The field of biological acoustics has witnessed a steady increase in the research into overtone singing, or “throat-singing,” in which a singer utilizes resonance throughout the vocal tract to sing melodies with the overtones created by a vocal drone. Recent research has explored both how a singer vocalizes in order to obtain rich harmonics from a vocal drone, as well as how further manipulations of the vocal apparatus function to filter and amplify selected harmonics. In the field of phonetics, vowel production is quantified by measuring the frequencies of vocal tract resonances, or formants, which a speaker manipulates to voice a particular vowel. Thus, an investigation of throat singing is closely linked to human speech production. Formants are usually detected in vowel spectra obtained using Fast Fourier Transform algorithms (FFTs). An alternative method that provides much higher frequency resolution is external excitation of the vocal tract and measurement of the pressure response signal at the mouth’s opening, which can be used to calculate the acoustic impedance spectrum. We demonstrate the use of such an “acoustic impedance meter” to measure the formant frequencies of common vowels as well as the oscillatory modes of simple resonant pipe systems. The impedance meter accurately measures fundamental pipe modes and a variety of formant frequencies with an uncertainty of 1 Hz. Finally, we assess how the impedance meter may be used to measure the unique resonances achieved by qualified throat singers.

Denna undersökning syftar till att få en inblick i hur några sångpedagoger arbetar med och tänker kring tolkning och musikaliskt uttryck. Detta har undersökts genom kvalitativa intervjuer med sex sångpedagoger med olika bakgrund, arbetsplats och genreinriktning. I min undersökning kommer jag fram till att det trots pedagogernas olika bakgrund i genrekunskap, utbildning, och nivå på elever finns många gemensamma nämnare för hur deras arbete med tolkning och uttryck går till. Att flera av informanterna använder begreppet interpretation under intervjuerna ser jag som att begreppen inte verkar påverka mitt resultat, då jag tolkar det som att informanterna menar samma sak och att innebörden är densamma. Jag anser även att svaren på intervjuerna pekar på att det hos några av informanterna finns en osäkerhet om vad arbetet med tolkning och musikaliskt uttryck kan leda till och att de därför inte i så hög grad medvetet använder detta i sin undervisning. Att arbeta med tolkning och musikaliskt uttryck kan innebära en mängd olika saker vilka har gemensamt att skapa medvetenhet om det egna uttrycket. Detta kan enligt litteraturen, Rydberg - Asplind med flera, leda till mer personligt uttryck samt bättre teknik. / The purpose of this study is to gain knowledge of how some vocal teachers work with and reflect on interpretation and expression. Six vocal teachers with different background, place of work and genre expertise were interviewed. The study shows that the interviewees share many denominators in the way they approach interpretation and expression despite their differences in background and genre, and it is clear that they have a common understanding of the terms interpretation and expression.   There is an indication, however, that some of the teachers are unsure of the effects of working with interpretation and expression and therefore they do not focus on these in their teaching. Working with interpretation and expression can involve many things which all entail creating awareness of self-expression. According to the literature (e.g. Rydberg-Asplind), such awareness can lead to a more personal expression and a better technique.

This study focuses on analyzing and discussing the interpretation of the vocal chamber music Ariel by the 20th century American composer Ned Rorem. (1923-) In 1971, Rorem was commissioned to compose a vocal chamber music for soprano, clarinet and piano by one of his good friend, an American well-known soprano, Phyllis Curtin(1921) . He picked up five pieces of works from the anthology, Ariel, of Sylvia Plath(1932-1963), the American female poet, for this composition. With a tie-in of Plath¡¦s poems and the poetry¡¦s life experience, Rorem used various musical language to reveal the sorrow and frustration in the mind of a woman whose husband has affair, and also the ideology of death in these poems . This essay consists of five parts: 1. Composer Ned Rorem¡¦s life, 2. Rorem and his art songs, 3. Poet Sylvia Plath's life, 4. The composed background of the vocal chamber music, Ariel, 5. Analysis and interpretations of the five lyrics and songs of Ariel. Through my study of Ned Rorem¡¦s Ariel, I hope to assist the readers having a better understanding to this work, as well as providing useful ideas for the interpreta-tion.

The research presented here deals with synthetic materials for application in tissue engineering, primarily poly(ethylene glycol) (PEG) and poly(dimethyl siloxane)star (PDMS)star. Tissue engineering seeks to repair or replace damaged tissue through implantation of cell encapsulated in an artificial scaffold. Cell differentiation and extracellular matrix (ECM) deposition can be influenced through a wide variety of in vitro culture techniques including biochemical stimuli, cell-cell interactions, mechanical conditioning and scaffold physical properties. In order to systematically optimize in vitro conditions for tissue engineering experiments, the individual effects of these different components must be studied. PEG hydrogels are a suitable scaffold for this because of their biocompatibility and biological "blank slate" nature. This dissertation presents data investigating: the effects of glycosaminoglycans (GAGs) as biochemical stimuli on pig vocal fold fibroblasts (PVFfs); the effects of mechanical conditioning and cell-cell interactions on smooth muscle cells (SMCs); and the effects of scaffold physical properties on SMCs. Results show that GAGs influence PVFf behavior and are an important component in scaffold design. Hyaluronic acid (HA) formulations showed similar production in collagen I and III as well as reduced levels of smooth muscle a-actin (SMa-actin), while chondroitin sulfate (CSC) and heparin sulfate showed enriched collagen III environments with enhanced expression of SMa-actin. A physiological flow system was developed to give comprehensive control over in vitro mechanical conditioning on TEVGs. Experiments performed on SMCs involved creating multi-layered TEVGs to mimic natural vascular tissue. Constructs subjected to mechanical conditioning with an endothelial cell (EC) layer showed enhanced expression of SMC differentiation markers calponin h1 and myocardin and enhanced deposition of elastin. Consistent with other studies, EC presence diminished overall collagen production and collagen I, specifically. Novel PDMSstar-PEG hydrogels were studied to investigate the effects of inorganic content on mesenchymal stem cell differentiation for use in TEVGs. Results agree with previous observations showing that a ratio of 5:95 PDMSstar: PEG by weight enhances SMC differentiation markers; however, statistically significant conclusions could not be made. By studying and optimizing in vitro culture conditions including scaffold properties, mechanical conditioning and multi-layered cell-cell interactions, TEVGs can be designed to maximize SMC differentiation and ECM production.

Vocal fold scarring, caused by injury and inflammation, presents significant treatment challenges. Tissue engineering might be a promising treatment for vocal fold restoration or regeneration. It is important to investigate how scaffold properties alter cell behavior instead of screening thousand of materials, which is fundamental knowledge for rational scaffold design. This work studies how tuning only one parameter, mechanical strength of the hydrogel scaffold, influences the extracellular matrix production of encapsulated porcine vocal fold fibroblast (PVFF). PVFF cells were encapsulated by photopolymerization in 10 wt%, 20 wt%, and 30 wt% poly(ethylene glycol) diacrylate (PEGDA) hydrogels (MW 10,000), with the similar biochemical environment and network structure but different mechanical properties. Cell adhesive peptide, RGDS, was grafted into each hydrogel network to mimic a cell adhesive environment. The glycosaminoglycans (GAGs) production per cell increased from 10 wt% to 20 wt%, 30 wt% gels, with an increase in hydrogel stiffness. The collagen production per cell increased from 10 wt% to 20 wt% gels but no further increase occurred with the increasing modulus from 20 wt% to 30 wt% gels. Interestingly, in hydrogels of intermediate modulus (20% PEGDA hydrogels), the highest elastin per cell was observed compared with gels with higher and lower storage modulus after day 30. Histological analysis showed GAGs, collagen and elastin were distributed pericellularly. However, the organization of collagen type I appeared to be influenced by gel mechanical properties, which was confirmed by immunohistological analysis. Furthermore, the immunohistological analysis showed that the phenotype of PVFF is regulated by the stiffness of the PEG hydrogel. This study demonstrates that different levels of VFF ECM formation may be achieved by varying the mechanical properties of PEG hydrogels and validates a systematic and controlled platform for further research of cell-biomaterials interaction.

Title from PDF of title page. / Document formatted into pages; contains 50 pages. / Thesis (M.A.)--University of South Florida, 2003. / Includes bibliographical references. / Text (Electronic thesis) in PDF format. / ABSTRACT: The purpose of this study was to review and summarize selected choral music education research published between 1996-2002. Four major research surveys in this area were previously published by Gonzo (1973), Hylton (1983), Phillips (1992), and Grant and Norris (1998). Each of these authors stressed a need for research in all areas of choral music education beyond the dissertation level and called for research that mimicked "real-world" experiences that would benefit choral music educators. This study investigated the following: (a) whether research studies in choral music education have increased beyond doctoral dissertation studies; (b) whether previous research studies have been replicated and/or expanded; and (c) whether current research attempted to solve real-world problems in choral music education. After reviewing the selected literature, the author categorized it into the following broad areas: (a) vocal technique/pedagogy, (b) descriptive studies, and (c) assessment/evaluation. The literature was identified in reviews of American, professional peer-reviewed journals by way of computer database searches in ERIC, Education Abstracts, Humanities Abstracts, International Index to Music Periodicals, RILM Music Abstracts, and Wilson Select Plus. Due to the nature and scope of the study, the literature excluded doctoral dissertations unless they were later published in American, peer-reviewed journals. Notable findings in this literature review include: (a) a current trend toward more choral music education research in general, both at the doctoral level and beyond, (b) continued studies on vocal pedagogy and rehearsal/conducting techniques, (c) increased studies on curriculum and assessment, and (d) increased numbers of experimental studies. Though the research has shifted from primarily dissertation studies, most of these were preliminary in nature and need to be expanded and/or replicated. In addition, a larger variety of research methods are needed, especially longitudinal and qualitative studies. Although choral music education studies are more organized and systematic than in the past, many areas are yet unexplored and many questions remain unanswered. / System requirements: World Wide Web browser and PDF reader. / Mode of access: World Wide Web.

Very little is known about red-legged seriema (Cariama cristata) vocalizations and behavior. The focus of my research was to analyze the structure of red-legged seriema primary calls and to begin to test hypotheses related to their function. Captive red-legged seriema behavior, both vocal and non-vocal, was recorded at 7 institutions located in the United States from May 2007 through November 2008. To test whether calls serve a predator alarm function, seriemas were presented with a large stuffed dog, representing a predator stimulus, and 2 control stimuli, a large, stuffed penguin and a large, flowering potted plant. Baseline recordings with no manipulations were also made throughout the day, during the course of the study. All recordings of seriema vocalizations were assessed using sound analysis software to generate sound spectrograms for comparison. I identified three different note types within the seriema primary call: upsweep notes (U), ladder notes (L), and two-part notes (T). Each call begins with a set of U notes that increase in rate and lead into the main part of the call, which is made of L and T notes. Each note type was assessed for duration, frequency, energy, and entropy measurements. These measurements were reduced using factor analysis into two relevant factors. There were substantial differences across individuals for note type acoustic structure. Group differences in note types, including sex, location, and age, were not found. When presented with the dog model, vocal responses were given by only 3 individuals. Overall, it may be possible to identify individual seriemas by analyzing the structure of their primary call, which may allow researchers to identify individuals without physical markers.

It is now well understood that skilled motor behavior is affected by performers' focus of attention. This effect has been demonstrated in numerous and varied motor tasks, from golf-putting to piano playing. I conducted two experiments with college-aged singers to test the extent to which trained singers' vocal tone is affected by their focus of attention while singing. In Experiment 1 (N = 11) participants sang a 3-note sequence and an excerpt of a well-learned melody under six different focus conditions. In Experiment 2 (N = 20) participants sang 3-note sequences in both high and low vocal registers, a well-learned melody, and an unpracticed, familiar melody under seven different focus conditions. Focus of attention affected participants' vocal tone in all of the singing tasks. The results of the two experiments are consistent with the results of related investigations of attentional focus in motor skill performance. Singers' tone was rated most highly and described most positively by expert listeners when singers' focused their attention on external rather than internal targets. Focusing on distal targets (i.e., targets that were far removed from the vocal mechanism) in particular was associated with high ratings and positive descriptions of vocal tone. / text

Purpose: The purpose of the present study was to examine SLPs' preparation to work with singers by examining their knowledge and training levels regarding vocal hygiene, assessment and treatment for singers, vocal pedagogy and competency in working with singers. Method: A 66-item survey designed to address the research questions was distributed via email to possible participants found through American Speech Language Hearing Association's (ASHA) "Find a Professional" service. Each email contained a password-protected web link to the survey, which was hosted on Survey Monkey. Results: The majority of participants reported low amounts of academic and clinical exposure to singers. The largest percentage demonstrated adequate knowledge of vocal hygiene, but had difficulty with knowledge items regarding assessment and treatment considerations for singers and vocal pedagogy. The majority expressed low levels of competency in working with singers. However, these effects appeared to be mediated by voice specialization. Voice specialists (VS), a subset of the total participants, were found to have received significantly more total hours studying voice and had significantly more voice clients, including singers, than non-voice specialists (NVS). A combination of academic and clinical exposure at the graduate level was found to lead to continued study regarding voice disorders and vocal function for singers. VS also reported higher levels of training in vocal pedagogy and performance and demonstrated significantly higher knowledge levels regarding assessment and treatment considerations for singers and vocal pedagogy than NVS. Similarly, they also reported higher overall competency in working with singers than the NVS. Conclusions: This preliminary data suggests that overall preparation to work with singers is somewhat lacking in most graduate programs. The majority of SLPs appears to retain information regarding vocal hygiene, but does not appear to remember some basic facts about the treatment of voice disorders. Improvements towards education in voice would serve as a worthy goal in improving SLP's service delivery in general to voice clients and singers. Additionally, providing more opportunities to work with voice clients and singers would also help better prepare SLPs as a whole to work with singers. Finally, a structured accreditation process to become a singing voice specialist (SVS) is sorely needed to ensure optimal service delivery to this unique population. / text

Not available / text