In this project, I have explored how one can musically shape and compose wordless music within the jazz genre with inspiration from the liturgy of the Church of Sweden. Inspiration was taken from various parts of the Mass, previously set liturgy, as well as my own references to the various parts. Each liturgical part was then assigned a keyword based on the gathered information and personal thoughts associated with each part.   I discuss the role of vocal performance as a wordless form of expression both in the context of the church and for me as a musician. I also discuss the connection between the compositions and the liturgy, and how I have chosen to align the work to the traditional order of the Mass.   In conclusion, I explain how this work has affected me as a musician and a person and how I wish it to be received. / <p><strong>Reperstoar:</strong></p><p>Kyrie Eleison</p><p>Sanctus/Gloria</p><p>Credo</p><p>Pax </p><p>Agnus Dei </p><p>Benedictus </p><p>Samtliga kompositioner skrivna av Ella Cronberg</p><p>Extranummer: Blott en dag - Lina Sandell</p><p><strong>Medverkande musiker:</strong></p><p>Sång - Ella Cronberg</p><p>Gitarr - Jim Base</p><p>Piano - Isak Åberg</p><p>Kontrabas - Olle Lannér Risenfors</p><p>Trummor - Filip Öhman</p>

In this project, I have explored how one can musically shape and compose wordless music within the jazz genre with inspiration from the liturgy of the Church of Sweden. Inspiration was taken from various parts of the Mass, previously set liturgy, as well as my own references to the various parts. Each liturgical part was then assigned a keyword based on the gathered information and personal thoughts associated with each part.   I discuss the role of vocal performance as a wordless form of expression both in the context of the church and for me as a musician. I also discuss the connection between the compositions and the liturgy, and how I have chosen to align the work to the traditional order of the Mass.   In conclusion, I explain how this work has affected me as a musician and a person and how I wish it to be received. / <p><strong>Repertoar</strong></p><p>Kyrie Eleison</p><p>Sanctus/Gloria</p><p>Credo</p><p>Pax</p><p>Agnus dei</p><p>Benedictus</p><p>Samtliga kompositioner skrivna av Ella Cronberg.</p><p>(Extranummer: Blott en dag - Lina Sandell)</p><p><strong>Medverkande</strong></p><p>Ella Cronberg - sång</p><p>Jim Base - gitarr</p><p>Isak Åberg - piano</p><p>Olle Lannér Risenfors - kontrabas</p><p>Filip Öhman - trummor</p>

京都大学 / 新制・課程博士 / 博士(医学) / 甲第24137号 / 医博第4877号 / 新制||医||1060(附属図書館) / 京都大学大学院医学研究科医学専攻 / (主査)教授 上野 英樹, 教授 森本 尚樹, 教授 寺田 智祐 / 学位規則第4条第1項該当 / Doctor of Medical Science / Kyoto University / DFAM

With the knowledge from my past experiences of education in music and professional experience of performing jazz vocally, I have always been interested in how I can challenge my role as a vocalist in a jazz ensemble. When studying singing at Complete Vocal Institute in Copenhagen, I gained large perceptions regarding my voice and my creative flow within the music. These new perspectives made me discover what I was capable of achieving with my voice, which I rarely see jazz vocalists do. I find it interesting to analyse what other jazz musicians do when they create, to be perceived as free and undemanding but still very advanced musically and captivating for the listeners. Another reason why I wanted to shed some light on this topic is that I often hear other jazz students question whether we who are born in Scandinavia really are able to reach the same level of expression and improvisational flow as American jazz musicians.These doubts trigger me, and make me want to prove that everyone can accomplish any kind of expression if we only have the right tools for it. And there is still this thought in my mind when I see musicians such as saxophonists, guitarists, and pianists, among others, get inspired by each other and try other people’s ideas, why I almost never see the same playfulness and thirst for musical knowledge in singers? I wonder in my mind: Why?

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During the Baroque Era (1600-1750) many motets were written for one solo voice, representing a major departure from the polyphonic motet settings which had been produced since before 1250. The study traces the development of the solo motet from it s first appearance in the Centro concerti ecclesiastici of Lodovico Grossi do Viadana in 1602 up to 1750, when the style began to deteriorate along with the Neapolitan opera style.

The vocal performance database is a tool by which BYU vocal performance faculty and students may practice, assess, and review vocal performances, including practice juries, recitals, and end-of-semester juries. This document describes the process and results of designing, developing, implementing, and evaluating the vocal performance database. By using this tool, vocal performance professors are able to give faster, more quality feedback to students following the jury. Students are able to receive legible feedback from their professors in a timely manner.

Previous studies have shown the importance of cricothyroid muscle activation in altering fundamental frequency in the human voice. Other studies have investigated the non-linear properties of vocal fold tissue and the impact of this non-linearity on frequency response. Several physical models of the vocal folds have been made for research purposes. However, all have been isotropic in nature with linear stress-strain properties. The purpose of this study was to create a physical model with non-linear stress-strain properties to investigate the frequency response of the model as cricothyroid muscle activation was simulated (in other words, as the vocal folds were stretched in an anterior-posterior dimension). In this study the physical models of the vocal folds were stretched in 1 mm increments and the fundamental frequency (F0) was recorded at each position. Subglottal pressure was also monitored and phonation threshold pressures were recorded for each adjustment in length and vocal fold tension, because this can influence F0. Results were obtained for models with and without non-linear properties for comparison. Tensile tests were also conducted for the linear and non-linear synthetic vocal folds. Results indicate that non-linear models demonstrated a more substantial frequency response than linear vocal fold models and a more predictable F0 increase with respect to increasing vocal fold length. Phonation threshold pressures also increased with increasing vocal fold length for non-linear vocal fold models. This trend was reversed for linear vocal fold models, with phonation threshold pressures decreasing with increasing vocal fold length. These results indicate that the non-linear vocal fold models more accurately represent the human vocal folds than do linear models. This study serves as the foundation for future research to quantify the impact of non-linear tissue properties versus active tensioning (through antagonistic thyroarytenoid muscle activation) on F0 response and phonation threshold pressure.

Luciano Berio (1925-2003) was one of the most innovative composers of vocal music in the European avant-garde. His composition for female voice, Circles (1960), marks an important stage in his collaboration with his wife, singer Cathy Berberian (1925-1983). Berio was attracted to Berberian's exceptional talents as a performer, and their work together created new avenues of expression for the solo voice, as Berio explored the relationship between music and language. Drawing upon archival documents, this thesis is a study of the materials and methods that make Circles one of Berio's pivotal works for voice. My interpretation of these sources engages with Berio's approach to pitch and setting a poetic text, as well as with the nature of his collaborations with Berberian.

Understanding vocal fold mechanics is an integral part of voice research and synthetic vocal fold models are an essential tool in characterizing vocal fold mechanics. These models contain multiple layers with varying stiffness, much like human vocal folds. The purpose of this thesis is to improve the current models and modeling techniques, as well as investigate the impact of asymmetry on model vibration. A new design for an MRI-based model is detailed. This model has a more realistic geometry than the simplified models and mimics some of the vibratory characteristics observed in human vocal folds. The MRI-based model was used to investigate left-right stiffness asymmetry in multiple layers of the model. A zipper-like motion was observed during vibration of the MRI-based models. A phase shift was present in the asymmetric models, with the less stiff side leading the stiffer side. A new expendable mold fabrication process is described. This new process provides more freedom in designing vocal fold models and experiments. Additionally, the new process enables fabrication of models without the use of release agent, a factor which has, in the past, adversely impacted manufacturing yield and prohibited the incorporation of certain biological materials into the synthetic models. The new process also allows for more convenient geometry variation than what has previously been feasible. Finally, the new process was used to investigate cover layer geometry variation and asymmetry in a simplified model. Cover layer thickness was found to be a significant factor in governing the motion of the vocal fold model. Anterior-posterior asymmetry was found to induce the same zipper-like motion observed in the MRI-based models.