Infants begin to learn important skills, such as contingency learning, social referencing, and joint attention through everyday interactions with their environment. When infants learn that their behavior produces a change in the environment (e.g., attention from others), infants engage in behavior that produces that effect (e.g., increases in smiling sustained engagement. When mothers and other caregivers respond immediately to infant behavior, they help their infant learn that the infant’s own behavior is effective, producing a change in the environment. The current investigation evaluated the effect of a computer-based training that aimed at teaching mothers to play a vocal-imitation contingency-learning game. The training included observer-effect methodology, meaning the mothers engaged in observation and evaluation of other mothers engaging in vocal imitation but did not themselves receive any direct coaching or feedback. All mothers completed the training during one session and in less than 45 min. Results indicate that all mothers increased their use of vocal imitation post training and maintained their performance at a two-week follow-up. Results are discussed in terms of how computer training may facilitate dissemination of responsive caregiver training.

The purpose of this study was to provide a description of teacher perceptions concerning behavioral and physiological vocal issues among current gender groupings in sixth-grade choir classrooms through the collection of survey research data. Participants selected for this study consisted of registered Dallas-Fort Worth metropolitan area choral directors of the Texas Music Educators Association. Results of the study indicated that more girls were enrolled in sixth-grade choir than boys and that mixed choirs were more common than gender-specific choirs in sixth grade. Results also indicated that teachers perceived evidence of early voice change among both sixth grade boys and girls, and that there was a difference in behavior as students showed signs of puberty.

The purpose of this study is to assemble information needed to assess, understand and hopefully correct muscular hyperfunction that is related to tongue tension in singing and speech which inhibit freely, efficiently, and comfortably produced beautiful singing. This text will include a definition of freely produced, fully resonating tone for beautiful singing, major components of vocal technique, physiology related to singing and speech production, hyperfunctions associated with tongue tension, tongue involvement in the articulation of the four major singing languages, and will present exercises for training the muscles of coordination in a manner conducive to singing and speech.

OBJECTIVE: The purpose of this study is to determine if there are any acoustic variables that can determine compromised lung function in patients with asthma and COPD. METHODS: This study involved using mobile and wearable technology to record voice and respiratory changes during various speaking and breathing tasks before and after administration of albuterol. Collaborators at Samsung Research America, Inc. used algorithms to measure pause time, pause frequency, respiratory rate, and inhale:exhale ratio. These variables were correlated with spirometry values before and after albuterol to assess clinical significance. RESULTS: We identified several acoustic markers that significantly correlate with lung function in patients with asthma and COPD. In particular, we found that the ratio of the one-second forced expiratory volume to forced vital capacity (FEV1/FVC) after administration of albuterol significantly correlated with the inhale:exhale ratio in asthma patients during the tidal breathing task. The post-albuterol FEV1/FVC significantly correlated with the inhale:exhale ratio in COPD patients during the supine breathing task. The pre-albuterol FVC significantly correlated with the pause frequency in asthma patients during the scripted speech task. CONCLUSION: The results in this study indicate that pause frequency and inhale:exhale ratio may be important biomarkers for identifying a respiratory illness, such as asthma and COPD. More research needs to be done using digital health to monitor disease symptoms with a larger sample size.

<p>There is a considerable body of evidence suggestive that dehydration can negatively impact voice production. However, our understanding of the underlying biology and physiological changes, particularly at the molecular level,  that contribute to this dysphonia are limited. Further, our ability to assess underlying changes in humans is restricted largely to post-mortem tissue or tissue resected during interventional vocal fold surgery, both of which are subject to bias in age and disease state. Here we have utilized a New Zealand white rabbit model of vocal fold dehydration to probe the <em>in vivo</em> molecular response to dehydration, focusing on differential gene and protein regulation. In the first study, a single 8-hour exposure to low humidity was used to induce airway surface dehydration. RNA Sequencing was used to obtain a global snapshot of differential transcriptional regulation. This informed a second study wherein 8-hour exposures to low humidity over 15 consecutive days were used and followed by LC-MS/MS proteomic analysis to interrogate potential functional changes. In the third study, systemic dehydration was induced with a 5-day water restriction protocol. A third rehydrated group was included that returned to <em>ad libitum</em> consumption for 3 days. LC-MS/MS proteomic analysis was used. We have found evidence for transcriptional and protein expression changes under both dehydration paradigms. Our findings serve to inform our molecular biological understanding of dehydration of the vocal folds with implications to prophylaxis against and clinical intervention thereof. </p>

Summary: Objectives/Hypothesis: The purpose of this study was to examine the temporal-acoustic differences between trained singers and nonsingers during speech and singing tasks. Methods: Thirty male participants were separated into two groups of 15 according to level of vocal training (ie, trained or untrained). The participants spoke and sang carrier phrases containing English voiced and voiceless bilabial stops, and voice onset time (VOT) was measured for the stop consonant productions. Results: Mixed analyses of variance revealed a significant main effect between speech and singing for /p/ and /b/, with VOT durations longer during speech than singing for /p/, and the opposite true for /b/. Furthermore, a significant phonatory task by vocal training interaction was observed for /p/ productions. Conclusions: The results indicated that the type of phonatory task influences VOT and that these influences are most obvious in trained singers secondary to the articulatory and phonatory adjustments learned during vocal training.

Purpose: Vocal fatigue (VF) is a primary vocal symptom experienced by professional voice users, such as teachers, whose voice is an occupational tool. The study determines the utilization of the Vocal Fatigue Index (VFI), a 19-item scale in identifying symptoms of VF and its severity in teachers. Methods: Using responses of 695 teachers who completed the VFI, Mokken scaling was conducted on the items to identify the experiences of VF and its associated hierarchical nature of VF symptoms in teachers. Mokken scaling was completed on a total of four groups: (a) Total teachers group, (b) No VF group, (c) Low VF group, and (d) High VF group. Results: Results revealed differences in item hierarchies between total teachers and across the separate groups of VF severity. Item hierarchy for teachers highlighted items from physical discomfort at the mild end of the hierarchy to items from symptom improvement with rest at the severe end of the hierarchy. Items related to avoidance presented as a separate scale for teachers presenting with high VF. Discussion: Mokken scaling in teachers provides insight into the underlying complexity of the experience of VF symptoms and reliance on differential behavioral strategies in its management, suggesting the heterogenous nature of latent trait for VF in this specific population.

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.

The performance of vocal works using the twelve-tone technique requires thorough study of complex rhythms, non-tonal melodies, non-traditional notations, and specific musical terms. They generally also require advanced and varied vocal techniques. Twelve-tone vocal works often contain unusual features vital to the composer's intention. One of the premiere twelve-tone composers in the United States, Donald Martino (1931-2005) composed only two solo vocal works using the twelve-tone technique: Three Songs (1955) and Two Rilke Songs (1961). He has explored innovative and progressive uses of the twelve-tone technique, and composed music with particular methods of his own, later used by other composers. Three Songs, his first twelve-tone work, and Two Rilke Songs, the only twelve-tone song cycle in his mature style, present comparable features in his use of the twelve-tone technique, text setting, and notations. The variety of ways in which Martino uses these features in the song cycles is discussed in the performance guide. The intention of the present study is to help performers, especially singers, understand Donald Martino's two twelve-tone song cycles, and to aid in the preparation of an excellent performance. The study includes a study of historical context, the poems, and Martino's compositional and aesthetic approaches to setting them. It also offers practical and systemized ways of analyzing and preparing Martino's songs for performance. It is hoped that the methods suggested herein will reduce a singer's difficulties and rehearsal time with the pianist. The present study will offer a valuable addition to the literature on the performance practice of twelve-tone vocal music, and provide insight and advice on how to practice and perform other non-tonal music. This method of study may be applied to other contemporary music. Doing so can in turn help develop a singer's skill in handling tonal and rhythmic difficulties of all kinds, including non-traditional notations.

Mitt arbete handlar om att undersöka mitt vokala uttryck och att analysera utvecklingsprocessen. Underlaget för mitt arbete har varit egen praktisk erfarenhet och tidigare forskning (om att skriva musik för sin röst). Den här uppsatsen består av tre delar; klingande musik; talad text och vokal uppvisning framförd genom röstmemon och denna skrivna text.  Frågeställning som jag grundar min undersökning på är ”hur ser processen ut när jag utvecklar mitt vokala uttryck”?  Jag valde att använda mig av inspelningsappen "röstmemo" på min Iphone för att tydligare demonstrera vad jag har gjort och för att förklara mina tankar kring mitt vokala uttryck. På det sättet har jag tydligare kunnat få fram den emotionella och vokala processen jag genomgick. Jag har även samlat på mig återanvändbart material, uttryck och röstkvaliteter som kan användas i framtida verk. Några utav de viktigaste upptäckterna jag gjort i det här arbetet är att jag har fått syn på hur jag förmedlar mina verk genom min röst och hur jag uttrycker mig vokalt på ett djupgående sätt. Mitt vokala uttryck baserar sig mycket på vad låten handlar om, på så sätt tror jag att lyssnaren kan förstå vad jag vill förmedla även om de exempelvis inte förstår vad orden i sig betyder. / My thesis is about examining my vocal expression and analysing my process when doing so. The basis for my work has been my own practical experience and a previous bachelor’s thesis (about composing music for your own voice). This thesis consists of three parts: sounding music, spoken text and vocal demonstration performed on Apple voice memo application, and this written text. The main question of my thesis is ”what does the process look like when I develop my vocal expression”? I chose to use a voice memo to demonstrate in a more explicit way what I have done and to explain my thoughts about my vocal expression. In that way, I have also been able to bring out the emotional and vocal process I went through. I have also accumulated reusable material, expressions and voice qualities that I like so much that I can use them in the future. Some of the most important findings I’ve made in this thesis are how I’ve been able to more profoundly analyse and understand analyse my vocal expression when trying to communicate something in a song. My vocal expression is very much based on what the song is about, in this way I think the listener can understand what I want to convey even if they, for example, do not understand what the words in themselves mean.