- The Oxford Handbook of Singing
- List of Contributors
- Structure and Function of the Singing Voice
- Voice Dysfunction and Recovery
- The Healthy Voice, Lifestyle, and Voice Protection (including Exercise, Body Work, and Diet)
- Physiology and its Impact on the Performance of Singing
- Breathing in Singing
- The Sound Source in Singing: Basic Principles and Muscular Adjustments for Fine-tuning Vocal Timbre
- The Vocal Tract in Singing
- The Acoustics of Different Genres of Singing
- The Developing Voice
- Perceptual Features in Singing
- The Impact of Location on the Singing Voice
- The Neuroscience of Singing
- Intonation in Singing
- Singing and Emotion
- Perceived Quality of a Singing Performance: The Importance of Context
- Defining and Explaining Singing Difficulties in Adults
- Vocal Performance in Occasional Singers
- Singing as Inter- and Intra-personal Communication
- Digital Libraries for Singing: The Example of the AIRS Project
- Socio-cultural, Acoustic, and Environmental Imperatives in the World of Singing
- Fetal, Neonatal, and Early Infant Experiences of Maternal Singing
- Mothers as Singing Mentors for Infants
- Singing and Invented Song-making in Infants’ and Young Children’s Early Learning and Development: From Shared to Independent Song-making
- Children Singing: Nurture, Creativity, and Culture. A Study of Children’s Music-Making in London, UK, and in West Bengal, India
- Singing and Vocal Development
- Boys’ Singing Voice Change in Adolescence
- Adolescent Girls’ Singing Development
- The Effects of Gender on the Motivation and Benefits Associated with Community Singing in the UK
- Voice Management and the Older Singer
- Systematic Development of Vocal Technique
- Addressing the needs of the adult “non-singer” (“NS”)
- Teaching the Professional Singer
- Mental Preparation for the Performer
- Conservatory Teaching and Learning
- Pedagogy of Different Sung Genres
- The Extra-normal Voice
- Vocal Music and Pedagogy of Chinese, African, and Indian Genres
- Contemporary Concepts and Practices of Choral Singing
- The Youth Choir
- Cultural History and a Singing Style: “The English Cathedral Tradition”
- Perspectives on Choral Conducting: Theory and Practice
- Group Singing and Social Identity
- Intonation and Staying in Tune in <i>A Cappella</i> Choral Singing
- Choral Singers’ Perceptions of Musical Leadership
- Can Singing have a Beneficial Effect on Lung Function and Breathing for People with Respiratory Illness?
- Singing and Psychological Needs
- The Effects and Benefits of Singing Individually and in a Group
- Unchained Melody: The Rise of Orality and Therapeutic Singing
- Historical Approaches in Revealing the Singing Voice, PART 1
- Historical Approaches in Revealing the Singing Voice, Part 2
- Ave Verum Pentium: Singing, recording, archiving, and analyzing within the digital domain
- Practical Voice Analyses and their Application in the Studio
- Future Perspectives
- Author Index
- Subject Index
Abstract and Keywords
This chapter, through examining several emerging or continuing areas of research, serves to look ahead at possible ways in which humans, with the help of technology, may interact with each other vocally as well as musically. Some of the topic areas, such the use of the Voice Range Profile, hearing modeling spectrography, voice synthesis, distance masterclasses, and virtual acoustics, have obvious pedagogical uses in the training of singers. Others, such as the use of 3D printed vocal tracts and computer music composition involving the voice, may lead to unique new ways in which singing may be used in musical performance. Each section of the chapter is written by an expert in the field who explains the technology in question and how it is used, often drawing upon recent research led by the chapter authors.
Peter Pabon studied biochemistry, signal processing, and sonology at Utrecht University. His professional career started in 1983 as a part-time researcher with Professor Plomp at VU University in Amsterdam on a project called Objective Recording of Voice Quality, and he worked at Utrecht University as a teacher/researcher on (singing) voice analysis and speech and music acoustics from 1983 until 2011. He initiated a project for singing voice synthesis and analysis at the Royal Conservatoire that later resulted in a cooperative project with the singing department to monitor voice change as an effect of voice training. In 2002, he founded Voice Quality Systems, a company in which he develops the voice quality recording system Voice Profiler, which is used in many clinical centers, conservatories, and schools for professional voice training. Peter Pabon lectures at the Royal Conservatory, The Hague and is currently finishing his PhD thesis at KTH Stockholm, which has generated several papers and presentations on Voice Range Profile (VRP) recording methodology, the effects of voice training, and the spectral variation over the VRP.
David M. Howard was elected Fellow of the Royal Academy of Engineering in 2016 and in that same year he became the Founding Head of the new department of Electronic Engineering at Royal Holloway, University of London, where he has set at its heart the principle of nurturing creativity in the context of group working for practical projects in each of the first two years. This is supported with a creative thinking space, prototyping lab and fabrication lab with 3-D printers and laser cutting machines for realising prototype designs. He has been Editor-in-Chief of Logopedics, Phoniatrics, Vocology and is on the Editorial Boards of Journal of Voice, Forensic Linguistics, Organised Sound, International Journal of Research in Choral Singing and Journal of Interdisciplinary Music Studies. In 2014, David was made an Honorary Member of the Association of Croatian Choral Directors in which guise he acted as a judge for the International choir competition in Šibenik in Croatia in May 2018.
Sten Ternström PhD received his MSc EE from KTH in Stockholm, joined the Music Acoustics group there in 1982, and became its Professor in 2003. His PhD thesis Acoustical Aspects of Choir Singing (1989) was the first major text on this subject, and its topic has remained central among his interests. Choir acoustics provides a convenient theme for pursuing diverse topics in voice analysis, voice and music synthesis, room acoustics, audio signal processing, and music perception. In parallel, he created software for voice analysis and signal processing. During the 2010s, his work has been concerned with research paradigms that recognize and account for the large variability between voices. Sten also teaches acoustics and audio technology in the School of Electrical Engineering and Computer Science at KTH. He is an Associate Editor of Acta Acustica united with Acustica and serves on several editorial boards.
Malte Kob PhD received his Diploma in Electrical Engineering from Technical University Braunschweig where he also founded an amateur choir and started playing Jazz. His dissertation was defended in 2001 at RWTH Aachen University on singing voice synthesis. Since 2009, Malte Kob has been Professor at the Erich Thienhaus Institute of Detmold University of Music where he teaches fundamentals of electrical and acoustical engineering at Bachelor, MSc, and PhD level. His research interests range from measurement technique via voice physiology to music-room-listener interaction.
Gerhard Eckel is a composer and sound artist working as Professor of Computer Music and Multimedia at the Institute of Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts Graz (KUG) in Austria. He also serves as Affiliate Professor at the KTH Royal Institute of Technology and as a Visiting Professor at the Royal College of Music in Stockholm. He pursues both an artistic and scientific interest in matters of sound and music and has engaged in interdisciplinary research projects for more than two decades. In the past he has worked at IRCAM, the computer music research center of the Pompidou Centre in Paris, and at the Fraunhofer Institut for Media Communication in Bonn. He is experienced in designing and coordinating publicly funded research projects in artistic, scholarly, and scientific domains. He has led research projects funded by the European Framework Programs and the Culture Programs, the Austrian Science Fund, the Zukunftsfonds Steiermark, and the Wenner Grenn Foundations Stockholm. Gerhard’s artistic work focuses on sonic art, mainly in the form of sound installations and sound sculptures developed in a post-conceptual tradition. For two years he has been a member of the Executive Board of the Society for Artistic Research and its President for two years. In the context of his research projects, he organized several symposia and public project events. He is the founder of the signalegraz concert series at the KUG, which presents international electroacoustic music and sound art to a general public along with a varied supporting program of master classes, lectures, workshops, and soirées. In close connection to his artistic production, research projects, teaching, and management activities, he supervises artistic, scholarly, and scientific doctoral research.
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