purpose There is a lack of standardized Mandarin reading text material that could potentially elicit significant variations in fundamental frequency (F0) and in vocal intensity for clinical voice evaluation. In this study, a phonetically balanced “Three Bears Passage” was developed based on the classical “Goldilocks” story for this purpose. The hypothesis was that the vocal range (F0 range and Intensity range) elicited while reading aloud the passage could be similar to that of the voice range profile (VRP) obtained with sustained vowel production and significantly different from that while reading an existing standard Mandarin passage. Method One hundred twenty young adults (60 men and 60 women, aged 25.22 ± 3.74 years) without vocal pathologies and vocal training participated in the study. Vocal range data, including F0-related measures and intensity-related measures, were obtained with Praat in order to construct VRPs for the sustained /a/ and to construct speech range profiles for passage reading. Results F0 range and intensity range for the new passage were significantly larger than those for the existing Mandarin passage for both male and female participants. In particular, the F0 range for the passage was not significantly different from that of the VRP for male participants. Conclusions These findings suggested that the new passage could allow individuals without vocal training to demonstrate a large vocal range in both F0 and vocal intensity, in a passage reading setting in a relatively short time. Further studies should be pursued with the passage to investigate the vocal range and vocal potential of individuals with voice disorders.
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Tobolski, Erica. "Essay Opposite Gender Monologue: Expanding Vocal Range." Voice and Speech Review 5, no. 1 (January 2007): 33–37. http://dx.doi.org/10.1080/23268263.2007.10769738.
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Ghosh, Sujan, Indranil Chatterjee, Piyali Kundu, Susmi Pani, Suman Kumar, and Joyanta Chandra Mandal. "Impact of hydration on vocal loading using phonetogram measures." International Journal of Otorhinolaryngology and Head and Neck Surgery 7, no. 8 (July 23, 2021): 1317. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20212900.
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<p><strong>Background:</strong> Vocal loading is a phenomenon that affects the vocal folds and voice parameters. Prolonged vocal loading may cause vocal fatigue. Hydration is one of the easiest precautions to reduce the effect of vocal loading. Voice range profile is an analysis of a participant’s vocal intensity and fundamental frequency ranges. Speech range profile is a graphical display of frequency intensity interactions occurring during functional speech activity. Phonetogram software can analyse VRP and SRP.</p><p><strong>Methods:</strong> Total sixty normophonic participants (thirty male and thirty female) were included in this study. Phonetogram, version 4.40 by Tiger DRS, software used to measure the voice range profile and speech range profile. For VRP, participants were asked to produce vowel /a/ and a passage reading task was given for SRP measurement.</p><p><strong>Results:</strong> All sample recording were done at pre vocal loading task, VLT and after hydration. Parameter that were used to measure the effects were Fo-range, semitone, max-F, min-F, SPL range, max-I, min-I, area (dB). Result showed that after VLT all other parameters like Fo-range, semitone, max-F, min-F, SPL range, max-I, min-I, area (dB) in VRP and SRP were reduced except min-F VRP in male, min-I VRP and min-I SRP in both male and female participants. After hydration all other parameters were improved except max-F VRP and min-F VRP in female, max-I VRP, min-F VRP and area VRP.</p><p><strong>Conclusions:</strong> This study concluded that vocal loading has negative impact on vocal fold tissue and mass. </p>
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Schwartz, Sandra M. "Voice Range Profiles of Middle School and High School Choral Directors." Journal of Research in Music Education 56, no. 4 (January 2009): 293–309. http://dx.doi.org/10.1177/0022429408328670.
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Vocal demands of teaching are significant, and this challenge is compounded for choral directors who depend on the voice for communicating information or demonstrating music concepts. The purpose of this study is to examine the frequency and intensity of middle and high school choral directors' voices and to compare choral directors' voices with vocally trained and untrained singers and trained healthy and dysphonic voices using a voice range profile. Results indicated that (a) choral directors' vocal intensity range was significantly smaller than both healthy and dysphonic trained voices, (b) choral directors' minimum intensity was significantly higher than healthy and dysphonic trained voices, and (c) vocal frequency ranges of choral directors were reduced as compared with trained and untrained singers and healthy trained voices. The results of this study provide evidence that choral directors are at risk for developing vocal problems. Preservice vocal health training is recommended to reduce voice problems among choral directors.
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Subbotina, M. V., and I. B. Zabbarova. "Effect of voice fold length on voice range in novice vocalists." Russian Otorhinolaryngology 19, no. 2 (2021): 43–49. http://dx.doi.org/10.18692/1810-4800-2021-2-43-49.
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The aim of the study was to determine the effect of vocal cord length on vocal range in aspiring vocalists. On the basis of the Frederic Chopin Irkutsk Regional College of Music. 141 student vocalists (18 ± 3.6 years, 122 girls) underwent indirect laryngoscopy, the length of the vocal folds was measured using an ultrasound scan of the larynx using an Aloka SSD 500 apparatus with a 5 MHz sensor during breathing and during phonation of the lowest and highest tones, measured weight and height, the voice range in Hz and the number of semitones were assessed. Spearman’s correlation coefficient was calculated, the significance of differences according to the U-Mann – Whitney and Wilcoxon criteria was calculated using the Statistica 10.0 software (reliable data at p <0.05*). Results. Spearman’s correlation coefficient was: between the length of the vocal folds and weight + 0.52*, height + 0.43*, gender + 0.45* (female 1, male 2), the lowest tone –0.34*, between height and the lowest tone is –0.23*. The range of the voice in arbitrary units and Hz correlated weakly with the length of the folds during breathing (-0.18/–0.24*, respectively), with the lowest pitch (+ 0.42/+ 0.59 *), but there was a high correlation with the highest (+ 0.88/+ 0.99*). The latter depended on: the length of the vocal folds at rest (–0.32*), weight (–0.25*), gender (–0.45*), the length of the folds during high-pitched phonation (–0.6*). Differences in the length of the vocal folds during breathing in female vocalists with different vocal ranges were not significant, while in males and females (soprano) they were significant. The length of the fold during phonation in all types of voices was shorter than during breathing. The voice range of novice vocalists was increased mainly by high tones in parallel with the shortening of folds during phonation, which could be measured using ultrasound scanning and which is achieved by training.
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Nurfarhana Mohd Arif, Siti, Mawaddah Azman, Sharifa Ezat Wan Puteh, Nur Shahrina Mohd Zawawi, Abdullah Sani, and Marina Mat Baki. "The Reliability of Vocal Intensity and Pitch Range in Unilateral Vocal Fold Palsy Patients." Acta Scientific Otolaryngology 3, no. 5 (April 28, 2021): 94–100. http://dx.doi.org/10.31080/asol.2021.03.0229.
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Garnier, Maëva, Nathalie Henrich, John Smith, and Joe Wolfe. "Vocal tract adjustments in the high soprano range." Journal of the Acoustical Society of America 127, no. 6 (June 2010): 3771–80. http://dx.doi.org/10.1121/1.3419907.
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Winholtz, William S., and Lorraine Olson Ramig. "Vocal Tremor Analysis With the Vocal Demodulator." Journal of Speech, Language, and Hearing Research 35, no. 3 (June 1992): 562–73. http://dx.doi.org/10.1044/jshr.3503.562.
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Acoustic analysis of vocal tremor has the potential to make significant quantitative and diagnostic contributions to the study of vocal disorders. This paper presents a new device for analysis of vocal tremor. The Vocal Demodulator produces amplitude- and frequency-demodulated outputs and measures the frequency and level (percent) of low-frequency tremor components in sustained phonation. A standard microphone is used to transduce the voice signal for input to the demodulator. The input fundamental frequency (F o ) range is 70–1200 Hz, and frequency response of the amplitude and frequency demodulation is 2.5–25 Hz. Five parameters are displayed in real time: F o , amplitude-modulation frequency, amplitude-modulation level, frequency-modulation frequency, and frequency-modulation level. Validation, calibration, and reliability data from synthesized test signals with modulation, as well as phonation from subjects with vocal tremor, subjects producing vibrato, and subjects with normal voice are presented. Research and clinical applications of this device are suggested.
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Heylen, Louis, Floris L. Wuyts, Fons Mertens, Marc De Bodt, Jos Pattyn, Christophe Croux, and Paul H. Van de Heyning. "Evaluation of the Vocal Performance of Children Using a Voice Range Profile Index." Journal of Speech, Language, and Hearing Research 41, no. 2 (April 1998): 232–38. http://dx.doi.org/10.1044/jslhr.4102.232.
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Voice range profiles (VRPs) were analyzed according to 11 frequency, intensity, and morphological characteristics for 94 normal children and 136 children with vocal fold pathologies (ages 6–11 years). Normative data are presented showing marked differences between the groups. Using a specific combination of the child's age, the highest vocal fundamental frequency, the lowest intensity, and the slope of the upper VRP contour, a Voice Range Profile Index for Children (VRPIc) may be constructed using discriminant analysis. It is shown how the VRPIc can be used to screen children for vocal disorder or to quantitatively assess the effectiveness of voice treatment. Since the group means of the VRPIc for healthy and dysphonic children are scaled to +10 and –10, respectively, the VRPIc enables the clinician to rate a child's vocal performance with reference to healthy and dysphonic children in general. The sensitivity and specificity of this method was found to be 90% and 83%, respectively.
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Chinn, Beverly Johnson. "Vocal Self-Identification Singing Style, and Singing Range in Relationship to a Measure of Cultural Mistrust in African-American Adolescent Females." Journal of Research in Music Education 45, no. 4 (December 1997): 636–49. http://dx.doi.org/10.2307/3345428.
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The purpose of this study was to determine the relationship between high or low cultural mistrust and the vocal characteristics of African-American adolescent females (N = 44). The vocal characteristics were vocal self identification, singing style, and singing range. The subjects were assigned to high or low cultural mistrust groups based on scores on the Cultural Mistrust Inventory. A researcher-devised vocal self-identification survey provided information about the subjects' vocal self-concepts and acceptance of vocal models. Subjects sang “America” in a key and style of choice for the singing-style measurement. The performances were analyzed for eight style characteristics: bends, glides, breathiness, hoarseness, raspiness, dips, hard attacks, and emphasis of chest voice. Results indicated statistically significant differences between two groups on each vocal characteristic. The high-mistrust group demonstrated more characteristics associated with the African-American culture than did the low-mistrust group.
Dissertations / Theses on the topic "Vocal range"
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Harris, Lee Davis. "A Study of Intensity Control in Males with Developing Voices: Implications for Pitch Range and Tessitura." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277974/.
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Research on voice change in males has generally fallen into two categories: music education studies of changes in the singing voice and speech studies of changes in the speaking voice. These studies rarely consider differences in the dynamic ability of male singers at different stages of vocal development. The concept of tessitura, a portion of the vocal range in which the singer sounds best, is referred to in the literature on vocal music, but the means for identifying its size and location within the range have not been consistently specified. Tessitura appears to be a portion of the range which is most controllable in terms of dynamics and agility and is optimal in tonal quality. This study used the phonetograph to investigate differences in measures of intensity control between pre-pubertal, pubertal (changing) and post-pubertal voices in 48 males aged 9 to 18 years old. These intensity measures were compared to ratings of vocal effort from a panel of 4 music educators in order to determine if tessitura could be identified from acoustic and perceptual evidence of an optimum vocal area.
Results of the study were: 1) post-pubertal voices demonstrated greater control of vocal intensity as revealed in lower mean minimum and comfortable intensity measures, higher overall maximum intensity measures and a larger minimum-to-maximum intensity range; 2) intensity measures for pubertal voices were similar to those observed in pre-pubertal voices, contrary to trends suggested in the literature on voice change; 3) the Greatest Dynamic Range (GDR) on the phonetograph, indicating the range in which singers had the most dynamic control, was smaller than the range in which the singers were judged to sound best; 4) tessitura originated in the lower portion of the vocal range, around the location of mean speaking fundamental frequency. Although registers were not specifically investigated, tessitura appeared to be primarily related to modal register in singers who had completed voice change.
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Mouterde, Solveig. "Long-range discrimination of individual vocal signatures by a songbird : from propagation constraints to neural substrate." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET4012/document.
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L'un des plus grands défis posés par la communication est que l'information codée par l'émetteur est toujours modifiée avant d'atteindre le récepteur, et que celui-ci doit traiter cette information altérée afin de recouvrer le message. Ceci est particulièrement vrai pour la communication acoustique, où la transmission du son dans l'environnement est une source majeure de dégradation du signal, ce qui diminue l'intensité du signal relatif au bruit. La question de savoir comment les animaux transmettent l'information malgré ces conditions contraignantes a été l'objet de nombreuses études, portant soit sur l'émetteur soit sur le récepteur. Cependant, une recherche plus intégrée sur l'analyse de scènes auditives est nécessaire pour aborder cette tâche dans toute sa complexité. Le but de ma recherche était d'utiliser une approche transversale afin d'étudier comment les oiseaux s'adaptent aux contraintes de la communication à longue distance, en examinant le codage de l'information au niveau de l'émetteur, les dégradations du signal acoustiques dues à la propagation, et la discrimination de cette information dégradée par le récepteur, au niveau comportemental comme au niveau neuronal. J'ai basé mon travail sur l'idée de prendre en compte les problèmes réellement rencontrés par les animaux dans leur environnement naturel, et d'utiliser des stimuli reflétant la pertinence biologique des problèmes posés à ces animaux. J'ai choisi de me focaliser sur l'information d'identité individuelle contenue dans le cri de distance des diamants mandarins (Taeniopygia guttata) et d'examiner comment la signature vocale individuelle est codée, dégradée, puis discriminée et décodée, depuis l'émetteur jusqu'au récepteur. Cette étude montre que la signature individuelle des diamants mandarins est très résistante à la propagation, et que les paramètres acoustiques les plus individualisés varient selon la distance considérée. En testant des femelles dans les expériences de conditionnement opérant, j'ai pu montrer que celles-ci sont expertes pour discriminer entre les signature vocales dégradées de deux mâles, et qu'elles peuvent s'améliorer en s'entraînant. Enfin, j'ai montré que cette capacité de discrimination impressionnante existe aussi au niveau neuronal : nous avons montré l'existence d'une population de neurones pouvant discriminer des voix individuelles à différent degrés de dégradation, sans entrainement préalable. Ce niveau de traitement évolué, dans le cortex auditif primaire, ouvre la voie à de nouvelles recherches, à l'interface entre le traitement neuronal de l'information et le comportementIn communication systems, one of the biggest challenges is that the information encoded by the emitter is always modified before reaching the receiver, who has to process this altered information in order to recover the intended message. In acoustic communication particularly, the transmission of sound through the environment is a major source of signal degradation, caused by attenuation, absorption and reflections, all of which lead to decreases in the signal relative to the background noise. How animals deal with the need for exchanging information in spite of constraining conditions has been the subject of many studies either at the emitter or at the receiver's levels. However, a more integrated research about auditory scene analysis has seldom been used, and is needed to address the complexity of this process. The goal of my research was to use a transversal approach to study how birds adapt to the constraints of long distance communication by investigating the information coding at the emitter's level, the propagation-induced degradation of the acoustic signal, and the discrimination of this degraded information by the receiver at both the behavioral and neural levels. Taking into account the everyday issues faced by animals in their natural environment, and using stimuli and paradigms that reflected the behavioral relevance of these challenges, has been the cornerstone of my approach. Focusing on the information about individual identity in the distance calls of zebra finches Taeniopygia guttata, I investigated how the individual vocal signature is encoded, degraded, and finally discriminated, from the emitter to the receiver. This study shows that the individual signature of zebra finches is very resistant to propagation-induced degradation, and that the most individualized acoustic parameters vary depending on distance. Testing female birds in operant conditioning experiments, I showed that they are experts at discriminating between the degraded vocal signatures of two males, and that they can improve their ability substantially when they can train over increasing distances. Finally, I showed that this impressive discrimination ability also occurs at the neural level: we found a population of neurons in the avian auditory forebrain that discriminate individual voices with various degrees of propagation-induced degradation without prior familiarization or training. The finding of such a high-level auditory processing, in the primary auditory cortex, opens a new range of investigations, at the interface of neural processing and behavior
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Jenkins, Ruth Ann. "The Affects of Vocal Fatigue on Fundamental Frequency and Frequency Range in Actresses as Opposed to Non-Actresses." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5062.
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Differences may exist between the voice qualities of those who professionally use and train their voices and those who do not. The examination of fundamental frequency and frequency range m actresses and non-actresses is integral to determining voice quality differences in these populations. These differences, whether the result of frequent use or training of the voice, may exist relative to fatiguing conditions such as may be experienced by actresses in the course of their work. Fatigue has been shown to produce greater effects in normals than in performers, particularly in singers (Gelfer, Andrews, and Schmidt, 1991). Little research has been found comparing actresses to non-actresses in such an interaction effect. In order to determine whether a separate set of normative values should be sought for actresses, it is first necessary to determine whether significant differences exist between these populations in voice quality parameters. The purpose of the present study was to determine whether or not significant changes in fundamental frequency and frequency range occurred in non-actresses relative to actresses as a result of fatigue. The subjects for the study included ten actresses between the ages of 20 and 30 who had a minimum of one quarter of voice training and three years of acting experience and ten women of the same age group who had no voice training or experience in acting. Each subject passed a puretone audiometric screening, had a negative history of voice disorders, and had not smoked within the last year. These two groups were evaluated for: 1) fundamental frequency in prolonged productions of the vowel lal; 2) speaking fundamental frequency in connected speech; 3) frequency range in sung scales; and 4) frequency range in connected speech. Data was statistically analyzed using one way ANOV A tests with repeated measures. No significant interactions occurred between group and time, suggesting that non-actresses did not produce a greater shift than did actresses in fundamental frequency or frequency range as a result of fatigue. These results contradicted some findings and supported other findings of previous research based on similar samples.
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Holloway, Mulder Gina. "Integrating voice movement therapy and maskwork for performer vocal development : voicing the mask to de-mask the voice." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60366.
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The performer's conceptualisation and perception of herself is projected
through the acoustic voice and impacts upon vocal delivery in rehearsal and
performance. However, in the context of performer voice training in Western
theatre practice the performer's sense of self, or identity, is seldom the focus of
development. Vocal development is inherently a transformational process that
requires the performer to expand beyond what has become habitual selfexpression.
Since vocal expression is embedded in identity, an attempt to
change the voice necessitates a deeper understanding, questioning, and
challenging of the performer's established sense of self. In this dissertation I
posit that acoustic vocal development can be successfully achieved through an
embodied and imaginative approach that investigates the performer's
metaphorical voice through learning opportunities provided by a process that
integrates the practices of Voice Movement Therapy (VMT) and maskwork.
This dissertation presents art-based autoethnographic research into the
potential value of such an integrated approach to performer vocal
development. The VMT maskwork approach is fundamentally an embodied
and envoiced process that provides a vastly different and heightened
experience of the bodymind and invites the performer to play in the liminal
realm of active imagination, which is triggered by the mask-image. The
dissertation investigates the vocal development benefits of using self-made
masks as a psychophysical training tool to expand the performer's
understanding and experience of the bodymind. The area of archetypes and
subpersonalities has been identified as a primary intersection between the two
modalities and three ways of working are proposed, either taking impulses
from the image (mask-image and/or imagination), the body and its movement,
or the voice. These three ways of working trigger the bodymind into a process
of active imagination that evokes a creative and integrated mask-voice-body
exploration of archetypes and/or subpersonalities. The process gives
permission to, and provides a safe container for, the amplified expression of
the extremes of self and voice. This dissertation offers a tri-phase VMT maskwork process structure, and
highlights key steps for the VMT practitioner-led facilitation of such a process.
It positions the mask as a useful transitional object which encourages reengagement
with imagination, body, voice and emotion, and thus encourages
an on-going and multi-layered reflection and investigation of self and voice is
possible.
The research showed that the integrated approach of VMT maskwork resulted
in vocal expansion in all 10 of the VMT 10 vocal components; pitch, pitch
fluctuation, loudness, glottal engagement, free air, disruption, violin, register,
timbre and articulation. Apart from acoustic vocal expansion, the approach
fostered expansion in the performer's metaphorical voice and resulted in
improved grounding and confidence in performance. These conclusions
support the research statement that VMT maskwork may be a valuable
approach to vocal development in the context of theatre performer voice
training. As researcher practitioner I hold that the embodied learning process of
VMT maskwork exposes the performer to a vastly different experience of self,
which fosters a process of self-reflexivity leading to personal meaning making,
self-knowledge, the challenging of vocal habits, and ultimately, vocal
transformation.Dissertation (MA)--University of Pretoria, 2016.
Drama
MA
Unrestricted
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Moodley, Daniella-Taylyn. "Vocal characteristics of school-aged children with and without attention deficit hyperactivity disorder." Diss., University of Pretoria, 2018. http://hdl.handle.net/2263/67164.
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The aim of this study was to describe the laryngeal anatomy, perceptual, acoustic and aerodynamic vocal characteristics of school-aged children with and without ADHD. The predisposition that children with ADHD have for laryngeal injuries are recurrent in nature and are more often than not overlooked as laryngitis. Previous studies have reported varied results on the prevalence rates of paediatric VFN within the school-aged ADHD population. A static, two-group comparison was used in the study to investigate the clinical, perceptual, acoustic and aerodynamic vocal characteristics of children between 7 and 9 years old with and without ADHD. The study replicated the protocol as executed by Barona-Lleo and Fernandez (2016) with additions. The Multidimensional Voice Program (MDVP) and the Voice Range Profile (VRP) as additions to the assessment of vocal parameters were used with which comparable dysphonia severity index (DSI) scores were calculated. Once-off clinical, perceptual, acoustic and aerodynamic voice assessments were conducted on 20 age-gender matched participants. The difference in assessment results between the vocal characteristics of children without a history of ADHD (control group) and those of children with ADHD (ADHD group) was then investigated and described. Forty five percent (n=9) of the total sample population had laryngeal pathology. Comparable parent reported etiological voice symptoms and vocal habits were seen across both groups. Both groups performed similarly across both perceptual and aerodynamic voice assessments. Acoustically, the control group achieved significantly higher producible pitches than the ADHD group (p=0.028) and were found to have more dysphonic DSI scores than their ADHD group peers (p=0.034). Prepubertal, school-aged children with or without ADHD may have similar vocal characteristics than previously thought. This variation in school-aged children warrants further research into larger sample sizes with this population with a special focus on the effect that CNS stimulants may have on the voice.Dissertation (MCommunication Pathology)--University of Pretoria, 2019.
Speech-Language Pathology and Audiology
MCommunication Pathology
Unrestricted
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Johnson, Beverly Yvonne. "Vocal Self-identification, Singing Style, and Singing Range in Relationship to a Measure of Cultural Mistrust in African-American Adolescent Females." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278339/.
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The purpose was to determine the relationship between high or low cultural mistrust and vocal characteristics in African-American adolescent females. The vocal characteristics were vocal self-identification, singing style, and singing range.
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Turay, Gregory. "THE FALL OF THE TENOR WITH THE RISE OF THE LARYNX." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/96.
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The range and use of the tenor voice in classical music has long been established since the late 19th century. It is widely accepted among pedagogues that the range is C3-C5 (with obvious exceptions depending on the fach). However, with the advent and development of the American Musical as a genre since the early 20th century, the ‘tenor’ has taken on an entirely new direction and range altogether. Several well-known sources have stated that the ‘Broadway tenor’ has a range of A2-A4. This is (as it widely accepted in the classical profession) the range of a baritone. The catalyst of these changes include vaudeville, composers, social trends, and probably most important, the invention and proliferation of the microphone. This study will analyze a cross section of repertoire in order to demonstrate this downward shift of vocal range, and demonstrate some of the main reasons why this shift occurred.
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Trapp, Linda. "Barnsånger – sånger för barn? : En kartläggning av de musikläromedel som används i förskolan och dess anpassning till barnrösten." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1443.
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Syftet med min undersökning har varit att öka förståelsen och kunskapen kring barnrösten och dess begränsade röstomfång genom att kartlägga de läromedel, bestående av utgivna barnmusikmaterial, som används på ett urval förskolor. Utifrån barnröstens förutsättningar har jag både översiktligt och mer ingående studerat musikexempel från barnskivor och dess anpassning till barnens eget röstläge. Förskolor har via webbenkät medverkat och angivit de skivor som de själva använder sig av. Efter datainsamling och bearbetning har jag först gjort en översiktlig analys av 866 barnvisor och därefter har jag gjort en mer ingående granskning över ett urval, som visar på varierande aspekter, problematik och förutsättningar gentemot barnrösten. Detta illustreras av ett pianodiagram där jag visar sångernas omfång och röstläge. Min studie visar att färre än hälften av de tillfrågade förskolorna använder inspelade barnskivor under sångstunden. Den visar också att det finns många musikläromedel som inte är anpassade till barnrösten och att det är svårt att, utan träning eller speciell kunskap, själv avgöra om läromedlet är anpassat eller inte. Sånger med ett litet eller mellanstort omfång är att föredra eftersom det då är lättare att hitta ett gemensamt röstläge mellan barn och vuxen.The purpose of my study was to increase knowledge and understanding about children’s voices and their limited vocal range by mapping the learning material, consisting of published children's music materials used in a variety of preschools. Based on the children's vocal potential, I have done both an overview and a detailed study of music examples from children's records and their adaptations to the children's own voices. Preschools have participated by entering the discs that they themselves use in a web form. After the data collection and processing, I have done a general analysis of 866 children's songs. After that I made a detailed review of samples, demonstrating various aspects, problems and opportunities in relation to the child’s voice. This is illustrated by a kind of piano chart where I show the melodic range of the songs. My study shows that fewer than half surveyed preschools are using recorded discs during music time. It also shows that there are many music teaching materials that are not adapted to children's voices and that it is difficult, without training or special knowledge, to know whether the teaching material is adapted or not. Songs with a small or medium size melodic range are the best alternatives, as it is easier to find a common key between the child and the adult.
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Williams, Bonnie Blu. "An Investigation of Selected Female Singing- and Speaking-Voice Characteristics Through Comparison of a Group of Pre-Menarcheal Girls to a Group of Post-Menarcheal Girls." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc330681/.
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The purpose of this study was to compare the speaking fundamental frequency, physiological vocal range, singing voice quality, and self-perceptions of the singing and speaking voice between two groups of girls ages 11 through 15 years, who were pre-menarcheal by 6 months and post-menarcheal by 10 months or more.
Subjects were volunteers who attended a North Texas public school system. Each subject was examined by an otolaryngologist. Age, height, weight, a hearing screening, and information on music classes and/or private music lessons were obtained.
The speaking fundamental frequency measure was obtained by having each subject speak for 30 seconds on a subject of choice and read a passage of approximately 100 syllables. The vocal range measure was obtained by having each subject begin at an arbitrary pitch and sing mah and moo up the scale as high as possible and mah and moo down the scale as low as possible. These four measures were repeated with the researcher giving visual gestures.
For singing-voice quality, each subject sang "America" in the key of her choice and again in the key of F major. Each subjects singing voice was rated according to breathiness. Data regarding self-perceptions of the singing and speaking voice were obtained through a rating assessment of 10 questions and a conversation with each subject.
There were no significant differences between the means of the pre-meanarcheal and post-menarcheal girls on speaking fundamental frequency, physiological vocal range, and singing-voice quality. But, more of the post-menarcheal girls exhibited lower speaking pitches, lower singing ranges, and increased breathiness in their singing voices than did the pre-menarcheal girls.
Two questions of the perceptions rating assessment were significant, with the post-menarcheal girls citing higher incidences of vocal inconsistencies than the pre-menarcheal girls. The findings of the qualitative data analysis indicated that more post-menarcheal girls had an adequate vocabulary to describe various aspects of their singing and speaking voices than did the pre-menarcheal girls.
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Ross, Jeremy D. "The Evolutionary History, Demographic Independence and Conservation Status of Two North American Prairie Bird Species: The Greater Prairie Chicken and the Lark Sparrow." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1303855437.
Full textBooks on the topic "Vocal range"
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Jones, Chuck. Make your voice heard: An actor's guide to increased dramatic range through vocal training. 2nd ed. New York: Back Stage Books, 2005.
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Make your voice heard: An actor's guide to increased dramatic range through vocal training. New York: Back Stage Books, 1996.
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Jones, Chuck. Make your voice heard: An actor's guide to increased dramatic range through vocal training. New York: Backstage, 1996.
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Aaron, Jeffrey C. The effects of vocal coordination instruction on the pitch accuracy, range, pitch discrimination, and tonal memory of inaccurate singers. [Iowa City: s.n.], 1990.
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Essential dictionary of music: Definitions, composers, theory, instrument & vocal ranges. 2nd ed. Los Angeles: Alfred Pub. Co., 1997.
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(Creator), Chris Beatty, and Carole Beatty (Creator), eds. Expanding Your Range (Vocal Coach). Genevox Music Group, 1999.
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50 Great Songs for All Occasions (Medium Voice Range vocal/solo). Word Music, 1997.
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Bruce Hornsby And The Range - Scenes From The Southside (Piano - Vocal). Cherry Lane Music, 1988.
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Inman, Bryce, Sarah Huffman, and Brent Roberts. Ultimate contemporary wedding duets: [medium voice range]. 2013.
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Manning, Jane. Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.001.0001.
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In this new follow-up to her highly regarded New Vocal Repertory, volumes 1 and 2, English concert and opera soprano Jane Manning provides a seasoned expert’s guidance and insight into the vocal genre she calls home. This book contains a diverse array of contemporary vocal music available in the twentieth century. It provides specific pieces for different voices, abilities, and occasions. Choices range from substantial song cycles to shorter pieces suitable for encores, examinations, or auditions. Almost all works are for voice and piano, but there are some for solo voice. This volume also contains a rich variety of musical styles, which is reflected here along with some revised and updated articles on works featured in the previous edition, in order to keep them in circulation. Furthermore, this volume includes the broadest possible selection of works which are confined to settings of the English language. Two works in Latin as well as one piece in fake Russian are the only exceptions. In addition, there are certain songs culled from some diploma syllabus many years ago, which seem to have progressed unchallenged through successive generations despite a wealth of viable alternatives. Teachers can thus be inclined to steer students in the direction of pieces they are already familiar with in this book.
Book chapters on the topic "Vocal range"
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Maureira, Marcello A. Gómez, and Lisa E. Rombout. "The Vocal Range of Movies - Sonifying Gender Representation in Film." In Entertainment Computing - ICEC 2015, 545–50. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-24589-8_54.
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"Resonance and Range." In The Vocal Arts Workbook and Video, 110–61. Bloomsbury Publishing Plc, 2008. http://dx.doi.org/10.5040/9781472503831.ch-004.
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Parr, Sean M. "Introduction." In Vocal Virtuosity, 1–27. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542644.003.0001.
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The Introduction sets forth a brief history of coloratura singing and identifies historical questions, issues, and contexts in scholarly literature. From opera’s origins, composers employed melismatic text treatment to highlight a singer’s agility, range, and the character’s emotional intensity, as well as for frequent moments of word painting. This tradition of solo singing was still prominent during the “bel canto” period of the early nineteenth century when composers employed coloratura vocal writing as part of normal melodic text treatment. By the end of the nineteenth century, however, coloratura was a rare feature in operatic vocal writing. Coloratura also shifted to the domain of female singers, and often particular sopranos. In providing a historical context for the study of singing, gender, and nineteenth-century opera, the author proposes that the increasing specificity of coloratura led to its eventual identity as a voice-type, becoming an indicator of the modern.
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Parr, Sean M. "Melismatic Madness and Technology." In Vocal Virtuosity, 95–140. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542644.003.0004.
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By the mid nineteenth-century, coloratura had become stylized to the point that it could represent hysterical cries. If we consider technology in its original sense as a “practical art” that extends the body’s abilities, then coloratura—an art that features the extended agility and range of the voice—is perhaps the most striking technology employed to mark and empower the operatic madwoman. This chapter explores mid-century mad scenes and related technologies: Giacomo Meyerbeer’s L’Étoile du nord and Le Pardon de Ploërmel, as well as Ophélie’s mad scene in Ambroise Thomas’ Hamlet. These operas also feature sopranos who embody a particular, aestheticized view of femininity at mid-century as stylized, objectified icons of hysteria. Exploring the aural impact of these scenes, the sopranos who originally portrayed the mad heroines, the original staging manuals, and the historical context of emerging psychiatry highlights the importance of the visual in thinking about this phenomenon.
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Manning, Jane. "DONALD MARTINO (1931–2005)Three Songs (1955)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 193–95. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0055.
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This chapter discusses three concise, fastidious songs by Donald Martino. It explores the richness of expression contained within their modest proportions. Here, Martino demonstrates acute sensitivity to the subtleties of syllables and their vocal implications: each sound is gauged precisely within a practicable range, so that the singer can both exercise and relax their voice. The darker colours of the bass range sounds especially well against the wide-ranging, angular piano part. It is important to remember, however, that heavier voices do not always have to be ‘monumental’ and ponderous, but should be able to move around flexibly. All of these mellifluous phrases can be taken in one breath.
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Bennett, Peggy D. "Valuing your voice." In Teaching with Vitality. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190673987.003.0021.
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If you have ever contracted laryngitis, you know the value of your voice. You feel fine. You are not contagious. You have much to do. You cannot make a good argument for staying home. Yet teaching without a healthy voice can be hard, hard work. Our voice is our most precious instrument. Do we care for it as if that is true? These five suggestions can help you maintain a healthy voice. 1. Balance of breath and muscle. When vocal sound production is balanced with muscle and breath, we are generally using our voice properly. When more muscle than breath is used, a forced sound causes undue stress on our vocal folds, often resulting in a raspy sound. Support your voice with breath energy to help maintain healthy vocal production. 2. Hydration. Talking for lengthy amounts of time causes us to lose moisture through our breath. Don’t wait until you’re thirsty to drink water. Stay hydrated throughout the day. 3. Avoid touching your face. Our hands are often the germiest parts of our bodies. To maintain a healthy voice, avoid touching your face, especially during cold and flu season. 4. Vary your vocal expression. Variety in pitch, pace, and volume is good for our voices and good for our listeners. Vary the pitch of your voice by shifting between higher and lower tones. Speed up and slow down the pace of your speaking. Speak at louder and quieter volumes to help students listen. 5. Lift your voice. Speaking at the lower part of your vocal range, especially if you are projecting loudly to a group, can cause vocal difficulties similar to a callus on your vocal folds. For the health of your voice, lift it to a medium high range (say “mm- hm” as an agreement and stay at the “hm” level) and speak using plenty of breath energy. The louder we talk, the less students need or want to listen! Try speaking normally rather than “talking over” noisy students; they will learn to respond. In physical education, music ensembles, and other large classes, a habit of shout- speaking can develop and derail your vocal health.
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Manning, Jane. "IRVING FINE (1914–1962)Mutability (1952)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 97–100. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0028.
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This chapter describes Irving Fine’s Mutability. This cycle is distinctive and powerful, with striking musical and verbal images. The musical style can be described as neoclassical with elements of serialism, yet there is great flexibility and variety within the strict compositional procedures. The singer will need to command a wide range of colours and dynamics, as well as rapid articulation. A high standard of musicianship is also expected, especially for pitching some difficult intervals. A voice with a cutting edge will sound well here. Darker, fuller tones, verging on a contralto-like quality, will enhance lower-lying passages. However, the singer must always be able to move around nimbly, producing a clear tone over the whole range. The pianist will also have a good time getting to grips with an exciting part.
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Manning, Jane. "RAYMOND YIU (b. 1973)The Earth and Every Common Sight (2010/2013)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 236–39. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0073.
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This chapter examines Hong Kong-born composer Raymond Yiu’s The Earth and Every Common Sight (2010/13). This appealing cycle, written in a fluent, highly attractive idiom, is a fine example of Yiu’s expertise. Each song has an individual character and the six main movements are interspersed with two ‘Intermezzos’, setting words of Charles Darwin. Throughout, the voice–piano relationship is perfectly caught and words are set scrupulously. The composer shows a fine ear for balance and commands a range of contrasting styles with consummate ease. Wisely, he confines the vocal range to the treble stave for the most part, thereby ensuring clarity of text and variety of expression without putting the singer under duress. Despite a lack of extreme high notes, this is definitely for soprano rather than mezzo.
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Manning, Jane. "BRETT DEAN (b. 1961)Poems and Prayers (2006, revised 2011)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 56–59. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0019.
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This chapter explores Australian musician and composer Brett Dean’s Poems and Prayers (2006, revised 2011). These five songs form a highly distinctive showpiece, containing elements reminiscent of cabaret. The style is eclectic, within a ‘friendly atonal’ mode. Intervals will need careful tuning and rhythms are often elliptical. Each song could hardly be more different. The sharp, mordant texts have more than a hint of irony and bitterness, and the range of moods projected requires a singer of considerable artistry and poise as well as excellent diction. The first three songs (‘Literature’, ‘A Child Is a Grub’, and ‘Prayer I’) are brief, but highly concentrated. The vocal range throughout is comfortable and eminently practicable, avoiding extremes. Declamatory speech occurs in the fourth (‘Equality’), and the last movement (‘Prayer’) is almost entirely in Sprechstimme.
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Manning, Jane. "PETER MAXWELL DAVIES (1934–2016)The Medium (1981)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 209–14. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0059.
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This chapter presents one of the most substantial works for voice by Peter Maxwell Davies. The piece was written for the late Mary Thomas, whose extraordinary range is here exploited to the full. The performer portrays a prodigious parade of colourful characters, with no holds barred as to extreme vocal effects and timbres. Although the singer will need a safe low F, and, occasionally an E, the upper range is not as daunting, since ‘normally sung’ notes go no higher than A. Others are treated with a variety of ‘spoken’ timbres, including blood-curdling shrieks, with a liberal use of glissandos. The score is mainly in standard notation, with a few of the more familiar twentieth-century innovations, such as the gradual thickening and thinning of ‘beams’ above groups of notes, to indicate accelerando and rallentando respectively.
Conference papers on the topic "Vocal range"
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Farahani, Mehrdad H., John Mousel, and Sarah Vigmostad. "A Study on the Effect of False Vocal Folds Gap Size on the Self-Sustained Oscillation of True Vocal Folds." In ASME 2013 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/sbc2013-14547.
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Recent studies have shown that the supraglottic structures could alter the aeroacoustics output of the larynx [1–2]. The fist supraglottic tissue above the true vocal folds (TVF) is the false vocal folds (FVF) or ventricular folds. This non-oscillatory part of the human larynx shows a wide range of adductions during the normal phonation. Most previous studies, however, have focused on the effect of normal configuration of the FVFs based on mean values reported for this laryngeal structure. Therefore, the effect of different levels of FVF adduction on oscillation of the TVFs remained uninvestigated.
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Ottensmeyer, Mark P., Michael Yip, Conor J. Walsh, James B. Kobler, James T. Heaton, and Steven M. Zeitels. "Intra-Operative Laryngoscopic Instrument for Characterizing Vocal Fold Viscoelasticity." In ASME 2007 2nd Frontiers in Biomedical Devices Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/biomed2007-38077.
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Our society depends on communication, the most natural form of which is speech. Trauma, disease and the normal aging process will cause many to suffer degraded or lost vocal fold function, and it has been observed that this number is growing [1]. The vocal folds are the vibrating structures in the larynx that enable us to generate voice, from speech to opera singing. The vibrating portions of the folds consist of an external 0.1mm thick layer of epithelial cells, a soft, gel-like 0.5mm thick layer called the lamina propria (LP), a 0.3mm thick vocal ligament and an underlying thyroarytenoid muscle [2]. The fundamental frequency of speech in men is in the 100–150Hz range, and between 200 and 300Hz in women [3].
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Tsuta, Toshio, Takeshi Iwamoto, Toshiyuki Shimizu, and Daisuke Egusa. "Self-Excitation Vocalization Analyses of Vocal Chord Under Breathing Flow and Wide Frequency Change by Muscle Activation." In ASME 2002 Pressure Vessels and Piping Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/pvp2002-1559.
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This paper presents some analyses and experiments on vocalizing mechanics in vocal chord due to the breathing flow, and their wide range of frequency change by varing the interior muscle activations. Three dimensional dynamic response of the hyperelastic and finite deformation body of the vocal chord and the interior muscles have been analysed at first and the exclusive FEM system has been developed. The eigen frequencies and vibration characteristics of the vocal chord are analysed by varing the activation level of the interior muscles. The Helmholtz equation of the breathing flow under transient state has been analysed to obtain the pressure pulsation characteristics behind the vocal chord during vocalizing of the source voice. Combining both approaches stated aboves, the mechanics of the self-exciting vibration of the vocal chord have been studied in detail using the root-locus approach. It is also found in the analysis and experiments that the frequency of the self-exciting vibration can be widely varied with the activation level of the interior muscle of the vocal chord, giving rise to a variety of frequency level of the source voice.
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Lutgardo, Melissa, Gianfranco Lopez, and Christian Del Carpio. "Development of a digital signal processing software oriented to support the teaching, training and improvement of vocal technics in the tenor vocal range." In 2015 20th Symposium on Signal Processing, Images and Computer Vision (STSIVA). IEEE, 2015. http://dx.doi.org/10.1109/stsiva.2015.7330445.
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Yeung, Alex Hong-Lun, Hyunah Baek, Chikako Takahashi, Joseph Duncan, Sharon Benedette, Jiwon Hwang, and Ellen Broselow. "Pitch range, intensity, and vocal fry in non-native and native English focus intonation." In 177th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001047.
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Miyauchi, Suguru, Takeshi Omori, Shintaro Takeuchi, and Takeo Kajishima. "Numerical Simulation of Unsteady Flow Through a Two-Dimensional Channel With a Vocal Cord Model." In ASME-JSME-KSME 2011 Joint Fluids Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/ajk2011-20009.
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For the understanding of the phonation mechanism and for the design of an artificial vocal cord, we developed a computational method for the fluid-structure interaction, including the elastic walls and membranes. A robust and efficient method is required to deal with large deformation of biological materials and high frequency vibration. To this end, we apply an immersed boundary method. The flow through a two-dimensional channel including a pair of flexible structures, which is a simplification of a vocal cord, is simulated. The elastic solid is modeled by the St. Venant-Kirchhoff constitutive equation and its motion is simulated by a finite-element method, where the contact of the vocal cord is taken into account by a Lagrange multiplier method. The incompressible fluid flow is computed by a finite-difference method. Then the immersed-boundary method of a body-force type developed by the authors is successfully applied for the fluid-structure interaction. In the present results, the deformation of the structure and the frequency of the pulsating flow are reasonably reproduced. The obtained frequency is within the measured range of the data for a human vocal cord. Also, two velocity peaks are observed when the vocal cord is in the opening and closing phases in each period of the vocal cord vibration, and the velocity of the closing phase is larger than that of the opening phase.
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Takahashi, Kyoko, and Masato Akagi. "Estimation of glottal source waveforms and vocal tract shape for singing voices with wide frequency range." In 2018 Asia-Pacific Signal and Information Processing Association Annual Summit and Conference (APSIPA ASC). IEEE, 2018. http://dx.doi.org/10.23919/apsipa.2018.8659480.
Full textReports on the topic "Vocal range"
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Jenkins, Ruth. The Affects of Vocal Fatigue on Fundamental Frequency and Frequency Range in Actresses as Opposed to Non-Actresses. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6938.
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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Vogel, Gerard N. Performance of the Navy's Second Order Closure Version of the NORAPS In Short-Range Refractivity Forecasting During the VOCAR Experiment. Fort Belvoir, VA: Defense Technical Information Center, April 1995. http://dx.doi.org/10.21236/ada294649.
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