This diploma thesis deals with creating of finite element model for the analysis of acustic waves radiation through human vocal tract and through the head surrounding space. The thesis contains a short overview of the anatomy of relevant parts and a short overview of formerly published models relevant to the topic. Then the process of creating the 3D model of human head, including the vocal tract, based on CT scans, and the mesh itself follows. This is succeeded by the computational solution taking in the acount the acoustic absorption of the vocal tract walls and radiation into the open space. The results gained are compared to relevant literature on this topic. The changes in frequency spectra in specific nodes of the mesh are reviewed and compared to relevant literature on the topic. The results could be used as basis of eventual frequention corrections of microphones used for voice diagnosis or registration in general, eg of speach or singing.

The following master thesis deals with creating a computational model for acoustic wave distribution by the human vocal tract and then the space around a human head. Detailed mapping of the sound field around the human head is important for more accurate measurement of the human voice. Part of this work is the creation of three-dimensional finite element model of the human head and the vocal tract during phonation of the vowel /:a/ based on the data from the computational tomography. Further the literature search of the function of the vocal tract, biomechanics of the making of the human voice, an overview of the computational models so far published in the literature and in literature reported measurements of the distribution of the human voice by the vocal tract and then in the space around the head . The following is the actual numerical solution of the acoustic waves distribution from the vocal cords through the vocal tract and then the space around the human head when thinking of acoustic absorption on the walls of the vocal tract and on the skin of the head for different types of waking of the model. The results are compared with previously published measurements of the distribution of the human voice and mainly the distortion of the frequency spectra at each specific node in the space around the head and in its vicinity of where the sensor microphones are typically placed are analyzed. Results of the computational modeling will eventually be used for frequency correction for various positions of the microphones scanning the voice distribution in its diagnosis, speech or singing.

The human voice may convey meaningful information about socially and evolutionarily relevant characteristics of the vocalizer. In turn, listeners may readily evaluate personal characteristics, such as body size, on the basis of nonverbal voice features. Research investigating vocal communication of physical size in humans has focused on two salient and largely independent voice features, fundamental frequency and/or corresponding harmonics (perceived as voice pitch) and formant frequencies (resonance frequencies of the supralaryngeal vocal tract). However, the degree to which fundamental and formant frequencies reliably predict variation in body size controlling for sex and age, and their relative role in the perception or accurate estimation of body size, has to date been unclear. In the current thesis, using meta-analysis, I establish that formants reliably predict variation in men’s and women’s heights and weights. In contrast, fundamental frequency only weakly predicts men’s heights and women’s weights. These findings corroborate work on many other mammals whose vocal production, like humans, follows the source-filter model. Despite the lack of a robust physical relationship between fundamental frequency and size within sexes, I further demonstrate that listeners utilize voice pitch to accurately gauge men’s relative height. My research suggests that voice pitch indirectly facilitates accurate size assessment by providing a carrier signal (i.e., dense harmonics) for formants. This is the first evidence that pitch does not confound accurate size estimation. Finally, I demonstrate that voices with lowered pitch, but not raised pitch, are perceived as larger when projected from a low than high spatial location. These results suggest that strong cross-modal perceptual biases linking low pitch to low elevation and large size may, in some contexts, cause errors in size estimation. Taken together, this thesis provides a detailed account of human vocal communication of body size, which can play a meaningful role in sexual and social contexts. / Dissertation / Doctor of Philosophy (PhD)

Specific movements within the pelvic floor, abdomen, diaphragm, ribs, and spine are show to be associated with either inspiration or expiration when playing the alto saxophone. These movements support tone production during the performance of large intervallic leaps and altissimo register notes. During expiratory breath, specific vocal-tract formations and movements are show to be adaptive with either the higher and lower registers. Anatomical areas studied include the glottis, larynx, pharynx, velum and soft palate, tongue arch, and tongue proximity to the reed. Flouroscopy and endoscopic research by Watkins, Pattnoede, and Jordheim challenge common pedagogical advice for palm-key and altissimo register notes such as using a high tongue arch, fast air and the "ee" vowel. Literature by historical and even current pedagogues do not clarify their use of the terms "larynx" or "throat." In the context of their writing those terms could ambiguously mean oropharynx, laryngopharynx, glottis, neck muscles or vertical position of larynx. Mental tension, fear, and negative inner dialogue are shown to cause reflexive and tension-based movement. These issues negatively impact the formation and direction of adaptive vocal-tract movements for large ascending intervallic leaps and altissimo-register note production. Repeated failure by a student can provoke negative self-talk as well as maladaptive emotions and beliefs about the musical challenge, potentially creating a longstanding narrative that leads to less than positive expectations for saxophone technique. Knowledge and use of adaptive vocal-tract and breathing movements can erode negative dialogue by providing evidence that it is not true. The student may begin to use positive self-talk, creating better inner dialogue and beliefs. Over time, confidence from body and mind awareness supports the formation of positive expectations. The tenets of mindfulness and inclusive awareness put forward by authors such as Dunkel, Caplan, Hall, Leaf, and Westney were shown to be complementary to the body and vocal-tract movements needed for the musical challenges discussed. Practical exercises are given to help the student increase body and mind awareness. Intentionally gaining awareness of and mindfully practicing adaptive body mapping and vocal-tract movements can support the effective production of, and lead to a healthy mindset for achieving successful performances of large intervallic leaps and altissimo-register tones.