Thesis (B.Sc)--University of Hong Kong, 2000. / "A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, May 10, 2000." Also available in print.

Thesis (M.S.)--Ohio University, August, 2003. / Title from PDF t.p. Includes bibliographical references (leaves 75)

Presentation version of MIT M.S. EECS/TP P Thesis, May 1997

Thesis (Ph.D.)—Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1975. / Includes bibliographical references (p. 293-303) / This electronic version was scanned from a copy of the thesis on file at the MIT Speech Communication Group. The certified thesis is available in the Institute Archives and Special Collections.

abstract: Even in the most despondent situations, the arts find a way to flourish. This research document examines the vocal music that Viktor Ullmann composed in the concentration camp-ghetto of Theresienstadt in German-occupied Czechoslovakia, and the notable aspects of his compositional writing style. Although his opera Der Kaiser von Atlantis has been performed globally, the remainder of his oeuvre has rarely been recorded or performed. Singers often shy away from twentieth-century composers such as Ullmann, with claims that the music is not lyrical or relatable. Perhaps the irregularity of the meter, rhythms, or intervals seem too daunting for many to consider attempting a performance. With Confined, But Not Silenced: Vocal Music of Viktor Ullmann from the Theresienstadt Ghetto, I hope to open the door to music that is both accessible and uniquely beautiful. Not intended as a performance guide, this document aims instead at unearthing the appeal of music that is often perceived as unusual and difficult to perform through analysis that emphasizes relatable aspects of the compositions. By exposing colleagues to relatable music by a composer such as Ullmann, that has not normally been integrated in the canon, the boundaries of standard vocal repertoire can be expanded to include unconventional contemporary compositions. In addition to highlighting specific musical examples, Confined, But Not Silenced focuses on music’s positive effects for World War II prisoners in Theresienstadt. / Dissertation/Thesis / Doctoral Dissertation Music 2018

abstract: The trained singer utilizes an awareness of her body as an instrument. When she becomes pregnant, her body changes in numerous ways to support the pregnancy. Many of these changes have great impact on her ability to sing during the pregnancy and postpartum periods. The voice may be altered positively or negatively by the release of hormones. The body undergoes many changes that affect the posture and breathing required for singing. Most notably, the abdominal muscles are greatly impacted by the pregnancy. They are stretched by the growing uterus, and this affects their function. In addition, the linea alba (the connective tissue between the halves of the rectus abdominis) is softened by hormonal increases and subject to stretching as the uterus grows, predisposing it to weakness. Since the other abdominal muscles attach to the linea alba via connective tissue, maintaining the integrity of the linea alba during pregnancy and postpartum is vital to the operational function of the abdominal muscles. Protecting the vulnerable linea alba must be deliberately undertaken in two parts. First, conscious exercise is needed to preserve the linea alba during pregnancy and to rehabilitate it after pregnancy. Targeted exercises strengthen the transverse abdominis and shorten and approximate the two halves of the rectus abdominis. Second, modifications in daily movement are necessary to protect the linea alba while performing routine activities. Cesarean sections present additional surgical concerns for singers, including abdominal incisions, use of medication, and the rare need for general anesthesia via intubation. Recovery from a cesarean can be difficult due to abdominal pain, yet steps may be taken to speed healing at the hospital and at home. This paper provides an overview of how pregnancy affects the singer, discusses the effects of pregnancy and cesarean section, and provides a plan to protect the abdominal muscles during pregnancy and rehabilitate them in the postpartum period. It combines information from the fields of physical therapy, medicine, and surgery into a guide for the singer and voice teacher. / Dissertation/Thesis / D.M.A. Music 2013

Dentre as inúmeras técnicas de conversão de voz utilizadas atualmente, aquelas baseadas em bancos de filtros wavelet, associadas com redes neurais artificiais,têm se destacado. Este trabalho se concentra em tais técnicas, realizando um estudo que relaciona qual a melhor wavelet para conversão de determinados padrões de voz, apresentando uma análise detalhada de quais são as características que levam a estes resultados. Os testes são realizados com vozes da base de dados TIMIT do Linguistic Data Consortium (LDC). / Dentre as inúmeras técnicas de conversão de voz utilizadas atualmente, aquelas baseadas em bancos de filtros wavelet, associadas com redes neurais artificiais, têm se destacado. Este trabalho se concentra em tais técnicas, realizando um estudo que relaciona qual a melhor wavelet para conversão de determinados padrões de voz, apresentando uma análise detalhada de quais são as características que levam a estes resultados. Os testes são realizados com vozes da base de dados TIMIT do Linguistic Data Consortium (LDC).

A presente pesquisa teve como objetivo verificar se o tempo de execução do exercício de vibração sonorizada de língua interfere nas respostas perceptivoauditivas e acústicas da voz em mulheres com nódulos vocais. Além disso, se propôs identificar em qual momento há predomínio de respostas vocais positivas e negativas ao longo de sete minutos de execução deste exercício. Para tanto, participaram da pesquisa 27 mulheres, com idade entre 18 e 45 anos, disfônicas, com nódulos de pregas vocais. Todos os sujeitos da pesquisa foram incluídos no Grupo Experimental (GE), o qual realizou o Exercício de Vibração Sonorizada de Língua (EVSL) e apenas dez deles participaram também do Grupo-Controle (GC), onde foi feito o exercício placebo. Ambos foram realizados por sete minutos. As vozes foram registradas antes e após o primeiro, terceiro, quinto e sétimo minutos de execução dos exercícios e analisadas perceptivo- auditiva e acusticamente. Na análise perceptivo-auditiva, elas foram estudadas individualmente por meio do Protocolo CAPEV e aos pares, de forma comparativa, com a identificação da melhor voz para cada par examinado. Na análise acústica, utilizou-se o software VoxMetria versão 2.7h da CTS Informática na função Qualidade Vocal. Foram considerados os valores de frequência fundamental, jitter, shimmer, Glottal to Noise Excitation (GNE), irregularidade e ruído. De acordo com os resultados do CAPEV, o Exercício de Vibração Sonorizada de Língua (EVSL) provocou mudanças estatisticamente significantes em sete dos nove parâmetros investigados. A aplicação do teste estatístico ANOVA mostrou que no momento 5 (após o quinto minuto de execução do EVSL), a voz apresentou-se com melhor grau geral (p = 0,0004), menor rugosidade (p = 0,007), menor soprosidade (p < 0,001) e pitch agudo (p < 0,001). Porém, no momento 7 (após o sétimo minuto), a tensão apresentou-se significativamente mais alta (p = 0,016) em comparação a todos os outros momentos. Na análise pareada, houve prevalência de melhora vocal no pós-exercício em todos os momentos, com exceção do 7°. Não houve diferença estatisticamente significante entre os momentos 1 e 3. As vozes no momento 5 foram consideradas melhores do que nos momentos 3 (p = 0,013) e 7 (p = 0,013) no Grupo Experimental. Na análise acústica do grupo experimental houve aumento gradativo da frequência fundamental (p = 0,0030) e do GNE (p = 0,0011) após o terceiro minuto e diminuição do ruído (p = 0,0013) a partir do primeiro. Tanto na análise perceptivo-auditiva quanto na acústica, os resultados do Grupo Experimental foram superiores aos encontrados no Grupo-Controle no que diz respeito às melhoras vocais. Os resultados da presente pesquisa demonstram que o tempo de realização do EVSL interfere nas respostas vocais em mulheres disfônicas, sendo que no momento 5 há predomínio de respostas positivas em comparação aos momentos 1, 3 e 7. No 7, há aumento de tensão vocal e queda no desempenho do exercício. / The aim of this study was to assess whether tongue trills trill performance time interferes in the auditory perception and acoustic in women with vocal nodules. Furthermore, it was intended to identify at which moment during the 7-minute performance time the positive and negative responses predominate. This study comprised twenty-seven dysphonic women, who have vocal nodules, ranging from 18 to 45 years old. All subjects of this study were included in the experiment group which underwent tongue trills; only ten of these were also in the control group which underwent the placebo exercise. Both groups carried out the 7- minute performance time. The voices were recorded pre and post experimental and placebo exercises at the first, third, fifth and seventh minute of performance and auditory perception and acoustic were analyzed. In the auditory perception analysis the voices were analyzed individually according to the CAPEV protocol and in pairs, by comparison, to identify the better voice of the pair. The Voxmetria® program, version 2.7h by CTS Informática, was used to assess the vocal quality function. Fundamental frequency, jitter, shimmer, GNE, irregularity and noise were considered. According to the CAPEV results, the tongue trills caused statistically significant changes in seven out of the nine parameters analyzed. The use of the ANOVA analysis of variance showed that at moment 5 (after the fifth minute of experiment exercise) the voice presented the best overall rating, the least roughness, the least breathiness and high pitch. However, at moment 7 (after the seventh minute) the tension was significantly higher than at any other moment. In the paired comparison analysis, there was predominance of improved vocal in the post tongue trills at all moments, except the 7th. There was no statistically significant difference between moments 1 and 3. The voices at moment 5 were considered better that those at moment 3 and at moment 7 in the experiment group. In acoustic analysis of the experiment group there was gradual increase in the fundamental frequency and in the GNE after the 3rd minute and a decrease in noise as of the 1st minute. In the auditory perception analysis as well as in the acoustic analysis, the ratings for the experiment group were higher than those of the control group in relation to vocal improvement. The results of this study show the tongue trill performance time interferes in the vocal response of dysphonic women with positive response predominance at moment 5 compared to moments 1, 3 and 7. At moment 7 there is an increase of vocal tension and a drop in performance during tongue trills.

A study was undertaken to identify the effect of head flexion/extension on singing voice quality. The amplitude of the fundamental frequency (F0), and the singing power ratio (SPR), an indirect measure of singer’s formant activity, were measured. F0 and SPR scores at four experimental head positions were compared with the subjects’ scores at their habitual positions. Three vowels and three pitch levels were tested. F0 amplitudes and low frequency partials in general were greater with more extended head positions, while SPR increased with neck flexion. No effect of pitch or vowel was found. Gains in SPR appear to be the result of damping low frequency partials rather than amplifying those in the singer’s formant region. Raising the amplitude of F0 is an important resonance tool for female voices in the high range, and may be of benefit to other voice types in resonance, loudness, and laryngeal function.

This dissertation provides a guide for appropriate use of North American art song settings of biblical psalms for solo voice written after 1950 in the worship services of Christian faiths. The songs analyzed are for all voice parts and a variety of accompanying ensembles. The placement of each song on a specific calendar day is guided by the individual church calendars and lectionaries, on the prevalent themes of the text, and the characteristics of the musical setting. Performance of these songs only in a concert setting limits their usefulness for singers, voice teachers, and music directors alike. A new and worthy performing context can be established by analyzing the text and musical settings.