Kiyoshi Makiyama 1 , Ryoji Hirai 1 , Shuichiro Yada 1 , Kazutaka Shiba 1 , Minoru Ikeda 1 , Yukari Makiyama 2

1 Nihon University, Otorhinolaryngology-Head Neck Surgery, Tokyo

2 Sanshodo ENT Clinic, , Ibaraki

Objective: Because exhalation causes the vocal cords to passively vibrate, there appears to be some correlation between aerodynamic parameters and various parameters. The present study investigated the relationship between vocal cord vibration parameters and aerodynamic parameters.

Method: Testing was performed on 13 patients with various voice disorders. Observations of the vocal cord vibration were conducted using a high-speed video system (Kay). Subjects were instructed to vocalize the vowel sound /a/ at a comfortable pitch and intensity. The predetermined area was analyzed for 20 cycles. Images taken at a speed of 2000 frames/s were analyzed using Kay Image Processing Software (KIPS). Using the airway interruption method, the phonatory function analyzer PS77E was used to measure sound pressure level (SPL), mean flow rate, expiratory lung pressure, and airway resistance. The present study was approved by the ethics review board and informed consent was obtained. Interrelations among the parameters were investigated by Fisher r-to-Z transformation with the level of significance set at p<0.05.

Results: A correlation existed between SPL and posterior glottal vibration as assessed by kymograph edge analysis (KEA) (left: p=0.0199 and right: p=0.0372) and central glottal vibration (left: p=0.022 and right: p=0.0438). A negative correlation was seen between airway resistance and glottal area waveform (GAW) minimum opening (p=0.0256). A correlation existed between airway resistance and KEA glottal closure (posterior glottis: p=0.003; central glottis: p=0.0377; anterior glottis: p=0.0311).

Conclusions: The results confirmed a significant relationship between vocal cord vibration parameters and aerodynamic parameters.

Evgeniy Trofimov 1 , Evgeniy Fuki 1 , Ekaterina Osipenko 1

1 Federal Research Clinical Centre of ENT of the Russia, Director od laboratory of a vocal and scenic voice, Moscow

In most cases vocal changes after operations on the thyroid gland are connected with the trauma of the recurrent laryngeal nerve (RLN) and the external branch of the superior laryngeal nerve (EBSLN). The preservation of the larynx functions can be improved with the use of the intraoperative neuromonitoring.

The vocal function have been assessed among 82 patients after surgical operation on the thyroid gland. 105 RLNs and EBSLNs have been at risk of surgical trauma. During the operation we have been using Neurosine 100 and surgical microscope for RLN and EBSLN identification.  The survey of laryngeal nerve function has been carried out before and after operation. Electromyography (EMG), videolaryngostroboscopy, perceptual analysis of dysphonia and spectrographic voice analysis have been also carried out.

Results: 104 RLNs and 86 EBSLNs have been successfully identified. The vocal changes are typical of 23% of patients   after thyreoidectomy and 12% of patients after hemithyroidectomy.  Unilateral larynx paresis was typical of the 3 patients, 1 patient had the permanent one. These damages have been diagnosed with the use of the standard indirect laryngoscopy.

The 18 patients have had the postoperative changes after the use of EMG of cricothyroid muscle; the 4 patients had the bilateral ones. The postoperative changes of 6 patients have been found out more than 6 months after surgery.

 After videolaryngostroboscopy the damages of the glottis closure at the phonation have been revealed among 7 patients, in 6 months they remained in 5 cases.

The changes connected with the middle voice pitch reduction more then 5% of preoperative size have been found out among 20 patients, after 6 months they have been found out among   7 patients.   

Conclusion: The significant correlation has been found between spectrographic voice analysis and EMG. To our mind, it seems reasonable to assume that the degree of glottis insufficiency caused by the laryngeal nerve damages is associated with the aspirate dysphonia, a low harmonic- noise coefficient, and reduced middle voice pitch.

Ekaterina Osipenko 1 , Marina Gerasimenko 1

1 Federal Research Clinical Centre of ENT of the Russia, laboratory of a vocal and scenic voice, Moscow

The tendency to increase in different diseases of the vocal device of the professionals of the voice is connected both with non-observance of  the voice hygiene and with  the increase in the vocal loading among the  certain professional categories.

In this connection the purpose of our research was to estimate the efficiency of the application of the pulsatile electrostatic field for the prevention of  the voice disturbances in the condition of the raised vocal loading

Materials and methods: we have examined 9 TV journalists and sports commentators of the different television channels. Specificity of their work consists of   an extremely high voice loading, a high emotionality during the commentaries of the  sports matches or  when they spend too much time in the professional business trips. The last  thing  defines  the complexity of the prophylactic medical examination and impossibility of getting the timely treatment in case of onset of the vocal problem. All examined patients  complained about the hoarseness and fatigability of the voice after high voice loading during the day for a period of  3-7 days or 2,5 weeks during   the Olympic Games. During the Olympic Games in Beijing and television competition «the Eurovision 2008» the  prophylactic therapy was carried out with the application of the device Hivamat 200" (which  is comfortable for  using  in a trip because of its small size).

The work  of the device  is based on the action of  the pulsatile bi-phase electrostatic field which is created between the manual gauge and the patient. In the area of the local influence on the larynx  the depolarization of  electrically neutral molecules occurs. As a result of it   there is an intensive resonant vibration of the  tissues with the  frequency from 5 to 200 Hz.

This effect leads to  antiedematic,  anaesthetic, , regenerative   influence. During the examination the patients  filled in the questionnaire to estimate their  sensations, they estimated in marks the  dynamics of the voice condition. We  have written the individual program on a smart card for each patient. These procedures have been carried out  daily, at  the end of the working day, or in addition, in case of hoarseness and fatigability of the voice at  the end of translation.

As a result of  the prevention all patients have noticed the significant  increase in the tolerance of the vocal device, and the decrease in frequency of  hoarseness occurrence.

Conclusion: the obtained data  have shown the  effectiveness of using the method of the  pulsatile electrostatic field for recovery of the normal condition and  the maintenance of the tonus of the muscles of the vocal device among the  professionals of the voice in the condition of the raised vocal loading.

Elina Lehtinen 1 , Anne-Maria Laukkanen 1

1 University of Tampere, Dept. of Speech Communication and Voice Research, Tampere

This study investigated the acoustic and perceptual characteristics of a good shouting voice. A total of 35 males shouted a short monolog (an excerpt of Shakespeare‘s King Lear) in a studio. Their lowest possible tone (produced in soft voice, vocal fry excluded) was also measured. The recorded shouting samples were analyzed for mean fundamental frequency (F0), equivalent sound level (Leq), difference between the average Leq of the 1-5kHz region and the average Leq of the 50Hz-1kHz region (‘alpha ratio'), loudness (in sones) and difference between the average level of the F1 region and the average level of the F0 region (L1-L0). Long-term-average spectra (LTAS) were made. The relative F0 (difference between the lowest possible F0 and the mean F0 in shouting, measured in semitones) was also calculated. Nine listeners, trained in vocology, evaluated the samples for voice quality, timbre, perceived pitch, perceived loudness, firmness of phonation (along the axis from breathy to pressed), degree of turbulence noise, and roughness. Reliability between the listeners' evaluations was good (Cronbach's alpha 0,80-0,94). Lack of hypertension, perceived noise and roughness correlated with voice quality. Alpha ratio, firmness, Leq and F0 seemed to be related to perceived loudness. The main characteristics in good shouting voice, thus, seemed to be lack of perceived noise, lack of roughness, great alpha ratio, great Leq and appropriate firmness.

Key words: shouting, loudness, voice quality, perceptual evaluation, long-term average spectrum

Laura Sipilä 1 , Timo Leino 1 , Anne-Maria Laukkanen 1 , Tiina Syrjä 2

1 University of Tampere, Speech communication and voice research, Tampere

2 University of Tampere, Department of Acting, Tampere

The aim of the present study was to investigate whether the impression and spectral correlates of a good male voice of an actor (in Finland) are still the same as 20 years ago.  According to earlier studies [1, 2], a relatively gentle spectral slope and a strong sound energy concentration at about 3.5 kHz, the so-called actor's or speaker's formant, correlated with the evaluation of a good speaking voice.

In the present study, (1) the same text reading samples, recorded and evaluated 20 years ago were evaluated again by 12 student actors and 6 voice professionals, and (2) text reading samples of  32 student actors recorded before and after a 4 year actor's training (during the years 1993 -2004) were analyzed for long-term average spectrum (LTAS). Level differences were measured between the strongest spectral peak and the strongest peak between 1-2kHz, 2-3kHz, 3-4kHz and 4-5kHz.

According to the results, most of the earlier recorded text reading samples were still today evaluated to sound better after training, even though voice quality evaluation did not correlate with the relative sound level in the frequency bands.  

Sound level in the frequency bands 2-3 kHz and 3-4kHz had increased also after the more recent 4 years actor training. The results revealed no substantial changes in the evaluation of voice quality and, thus, in the voice training aims of student actors, although, the voice evaluation performed by the listeners of the present study seemed to be more wholistic and less focused on voice ‘ring'.

 

1. Leino T. (1994) Long-term average spectrum study on speaking voice quality in male actors. In SMAC93 Proceedings of the Stockholm Music Acoustics Conference July 28- August 1, 1993, A. Friberg, J. Iwarsson, E. Jansson & J. Sundberg, eds., pp 206-210.

2. Leino T., Kärkkäinen P. (1995) On the effects of vocal training on the speaking voice quality of male student actors. In: K. Elenius & P. Branderud, eds. Proceedings of The XIIIth International Congress of Phonetic Sciences, Stockholm, Sweden 13-19 August 1995. Stockholm: Department of Speech Communication and Music Acoustics, Royal Institute of Technology and the Department of Linguistics, Stockholm University, Vol.3 of 4, 496-499.

Heini Nikander 1 , Anne-Maria Laukkanen 1 , Timo Leino 1 , Tiina Syrjä 2

1 University of Tampere, Dept. of Speech Communication and Voice Research, Tampere

2 University of Tampere, Department of Acting, Tampere

The aim of this study was to investigate what is regarded as a good singing voice quality for stage singing among future actors and what spectral characteristics may be regarded as preferable. Relationship between perceptual voice quality and characteristics of long-term-average spectra (LTAS) were focused on. Of special interest was the relationship between voice evaluation and the possible singers' or actors' formant (strong sound energy concentration at frequency bands 2-3 kHz and 3-4 kHz respectively). Samples were collected from 11 female and 10 male student actors. Some of the subjects had had a little voice training earlier and some were at the beginning of their training. They sang a verse from a Finnish folk song, two times from two different pitches (ranges g-a¹ and c¹-c² for the females and one octave lower for the males). In total of seven voice experts (4 theatre professionals and 3 speech trainers with classical singing training) evaluated the voice quality of the samples using a visual analog scale (VAS), 0 being poor quality and 200 being excellent quality. Additionally, they marked whether they found the voices suited for music theatre, musical, neither of those, or both (suitability). From each pitch, the sample (out of two trials) that was evaluated as better was chosen for acoustical analysis. The perceptual quality ranged from 68 to 158, thus none of the samples were evaluated as very poor or excellent but clear differences existed, enabling the study of preferred vocal characteristics. LTAS were made and the level differences between the strongest spectral peak (below 1 kHz) and the strongest peaks between 1-2 kHz, 2-3 kHz, 3-4 kHz, 4-5 kHz and 5-6 kHz were calculated. Relations between the level differences and voice quality and suitability were also investigated. According to the results, mostly actor's formants, but also a few singer's formants, or at least signs of them were seen in the LTAS for both males and females. The voice quality correlated on the lower pitch with the relative sound level in the frequency bands 3-4 kHz and 4-5 kHz for the females and with that of the frequency band 1-2 kHz for the males. These results suggest that on lower pitch the good singing voice quality of future actors resembled more a good (loud) speaking voice quality than classical singing voice quality.

 

Key words: stage singing voice quality, LTAS, singer's formant, actor's formant

Hanna Tahvonen 1 , Timo Leino 1 , Anne-Maria Laukkanen 1 , Tuula Rajamäki 2

1 University of Tampere, Speech Communication and Voice Research, Tampere

2 Radio and TV Institute, , Helsinki

This study aimed to investigate what is regarded as a good radio professional’s voice and speech in Finland and whether different listener groups differ in their evaluation. Speech samples of professional Finnish radio speakers (41 females, 20 males) were recorded from news castings. The samples were evaluated for thirteen (13) parameters – such as suitability for radio voice, suitability for newscaster voice, fluency, clarity of articulation, speech rate – and overall impression by 6 naive listeners and 7 voice professionals. The thirteen parameters were evaluated on a visual analog scale and the overall impression by a number (4-10). The samples were acoustically analyzed for mean fundamental frequency (F0), F0 range, F0 mode, standard deviation of sound pressure level (SPL) and long-term average spectrum (LTAS). LTAS was studied by calculating the sum of sound energy levels every 25Hz filter bands in the ranges of 0-1kHz, 1-2 kHz, 2-3 kHz, 3-4 kHz and 4-5 kHz. The strongest spectral filter band below 1 kHz was given the value zero and, thus, all the other bands were compared to it, which reflects the spectral slope.

 

According to the results, the voice professionals evaluated the samples to represent in general a better radio and newscaster voice quality than the naïve listeners did, while the naïve listeners, in contrast to voice professionals, regarded the voices to be more suitable as newscaster voices than radio voices in general. Fluency and clarity of articulation correlated strongly both with good radio voice quality and newscaster voice quality. In female voices negative correlations were obtained between a good radio and newscaster voice quality and the sum of relative sound energy levels, especially in the range of 3-4 kHz.

 

The results suggest that voice professionals and naïve listeners evaluated radio and newscaster voice quality somewhat differently. However, both listener groups seemed to regard fluency and clarity of articulation as important characteristics of a good radio and newscaster speech and a softer voice quality (more tilting spectrum) as preferable for a female radio speaker. The strong correlations between voice quality and speech parameters point towards a rather wholistic evaluation of speech in both listener groups.

 

Key Words: Radio voice – Radio speech – News casting – Perceptual analysis – Acoustic analysis – LTAS – Voice quality – Fluency – Clarity of articulation.

Viggo Pettersen 1

1 University of Stavanger, Department of Music and Dance, Stavanger

Scientific abstract Introduction: The study is aimed at examining the activity of the Diaphragm (DPH) by electromyography (EMG). To survey crosstalk of respiratory and abdominal muscles EMG activity from the lower intercostals muscles (LINT) and the lateral abdominal muscles (ULAB) were recorded. Material and method: Four electrode sites recorded EMG activity from the lateral and dorsal sections of DHP. LINT and ULAB activity was recorded on both sides of the body. Sustained tones, ascending and descending quarts and a glissando served as sample performances. EMG activity was recorded in upright and supine positions Results: DHP activity during supine position was clearly lower than in upright position. It was observed that DHP was activated in idiosyncratic patterns during phonation and the result will be discussed.

Matthias Echternach 1 , Tobias Baumann 2 , Johan Sundberg 3 , Bernhard Richter 1 , Michael Markl 4

1 Institut of Musicians Medicine, Freiburg University Medical Center, Freiburg

2 Radiology, Freiburg University Medical Center, Freiburg

3 Department of Speech, Music and Hearing, KTH, Stockholm

4 MRI Physics, Freiburg University Medical Center, Freiburg

Introduction: The role of the vocal tract in registers is still unclarified. Material and Methods: We analysed 10 professional tenors vocal tract configurations with dynamic real time MRI and MRI volumetry. For dynamic analyses, all subjects produced a scale from C4 to A4 with or without a register shift from modal to falsetto register between E4 and F4. For volumetry, sustained tones on F4 on vowel (1) in modal and (2) in falsetto register were analysed. Formant frequencies were measured after reconstruction of the area function. Results:  Vocal tract shapes differed between modal and falsetto register. In modal register brighter lip opening, wider oral cavity and pharynx with were found. Formant frequencies for the first formants reveal lower frequencies for the falsetto.

Vlasta Lungova 1 , Jan G. Svec 2 , Jaromír Horacek 3 , Radan Havlik 4 , Mojmir Lejska 4 , Petr Krupa 5

1 Palacky University, Faculty of Science, Dept. of Zoology, Olomouc, CZ

2 Palacky University, Faculty of Science, Dept. of Experimental Physics, Olomouc, CZ

3 Academy of Sciences of the Czech Republic, Institute of Thermomechanics, Prague, CZ

4 Audio-Fon Centre, , Brno, CZ

5 Masaryk University, Dept. of Medical Imaging, Brno, CZ

It has been known that the shape of the vocal tract is important in classical singing. Little has been known, however, on the involvement of the muscles in shaping the vocal tract for achieving the desirable voice quality.  The goal of our work was to identify the distinct muscular groups based on magnetic resonance (MR) imaging of the vocal tract. Two male singers were studied who produced voice both in naive and operatic voice quality at the same fundamental  frequency for two different vowels  [a] and [e].  In operatic voice quality the MR images revealed following shaping tendencies of the vocal tract: a) Larynx lowering and narrowing of the epilaryngeal tube, b) raising of the soft palate, c) flattening of the tongue, and d) straightening of the spine. These adjustments suggest a complex involvement of many muscular groups including articulatory (laryngeal, lingual and velar-pharyngeal muscles that control the position, width and length of the structures shaping the vocal tract) as well as postural muscles (large muscles of the head, neck  and torso which control, e.g., the movement of the spine in anchoring to facilitate finer control of smaller muscles in the larynx). The data also indicate that both the singers have different anatomical dispositions which may influence their different resonance strategies in singing. The present study provides an overview of the different muscles and discusses their effects on the shape of the vocal tract.

The study was supported by the Grant Agency of the Czech Republic, project GACR 101/08/1155

Michèle Castellengo 1 , Sylvain Lamesch 1 , Boris Doval 1

1 LAM-IJLRA, , Paris

Anatomical observations and electroglottographic investigations lead to the concept of two main laryngeal vibratory mechanisms, common to men and women. The mechanism one (M1) allows production of sounds from the lowest frequencies to high medium (100-500 Hz). The mechanism two (M2) allows production of sounds from low medium to the higher part of the vocal range (200-1000 Hz). As a consequence the medium range (200-500Hz) is an overlapping area of both mechanisms inside which it is possible to shift from one to another. A mechanism shift is characterized by different events: frequency break, electroglottographic signal (EGG) amplitude change and Open quotient value (Oq) jump. Such accidents are avoided by western lyrical singers, but are common in Middle-Eastern traditional music.

 

We recorded simultaneously the sound and the EGG signal of an Iranian singer who sung musical excerpts in tahrir style and didactic examples such as stable notes of different frequencies with various vowels. Analyses showed that the specific ornament of tahrir, the tekye, is constituted of a quick alternation between laryngeal mechanisms M1-M2-M1, producing a short break (50 to 70 ms). Along the scale G3 (200 Hz) to C5 (523 Hz) the mean jump interval remains constant as a third (ratio between 6/5 and 5/4). It does not change with frequency.

 

Besides, a systematic study has been conducted with 7 male and female singers in order to investigate the dependency of the leap interval with frequency, intensity and vowel. Results show that leap intervals depend on SPL but remain constant for a given dynamics whatever the frequency.

 

In another study focused on the influence of the vowel on phonetograms in M1 and M2, it has been shown that the phonetogram upper limit is 10 dB louder on /i/ than on /a/ in M1, but not in M2. This may explain differences observed on sustained note with different vowels. It is also in agreement with the comments of expert tahrir singers.

Estella Ma 1 , Camille Yu 1

1 The University of Hong Kong, Division of Speech and Hearing Sciences, Hong Kong

Voice disorders affects at least 6% of the general population (Marge, 1991). Similar high prevalence figures of voice disorders have also been reported in the pediatric population - with a rate of at least 6% (McNamara & Perry, 1994) to 17% (Akif Kilic, Okur, Yildirim, & Guzelsoy, 2004). The literature has reported that compared to vocally healthy children, children with voice problems are perceived more negatively on their personality and physical appearance traits by peers, university students and adolescents. To date, there have not been empirical studies which look into teachers' perceptions of children with voice problems and therefore, whether similar negative stereotyping exists among teachers remains to be investigated. Such information has significant educational implications. Because teachers play an important role in a child's whole-person development, negative attitudes of teachers towards dysphonic children can adversely impact on the child's academic, social and psychological well-being development.

The aim of the present study was to examine teachers' attitudes towards children with voice problems. Two groups of listeners participated in this study. The first group of listeners consisted of 15 primary school teachers (3 males and 12 females; mean age=25.0 years, range=21-30 years). Another group of listeners comprised of 15 undergraduate students and they served as controls (8 males and 7 females; mean age=21.9 years, range=18-25 years). Both groups of listeners were asked to listen to recordings of 12 children with six dysphonic children (mean age=9.42 years, range=7.5-11 years) and six normal-voiced children (mean age=9.33 years, range=8-11 years). The listeners then rated non-speech characteristics of the children speakers including personality, social desirability and physical appearance on a 22-item semantic differential scale anchored with bipolar adjective pairs.

Results revealed that both groups of listeners judged children with voice problems significantly more negative than children without voice problems (p=0.001). The mean attitude ratings obtained from school teachers and university students were similar and were not significantly different from each other (p>0.05). The results further support that voice problems can adversely affect listeners' perceptions of a child's non-speech characteristics. Voice problems in children warrant attention and should not be underestimated.

Maria Ossovskaya 1 , Anna Brusser 1

1 The Vakhtangov Theatre Academy, Bolshoy Nikolopeskovskiy per. 12-a, Moscow

   We are representatives of one of the leading theatrical schools of Russia - «The Vakhtangov Theatre Institute». E.B.Vakhtangov was the most talented pupil and follower of K.S.Stanislavsky, an actor of his troupe. In 1914 he created a drama studio (our School), which in 1922 started the theatre nowadays bearing Vakhtangov`s name. In 2009 «The Vakhtangov Theatre Institute» celebrates it`s 95`s anniversary. The curriculum of the subject «stage speech» consists of two disciplines: «Techniques of speech » and «Artistic speaking».

 

  Lessons of techniques of speech are held in groups - 4 academic hours a week and individually - 2/3 academic hours a week for 4 semesters. They include

breath training, the theory of voice, diction training, orphoepics and logic of oral speech (prose and poems).

   Lessons of artistic speaking are held individually - 1 academic hour a week for 5-7 semesters. They include studying and practical mastering of the genre and style of a piece of literature,  analysis of the chosen material, building characters (narrator, heroes of narration), revealing of a theme and an idea of a poem, its prevailing action and logic perspective, search for a superobjective of a performer. During the lesson of artistic speaking, basing on the received skills and knowledge of techniques of speech, a student together with a teacher strives for the wholeness of a literary material and in a moment of performing influences the audience emotionally. The ideal result of this kind of work is that a student becomes a creator, an artist!

    Traditions and collective practical experience of Russian theatrical School lets  us assert, that  training of speech is a part of a complex method of improvement of the quality of speech. The complex approach to teaching of techniques of speech is an obligatory condition for effective lessons. Scientific research in the field of physiology, pedagogy, psychology, linguistics, theater studies, medicine (phonopediya, phoniatriya...) is a theoretical foundation for teaching of the given discipline. Practical mastering of all elements of techniques of speech without exception is the basis of the professional work of an actor.

    During the time of studing a student achieves the highest result only under the condition of  interaction and two-way influence of all professional disciplines: Acting, Stage movement, rhythmics, singing and so on.

    So, in our opinion, the complex approach to teaching is necessary to consider as follows:

•·        The result of interdisciplinary scientific research;

•·        The result of interdisciplinary practical experience;

•·        Interaction between all the sections of techniques of speech.

   Basing on long-term practical experience and on studying of the fundamentals of interdisciplinary scientific materials, We are are ready to put forward a hypothesis about the position of the discipline «Techniques of speech», wich we regard as a  science about the art of speech, a linking constituent in a chain SCIENCE-ART.

Amy Asbury 1 , Kathryn Green 1

1 Shenandoah University, Voice (Pedagogy), Winchester

This study examines ambiguities and philosophical differences in approach within the framework of current Vocal Pedagogy doctoral programs in the United States. The field of Vocal Pedagogy in the United States was developed by teachers of singing who possess varying backgrounds and skills. Theories about the composition of a well-grounded curriculum in higher education, therefore, continue to evolve as new knowledge is brought to bear. There are, however, general areas of knowledge that are accepted and increasingly integrated into vocal instruction: anatomy, acoustics, vocal health, vocal repertoire, and performance technique. The relevance of science within this field has gained momentum as a valid approach. This emphasis may require systematic redesign of vocal pedagogy programs that have previously maintained a strong performance focus, so that faculty members are fully prepared to incorporate scientific concepts within their own instruction. Prominent organizations such as The Voice Foundation and The National Association of Teachers of Singing have taken strides to encourage discourse about different educational and professional philosophies through various symposiums and journal publications. Also, general guidelines are offered for curriculum design in Pedagogy by the National Association of Schools of Music (NASM). Institutions offering music degrees in the United States must receive and maintain accreditation from NASM. Vocal pedagogy programs accredited by NASM appear to be inter-disciplinary on some level. This research investigates differences between doctoral programs in order to identify current design and philosophical trends. Findings were organized into categories of performance, interdisciplinary, or science-based curricula. Models are provided for each category that demonstrates a cross-section analysis of curricula common within each category. Findings indicate that music departments within larger institutions face specific issues related to resources needed to supplement music or performance-based curricula. Vocal Pedagogy graduate degrees offered at the master's level outnumber those at the doctoral level. Since curricula for masters programs often serve as prerequisite for doctoral curricula, a brief survey of curriculum design for masters programs is provided as well. An example of an inter-disciplinary doctoral program is demonstrated through a preliminary case study of one institution's pilot program. Issues and accomplishments of the design of this program illustrate the challenges in curriculum design within this field. Researchers welcome critique and the opportunity to learn how other programs are addressing the challenges of fully integrating vocal pedagogy doctoral programs.

Sandra Cornaz 1 , Nathalie Henrich 1 , Nathalie Vallée 1

1 CNRS, Speech and Cognition, GIPSA-lab, Saint Martin d'Hères

Several studies done in various research fields, such as Mathematics, Literature, or Linguistics, have shown that music may have a positive impact on learning processes (Bancroft, 1985). In Linguistics, the positive role of music on perception of prosodic features has been pointed out (Schön et al., 2004 ; Magne et al., 2006). A recent study has demonstrated that the segmentation of words in a foreign language was facilitated by language learning based on sung sequences as compared to speech sequences (Schön et al., 2008).

In the present study, we aim at investigating whether singing-voice tasks could help to improve the learning of French phonemes. The singing-voice tasks include respiratory, vocal, and articulatory exercises, listening of sung sounds, and textual production in singing. The oral vowels of the Italian standard phonological system were chosen, as they differ from those of French which lacks the two rounded anterior phonemes: /y/ and /ø/. One of the phonetic methods traditionally used for teaching/learning French as a foreign language was selected (Abry et Chalaron, 1997). For comparison purpose, this method was slightly modified to introduce singing tasks. The subjects are Italian-speaking students who were learning French. They were divided into two groups: The first group was given the common phonetic teaching, and the second one the phonetic teaching including singing-voice tasks. The learning skills to produce the two target phonemes (/y/ et /ø/) was evaluated using either reading or repeating carrier sentences. Recordings were made prior, during and after the learning phases. The data were semi-manually processed using Praat software.

The results show that the subjects who were taught with additional singing-voice tasks learn faster than the others. They produced the extreme vowels on the vocalic triangle [i a u] in acoustical regions closer to those expected for these vowels in French ([a] is more distant from [i] and [u], and less scattered in the French vowel system than in the Italian one). In addition, the participants have managed to produce the anterior phonemes /y/ and /ø/ in the acoustical regions expected for these vowels in French. The phonemes markedly reduce the confusion and the overlap of acoustic scatterings is less important, between /y/ and /ø/ and with phonemes which are close to them (in particular /i/ and /u/).

REFERENCES

Abry, D.; Chalaron, M.-L. (1997). 350 exercices corrigés de phonétique. Paris : Hachette.

Bancroft, W. J. (1985). Music therapy and education. Journal of the Society for Accelerative Learning and Teaching, 10 (1), 3-16.

Magne, C; Schön, D; Besson, M (2006), « Musician children detect pitch violations in both music and language better than non musician children.  », Journal of Cognitive Neuroscience, 18, 199-211

Schön, D; Magne, C; Besson, M (2004), « The music of speech: Electrophysiological study of pitch perception in language and music», Psychophysiolog, 41 341-349

Schön, D; Boyer, M; Moreno, S; Besson, M; Peretz, I; Kolinsky, R (2008), « Songs as an aid for language acquisition », Cognition , 975–983

Ilter Denizoglu 1 , Murat Pehlivan 2

1 Alsancak State Hospital, ENT- Voice Clinic, Izmir

2 Ege University Faculty of Medicine, Biophysics, Izmir

Phonation process consists of two main parameters: Subglottal pressure (Psub), and glottic resistance. Subglottic pressure is the end product of constriction of trunk muscles containing lower back, thoracic, abdominal and -unfavorably- cervical and upper thoracic muscles. Ideally, glottic resistance must not be affected by Psub bearing process, so that one can use his/her voice freely in order to express artistic expressions. In especially classical singing pedagogy, breath and voice are aimed to be separated but work together interactively. The term inertance is generally used to impress supraglottic positive pressure in glottal source- vocal tract interactions. Singers use some specific manipulations of the vocal tract which can help them to achieve the artistic goals such as  epilaryngeal tube formation, semiobstructive vocal tract exercises which helps glottic mechanisms during phonation. But... What happens if there is a negative pressure in the supragottic region?

Transglottic air flow is known to be the source of voice. We thought that we can create voice by an external negative pressure source which vacuums the intrathoracic air under control and creates transglottic airflow. So, the only thing that the subject is supposed to do for phonation is to adduct the vocal folds. This procedure maintains a reverse Bernoulli effect by the help of an artificially created negative pressure applied to the vocal tract externally. Resultantly, without any muscular attempt to create a Psub, it is possible to phonate. This study aims to substract Psub bearing process from phonation so that the subject can feel the taste of a "totally free voice" kinesthetically.

We assume that this procedure can be used in singing pedagogy in order to hear how one's primal voice is like and freeing the voice. In the voice clinic NIPA may be a treatment of choice for treatment of hyperfunctional voice disorders and physogenic aphonia.

NIPA consists of a vacuum machine which is connected to an ambu mask. A manually adjustable pressure valve is mounted on the mask to control negative pressure level. The voice was monitored during NIPA procedure by a microphone in the mask which was inserted through the mask wall and also by an Electroglottograph.

The preliminary results of this thought are stimulating. The subjects mostly surprised to hear their primal voice at once!

Malgorzata Malicka 1

1 Medical University, Pepartment of Pediatric Otorhinolaryngology, Lodz

Abstract.

Aim of the study: The evaluation of effectiveness of EEG biofeedback therapy in selected phoniatric diseases in children.

Material and Method: The study group consisted of 7 children treated in the phoniatric procedures 8-11 years old, 2 girls and 5 boys:  3- with dyslexia, 4- with disabilities of sensory integration. The control group - 6 children with logopedic and psychologic rehabilitation without biofeedback therapy. The examinatory protocol included  phoniatric and neurological examination and psychological evaluation: introductory, after 10 sessions and finally at the end of the therapy. EEG biofeedback therapy was conducted at fixed time for each patient. Exercise computer games were used. The ratio of  brain theta to beta waves was measured before and after therapy.  

Results: The psychological estimation showed behavioral and cognitive improvement , however  doesn't bring the expected results between theta to beta waves   P> 0.05

Conclusions: EEG biofeedback therapy is beneficial for phoniatry diseases.

 

 

Jurjaan Snelleman 1 , Frederik Dikkers 1

1 Universitair Medisch Centrum Groningen, Otorhinolaryngology, Groningen

Pemphigus and pemphigoid are relatively rare dermatological diseases. They belong to the bullous auto-immune diseases. Both pemphigus and pemphigoid cause blisters and can affect either skin, or mucosa, or both. The generalised forms are potentially lethal. We would like to demonstrate the importance of knowledge of these conditions for the general ENT-practitioner and the laryngologist in particular.

We describe one case of a 42-year-old woman with a history of oral erosions, nasal crusts, but no skin complaints. She also developed hoarseness and dyspnoea. The most striking lesions were found in the larynx, with scarification and narrowing of the supraglottal structures and a small web with ulceration in the anterior commissure. Examination by the ophthalmologist revealed a symblepharon. Wegener's granulomatosis had been considered, but was ruled out. The dermatologist performed Immuno-Fluorescence of a punch biopsy from mucosa adjacent to the oral erosions. This finally led to the diagnosis of Mucous Membrane Pemphigoid.

In pemphigus the auto-antibodies target different adhesion molecules in the epidermis. Intra-epidermal blisters are the hallmark. The specific auto-antigen determines if the mucous membranes and/or skin are involved. The targeted adhesion molecule also determines which layer of the epidermis will split.

In pemphigoid the auto-antibodies target different adhesion molecules below the epidermis in the basement membrane zone. Subepidermal blistering is the result. The targeted adhesion molecule ultimately determines the clinical picture.

Close cooperation between the laryngologist and dermatologist is vital for making the diagnosis and choosing the individual treatment, which consists primarily of immune modifying medication.

Isao Tokuda 1 , Miwako Kimura 2 , Hiroshi Imagawa 3 , Kenichi Sakakibara 4 , Niro Tayama 5

1 JAIST, School of Information Science, Nomi-city

2 University of Texas Southwestern, , Dallas

3 University of Tokyo Hospital, , Tokyo

4 Health Sciences University of Hokkaido, , Sapporo

5 International Medical Center, , Tokyo

Pathological voice originates from complex nonlinear vibrations of disordered vocal folds. Deep understanding of the voice disorders based on mathematical modeling of the vocal folds may provide an important insight into the abnormal vocal fold vibration as well as a good hint for improving the voice surgery. Up to date, various models have been developed to simulate complex vibratory patterns of the vocal folds, ranging from a simple two-mass model to complex multi-mass models. However, only a few researches aim at construction of the vocal fold model, which realizes quantitative characteristics individual voice. Recently, Doellinger et al. proposed a method for estimating the parameters of asymmetric two-mass model for high-speed filming data recorded from human subjects. The present paper applies this technique to pathological data recorded from patients with vocal fold paralysis. Right and left vocal fold tensions, subglottal pressure and glottal area are estimated. Whether the effect of voice surgery is reflected in the estimated parameters is judged by using the data before and after the voice surgery. Based on the results, applicability of the mathematical vocal fold model as a simulator for the voice surgery is discussed.

Lev Rudin 1,2

1 Federal science and clinical centre of otolaryngology, otolaryngology, Moscow

2 Academic song and dance ensemble of Russian Army named after A.V. Aleksandrov, Room for phoniatrics , Moscow

Room for phoniatrics of Academic song and dance ensemble of Russian Army named after A.V. Aleksandrov

Federal science and clinical centre of otolaryngology

 

Aim of the investigation: to define the role of chronic tonsillitis in the disharmonies formation.

Tasks of the investigation: to define the level of larynx's morbidity in the circumstances of expose tonsillitis; to study the character of changes in the larynx in the circumstances of chronic tonsillitis.

There were 200 out-patient medical records analyzed, belonging to patients, who have taken medical advice on hoarseness during the period since 2005 till 2009, and who have been diagnosed to have chronic tonsillitis.

The patients were complaining about dry pharynx, mostly in the circumstances vocal stress, about sense of foreign body in pharynx and subjective "constriction" of pharynx's lumen, about dry, obsessive, sometimes paroxysmal cough, about hoarseness in different degrees of manifestation, increasing in the circumstances vocal stress and having refractory character. Symptomatic therapy gave non-persistent effect.
The examination of ear, nose and throat revealed signs of chronic tonsillitis, as well as one or another changes in the larynx.
Laryngoscopy and laryngostroboscopy mostly defined the signs of hypotonia of Ferrein's cords, (o)edema in nodular zones.
Diagnosis of some patients exposed chronic laryngitis and polyps.
Intensity of changes in the larynx correlated with the prescription of anamnesis.

Diagnostic irrigation of palatine tonsils lacunae was carried out among all patients. The patients were noticing the significant subjective amelioration even after the first irrigation. The sense of foreign body in pharynx was vanishing, the pharynx was becoming "wider and more free". The change of vocal function was happening, that was manifesting itself in the improvement of voice quality during  aural validation, as well as in the alleviation of phonation act according to sensations of the patient. Vibrator cycle in the circumstances of insignificant changes was completely restoring in all range during the laryngostroboscopy. Increase of Ferrein's cords frequency and amplitude of vibrations were noticeable in the circumstances of significant changes, closure phase was becoming more long-lasting. Rates of vibrator cycle were improving against the background of after-treatment.

Constant positive effect was obtained. Observed data enabled us to talk about presence of so called tonsillolaryngeal reflex.

Thus, chronic inflammatory process of palatine tonsils significantly effects the functional condition of the larynx. Also it is being underestimated in the definition of causes and treatment of acute as well as recurrent disorders of vocal function.

Anne Rosing-Schow 1 , Solveig Gunvor Pedersen 2,3 , Niels Reinholt 3

1 University of Copenhagen, Department of Arts and Cultural Studies, DK Copenhagen

2 CSU, Communication Department, Roskilde

3 University of Copenhagen, Department of Scandinavian Studies and Linguistics, Copenhagen

The purpose of the study reported in the paper is to investigate the effect of a method of laryngeal manual therapy (LMT) in the treatment of Muscle Tension Dysphonia (MTD).

In Denmark, where one of the authors practices as a speech-language therapist (SLT) in the field of voice problems, the possibility of referring patients to a physiotherapist who will treat excess muscular tension in the laryngeal area has, unfortunately, become very restricted. This leaves the SLT with patients who, because of this excess muscle tension, have difficulties benefiting from voice exercises instructed by the SLT and a need for a protocol for treating this condition. The purpose of this study is to test the effect of such a protocol.

In this study, the condition of specific muscles in the neck and around the larynx is assessed by palpatory evaluation. Evaluation and treatment are carried out according to a well-defined program based on the first author's experience in the field of treating excess (compensatory) muscle tension in professional singers.

The aim of the LMT is, of course, to cause the excess muscle tension to relax and thereby reduce the degree of vocal tract discomfort. It may also result in a spontaneous improvement of voice function. On the other hand, in cases with a markedly increased compensatory muscle activity, the therapy may result in a voice function with less stability, less volume or more breathiness than before treatment. Therefore, LMT should normally be accompanied by other forms of voice therapy (e.g. adjusting respiratory patterns or training voice strength/voice volume). In the present study, however, the LMT will be administered as the only treatment, in order for the possible effect of that treatment not to be mixed up with the simultaneous effects of other forms of treatment (such other treatments will be applied after the LMT if need be).

Six subjects who work in voice-demanding jobs in call centers are recruited. From their answers to a questionnaire and a follow-up interview, it will appear that they all shows signs of vocal tract discomfort related to voice production and possible MTD. The subjects will receive the LMT treatment once. The outcome will be evaluated on the basis of the subjects' self-evaluation (by questionnaire) of vocal discomfort and acoustic and auditory analyses of recordings of connected speech and sustained vowels immediately before and after treatment. A further self-evaluation procedure will be carried out a week after the treatment session.

The results of the study will be reported and discussed in the paper.

 

Key words: Laryngeal manual treatment. Vocal outcome. Muscle tension dysphonia, Vocal tract discomfort. Palpatory evaluation, Professional voice users.

Valeriy Svistushkin 1 , Vasif Isaev 1 , Djavanshir Mustafaev 1 , Idrak Ahmedov 1 , Ekaterina Osipenko 2

1 Moscow regional research clinical institute named after M.F. Vladimirsky, ENT, Moscow

2 Federal Research Clinical Centre of ENT of the Russia, Director od laboratory of a vocal and scenic voice, Moscow

ENT specialists from different countries have been interested in the problem of the benign lesion in the larynx for many years.

The purpose of the work is to increase the efficiency of endolaryngeal microsurgical treatment of the patients suffered from the benign lesion in the larynx with the application of Coblation.

We have examined 15 patients both female and male, aged 22-57 years suffered from different kinds of the benign lesion in the larynx.

 9 patients suffered from the polyps in the vocal folds, 2 patients suffered from fibromatas and 4 patients suffered from larynx papillomatosis

In the postoperative period the vocal therapy and respiratory gymnastics were carried out among the all patients. On the basis of the computer acoustic analysis of the voice we can draw a conclusion on the essential depression of the vocal function of 100 % of the patients suffered from the benign lesion in the larynx.

The research of vocal larynx function has revealed voice restoration among 78,1 % of the patients, voice improvement among 18,8 % of the patients,  3,1 % of the patients didn't have any changes.

The conclusion: the developed technique of endolaryngeal microsurgery with the application of Coblation surgery in the treatment of benign lesion in the larynx allows improving the results of the vocal function. These results are evident in the statistically authentic improvement of the data of the acoustic indicators of a voice in comparison with the tool and laser methods.

Teija Waaramaa 1 , Anne-Maria Laukkanen 1 , Unto K. Laine 2

1 University of Tampere, Dept. of Speech Communication and Voice Research, Tampere

2 Helsinki University of Technology, Department of Signal Processing and Acoustics, Espoo

An earlier study by Waaramaa et al. (2008) showed that vowels [a, i, u] have different capabilities to carry emotional information. This following study is a preliminary investigation of the effects of two kinds of vocal tract modifications on the vowels mentioned. The modifications were narrowing of the epilaryngeal area and lengthening of the vocal tract (simulating lowering of the larynx). Modifications and their effects were studied using a modelling approach by Unto K. Laine. The vocal tract profile was approximated by eight successive tubes aligned along a common axis. The lengths and diameters of the tubes were controllable. The total vocal tract length (from vocal folds to lips) was set to 17.5 cm. The vowels were modelled using stereotypic profiles from Fant. (Slight modifications were made in order to fit Finnish vowels.) Vocal tract losses were not modelled, just the effect of the lip radiation was partly taken into account by interpolation and having an additional tube section with large cross-sectional area joined to the last tube section at the lips. A constant voice source based on simple mathematical functions approximating the glottal volume velocity pulse waveform was used in the simulation. The simulated samples sounded rather natural and the vowels were well recognizable. Also their spectra corresponded well those measured from the vowel samples of Finnish speakers.

Firstly, the standard vocal tract setting was changed by narrowing (decreasing the radius) the tube above the glottis (epilaryngeal tube) by 20 %. This caused 36 % decrease in the corresponding tube cross-sectional area. In [i] the frequency and amplitude of F3 increased, in [a] the frequency of F2 as well as the amplitudes of F2, F3 and F4 increased. In [u] practically no changes were observed. Secondly, the standard vocal tract setting was changed by lengthening the tube by 10 %. This caused a ~ 2.2 mm longer tube above the glottis. The main effects found in the present study were clearly more strongly related to the tube length change. It was found that in [a] and [i] F2 and F3, and in [a] also F4 decreased both in their frequencies and amplitudes. A similar change in [u] was observed for F4. In the earlier study vowel [a] was found to be the most effective carrier of the emotions and [u] the least effective. The results illustrate the fact that the same change in the vocal tract causes different changes in different vowels. It, thus, follows that whatever articulatory gesture e.g. related to emotional expression is supposed to lead to different acoustic changes in different vowels. It may also be presumed that in different individuals the same articulatory gesture even in the same vowel may produce a different response. This may partly explain the fact that few statistically significant differences in formant frequencies have been found between emotional expressions.

Ewa Niebudek-Bogusz 1 , Ewelina Woznicka 1 , Mariola Sliwinska-Kowalska 1

1 Nofer Institute of Occupational Medicine, Dep.of Audiology and Phoniatrics, Lodz

Objective It has been shown that teachers are at risk of developing occupational voice disorders which account for over 25% of all the occupational diseases diagnosed in Poland. The aim of the study was to assess the role of psycho-emotional risk factors for developing dysphonia in teachers.

Methods. The study group comprised random-selected 181 teachers, consulted because of cause chronic voice disorders at  outpatient phoniatric clinics in Poland. All the participants were subjected to a survey based on  extensive questionnaire. Female  teachers aged  24-61years  constituted the majority  (88,4% of subjects).

Results. In the study group 36,5% of the teachers reported poor psychological wellbeing, 14% of subjects complained about anxiety and 10% of subjects reported the signs of depression. The overall psycho-emotional  symptoms were more frequent in the dysphonic teachers than in the controls (22,2%). However only 9,9% of the questioned teachers have got knowledge on how to manage the stresses their job involves, while only 3,3% of the subjects have at some point received psychological care. Moreover,  25% of those teachers have suffered from chronic postural and musculoskeletal  diseases more frequently than from allergy (19,9%) and hormonal disturbances (9,4%), which  have been  commonly believed as risk factors of occupational dysphonia.

 Conclusions. Psycho-emotional and postural disorders in teachers may  constitute risk factors for developing occupational voice disorders. Understanding the dimensions of dysphonia in teachers could help clinicians to provide multidimensional management and prevention of occupational voice disorders.

Leenamaija Kleemola 1

1 Tampere University Hospital, Phoniatric Department, Tampere

Manal El-Banna 1,2 , Yehia Abouras 1,2 , Riham El-Maghraby 1,2 , Amira Ibrahim 1,2

1 Faculty of Medicine, otorhinolaryngology, Alexandria

2 Alexandria University, unit of Phoniatrics, Alexandria

Maja Sereg Bahar 1 , Tanja Soklic Kosak 1 , Irena Hocevar Boltezar 1

1 University medical centre, ORL and HNS, Ljubljana

Kirsti Leppänen 1

1 University of Tampere, Department Speech communication and voice research, Tampere

Diane Hazlett 1 , Orla Duffy 2 , Anne Moorhead 1

1 University of Ulster, School of Communication, Newtownabbey

2 University of Ulster, School of Health Sciences, Newtownabbey

Jaana Tyrmi 1

1 University of Tampere, Department of Speech Communication and Voice Research, Tampere

Orietta Calcinoni 1

1 INAIL, CPDR, Milan

Carolina Perez Sanz 1

1 CSIC, Laboratorio de Fonética, Madrid

David Azul 1

1 La Trobe University, Communication, Arts, Critical Enquiry, Fairfield

Bozena Wiskirska-Woznica 1 , J. Kraśny 1 , A Zebryk-Stopa 1

1 University of Medical Sciences, Phoniatrics & Audiology, Poznan

Bodil Krog Rasmussen 1 , Ågot Grøntved 2

1 Center of Rehabilitation and Special Counseling, Speech Department, Odense

2 Odense University Hospital, oto-rhino-laryngo , Odense

Dominique Müller 1 , Friederike Roers 1 , Dirk Mürbe 1

1 University Hospital Carl Gustav Carus, Otorhinolaryngology, Dresden

Katharina Florek 1 , Dirk Mürbe 1

1 University Hospital Carl Gustav Carus, Otorhinolaryngology, Dresden

Mario Fleischer 1 , Matthias Bornitz 1 , Thomas Zahnert 1 , Dirk Mürbe 1 , Marcus Hofmann 2 , Kai Bachmann 3

1 Technische Universität, Clinic of Otorhinolaryngology, Dresden

2 Gesangstudio Bernau am Chiemsee, , Bernau

3 University Mozarteum, Department of Music Pedagogy, Salzburg