Cough is a motor act of the laryngeal and respiratory systems. Features of coughing have been considered in the examination of respiratory, swallowing and voice disorders. Although some voice disorders have been linked to excessive coughing, the precise relationship between cough and voice remains unknown. The present study examined the acoustic features of cough across sex and age; and its relationship to the perception of voice production. A total of 30 cough samples and 30 voice samples were collected from 15 healthy females and 15 healthy males; ranging from young age (17-25 years old), middle-aged (30-45 years old) and older-age (60 years old & above). Coughs containing three distinct phases were submitted to an acoustic analysis of the long-term average spectrum (LTAS) and cough duration. Both cough and voice samples were examined perceptually by a group of 20 speech-language pathologists. Results found a distinct three-phase pattern of cough that was remarkably stable across sex and age. Significant differences were found in the duration of each phase of cough. Perception of cough was not significantly related to acoustic features of cough. Perceptual judgment of sex was comparable for both cough and voice samples. However, the accuracy of age recognition was higher for voice samples compared to cough samples. In addition, voice was judged to be healthier and stronger than cough. Overall, the results partially support the previous acoustic findings on cough. A strong relationship between the acoustics of cough and the perception of cough was not evident. Listeners judged voice differently from cough, except for sex recognition. The clinical implications of the findings are discussed.

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My recent work as an artist is centred around a search for what Heidegger calls an “experience with language”—moments in which our awareness of language spikes and our relationship with it changes. Where I found the most potential is on the sound/sense continuum of the human voice, and it is an oscillation between the extremes of this continuum that defines my recent works. This paper examines these works and their underpinning ideas, but focuses on the culminating project of my thesis: Solo for Self-Talk Chamber. For this project, I spoke aloud to myself for fourteen hours, one hour at a time, in a purpose-built room. The process was documented and exhibited as a book work, a video and a performance, all of which are discussed in detail.

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During phonation, the vocal folds collision during the glottal closure is considered to be a risk factor for pathological development. This thesis is aimed at designing a dependable finite element analysis (FEA) model of the vocal folds for frequency and dynamic analysis and for calculating the impact stress between the vocal folds during glottal closure. A three-dimensional model with irregular geometry and a layered structure was designed. The measured viscoelastic properties of the vocal-fold mucosa and the transverse isotropic elastic properties of the vocal fold muscle are applied to the model. The boundary conditions are assumed to be fixed on lateral, anterior and posterior surfaces based on anatomical structure analysis. This model is symmetrical about the right and left vocal folds.The frequency and dynamic characters are presented using the software ABAQUS. The FEA model is validated by both experimental modal analysis (EMA) model results and in-vivo experimental results from the literature.In the vibration analysis, the eigenfrequency and eigenmode of the FEA model are determined. The model results compare well with the experiments performed on a silicone vocal fold model. The eigenmodes show the vibration direction at different excitation frequencies. In the closure process, the closure and collision dynamic results are obtained. The results show that: (1) the closure process is independent of the subglottal pressure; (2) the glottal opening amplitude and closing velocity vary approximately linear with the subglottal pressure; (3) the maximum impact stress occurs on the mid area of the inferior surfaces; (4) the impact stress is approximately linear with the subglottal pressure; and (5) the impact stress will cause vocal fold tissue damage when the subglottal pressure is over 800 Pa.It is anticipated that the model will help to identify voice disorders such as vocal-fold paralysis and vocal-fold nodules.

This project explores the unseen (that which is not considered) in relation to the idea of the existence of another dimension of language. It considers the possibility that, in regard to language, some essential component may have been omitted or unperceived. Through works of art this project explores possibilities for the visual signification of this information. My interest is in exploring ways in which these qualities can be recovered by creating representational codes of the unseen, which evoke a potential for an inclusive language. My enquiry focuses on sound with particular emphasis on 'voice' as a way in which to explore these concepts through visual means. Voice is considered as something which projects or articulates or otherwise could be described as 'speaking'. For example voice is considered in relation to thought, and also the human experience of sound in space. This includes sound generated by self, intrinsic and extrinsic to the body. Voice plays two roles - one as a space from which to retrieve the unseen, and the other as a drawing tool - a way in which to represent what seems unrepresentable.

Treatise (D.M.A.) -- Florida State University, 2004. / Advisor: Stanford Olsen, Florida State University, School of Music. Title and description from treatise home page (viewed 2-9-05). Document formatted into pages; contains 58 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (B.Sc)--University of Hong Kong, 2005. / "A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2005." Also available in print.