In many earlier investigations a recall advantage of auditory lists spoken in a single voice has been found over recall of lists spoken in two alternating voices. One explanation proposed is an organization strategy which makes recall of alternating-voice lists so difficult. The strategy implies sorting same-voice words into same-voice groups at encoding. Based on this proposition, it was assumed that voice-by-voice recall would be better than recall in order of presentation, as then the recall instruction and the organization of items in memory would be in concordance. The present experiment tested and was unable to support this hypothesis. However, an intriguing interaction between recall instruction and the sex of the participants was found, indicating that males perform worse in the voice-by-voice recall instruction than in serial recall while females’ performance did not differ between the two recall instructions. Implications of these results are discussed.

This study investigated three francophone adolescent girls� experiences with singing. A qualitative, narrative research approach (Bogdan & Biklen, 2003; Murray, 2003) was used to increase understanding about the benefits of singing, with a particular interest in exploring singing as a potentially positive means for adolescent minority-culture girls to successfully negotiate multiple aspects of identity, that is, adolescence, gender, and culture. Semi-structured interviews provided an opportunity for the participants to share their experiences, and describe what it is like for them to sing. Data were analyzed with The Listening Guide (Gilligan, Spencer, Weinberg, & Bertsch, 2003), a relational analysis responsive to the narrative and authentic voices of participants, and used to generate �I� poems and identify themes. Three ways of singing were identified � private informal, social informal, public formal � as well as three themes, evoked with the metaphors of: Rhythm (singing and experiences of identity), Harmony (singing and relationships), and Melody (singing, wellbeing, and strength). Findings confirm and extend the small but growing research literature on the psychology of singing, and have implications for those interested in working with youth using a strength-based perspective focused on positive youth development (Larson, 2000).

Vocal Health and Repertoire for the Dramatic Mezzo-Soprano: A Suggested Course of Study brings together the fields of vocal pedagogy and performance. This curriculum guide focuses on repertoire for the Dramatic Mezzo-Soprano, ages 18-30. The guide includes selections from the genres of art song (beginning, intermediate, and advanced levels), opera and oratorio arias, concert works, and song cycles. Selected art songs and arias are presented from a vocal health perspective, using McKinney’s eight principles of Good Vocal Sound. In addition, the Comprehensive Musicianship through Performance model is integrated via the identification of a focus skill for each song or aria. This suggested course of study emphasizes proper vocal technique and offers suggestions when studying and singing the larger works of the Dramatic Mezzo-Soprano repertoire. These suggestions include recommendations gleaned from interviews with well-known mezzo-sopranos Mignon Dunn and Dolora Zajick concerning their opinions regarding repertoire, vocal health, and appropriate song and aria assignments for the Dramatic Mezzo-Soprano. The guide also includes insights into training methods for today’s young dramatic voices based on observations of The Institute for Young Dramatic Voices. Key outcomes and implications are that Dramatic Mezzo-Sopranos must take the time to develop their voices before singing the more advanced arias of the standard repertoire, such as those by Verdi and Wagner, and this can be done through the study of art song. Further, Dramatic Mezzo-Sopranos must be strong technically in their approach to singing to help ensure vocal health and to avoid excessive strain on the vocal folds at all times. Dramatic Mezzo-Sopranos must also have strong skills in musicianship and performance in order to meet the demands of the repertoire for this voice type. The information presented in this curriculum guide will assist both voice teachers and performers in the teaching and singing of repertoire for the Dramatic Mezzo-Soprano. / Review of literature -- Design and method -- Mignon Dunn, Dolora Zajick and the Institute for Young Dramatic Voices -- Curriculum guide -- Summary and recommendations. / School of Music

Syftet med min undersökning har varit att öka förståelsen och kunskapen kring barnrösten och dess begränsade röstomfång genom att kartlägga de läromedel, bestående av utgivna barnmusikmaterial, som används på ett urval förskolor. Utifrån barnröstens förutsättningar har jag både översiktligt och mer ingående studerat musikexempel från barnskivor och dess anpassning till barnens eget röstläge. Förskolor har via webbenkät medverkat och angivit de skivor som de själva använder sig av. Efter datainsamling och bearbetning har jag först gjort en översiktlig analys av 866 barnvisor och därefter har jag gjort en mer ingående granskning över ett urval, som visar på varierande aspekter, problematik och förutsättningar gentemot barnrösten. Detta illustreras av ett pianodiagram där jag visar sångernas omfång och röstläge. Min studie visar att färre än hälften av de tillfrågade förskolorna använder inspelade barnskivor under sångstunden. Den visar också att det finns många musikläromedel som inte är anpassade till barnrösten och att det är svårt att, utan träning eller speciell kunskap, själv avgöra om läromedlet är anpassat eller inte. Sånger med ett litet eller mellanstort omfång är att föredra eftersom det då är lättare att hitta ett gemensamt röstläge mellan barn och vuxen. / The purpose of my study was to increase knowledge and understanding about children’s voices and their limited vocal range by mapping the learning material, consisting of published children's music materials used in a variety of preschools. Based on the children's vocal potential, I have done both an overview and a detailed study of music examples from children's records and their adaptations to the children's own voices. Preschools have participated by entering the discs that they themselves use in a web form. After the data collection and processing, I have done a general analysis of 866 children's songs. After that I made a detailed review of samples, demonstrating various aspects, problems and opportunities in relation to the child’s voice. This is illustrated by a kind of piano chart where I show the melodic range of the songs. My study shows that fewer than half surveyed preschools are using recorded discs during music time. It also shows that there are many music teaching materials that are not adapted to children's voices and that it is difficult, without training or special knowledge, to know whether the teaching material is adapted or not. Songs with a small or medium size melodic range are the best alternatives, as it is easier to find a common key between the child and the adult.

This study investigated three francophone adolescent girls� experiences with singing. A qualitative, narrative research approach (Bogdan & Biklen, 2003; Murray, 2003) was used to increase understanding about the benefits of singing, with a particular interest in exploring singing as a potentially positive means for adolescent minority-culture girls to successfully negotiate multiple aspects of identity, that is, adolescence, gender, and culture. Semi-structured interviews provided an opportunity for the participants to share their experiences, and describe what it is like for them to sing. Data were analyzed with The Listening Guide (Gilligan, Spencer, Weinberg, & Bertsch, 2003), a relational analysis responsive to the narrative and authentic voices of participants, and used to generate �I� poems and identify themes. Three ways of singing were identified � private informal, social informal, public formal � as well as three themes, evoked with the metaphors of: Rhythm (singing and experiences of identity), Harmony (singing and relationships), and Melody (singing, wellbeing, and strength). Findings confirm and extend the small but growing research literature on the psychology of singing, and have implications for those interested in working with youth using a strength-based perspective focused on positive youth development (Larson, 2000).

Speech production requires cooperation between cognitive, linguistic and motor processes. It also requires spatial and temporal control of muscles, as well as simultaneous and coordinated activity of respiration, phonation and articulation (Cheng, Murdoch, Goozée & Scott, 2007; Yorkston, Beukelman, Strand & Bell, 1999; Raphael, Borden & Harris, 2011). Voice Onset Time (VOT) reflects the timing between phonation and articulation (Hoit-Dalgaard, Murry & Kopp, 1983). VOT is the most reliable acoustic cue for distinguishing between voiceless or voiced plosives (Auzou et al. 2000). Studies of English-speaking children with phonological impairment have shown atypical VOT-patterns (Bond & Wilson, 1980). The aim of the present study was to investigate Voice Onset Time (VOT) among Swedish children with phonological impairment and to examine if their VOT-values differ from typically developed Swedish children. Participants were 38 children aged 4;2−11;6 distributed over eight age- groups and five developmental stages of phonology. Audio recordings of minimal pairs were made at preschools, schools or at speech pathology clinics. The results indicated that children with phonological impairment produced VOT with deviant values and with a great variability. A marked acoustic difference between voiceless and voiced stop consonants was present, but not in all cases. Since the VOT-values were distributed over the group of children with phonological impairment, no developmental trend toward adult-like values that could be related to increasing age was found for either the acquisition of producing VOT or the acquisition of producing voicing lead. No differences in VOT were seen between the children in different phonological developmental stages or ages. No correlation between the degree of deviance of VOT and the proportion of Procent Phonemes Correct (PPC), age or phonological processes were found. From the results the conclusion can be drawn that children with phonological impairment have deviant VOT-values that could be caused by lack of phonological knowledge, but in particular since the variability did not decrease with increased age, have difficulties with motor execution. / Tal kräver ett samarbete mellan kognitiva, språkliga och motoriska processer. Det kräver även spatial och temporal kontroll av muskler samt samtidig och koordinerad aktivitet av andning, fonation och artikulation (Cheng, Murdoch, Goozée & Scott, 2007; Yorkston, Beukelman, Strand & Bell, 1999; Raphael, Borden & Harris, 2011). Voice Onset Time (VOT) ger en bild av koordinationen mellan fonation och artikulation (Hoit-Dalgaard, Murry & Kopp, 1983). VOT är den mest pålitliga akustiska referensen för att kunna skilja mellan tonande och tonlösa klusiler (Auzou et al., 2000). Engelsktalande barn med fonologisk språkstörning har visat atypiska VOT-mönster (Bond & Wilson, 1980). Syftet med föreliggande studie är att undersöka Voice Onset Time (VOT) hos svensktalande barn med fonologisk språkstörning och utröna huruvida deras VOT-värden skiljer sig från VOT-värden hos barn med typisk språkutveckling. I studien deltog 38 barn i åldrarna 4;2−11;6 fördelade på åtta åldersgrupper och fem fonologiska utvecklingsstadier. Inspelningar av bildbenämning av minimala par skedde på barnens förskola, skola eller logopedmottagning. Resultatet visade att barn med fonologisk språkstörning hade avvikande VOT-värden med stor variation. Det förekom både att grupper kunde och inte kunde producera akustiska skillnader mellan tonlösa och tonande klusiler. Resultaten var så spridda i barngruppen att ingen direkt utveckling mot vuxenlika värden kunde relateras till ökad ålder för varken utveckling av VOT produktion eller vuxenlik förekomst av förton. Ingen skillnad vad gäller VOT sågs mellan barn i olika fonologiska utvecklingsstadier eller åldrar. Hur mycket ett VOT-värde avvek kunde inte förklaras av ålder, språkliga processer eller hur många korrekta fonem (PPC) som producerades. Av resultaten dras slutsatsen att barn med språkstörning har avvikande VOT-värden som delvis kan hänföras till bristande fonologisk kunskap men framförallt, eftersom variabiliteten i barnens värden inte minskade med ökad ålder kan hänföras till svårigheter med det motoriska genomförandet.

Thesis (M.S.)--University of Hawaii at Manoa, 2004. / Leaves 86-90 lacking. Includes bibliographical references (leaves 91-93).

Epitaph for a darling lady : (2012) -- Limelight : (2013) -- Blueprints : (2013) -- In the primal garden : (2014) -- Sacred spaces : (2012). / text

Denne D-uppsats i Musikterapi ved Kungliga Musikhögskolan i Stockholm undersøger på et fænonomenologisk grundlag, hvordan fem kvinder i et gruppeterapiforløb oplevede at arbejde med stemmen som terapeutisk redskab. Det overordnede formål med projektet var at udvikle en metode til at arbejde med stemmen som terapeutisk redskab.   I et eksperimentelt projekt over ti sessioner af hver to timers varighed, blev der arbejdet med forskellige aspekter af det at arbejde med stemmen, herunder afslapning/mindfulness før alle praktiske øvelser, vejrtræknings- og stemmetekniske øvelser og forskellige stemmeimprovisations øvelser. Maleri og tegning blev taget ind som en ekstra dimension i forhold til at arbejde med de psykologiske processer. Sessionerne blev filmet som dokumentation og siden blev sessionerne transkriberet, beskrevet og analyseret. Alle samtaler i gruppeterapien udgik fra Irving D.Yaloms eksistentielle psykologiske vinkel. Via en fænomenologisk forskningsmetode og med triangulering af spørgeskemaer er øvelserne og deres effekter på deltagernes oplevelse af blandt andet selvværd, det at tage sin plads og præstation, blevet undersøgt. Resultaterne indikerer 1) at afslapning/mindfulness kan have en positiv indvirkning på deltagernes personlige processer, 2) at stemmetekniske øvelser kan åbne op for flere forskellige personlige processer, herunder processer relateret til sociale regler, selvværd, præstation og det at blive mere bevidst om ens egen krop og dens funktioner i forhold til stemmen og vejrtrækningen. Resultaterne indikerer også, at vejrtrækningsøvelser og afslapning påvirker hinanden gensidigt og at vejrtrækningsøvelser kan bruges som individuelt værktøj i relation til angstdæmpning. Improvisationsøvelser findes at kunne åbne for meget forskellige personlige processer alt efter stemmetekniske forudsætninger. Følelser af frihed i forhold til stemmeidealer, manglende teknik, indlejrede sociale konventioner, forhold til autoriteter og regler, samt følelsen af at lege og eksperimentere, er nogen af de temaer som deltagerne oplevede der kom fokus på. Deltagerne oplevede at de var i stand til at overføre disse oplevelser til deres private livsforhold og at de her kunne skabe en forandring. I forhold til Male/tegne øvelsen viser resultaterne at deltagerne oplevede at kunne uddybe deres udfordringer og processer yderligere, og at de oplevede øvelsen overraskende nem, kravløs og legende.   Et uforudset resultat var, at det at arbejde med en medfølende intention i forhold til en selv, viste sig at være den allerstørste faktor for at forløbet udgjorde en terapeutisk forskel for de deltagende. Generelt oplevede deltagerne selve gruppeterapien som en støttende og kærlig proces og derfor inspirende i forhold til den enkeltes udfordring og proces. / This Magister Thesis in Music Therapy at the Royal Academy of Music in Stockholm examines on a phenomenological basis how five women in a group therapy process experienced working with voice exercises as a therapeutic tool. The overall objective of the project was to develop a method to work with the voice as a therapeutic tool. In an experimental course over ten sessions of two hours duration, the women worked with various aspects of voicework, including relaxation /mindfulness before all practical exercises, breathing and technical voice exercises and various voiceimprovisation exercises. Painting and drawing were taken in as an extra dimension to the work of the psychological processes. The sessions were video recorded as documentation and afterwards the sessions were transcribed, described and analyzed. All conversations in the group therapy were based on Irving D.Yaloms existential psychology. Through a phenomenological research method and triangulation of questionnaires, -the exercises and their influence on participants' experience, among others of self-esteem, of being able to take one´s needed space - and of performance, were examinded. The results indicates 1) that relaxation /mindfulness can have a positive impact on participants' personal processes, 2) that technical voice exercises can open up several different personal processes, including processes related to social rules, self-esteem, achievement and to become more aware of ones own body and its functions in relation to the voice and breathing. The results also indicate that breathing exercises and relaxation have a mutual influence on one another and that breathing exercises can be used as a tool for the individual, concerning anxiety reduction. Improvisation exercises can help opening up to different personal processes, depending on the level of technical experience of the voice the participant possesses. Feelings of freedom in relation to voice ideals, lack of voice technique, embedded social conventions, relationship to authorities and rules, as well as the feeling of playing and experimenting, were some of the themes the participants experienced to have a focus on. The participants found that they were able to transfer these experiences to their private life conditions and here to create a change. In relation to the painting / drawing exercise, it was found that the participants experienced to immerse their challenges and processes further and that they experienced this exercise surprisingly easy, non-demanding and playful. As an unexpected result it was found, that working with a compassionate intention towards oneself in the process made the largest therapeutic difference for the participants. In general, participants experienced the group therapy as supportive and with a loving atmosphere which inspired the individual´s challenges and processes.

This report covers a robust voice activity detection (VAD) algorithm presented in [1]. The algorithm uses higher order statistics (HOS) metrics of speech signal in linear prediction coding (LPC) residual domain to classify noise and speech frames of a signal. Chapters in this report present voice activity detection problem and analysis of environment issues for VAD, deep HOS based and standard algorithms analysis and a real time HOS based voice activity detector model. New improvements (instantaneous SNR estimation, decision smoothing, adaptive thresholds, artificial neural network) to the proposed algorithm are introduced and performance results of the improved algorithm compared to standard VAD algorithms are presented.