PAS7 - Book of Abstracts 1

7th International Physiology and Acoustics of
Singing Conference
May 5–7, 2022
Book of Abstracts
Editors:
Mauro B. FIUZA, Flávia P. CARAÍBAS, Filipa M. B. LÃ, Christian T. HERBST
Instituto de Formação Faculdade Novo Universidad Nacional de

em Voz - IFV Horizonte FNH Educación a Distancia (UNED)
1
Thursday, May 05, 2022
13:00–13:15 Welcome
13:15–14:15 Keynote
Nathalie Henrich Bernardoni: 10 years since the last PAS. What has happened in the meantime? (page 10)
14:15–14:35 Posters
14:15 – Kenneth Bozeman: The Case for Acoustic Registers (page 11)
14:15 – Manuel Brandner: Vocal vibrato characteristics in Opera, Operetta, and Schlager over the years (page 12)
14:25 – Patrick Hoyer: Vocal Folds as Acoustical Barrier between Subglottal Region and Vocal Tract: An Impedance
Study (page 13)
14:30 – Stacey Mastrian: Franklin Method for Voice: The Art of Change – Enhancing Our Personal and Pedagogical
Toolbox (page 14)
14:50–16:20 Oral presentations

14:50 – Stefanie Rummel: Vocal tract configurations derived from 3D MRI Data of different singing styles based on Estill
Voice Training (page 15)
15:10 – Louisa Traser: Resonance properties derived from 3D MRI Data of different singing styles based on Estill Voice
Training (page 16)
15:30 – Mauro Fiuza: Distorted Singing: an overview on its history, forms of production, aesthetics, pedagogy, perception,
and voice health implications (page 17)
15:50 – David Howard: The Vocal Tract Organ (a) as a musical instrument and (b) for exploring perceived pitch in a
cappella singing (page 18)
16:10 – Hugo Lehoux: Laryngeal and acoustic analysis of chest and head registers extended across a three-octave range:
A case study (page 19)
18:30–19:30 Discussion
17:30–19:10 Special Session: MyoElastic-AeroDynamic Theory

Jan G. Svec: Integrative Insights into the Myoelastic-Aerodynamic Theory and Acoustics of Phonation. A scientific tribute
to Donald G. Miller (page 20)
Johan Sundberg: Experimental studies of source-filter interaction (page 21)
Ingo R. Titze: The Case for Strong or Weak Source-Airway Interaction (page 22)
2
Friday, May 06, 2022
13:00–13:05 Welcome
13:05–14:05 Keynote
Anne-Maria Laukkanen: SOVTE – Pros and Cons, Dos and Don’ts (page 23)

14:05 – Brian Manternach: Using Semi-Occluded Vocal Tract Exercises as a Vocal Tract “Reset” in Singing (page 24)
14:25 – Matthias Echternach: Non-linear source-tract interactions in classical singing (page 25)

15:00 – Wolfgang Saus: Singing Phonetics Diagram - The Quantization of Sung Vowels (page 26)
15:20 – Allan Vurma: Pitch induced passive "covering" of the singing voice (page 27)
15:40 – Peter Pabon: How different voices can be from each other. The case of harmonic-formant interactions and
measurement strategies. (page 28)
16:00 – Sara D’Amario: Impact of the empathic trait of piano-singing duos on inter-performer interactions (page 29)
16:20 – Anna-Maria Niemand: Respiration Synchronization in Lied-Duo Performances (page 30)
16:40 – Lauren Guthridge: Assessing Attention and Distraction in Voice Lessons (page 31)
17:00 – Filipa M. B. Lã: Development and Validation of The Singing Voice Function Self-Efficacy Scale (Singing VoSES)
(page 32)
17:40–17:55 Posters
17:40 – Sarah Kervin: The Key To Singing Off Key: The Trained Singer and Pitch Perception Distortion (page 33)
17:45 – Sten Trenström: The relationship between individual voice matching preferences in vocal duos and the corre-
sponding voice spectrum envelope (page 34)
17:50 – Joanne Bozeman: Women Singing Through Midlife and the Menopausal Transition (page 35)
18:40–19:40 Special Session: Gender

Louisa Traser: Gender bias in voice science and voice pedagogy (page 36)
Matthias Echternach: Sex related differences in vocal tract modifications in singing (page 37)
Sten Trenström: Sex specificities in vocal fold vibration (page 38)
Louisa Traser: Sex specificities in respiratory behaviour for singing voice production (page 39)
Filipa M. B. Lã: Sex specificities in singing voice pedagogy (page 40)
3
Saturday, May 07, 2022
13:00–13:05 Welcome
13:05–14:05 Keynote
Helena Daffern: Singing in a virtual space: exploring the challenges and opportunities for Virtual Choirs beyond Covid-19
(page 41)

14:05 – Theodora Nestorova: Analysis & Interpretation of Complex Vibrato Patterns: A Novel Parametric Approach to
Genre-Specific Performance (page 42)
14:25 – David Meyer: Pilot Study - High Resolution Hybrid CT+MRI Vocal Tract Imaging (page 43)
14:45 – Gláucia Salomão: Expressivity in singing. A study of physiologically related parameters underlying vocal expres-
sion of emotions (page 44)
15:05 – Marie Köberlein: The effects of singers‘ masks on the impulse dispersion of aerosols during singing (page 45)
15:40–15:50 Posters
15:40 – Michaela Mayr: Time-synchronized observation of pelvic floor, abdomen, and thorax during singing using MRI –
a feasibility study (page 46)
15:45 – Mauro Fiuza: Rock and Metal Singers: Are they really loud and powerful? An overview of rock voice production
(page 47)

15:50 – Michal Tyc: Singing without a larynx (page 48)
16:10 – Calvin Baker: CPPS and Singing-Voice Analysis (page 49)
16:30 – Kristen Murdaugh: Correlating Perceptual and Spectral Aspects of Chiaroscuro in Singing – A Pilot Study (page
50)
16:50 – Joana Mariz: Preliminary findings on the application of the VPA for perceptual assessment of voice quality in
singing (page 51)
17:10 – Manuel Brandner: Vowel intelligibility analysis in classical singing using voice directivity features (page 52)
18:30–19:30 Special Session: Evidence-Based Voice Pedagogy

Filipa M. B. Lã: Evidence-based voice pedagogy – where is the evidence? (page 53)
Kari Ragan: Evidence-based voice pedagogy – where is the evidence? (page 54)
Mauro Fiuza: Evidence-based voice pedagogy – where is the evidence? (page 55)
Ian Howell: Evidence-based voice pedagogy – where is the evidence? (page 56)
19:30–20:00 Closing
4
Biographies of Keynote and Special Session Speakers
Helena Daffern
Helena Daffern received a BA and MA degree in Music and a PhD in Music Tech-
nology from the University of York. She went on to train as a classical singer at
Trinity Laban College of Music, London, and develop her own teaching practice
whilst enjoying a career as a freelance oratorio soloist, opera singer and chorister.
Helena is currently Associate Professor at the University of York where her research
brings together the disciplines of performance, science, and technology, with a fo-
cus on the acoustics of the singing voice. She is particularly interested in vocal
ensembles and utilising virtual reality technology to further our understanding of
the processes and benefits of group singing.
Matthias Echternach
Matthias Echternach is as a specialist in speech, voice and hearing disorders in
children (formerly phoniatrics and pediatric audiology) at the LMU Klinikum and
represent the specialist field of phoniatrics and pediatric audiology at the Ludwig-
Maximilians-University in Munich. He had Medical studies in Freiburg, Vienna
and Heidelberg. After habilitation in 2013 appointment as adjunct professor at
the University of Freiburg. In addition to studying medicine, he received vocal
training and worked in various ensembles, such as the Kammerchor Stuttgart and
Camerata Vocale Freiburg. His research focuses on vocal registers, stage fright in
singers and intubation damage in the larynx. Active publication activity. 2009
Science Prize of the German Society for Music Physiology and Musician’s Medicine, 2010 and 2014
further awards.
Mauro Fiuza
Teacher of Singing and voice researcher. He is a doctoral student at the Faculty
of Education of the UNED (Spain) where he also works as a research assistant
at the Voice, Music and Language Laboratory of the UNED (UNED VoiceLab).
He has a degree in music education (UniSant’Anna/Brazil) and a master’s degree
in speech language pathology (PUC-SP/Brazil). His background is composed by
studies in voice science, vocal technique (mainly amplified singing styles) and voice
pedagogy. He is guest professor at Mara Behlau’s Centro de Estudos da Voz
(CEV) postgraduate courses (CECEV and FIV), Faculdade Santa Marcelina (Voice
Pedagogy), Faculdade Novo Horizonte – FNH (Singing Voice) and Alpha FACEC
(Voice Pedagogy) in Brazil and tutor of the “Specialization Course in Pedagogy and Technology of Voice
and Singing” at the UNED. He is also a founding member of the Brazilian Association of Teachers of
Singing – PROCANTO, coordinator of the World Voice Day website (www.world-voice-day.org) and
pedagogical coordinator of the Instituto de Formação em Voz - IFV.
5
Nathalie Henrich Bernardoni
Director of Research at the CNRS, choirmaster and singer, Nathalie HENRICH
BERNARDONI is a scientist passionate about the human voice in all its forms
of expression. Her research focuses on the experimental and clinical phonetic de-
scription of speech and singing, on the physiological and physical characterization
of various vocal techniques (lyrical singing, contemporary music, world songs), on
the management of vocal effort in speech and singing, as well as the development
and improvement of non-invasive experimental techniques for analysing the human
voice. Regularly asked to give conferences at the national and international levels,
she likes to introduce this fascinating instrument. She coordinates World Voice
Day (April 16) at the national level, leads monthly meetings (Science and Voice Workshops) and a sci-
entific research notebook on the voice. In 2013, she received the CNRS Bronze Medal for her research
on the human voice.
Ian Howell
Dr. Ian Howell is a member of the voice faculty of the New England Conservatory
of Music where he directs the graduate voice pedagogy program, teaches studio
voice, and coaches students in Baroque voice repertory. Dr. Howell’s scholarly
work explores the special psychoacoustics of the singing voice, with an eye toward
practical applications for singers and voice teachers. Human senses interpret reality
according to a dependable set of rules. These same senses also perceive greater
detail once we internalize more precise labels and conceptual models. Dr. Howell’s
work produces new aural/visual models that better characterize the perceptual
qualities of sung vowels and voice registration. He unpacks and identifies the
perceptually coherent components of a vowel, showing how absolute, objective labels apply to the relative
scale of tonal brightness. Ian Howell has taught at Yale, Swarthmore, and Rutgers Camden, and was
a 2013 NATS Teaching Intern. He was the founding editor of TheCounterTenorVoice.com, an online
journal covering career and technique issues for singers, and has been published in the Journal of Voice,
the Journal of Singing, Classical Singer, and VOICEPrints. He holds a Master of Music Degree in Voice
from Yale University and a Doctor of Musical Arts Degree from the New England Conservatory.
Anne-Maria Laukkanen
Anne-Maria Laukkanen, PhD, is a speech scientist and voice trainer. She is a
Professor of Speech Technique and Vocology at Tampere University, Finland, and
a teacher of Vocology at the University of Oulu, Finland. Her educational back-
ground is in Phonetics, Speech Communication and Voice Research (puheoppi),
and her studies and hobbies related to drama and classical singing have guided her
to and along the path of voice training and research. Her main research interests
include voice quality in speech and singing, the effects and bases of vocal exercises,
the effects and mechanisms of vocal loading, and the applicability of various re-
search methods in vocological research. Since the 1990s, Laukkanen has carried out
multidisciplinary research on the effects of semi-occlusions, such as phonation into tubes, while working
in numerous international research groups and giving guest lectures.
6
Filipa M. B. Lã
Filipa Lã voice scientist, singer and teacher of singing. She holds a PhD in Mu-
sic (singing) and a Master in Music Performance (MMus), both granted by the
University of Sheffield, U.K. as well as a Diploma in Education (Biology) by the
University of Coimbra, in Portugal, and a Diploma in Music (Singing) by the Music
Conservatoire of Coimbra. Her unique combination of interdisciplinary knowledge
allowed her to pursue research on voice quality in speech and singing, paying spe-
cial attention to female voices and singer’s health and voice education, receiving,
in 2015, the Van Lawrence Fellowship from the Voice Foundation and the National
Association of Teachers of Singing, USA. She is a member of the advisory boards
for the Pan European Voice Conference (PEVoC) and the International Physiology and Acoustics of
Singing Conference (PAS). She is an associate member of Collegium Medicorum Theatre (CoMET), of
the European Voice Teachers Association (EVTA) and the president of the Portuguese Association of
Professional Voice Users and Teachers (APVoz). Currently she is a senior researcher and a teacher at
the Department of Didactics, School Organization and Special Didactics at the Faculty of Education of
UNED, where she directs the Voice, Music and Language Research Laboratory and coordinates, together
with Nuria Polo, the online Specialization Course on Pedagogy and Technology of Voice and Singing (40
ECTs), delivered in Portuguese, Spanish and English.
Kari Ragan
Dr. Ragan earned her Doctor of Musical Arts degree (2005) in vocal performance
from the University of Washington, and both a Master of Music (1991) and Bach-
elor of Music (1987) in vocal performance from the prestigious Indiana University
School of Music. Dr. Ragan was the recipient of the NATS Foundation Ped-
agogy Award in 2009; The New York Singing Teachers (NYSTA) Association’s
Distinguished Voice Professional Certificate in 2010; and the Wicklund Singing
Voice Specialist Certificate in 2011. Dr. Ragan frequently presents workshops
and lectures in conjunction with many esteemed voice organizations including the
National Association of Teachers of Singing (NATS), Pan American Vocology As-
sociation (PAVA), the International Congress of Voice Teachers (ICVT), and the Vennard Symposium.
As a founding member and organizer of the Northwest Voice: Art and Science of the Performing Voice
Conference, she is a frequent presenter at this multi-disciplinary conference held annually in Seattle,
WA. She is a charter member of the Pan American Vocology Association (PAVA), a founding member of
the Northwest Chapter of the Voice Foundation, a NATS Foundation Board Member, and chair of the
NATS Advancement Committee.
7
Johan Sundberg
Johan Sundberg (born in 1936, Ph.D. in musicology Uppsala University 1966,
doctor h. c. 1996 University of York, UK) has a personal Chair (Emeritus) in
Music Acoustics at the department of Speech Music and Hearing (KTH), Royal
Institute of Technology, Stockholm. He early became interested in the acoustical
aspects of music, starting with a doctoral dissertation work on organ pipes. After
the dissertation, singing voice and music performance have been his main research
topics. As the President of the Music Acoustics Committee of the Royal Swedish
Academy of Music, Sundberg has been the editor of eight volumes in a series of
proceedings of public seminars on music acoustic themes arranged in Stockholm
since 1975. Sundberg has also had extensive experience of performing music. For 24 years he was a
member of the Stockholm Bach Choir, 9 years as its president. He has studied singing for Dagmar
Gustafson and made his public debut with a Lieder recital on his 50th birthday. He is a member of the
Royal Swedish Academy of Music, of the Swedish Acoustical Society (President 1976-81) and a fellow of
the Acoustical Society of America.
Jan G. Svec
Jan G. Svec, Ph.D. is a Czech physicist performing basic research on production
of human voice. He holds MSc degree in fine mechanics and optics and PhD
degrees in biophysics as well as in medical sciences. He has worked as a research
scientist at the Center for Communication Disorders, Medical Healthcom, Ltd.
in Prague, the Czech Republic, at the National Center for Voice and Speech in
Denver, CO, USA and at the University of Groningen, the Netherlands. Currently
he is at the Palacky University Olomouc, the Czech Republic and serves also as
an associate research scientist at Voice and Hearing Centre Prague, the Czech
Republic. He designed videokymography, a method for high-speed visualization of
vocal-fold vibrations, which is being used for advanced diagnosis of voice disorders. His research interests
include acoustics, biomechanics, voice measurement methodology and singing voice. He collaborates with
numerous research teams around the world and lectures world-wide. From 2004 to 2011 he served as
the chairman of the Voice Committee of the International Association of Logopedics and Phoniatrics
(IALP).
Ingo R. Titze
Dr. Ingo Titze, educated as a physicist (Ph.D.) and engineer (M.S.E.E.), has ap-
plied his scientific knowledge to a lifelong love of clinical voice and vocal music. His
research interests include biomechanics of human tissues, acoustic phonetics, speech
science, voice disorders, professional voice, music acoustics, and the computer sim-
ulation of voice. He is the father of vocology, a specialty in speech-language pathol-
ogy. He defined the word as “the science and practice of voice habilitation.” He
is an executive director of the National Center for Voice and Speech and Adjunct
Professor in the Department of Otolaryngology/Head and Neck Surgery at the
University of Utah in Salt Lake City. He also teaches at the Summer Vocology
Institute, also housed at the University of Utah. He is a Distinguished Professor at the Department of
Communication Sciences and Disorders at the University of Iowa and has written several books relating
to the human voice.
8
Louisa Traser
Private lecture Dr medical Louisa Traser has been working as senior physician at
the Freiburg Institute for Musicians’ Medicine since February 2019. In addition
to clinical-phoniatric work with a focus on the care of professional voice users,
your field of activity also includes the field of phonosurgery and research work in
the field of basic research into voice physiology. Born in Berlin, she completed
her elective during her practical year in phoniatrics/pedaudiology at the Charité,
Universitätsmedizin Berlin under Prof. Dr. M. Gross and Prof. Dr. T. Nawka.
Since 2011 she has received her training in ENT at the University Hospital Freiburg
under Prof. Dr. dr hc. R. Laszig and was able to complete this in 2016 with the
specialist title ENT. From 2017-2019 she worked as deputy senior physician in phoniatrics/pedaudiology
at the Inselspital in Bern, Switzerland, under Prof. Dr. E. Seifert and Prof. Dr. M. Kompis active.
Since 2011 she has been part of the working group of the Freiburg Institute for Musician’s Medicine led
by Prof. Dr. B. Richter, Prof. Dr. C. Spahn and Prof. Dr. M. Echternach. Here she worked on various
projects on the subject of the teacher’s voice and vocal tract acoustics. Her research focus for several
years has been in the field of research into phonation respiration. For a pilot project in this area, she
received the UEP Xion Award in 2018. Louisa Traser is a trained singer and has sung in the extra choirs
of the Deutsche and Komische Oper Berlin and the Staatsoper Unter den Linden for many years. She
currently sings in the semi-professional ensemble Camerata Vocale Freiburg and as a soloist in the duo
"Musical Therapy".
Sten Trenström
Sten Ternström currently works at the Division of Speech, Music and Hearing
(TMH), School of Electrical Engineering and Computer Science, KTH Royal In-
stitute of Technology, in Stockholm. Sten does research on the human voice, at
the intersection of acoustics, biomechanics, electronics and music. The research in-
terests of Sten Ternström centre on technical aspects of voice acoustics, especially
singing. This includes researching measurements of voice, usually for clinical pur-
poses, and implementing them in practical forms. Sten Ternström also likes to stay
current with acoustics and sound processing for music and audio, and teaches sev-
eral courses on those topics. His PhD thesis was on the acoustics of choir singing,
and this has been a sporadically recurring theme, especially in his outreach activities. Sten Ternström
received his MScEE in 1982, PhD in 1989 and became professor in 2003, all at KTH. He has been PI
or co-PI in some twenty research projects, including site and project coordination of two EU FET-Open
projects on voice. He is a Fellow of the Acoustical Society of America and serves on several editorial
boards, frequently reviewing for journals and conferences in speech, voice and audio.
9
Conference Contributions
Nathalie HENRICH
10 years since the last PAS. What has happened in the

meantime?
Keynote – 13:15 CET

presented by Nathalie Henrich Bernardoni
Univ. Grenoble Alpes, CNRS, Grenoble INP, GIPSA-lab, 38000 Grenoble, France
In 2002, a series of conferences on Physiology and Acoustics of Singing (International PAS Conference)
was initiated by Harm Schutte and Donald Miller of Groningen Voice Research Laboratory in the Nether-
lands, allowing the singing-voice community to join and share the latest scientific advances in the field.
Ten years after, in 2012, a last meeting (PAS6) took place in Las Vegas Department of Music of the
University of Nevada in the USA. Ten years passed until the flame was relit by Christian Herbst, Filipa
Lã, Mauro Fiuza and Flávia Caraíbas, supported by the Instituto de Formação em Voz (IFV), Facul-
dade Novo Horizonte (FNH) and Facultad de Educación, and from Universidad Nacional de Educación
a Distancia (UNED).
Through this presentation, we will look back on the past 10 years, tasting together the fruits of scientific
achievements conducted since PAS6 meeting in Las Vegas. Physiology and acoustics of singing has
been a prolific area of research during this decade. It has benefited from major technological advances
in voice-assesment tools : ultra-highspeed cinematography, CT scan, dynamic real-time MRI, muscular
ultrasound imaging, ... Singing is no longer considered solely from a phonatory, articulatory and acoustic
point of view, but is increasingly seen as an embodied artistic expression. The interaction between
the different levels of control of the singing voice is taken into account. The singing styles studied
have become much more diverse, ranging from classical singing to a wide variety of non-classical styles,
such as Broadway musicals, jazz, metal, human beatbox, and world traditional singing such as China’s
traditional Peking Opera or Fado. Registers and passagios remain an active field of research, gaining
better understanding through electroglottography, highspeed cinematography and dynamic MRI.
Healthy and unhealthy voices attracted attention, with noticeable increasing number of subjects in the
studies. Studies on vocal health and singing-voice rehabilitation point the way to a multi-disciplinary
approach, good vocal health be a matter of everyone’s care: the singer, the clinician, the singing teachers
and all the other voice professionals. Benefits of singing on health and well-being have been explored.
Evidence-based practices framework has emerged for singing teaching and learning, and it should be
developed.
The last two years have been marked by the covid-19 health crisis. We will conclude our presentation in
reviewing its impact on singing.
10
Kenneth BOZEMAN
The Case for Acoustic Registers
Posters – 14:15 CET

presented by Kenneth Bozeman
Emeritus Professor of Music, Lawrence University
It is clear that vocal fold mass, length, and tension must vary with pitch to accomplish with functional effi-
ciency the wide pitch range singers need. This voice source process is termed laryngeal registration. While
much continues to be debated in regard to the specifics of laryngeal registration, it is well-established
that there are at least two primary laryngeal vibrational modes—one that involves short, thick folds
with a loose cover and includes muscle mass vibration, and one that involves long, thin, folds, a taut
cover, and is primarily ligamentous vibration. “In the wild” these two modes typically present as rather
binary options. A primary goal of training for most vocal genres is to reduce or eliminate this binarity
and supplant it with smooth transitions across range via dynamic laryngeal adjustments.
The historic definition of a vocal register requires relatively homogeneous timbral range segments pro-
duced by specific, discrete “mechanisms.” This was based on the assumption that timbral shifts signaling
a change of register were caused by changes in the voice source, i.e., that the “mechanisms” of change
were exclusively laryngeal. This poster summarizes the timbral possibilities and limitations of laryngeal
input and compares them to those arising from the acoustic relationships between source harmonics and
the resonances of the vocal tract. It proposes that, although bio-mechanical changes of the voice source
are essential to range access, the timbral shifts that we hear across range in a well-trained, smoothed (no
longer binary) voice, are primarily to exclusively due to changing acoustic relationships between source
and filter, and that they therefore constitute acoustic registers.
11
Manuel BRANDNER, Theodora NESTOROVA, Bruno GINGRAS and Christian T. HERBST
Vocal vibrato characteristics in Opera, Operetta, and Schlager

over the years

presented by Manuel Brandner
Institute of Electronic Music and Acoustics, University of Music and Performing Arts Graz, Austria
One core aspect of the aesthetics in singing is vocal vibrato which was already extensively discussed in
1936 by Seashore. Four parameters, namely the rate and the extent of the modulation of the frequency
and the amplitude, were identified. Since then, vocal vibrato have been studied vastly in the scientific
community. To the authors‘ knowledge no study yet has compared vibrato characteristics of different
genres of the last decades. A data selection was undertaken, specifically looking for songs that have
been sung in different styles (Opera, Operetta, and Schlager). A focus of this work has been directed
to frequency modulation. The two most notable findings were that (a) overall, vibrato rate was slightly
higher in Schlager as in opera and operetta; and (b) in Schlager, vibrato rate decreased over time from
about 7 Hz in 1930 to about 6 to 6.5 Hz in 2019. Although these results should be interpreted with
caution due to the limited sample size, our data suggest that Schlager, as a historical aesthetic category,
has some unique characteristics with respect to vibrato.
12
Patrick HOYER, Monika RIEDLER and Simone GRAF
Vocal Folds as Acoustical Barrier between Subglottal Region and

Vocal Tract: An Impedance Study

presented by Patrick Hoyer
Fraunhofer Headquarters, Munich, Germany
The vocal folds are outmost important as primary sound source. Furthermore, they are regarded and as
boundary for the emergence of resonance modes or so called “standing waves” within the vocal tract. We
present a lightweight and mobile impedance measurement system to study vocal resonances of professional
singers/students and non-singing participants. The vocal impedance was recorded at different glottal
opening (during phonation, with the glottis closed and during exhalation/inhalation). [1,2,3]
The aim of the contribution is to elucidate the role of the vocal folds for the emergence of the vocal
tract resonances by using impedance measurements. The resonances observed with closed glottis match
resonances within the vocal spectrum. Starting from closed glottis to phonation and further to the
different stages of the respiratory cycle, a transition of an open / closed tube model with closed glottis
to an open / open glottis with open glottis is expected and additional resonances are observed. The data
indicate that trained singers match their vocal tract resonances with subglottal resonances measured
through the open mouth.
The measured resonance frequencies were induced by an external speaker to the open mouth and without
phonation. [4,5] The participants modulated the frequencies and reported an increase in vocal resonance
after training with one to six sinusoidal frequencies.
1 Henrich N, Smith J, Wolfe J. Vocal tract resonances in singing: Strategies used by sopranos, altos,
tenors, and baritones. J Acoust Soc Am. 2011;129:1024-1035
2 Hanna N, Smith J, Wolfe J. How the acoustic resonances of the subglottal tract affect the impedance
spectrum measured through the lips. J Acoust Soc Am. 2018;143:2639
3 Hoyer P, Graf S. Adjustment of the Vocal Tract Shape via Biofeedback: A Case Study. Journal of
voice: official journal of the Voice Foundation. 2019;33:482-489
4 Hoyer P, Graf S, Adachi S, Gruner M, Graf M, Traser L, Inverse Vocal Tract Adjustment: Spectral
Dependence and MRI Data; ICVPB Grenoble 2020
5 Hoyer P., Riedler M., Unterhofer C., Graf S., Vocal Tract and Subglottal Impedance in High Perfor-
mance Singing: A Case Study, Journal of Voice – in press
13
Stacey MASTRIAN
Franklin Method for Voice: The Art of Change – Enhancing Our

Personal and Pedagogical Toolbox

presented by Stacey Mastrian
Mastroianni Musica
Optimal functionality as singers and as human beings requires the integration of mind, body, and voice;
however, many people are disconnected or emphasize one aspect to the exclusion of the others. It
is essential to reconcile the physiological and psychological facets of the vocal instrument, both for
overall well-being and to support ongoing development as vocalists and as educators. In an interactive,
experiential workshop, Dr. Stacey Mastrian offers her pioneering application of The Franklin Method R
’s Dynamic Neurocognitive ImageryTM (an imagery-based systematic method to enhance and optimize
movement) and functional anatomy (felt biomechanical experiences) to vocal pedagogy and health and
wellness. Previously utilized primarily in the professional dance, Pilates, Olympic weightlifting, yoga, and
physical therapy worlds, this work facilitates a better understanding of one’s own function and enables the
ability to make self-directed, lasting change. This affects everything from mental focus to repatterning
dynamic alignment, efficient breathing and phonation, and goal-setting in teaching and practice. Through
vivid, multisensory imaging, gentle tapping, and subtle movements—techniques accessible for all levels of
mobility and at any time—Dr. Mastrian guides participants through an enhanced toolbox of options that
allows individuals to calm their nervous systems, improve their body schemata, increase proprioception
and resilience, hone the capacity to create targeted and coordinated psychosomatic shifts, re-imagine
traditional cueing, and gain a sense of agency. All participants anonymously surveyed before and after
the workshops demonstrated improvements, with an average of 20% upgrade in the areas assessed.
Incorporating Franklin Method R concepts empowers singers to revolutionize their relationship with
their instruments, their work, and the world.
14
Stefanie RUMMEL, Louisa TRASER, Fiona STRITT, Johannes FISCHER, Michael BOCK,
Matthias ECHTERNACH, Bernhard RICHTER and Mario FLEISCHER
Vocal tract configurations derived from 3D MRI Data of

different singing styles based on Estill Voice Training
Oral presentations – 14:50 CET

presented by Stefanie Rummel
Institut Rummel, Frankfurt, Germany
Estill Voice Training R defines 7 different voice qualities (Speech, Falsetto, Sobbing, nasalized and oral
Twang, Opera and Belting) which are used in contemporary commercial music as well as in classically
western style of singing. To achieve these intended types of voice production, the approach is defined
by Estill Voice Training R in all three functional units (vocal fold oscillation, breathing apparatus and
vocal tract acoustics). Still it is not understood in detail whether the intended configurations of the
vocal tract can be achieved in the proposed way. Advances in Magnetic Resonance Imaging (MRI) of
the vocal tract during singing enables a precise evaluation of vocal tract configurations during singing.
In this study the vocal tract configuration of 3 professional trained female singers with a high grade
qualification level in Estill Voice Training
R performed sustained phonation in 7 different voice qualities
during a 3D vocal tract MRI scan in supine body position at As4 (415Hz) on vowel [a:]. The models were
evaluated in their overall length, volume as well as in different sections, which were defined according
to anatomical landmarks. Additionally, the area function was derived. The shortest vocal tracts were
found for belting and twang configurations. Their area function were shaped like a horn with the lowest
volume in supraglottal area and highest in the oral cavity. In contrast, Sob showed the longest vocal
tract length and highest volume, while Opera was characterized by a narrow supraglottal area with a
wide pharyngeal cavity. Differentiation of the 7 voice qualities was possible according to their vocal tract
configuration.
15
Louisa TRASER, Stefanie RUMMEL, Fiona STRITT, Johannes FISCHER, Michael BOCK,
Matthias ECHTERNACH, Bernhard RICHTER and Mario FLEISCHER
Resonance properties derived from 3D MRI Data of different

singing styles based on Estill Voice Training

presented by Louisa Traser
Institute of Musicians’ Medicine, Medical Center – University of Freiburg, Faculty of Medicine, Germany
Contemporary singing literature requires a wide range of vocal outputs. Voice production is controlled
and regulated by vocal fold oscillation, the breathing apparatus and vocal tract acoustics. It is likely
that these areas will be regulated and adjusted to different requirements for different styles of singing.
Magnetic Resonance Imaging (MRI) of the vocal tract during singing is a powerful approach to study
vocal tract configuration in regards to acoustics. Estill Voice Training
R defines 7 different voice qualities
(Speech, Falsetto, Sobbing, nasalized and oral Twang, Opera and Belting) and singers train to perform
these in a very reproducible way. In this study the vocal tract configuration of 3 professional trained
female singers with a high grade qualification level in Estill Voice Training R performed sustained
phonation in 7 different voice qualities during a 3D vocal tract MRI scan in supine body position at As4
(415Hz) on vowel [a:]. From the segmented vocal tract surfaces, we created finite element models for
acoustic simulations, which were then used to calculate the volume velocity transfer functions of the vocal
tract from the glottis to the lips. First results show a general differentiation in three different acoustic
approaches: Acoustic enhancement was lowest for Falsetto and Speech phonation while all resonance
frequencies (fRn ), were slightly higher for speech compared to falsetto. Opera and Sob are characterized
by the lowest values in fR1 & fR2 , with fR1 corresponding well with the fundamental frequency and we
find a high boost in harmonic energy around 3300Hz for Opera, but less for Sob. In contrast, Twang
and Belting are associated with the highest fR1 & fR2 , with fR1 corresponding well with the second
harmonic. The harmonic energy boost is generally high with its maximum around 3000Hz. Coupling of
the nasal cavity by opening the velum in nasalized Twang causes a splitting of fR1 and introduces an
anti-resonance in the transfer function at 640Hz. First results underline that 7 voice qualities as defined
by Estill Voice Training R can be differentiated via their acoustic approach as controlled by vocal tract
configuration.
16
Mauro B. FIUZA and Filipa M. B. LÃ
Distorted Singing: an overview on its history, forms of

production, aesthetics, pedagogy, perception, and voice health
implications

presented by Mauro Fiuza
Department of Didactics, School Organization and Special Didactics, Faculty of Education, UNED,
Madrid, Spain
Distortion techniques in singing are typically perceived as rough vocal sounds. These are usually related
to rock and metal singing but have been widely applied also in other CCM genres, musical theatre,
traditional and folk music and in contemporary experimentalist singing.
Physiologically speaking, there are several ways for intentionally produce a distorted voice, depending on
how the laryngeal structures are in the vocal apparatus and how they are coordinated. In the literature,
one may find different forms of using these structures, such as: varied oscillation modes of the true
vocal folds; distinct patterns of vibration of the ventricular folds and vibrations of the aryepiglottic folds;
the arytenoid cartilages; the corniculate cartilages; the epiglottis and even the uvula. The amount of
subglottic pressure, the adjustments and interactions with the vocal tract and the type of phonation may
also be important for characterizing intentional vocal distortions.
Each vocal configuration will generate different perceived sound outputs and acoustic patterns that
can be assessed and categorized in different manners, according to teachers and singers. Such varied
possibilities of production and description lead to a broad terminology and sometimes confusion.
Understanding the physiology beyond the production of distortion sounds is crucial to the development of
pedagogical approaches aiming at sustainability and longevity of healthy voices. In this presentation the
intentional vocal distortions will be defined as: specific modes of phonation that can be produced with
periodic, multiperiodic or aperiodic vibrations of glottic and/or supraglottic structures. These modes lead
to different acoustic combinations of harmonic, subharmonic and/or nonharmonic components (noise)
associated with different degrees of roughness, breathiness, and tension.
17
David M. HOWARD
The Vocal Tract Organ (a) as a musical instrument and (b) for
exploring perceived pitch in a cappella singing

presented by David Howard
Department of Electronic Engineering, Royal Holloway, University of London, UK
Pitch perception in a cappella singing is primarily a function of the fundamental frequency of vibration of
the vocal folds (fo ). However, there is a secondary effect in pitch perception due to any timbral changes,
for example vowel variation that can modify the perceived pitch. Previous work using a modified Vocal
Tract Organ found that singers compensated when setting the pitch of one note in a just tuned chord
differently depending as a function of the vowel used. This paper presents the design philosophy and
practical implementation behind the Vocal Tract Organ (VTO) that enables such experimentation with a
musical instrument along with results from tuning experiments that are indicative of the effect of fo and
vowel changes. It can be re-programmed readily using Pure Data (Pd) which is a graphical programming
language through a ‘drag and drop’ paradigm. Additionally, the VTO is a chamber organ in its own
right with stops that enable selection of female and/or male /i:/, /e/, /a:/ and /3/ vowels – this will
be demonstrated. The ultimate goal of the VTO is to be an instrument that remains in just intonation
(through fo retuning with key modulation and with the selected vowel).
18
Hugo LEHOUX, Lisa POPEIL and Jan G. SVEC
Laryngeal and acoustic analysis of chest and head registers

extended across a three-octave range: A case study

presented by Hugo Lehoux
Palacký University, Faculty of Science, Dept. Experimental Physics, Voice Research Lab, Olomouc,
Czech Republic
Voice registers are assumed to be related to different laryngeal adjustments, but objective evidence has
been insufficient. While chest register is usually associated with the lower pitch range, and head register
with the higher pitch range, here we investigated a professional singer who claimed an ability to produce
both these registers at every pitch, throughout her entire singing range. The singer performed separated
phonations alternating between the two registers (further called chest-like and head-like) at all pitches
from C3 (131 Hz) to C6 (1047 Hz). We monitored the vocal fold vibrations using high-speed video
endoscopy and electroglottography. The microphone sound was recorded and used for blind listening
tests performed by the three authors (insiders) and by six “naive” participants (outsiders). The outsiders
correctly identified the registers in 64% of the cases, and the insiders in 89% of the cases. Objective
analysis revealed larger closed quotient and vertical phase differences for the chest-like register within
the lower range below G4 (<392 Hz), and also a larger closed quotient at the membranous glottis
within the higher range above Bb4 (>466 Hz), but not between Ab4-A4 (415-440 Hz). The normalized
amplitude quotient was consistently lower in the chest-like register throughout the entire range. The
results indicate that that the singer employed subtle laryngeal control mechanisms for the chest-like
and head-like phonations on top of the traditionally recognized low-pitched chest and high-pitched head
register phenomena. Across all pitches, the chest-like register was produced with more rapid glottal
closure that was usually, but not necessarily, accompanied also by stronger adduction of membranous
glottis. These register changes were not always easily perceivable by listeners, however.
19
Jan G. SVEC, Harm K. SCHUTTE, C. Julian CHEN and Ingo R. TITZE
Integrative Insights into the Myoelastic-Aerodynamic Theory

and Acoustics of Phonation. A scientific tribute to Donald G.
Miller
Special Session – 17:30 CET

presented by Jan G. Svec
Palacký University, Faculty of Science, Dept. Experimental Physics, Voice Research Lab, Olomouc,
Czech Republic
In this tribute presntation to D.G. Miller, we review some historical and recent contributions to under-
standing the myoelastic-aerodynamic (MEAD) theory of phonation and the related acoustic phenomena
in subglottal and vocal tract. At the time of the formulation of MEAD by van den Berg in late 1950s, it
was assumed that vocal fold oscillations are self-sustained thanks to increased subglottal pressure pushing
the glottis to open and decreased subglottal pressure allowing the glottis to close. In vivo measurements
of subglottal pressures during phonation invalidated these assumptions, however, and showed that at low
fundamental frequencies subglottal pressure rather tends to reach a maximum value at the beginning
of glottal closure and then exhibits damped oscillations. These events can be interpreted as transient
acoustic resonance phenomena in the subglottal tract that are triggered by glottal closure. They are
analogous to the transient acoustic phenomena seen in the vocal tract. Rather than subglottal pressure
oscillations, a more efficient mechanism of transfer of aerodynamic energy to the vocal fold vibrations
has been identified in the vertical phase differences (mucosal waves) making the glottal shape more con-
vergent during glottis opening than during glottis closing. Along with other discoveries, these findings
form the basis of our current understanding of MEAD.
For a written version of this presentation, see the article Svec JG, Schutte HK, Chen CJ, Titze IR (2021).
Integrative Insights into the Myoelastic-Aerodynamic Theory and Acoustics of Phonation. Scientific
tribute to Donald G. Miller. Journal of Voice. doi:10.1016/j.jvoice.2021.01.023
20
Johan SUNDBERG
Experimental studies of source-filter interaction

presented by Johan Sundberg
Division of Speech, Music and Hearing, School of Electrical Engineering and Computer Science, KTH
Royal Institute of Technology, Stockholm, Sweden
Don Miller had an admirable urge to map the physical reality behind singing. One of his major conclu-
sions was that a narrow-band spectrum contained valuable information on how tones above the passaggio
are produced, an important criterion being the amplitudes of the lowest spectrum partials of the audio
signal.
According to the classical theory of voice production, the amplitudes of spectrum partials are determined
by the pulsating glottal airflow, which is controlled by subglottal pressure and laryngeal muscles, and by
the transfer function of the attached vocal tract, which is determined by its shape. Fant, Rothenberg,
Titze have pointed out that this theory is incomplete; the glottal airflow can be affected by the vocal
tract resonances, the formants. Titze and associates have analyzed this interaction in terms of computer
models. The results showed that the amplitude of a source spectrum partial is enhanced or attenuated,
respectively, just below and just above a formant frequency. This presentation will describe attempts to
experimentally corroborate these findings by inverse filtering the audio signal.
In one experiment, glide tones, produced by untrained and trained voices, were analyzed. The results
showed that source spectrum partials often loose amplitude both just below and just above the first and
the second formants, the loss being maximum at the formant frequency. Attenuation of the formant
during the open phase of the glottal vibration cycle seems like a possible reason for this effect.
In another experiment I am running with Filipa Lã and Svante Granqvist, choristers sang glide-tones
into a 70 cm long hard-walled tube under three conditions, (1) with the far end of the tube open, (2)
with a piece of cotton in the far end, and (3) with the far end open and with the velopharyngeal open,
thus attenuating the first formant. Under condition (1) source-filter interaction caused a great number
of marked register breaks. The number of breaks was nearly halved under conditions (2) and (3), when
the resonator was attenuated by cotton or by nasalization. These observations suggest that attenuation
of resonance reduces the effect of source-filter interaction.
These results could be relevant to the amplitudes of the lower spectrum partials of the audio signal.
Indeed, to analyze how the voice source spectrum and the formant frequencies contribute to the ampli-
tudes of the lower partials above the passaggio seems to me and my associates like an irresistible project
in the continuation of Don Miller’s work.
21
Ingo R. TITZE
The Case for Strong or Weak Source-Airway Interaction

presented by Ingo R. Titze
National Center for Voice and Speech, The University of Utah, Salt Lake City, Utah, US
Interaction between the voice source and the airways is based on two competing goals. One goal is to
maximize information transfer, and the other is to maximize acoustic power transfer. These goals appear
to be opposite when comparing unamplified singing to conversational speech. Maximum power transfer
for unamplified singing is accomplished with strong interaction, while maximum information transfer
may rely more on source-filter independence, suggesting weak interaction. For strong interaction, the
maximum power transfer theorem requires the glottal resistance to be reduced while the supraglottal
airway resistance is increased, a process known as impedance matching. Much of the impedance matching
is regulated with the length and diameter of the larynx canal (also known as the epilarynx tube). By
matching the larynx canal impedance to the glottal resistance, maximum power can be transferred from
the source to the vocal tract for most vocal tract shapes. Extreme frequency and amplitude modulations
(melody and dynamics) in singing impose a greater load on the voicing carrier than in speech, which
means that maximum power transfer and strengthening source frequencies is a higher priority. Exact
tuning of resonances to single harmonics is less achievable than tuning broad regions of acoustic inertance
to multiple harmonics. To the contrary, for limited sound intensity in conversational speech, source-filter
independence may better accommodate rapid and dramatic filter changes without affecting the stability
of the source. This statement requires more evidence and is currently under investigation.
22
Anne-Maria LAUKKANEN
SOVTE – Pros and Cons, Dos and Don’ts

presented by Anne-Maria Laukkanen
Speech and Voice Research Laboratory, Tampere University, Tampere, Finland
Many different types of semi-occluded vocal tract exercises (SOVTE) are used in voice training and
therapy, and new variants of the theme appear. There also seems to be increasing interest in the effects
of SOVTE in voice research.
SOVTE includes the use of closed vowels, nasals, voiced fricatives, voiced plosives, lip and tongue trills,
‘raspberries’, hand-over-mouth technique and phonation through several types of devices (tubes and
straws, mechanical buzzers, surgical masks and cups equipped with a hole). Furthermore, phonation
through a tube may be done holding the outer end of the tube either in air of submerged in water. In
pedagogical and clinical practice, one may face the dilemma what type of SOVTE could or should be
used, which would be optimal, does it or how it depends on the client or the way the client is instructed,
and whether there are any dangers or contraindications in using these exercises.
While no definite answers can be given and many questions still remain to be studied, this lecture will
make an overview of what has been found so far in modelling and human experiments and pedagogical
and clinical studies, and in practical work of voice habilitators.
23
Brian MANTERNACH and Lynn MAXFIELD
Using Semi-Occluded Vocal Tract Exercises as a Vocal Tract

“Reset” in Singing

presented by Brian Manternach
University of Utah, Salt Lake City, UT, USA
Much has been written about the impact of semi-occluded vocal tract exercises (SOVTEs) on phonation.
For instance, Titze (2009, 2006) has pointed out how SOVTEs may encourage a decrease in phonation
threshold pressure and a reduction in vocal fold collision force. These factors can contribute to greater
“vocal economy” for singers by increasing acoustic energy without increasing effort (Titze and Laukkanen
2007).
An often overlooked benefit of SOVTEs in the singing voice studio is how they can influence the shape
of the vocal tract. As highlighted in a recent paper by Titze, et al. (2021), increasing the steady (non-
oscillatory) supraglottal air pressure by partially occluding the vocal tract can passively and uniformly
expand the airway. It is hypothesized that this expansion serves as a vocal tract “reset,” which then
allows singers to selectively narrow specific sections of the vocal tract.
This is an especially useful pedagogic tool for those who sing in multiple genres of music. As Estill found
(1988), muscles crucial for vocal tract shaping showed different activation in belting when compared to
classical singing. Echternach, et al. (2014) also found that a single subject formed different vocal tract
shapes when using different musical theatre singing functions. Therefore, the ability to passively widen
(reset) the vocal tract through use of SOVTEs can help establish a baseline shape from which singers
can selectively and intentionally narrow the specific sections of the vocal tract that are necessary when
performing in various genres. This may be particularly helpful when considering that attempts to “open
the throat” through muscular activity can often result in further constriction.
In this presentation, we will explore how the above principles can be put to practical use in the singing
voice studio.
24
Matthias ECHTERNACH, Christian T. HERBST, Marie KÖBERLEIN, Brad STORY, Michael
DÖLLINGER and Donata GELLRICH
Non-linear source-tract interactions in classical singing

presented by Matthias Echternach
Division of Phoniatrics and Pediatric Audiology, Department of Otorhinolaryngology, Munich University
Hospital (LMU), Germany
In recent studies, it has been assumed that vocal tract formants (Fn ) and the voice source could interact.
However, there are only few studies analyzing this assumption in vivo. Here, the vowel transition /i/–
/a/–/u/–/i/ of 12 professional classical singers (6 females, 6 males) when phonating on the pitch D4
[fundamental frequency (fo ) ca. 294 Hz] were analyzed using transnasal high speed videoendoscopy
(20,000 fps), electroglottography (EGG), and audio recordings. Fn data were calculated using a cepstral
method. Source-filter interaction candidates (SFICs) were determined by (a) algorithmic detection of
major intersections of Fn /nfo and (b) perceptual assessment of the EGG signal. Although the open
quotient showed some increase for the /i–a/ and /u–i/ transitions, there were no clear effects at the
expected Fn /nfo intersections. In contrast, fo adjustments and changes in the phonovibrogram occurred
at perceptually derived SFICs, suggesting level-two interactions. In some cases, these were constituted by
intersections between higher nfo and Fn . The presented data partially corroborates that vowel transitions
may result in level-two interactions also in professional singers. However, the lack of systematically
detectable effects suggests either the absence of a strong interaction or existence of confounding factors,
which may potentially counterbalance the level-two-interactions.
25
Wolfgang SAUS
Singing Phonetics Diagram - The Quantization of Sung Vowels

presented by Wolfgang Saus
Freelancer, Germany
Introduction of a simple to use singing phonetics chart that illustrates in an intuitive way how the
two vowel resonances interact with vocal harmonics. It displays the distribution of harmonics in the
acoustic-phonetic vowel triangle for any pitch and pitch change.
Singing vowels are pitch sensitive. The chart assists in distinguishing psychoacoustic and subjective
sensations, such as vowel perception and vocal feel, from measurable acoustic parameters, such as fre-
quencies of harmonics and resonances. And it provides vocal teachers with objective criteria for handling
resonances.
A didactic approach for controlling vocal tract resonances to within a semitone will be introduced. Sound
examples will demonstrate how subtle vowel nuances improve intonation in a cappella ensembles and
how intonation and homogeneity can be controlled with this technique.
26
Allan VURMA
Pitch induced passive "covering" of the singing voice

presented by Allan Vurma
Estonian Academy of Music and Theatre, Tallinn, Estland
According to the aesthetics of classical singing style, vocalists should modify (“cover”) the vowels at pitches
of the so-called passaggio region to avoid disagreeable timbre (Appleman 1986). Different opinions exist
as to how the voice should be “covered”. Recently, Miller (2008) and Bozeman (2017) have claimed that
“covering” is primarily an acoustic illusion when the vocalist tries to avoid the habitual and instinctive way
of articulation (opening the mouth wider and raising the larynx) as the pitch ascends to the passaggio.
The first formant of the vowel (F1) tunes to the second harmonic of the voice spectrum (H2) thus
making the voice louder. The timbre of the voice changes with pitch even if the singer keeps the formant
frequencies invariant: it seems “open” if at least two harmonics locate lower than the F1, and “covered”
if this concerns only the fundamental.
The purpose of this study was to check these assumptions by the use of perception tests. Forty-four
vocalists and voice teachers from six countries participated as experts. The experiment consisted of nine
subtests where synthesized sung-vowel-like sounds at different chromatic scale pitches were played in
random order to the experts. We used the 2 voice category (male, female) × 5 vowel paradigm and pitch
ranges that included the pitches at which the shift from the “open” to “covered” timbre was expected.
The formant frequencies of the vowels were kept invariant at all pitches. Experts were asked to rate each
sound’s timbre on a 5-point scale from “open” to “covered”.
In the case of all vowels, except /i/ and female /u/, there was a statistically significant tendency to rate
the timbre of sounds as more “covered” when the pitch was higher, and more “open”, when the pitch
was lower, without the expected abrupt changes at those pitches where the H2 passed the F1. About
13% of the experts actually used the terms “open” and “covered” in the opposite manner to the majority,
while 45% of the responses did not show any systematic dependence on pitch. The concept of passive
“covering” of the voice (which takes place with changes in pitch but without articulatory intervention) is
relevant for some vocalists, as pitch can indeed influence the perceived timbre. However, such impact is
often idiosyncratic.
27
Peter PABON
How different voices can be from each other. The case of

harmonic-formant interactions and measurement strategies.

presented by Peter Pabon
Royal Conservatoire, Den Haag, The Netherlands
The luxury of having detailed voice maps that show the distributions for a rich selection of complementary
voice metrics over the fo /SPL range for an individual voice, is both a blessing and a burden. By
the mapping according to fo and SPL, a large part of the variation within a voice becomes efficiently
accounted for, yielding an image that is highly consistent and reproducible for each individual. Having
the option to compare voices according to a liable individual context is a blessing, as it opens the door
to monitor even small effects of interventions, voice training or therapy.
The back side or burden of having the veil of unclassified individual variation removed, is that it becomes
evident how different voices can be from each other. Adding more maps for diverse voice metrics that
also include spectral progressions, generally implies admitting to the notion how little common ground
there is between voices, even between members of an assumed homogenous voice group.
One of the most striking aspects in which voices largely differ and that can be precisely checked from their
spectral VRPs, is the susceptibility to harmonic-formant interactions. It is often assumed that tuning
the harmonics to the formants is a general issue that is relevant to all singers. This is a source-filter
principle that many, if not all, conscious or unconsciously, comply to when striving for a specific voice
quality or to reach a high sound level.
Reality seems to be different, where the susceptibility is not something trainable, but an innate charac-
teristic. Some voices show large and sharp contrasts between the resonances (peaks) and anti-resonances
(dips) in their spectra over the full pitch range, from the loudest to softest levels to the point where
resonance matching is no issue. With other voices, the spectral contrasting remains moderate or differ-
ently scaled more or less consistently over the full fo /SPL range. It seems there are not only variations
between individuals in their source and filter characteristics, but also in the amount of (non)linearity in
the source-filter interaction, that is characteristic to that voice.
This presentation will be about the tools and strategies to explore and analyze these interaction differ-
ences. Results of different spectrum averaging techniques will be shown, and their potential to substan-
tiate the above notions will be discussed.
28
Sara D’AMARIO, Harald SCHIDBAUER, Angi ROESCH, Werner GOEBL and Laura BISHOP
Impact of the empathic trait of piano-singing duos on

inter-performer interactions

presented by Sara D’Amario
University of Music and Performing Arts Vienna, Austria
Ensemble musicians’ body motion supports sound production, interpersonal communication, and ex-
pressivity. Recent investigations on dyadic music-making suggest that synchronization ability relates
to musicians’ empathic perspective taking (EPT) trait. This research investigates changes in rhyth-
mic body motion in semi-professional piano-singing duo performances, and how these changes relate to
musical roles and empathic profiles of the performers.
Twenty-four advanced piano and singing students were matched based on their EPT scores, pre- assessed
using the Interpersonal Reactivity Index. High and low EPT duos were formed, and musicians were paired
with a co-performer from the same and the other EPT group. Musicians rehearsed Fauré’s Automne
and Schumann’s Kartenlegerin together and performed the piece one time before and three times after
rehearsal. Motion capture data of the musicians’ upper bodies, audio, and piano MIDI recordings of the
repeated performances were collected. Similarity in musicians’ head movement and tendency to lead and
lag their co-performer were computed by extracting, respectively, power and phase of the cross-wavelet
transforms of the three dimensional velocities curves of each paired marker. Quantity of motion of each
duo was also computed by aggregating marker velocities related to musicians’ head and upper body
trajectories. Multilevel linear-models were then implemented to investigate the impact of EPT score on
quantity of motion, and power and phase of the cross-wavelet transforms. Duos were also entered in the
models as random effects.
Results show that musicians’ empathy did not impact the power of their interactions nor the overall
quantity of motion. Interestingly, EPT predicted the tendency to lead or lag, depending on piece and
take number. In the Fauré piece, the higher the singer’s EPT score, the higher (lower) the tendency for
the singer to lead and pianist to follow in take 3 (take 2, respectively).
These results contribute to a further understanding of the mechanisms underpinning social interactions,
by revealing the complexity of the link between empathy and body motion in ensembles in promoting
and diffusing leadership between musicians.
29
Anna-Maria NIEMAND, Sara D’AMARIO, Werner GOEBL and Laura BISHOP
Respiration Synchronization in Lied-Duo Performances

presented by Anna-Maria Niemand
Background. Respiration in music ensemble performance involves many physiological and cognitive
processes that are highly intertwined and therefore are difficult to disentangle. Metabolic demands,
movement due to tone production and/or communication, as well as mechanisms of sound production
and the musical structure are some of the processes that contribute to shaping the patterns of respiration
that emerge as co-performers try to coordinate with each other in the collaborative task of making music
together. Little is known about how closely co-performers synchronize their respiratory patterns during
Lied-Duo performance or how rehearsal or musical structure might influence respiratory synchronization.
It is also not clear if pianists or singers demonstrate leading and following behavior in their breathing
during Lied-Duo performances.
Aims. This research investigates the effects of a) the opportunity to rehearse and b) musical piece on
the degree of co-performers’ synchronization in respiration during Lied-Duo performance, as well as c)
the emergence of leader/follower roles.
Methods. Seventeen duos consisting of singers and pianists performed two pieces of Lied repertoire. The
musicians performed each piece together one time prior to and three times after a rehearsal period. We
measured respiration as the relative combined circumference of the thorax and the abdomen for each
performer. Respiratory synchronization was investigated using cross-wavelet transform (CWT) analysis.
Linear mixed effects models were used to test the effects of piece and rehearsal on CWT power (indicating
respiratory synchronization) and phase difference (indicating leading/following).
Results. Fine-grained analyses are ongoing. Preliminary results show significant effects of rehearsal on
respiratory synchronization for one of the pieces, and a significant difference in power between pieces.
According to our analysis of CWT phase difference, there was no consistent leader and no follower in the
performances overall and no change in the leader-follower patterns between pieces or rehearsal conditions.
Discussion. This study shows that respiratory behavior during Lied-Duo performances changes as a
result of differences in musical structure between pieces and evolves as performers rehearse and create
a shared interpretation. The lack of evidence of leading/following suggests that neither performer con-
sistently leads with their breathing, but rather the leader/follower roles are shared by the pianist and
the singer. With these results we were able to show that coordination emerges in Lied-Duo performance
in respiration, indicating that the performers establish a musical relationship that is evident even at a
peripheral physiological level.
30
Lauren GUTHRIDGE, Kayla GAUTEREAUX, Joel GILBERT and Ian HOWELL
Assessing Attention and Distraction in Voice Lessons

presented by Lauren Guthridge
The New England Conservatory of Music, Brookline, MA, USA
A 2021 neuroscience study suggests oculomotor behavior can serve as an indicator of attention. Attention
and distraction “guide eye movements, including gaze spatiotemporal characteristics, eye blink rate, and
pupil dilation.” [1] These measures change predictably with altered cognitive load of tasks. [2] In this
study, oculomotor behavior will be measured to assess attention and distraction in the context of a
private voice lesson. With the use of the Gazepoint GP3 Eye Tracking System measuring pupil dilation,
this study will measure participants’ quality and duration of attention when singing vocal exercises of
varying complexity. [3] Results from related studies suggest there will be a predictable time threshold
at which participants will become distracted from the task, and the distraction will correlate in time to
specific oculomotor behavior. [4,5,6] Research predictions are that the difficulty of the exercise will be
an indicator of the duration of attention. Tasks that require extremely high or low cognitive load will
result in higher occurrence of distraction than those resulting from exercises of moderate cognitive load.
Subjects were undergraduate and graduate students with at least two years of voice training at the
undergraduate level. Data collection consisted of three methods: a Gazepoint GP3 biometric eye tracking
sensor, high-quality recorded audio, and an exercise difficulty ranking questionnaire. To simulate a
private voice lesson environment, the study protocol consisted of participants viewing pre-recorded short
demonstrations of the vocal exercises by the “teacher” on piano. Subject sang the given exercise with
a pre-recorded accompaniment track. The pre-recorded, randomized exercises varied in complexity. As
is common practice in voice lessons, each exercise repeated at chromatically ascending or descending
intervals for several minutes. After executing the singing tasks, participants were asked to order the
exercises from least to most difficult. Analysis of pupil dilation was compared between subjects across
exercises particularly accounting for the difficulty ranking. Acoustic qualities during the largest points
of distraction were also analyzed.
The preliminary case study (n = 1) in 2020 revealed promising results. When participants sang a given
exercise, participants’ pupil dilation and gaze fixation varied predictably with different tasks. Data col-
lection and analysis is ongoing and will be completed by the presentation at PAS7+ conference.
[1, 2, 4]: Yuen, N. H., Tam, F., Churchill, N. W., Schweizer, T. A., & Graham, S. J. (2021). Driving with
distraction: Measuring brain activity and oculomotor behavior using fmri and eye-tracking. Frontiers in
Human Neuroscience, 15. https://doi.org/10.3389/fnhum.2021.659040
[3]: GP3 HD Eye-Tracking Device - Gazepoint.” gazepoint. Accessed April 30, 2022. https://www.gazept.com/product/gp
[5]: Elbaum, T., Braw, Y., Lev, A., & Rassovsky, Y. (2020). Attention-deficit/hyperactivity disorder
(ADHD): Integrating the moxo-dcpt with an eye tracker enhances diagnostic precision. Sensors, 20(21),
6386. https://doi.org/10.3390/s20216386
[6]: Kleberg, J. L., Frick, M. A., & Brocki, K. C. (2020). Can auditory warning signals normalize
eye movements in children with ADHD? European Child & Adolescent Psychiatry, 29(12), 1635–1644.
https://doi.org/10.1007/s00787-020-01484-w
31
Filipa M. B. LÃ, Mauro B. FIUZA, Ana MATEOS and Diego ARDURA
Development and Validation of The Singing Voice Function

Self-Efficacy Scale (Singing VoSES)

presented by Filipa M. B. Lã
Universidad Nacional de Educación a Distancia - UNED
Self-efficacy corresponds to one’s beliefs on successfully achieve specific tasks. Thus, those with low
self-efficacy are more likely to reduce effort and accept lower-level solutions. For a musician, this would
compromise performance achievement. Also, age and gender have been reported to influence self-efficacy.
However, little is known with respect to the impacts of voice function alterations related to female
professional singer’s developmental stages on self-efficacy. To understand how biological and hormonal
conditions, especially those occurring at menopause, may affect voice-related self-efficacy in singing, a
scale was developed and validated with female professional singers, the Singing Voice Function Self-
Efficacy Scale (Singing-VoSES).
18 items were drawn based on the physiology of the singing voice; health; stages of development; and
singer’s achievement in music examinations. Pitch and loudness were considered key parameters when
creating the items, as both were reported as important for assessment, production, and mastery of voice
function in singing. The content validity was evaluated by a panel of voice experts; internal validity
was analysed by means of a two-step factor validation analysis. Singing-VoSES was responded online by
singers aged between 40 and 65 years, who reported to be vocally, physically, and mentally healthy.
Responses from 439 females (M = 44 years; SD = 12) were considered for validation. The results revealed
18 items organized in 3 dimensions: high range & transitions (α = 0.938); middle range (α = 0.938); and
low range (α = 0.919). Applying the Stages of Reproductive Ageing Workshop (STRAW) classification
system, 155 participants were distributed into premenopausal (n = 86; M = 46 years; SD = 4) and
postmenopausal (n = 69; M = 57 years; SD = 5) groups. Significant differences in self-efficacy for both
high range & transitions and middle range dimensions were found, with premenopausal singers presenting
higher scores. These results evidence changes in self-efficacy in singing, suggesting a relationship between
sex steroid hormonal variations and perceptions of singing ability.
32
Sarah KERVIN
The Key To Singing Off Key: The Trained Singer and Pitch
Perception Distortion

presented by Sarah Kervin
The Voice Rehab, Miami, FL, USA
Intro. Pitch perception distortion (PPD) is a novel term describing a phenomenon in which an amplified,
accompanied singer’s perception of their pitch relative to the accompaniment becomes ambiguous, leading
to one of two conditions: a) the singer believes they are out of tune, but they are actually in tune, or b)
the singer believes they are in tune, but they are not. This pilot study aimed to establish the reported
incidence of PPD among performing singers and identify associated internal and external variables.
Methods. Retrospective, self-reported online survey. 115 singers were recruited to participate in an
anonymous online survey, which collected biographical data, level of training, performance environment
variables, and PPD experience.
Results. Based on the incidence within the sample population (68%), we concluded that PPD exists
as a phenomenon beyond chance and anecdotal experience. The factors reported as most associated
with PPD included loud stage volume (69%), poor song familiarity (31%), singing outside one’s habitual
pitch range (31%), and singing loudly (19%). Contrary to previous studies and our hypotheses, auditory
feedback was not found to be associated with incidence of PPD. Furthermore, higher levels of training
were found to be associated with higher incidence of PPD, which may be a result of the highly trained
sample population, opportunity, or another factor, and is a matter for further research.
Conclusions. The sample population for this study was overall highly trained. In light of this population
bias, the data suggest that PPD experiences among trained singers may be the result of training; that
is, pitch accuracy in performance may be more associated with a singer’s trained responses to the aural
environment than their mastery of vocal intonation skills in isolation.
Applications. Based on the findings, we suggest pedagogical application of environmentally-deliberate
practice, performance-centric curricula, harmonically-specific exercises, and systematic cross-training
early in the process of skill acquisition to facilitate optimal development of kinesthetic and perceptual
response strategies for performance and to avoid out-of-tune singing among trained singers.
For more information: https://sites.google.com/nyu.edu/thekeytosingingoffkey/home
33
Sten TERNSTRÖM and Sara D’AMARIO
The relationship between individual voice matching preferences

in vocal duos and the corresponding voice spectrum envelope

presented by Sten Trenström
Choir singers anecdotally assert that the ease of singing in harmony together, or "voice matching" , with
another person can vary greatly with the co-performer; sometimes perceiving their voice to merge with
the other, "as one." This study investigates the possible relevance of the voice spectra of the singer and
a "virtual co-singer". It was hypothesised that singers’ preferences for optimal matching would be for
the long-term average spectra (LTAS) to be complementary rather than identical. We report here a
first analysis of preferences, without regard for the participant’s own LTAS. A song (57 s) spanning one
octave was recorded by a female and a male ’reference’ singer.
Part 1, Preferences: stimulus recordings were presented over a small loudspeaker (the "virtual co- singer")
standing 70 cm to the right of the singer, in a seminar room. The gain and frequency response of the
loudspeaker feed were adjusted to emulate the power and directivity of a reference singer. 15 singers
with choral experience were asked to sing together with the stimuli, in unison or in canon. After an
introductory listening trial, participants sang in unison or canon with the stimulus recording, while
adjusting two unspecified, unconstrained rotary knobs for the "most together" and "not at all together"
sound. The stimulus song was looped until the participant reached a decision. The knobs set the gains A
and B (±15 dB) of two parametric filters on the stimuli (A: 2.7 kHz, B: 6.2 kHz, Q=2), with randomized
initial gain settings. There were 8 automated trials in a fixed sequence of increasing difficulty: least/most
preferred settings, unison/canon, and replications; and this sequence was repeated once.
Part 2, Performance: the individual filter preferences from Part 1 were applied automatically in random-
ized order, and the participant was asked to sing as well as possible. The electroglottographic signal and
audio from several microphones, as well as motion- capture data were collected in parallel. Results from
Part 1: Preferences. Participants perceived the action of the knobs to be relevant to voice matching,
at times even approaching " as one" , if only briefly. The 2.7 kHz band was reported to contribute
to a "piercing/penetrating" quality, and the 6.2 kHz √ band to a "nearness/clarity" quality. For assess-
ment, the gains
√ were encoded as A, B, Magnitude= A2 + B 2 , Symmetry=sign(A×B)*Magnitude, and
Tilt=(B-A)/ 2. Of these, only Magnitude was a highly significant predictor for the Target (Most/Not
at All); that is, the most extreme filter settings were consistently rated as a poor match.
Results from Part 2 will be reported later. The study is expected to clarify how singer preferences for
voice matching translate into quantifiable acoustical properties.
34
Joanne BOZEMAN
Women Singing Through Midlife and the Menopausal Transition

presented by Joanne Bozeman
Lawrence University, Appleton, WI, USA
The journey through menopausal transition is a unique experience for singers versus for women who are
not singers: the fluctuation and rebalancing of reproductive hormones has an effect on the voice, ranging
from subtle to dramatic. Though pedagogic and scientific resources address aging singers, there has been
a relative lack of both common and formal knowledge about voice and related issues that may emerge
in female singers moving through this phase, typically in midlife or earlier. Teachers likely wonder why
this happens and wish to support women in perimenopause and early menopause, which may span 4-10
years or more. Over the past three years, the presenter and her team have researched current resources
about this transformative and often complex life phase and have interviewed over 60 singers who are in
or have lived through the menopausal transition and beyond. Informed by these compelling stories and
supporting research, the presenter will summarize its physiologic and emotional outcomes, and from her
viewpoint, suggest how voice researchers may continue to examine how the menopausal transition affects
singers in particular.
35
Louisa TRASER
Gender bias in voice science and voice pedagogy

Women and men are equipped with different instruments for voice productions (especially in terms of
size), which not only allow them to sing in different frequency ranges, but also brings different physi-
ological requirements. Additionally, male and female singers have different demands on literature and
stage practice and hormonal differences present women and men with different challenges from a lifetime
perspective. This session aims to shed light on sex and gender-specific aspects of voice production and
their practical implications for voice science and pedagogy.
36
Matthias ECHTERNACH
Sex related differences in vocal tract modifications in singing

presented by Matthias Echternach
The fundamental frequency (fo ) range differs among female and male voices. The consequence is that
there are sex related differences in vocal tract resonance strategies for singing. In this overview, such
strategies will be shown with regard to vocal tract resonances and vocal tract shapes.
37
Sten TERNSTRÖM
Sex specificities in vocal fold vibration

presented by Sten Trenström
A quick sampling of the literature will be recounted, touching on inverse-filtered flows, physics-based
simulations, and EGG signals. There is not a wealth of studies, but they seem to paint a fairly coherent
picture, when results across different modalities are compared to each other; thus allowing at least a
general characterization of sex specificities in VF vibration.
38
Louisa TRASER
Sex specificities in respiratory behaviour for singing voice

production

Breath control is an important factor for singing voice production, but pedagogic descriptions of how
a beneficial movement pattern should be performed vary widely. Differences in respiratory movements
during singing might be related to the sex of the singer. A recent dynamic MRI study found, that
thoracic movements for respirator breath control during singing were greater in male singers, than in
female singers. In contrast, in female singers the diaphragmatic movement range tended to increase
during phonation compared to males. This result supported a former survey-based study, which described
that females concentrated their breathing efforts in lower parts of the body than men. As diaphragm
activation is associated with an increase in tracheal pull and thus activation of cricothyroid muscle with
glottal abduction, there might be a relation of breath support preferences also with vocal fold vibration
as well as resonance strategies. Still, future studies are needed to illuminate these aspects to evaluate the
need for an individual approach for teaching of breath support strategies during singing voice training.
39
Filipa M. B. LÃ
Sex specificities in singing voice pedagogy

According to current educational theories, teaching music should follow a student-centred model, aiming
at the development of independence, self-correction, self-evaluation, appraisal skills and acquisition of
correct practising behaviours. For teachers of singing who are voice builders, this model should take into
consideration student’s sex-sensitive idiosyncrasies concerning voice function, resulting from morphologi-
cal and physiological disparities between female and male voices. For example, teachers of singing should
assist female students in developing copying strategies to deal with cyclical variations in voice quality
associated with constant fluctuations in concentrations of sex steroid hormones during the menstrual
cycle, pregnancy and menopause. Also, male classical singers require the specific articulatory settings
to develop the singer’s formant cluster. In addition, female and male voices have different physiological
thresholds that should guide the assignment of vocal repertoire. The contribution to this ground table
will be focussed on discussing these and other examples of sex-sensitive teaching approaches.
40
Helena DAFFERN
Singing in a virtual space: exploring the challenges and

opportunities for Virtual Choirs beyond Covid-19

presented by Helena Daffern
Department of Electronic Engineering, University of York, UK
The term Virtual Choir has come to encompass various ways in which choir communities, group singing,
or a ‘choral sound’, can be realised when the individual singers are in remote locations. Virtual Choirs
were already being developed and growing in popularity before the coronavirus pandemic. However, they
became commonplace with the introduction of local lockdowns and restrictions on social gatherings, when
in-person choirs were required to find alternative solutions if they were to maintain their activities and
communities.
This talk will consider the current models of virtual choirs, from ‘Live Teleconferencing’ (Zoom) choirs,
and ‘Multi-Track’ choirs, to virtual reality (VR) choir experiences. Each model will be examined within
the scope of the practical possibilities of existing home technologies and the extent to which they have
been adopted during Covid-19. There are several trade-offs that emerge between live interactive experi-
ences and the musical / sonic outcomes of the different virtual models. These will be addressed within the
broader context of a more fundamental question; ‘what is a choir?’. To this end, research that considers
the value of choir singing, and the processes that take place during the activity of singing together will
be explored as well as the extent to which these experiences can or can’t be recreated in a virtual setting.
Latency over internet networks is the main barrier to musicians performing together remotely. Especially
when using freely available teleconferencing software the activity of singing together ‘live’ usually becomes
impossible. As a result, most microphones remain muted during ‘Zoom choir’ sessions. Applications
designed to keep latency below a threshold that allows live group music-making over networks are rapidly
advancing and becoming more accessible, both in terms of cost and ease of use. As a result, the value
of other features of group music-making are now also being considered and implemented within ‘live’
virtual choirs to further improve the quality of the experience. These include aspects of sound quality
and incorporating shared virtual acoustics, which are at the forefront of the existing VR models. As
technology continues to advance, and the need for virtual solutions continues, there is an opportunity to
bring together state-of-the-art Networked Music Performance solutions with voice and acoustics research
to create virtual choirs that are beneficial to singing communities and sustainable beyond Covid-19.
41
Theodora NESTOROVA, Josh GILBERT and Ian HOWELL
Analysis & Interpretation of Complex Vibrato Patterns: A Novel

Parametric Approach to Genre-Specific Performance

presented by Theodora Nestorova
Schulich School of Music, McGill University, Montreal, Canada
A complex, under-researched phenomenon, vibrato exists in a variety of musical styles and genre contexts.
However, voice researchers have historically analyzed vibrato with tools presuming a western classical
opera aesthetic. Current analytical methods using average metrics are applicable only if the vibrato is
uniform, consistent, and persistent. This disregards significant stylistic characteristics of many performed
genres with non-normative vibrato features. Therefore, a new system of vibrato metrics considering the
regularity, variability, and shape of vibrato in more genres over time is essential.
A performance task list of two cross-genre songs and one vocal exercise was disseminated to fifteen
professional operatic, musical theater, and jazz singers. Sixteen pitch segments from each singer were
subjected to sinusoidal extraction, fo band-pass filtering, and an FFT LTAS in Praat. Mean half extent
(in cents), pitch, vowel, style/singer subject was calculated for each sample and assessed using standard
deviation, Coefficient of Variation (CV%), linear and polynomial regression, and non-linear regression
techniques in R.
The results indicated that vibrato variability predictably distinguishes performed genres. The CV% well
characterizes vibrato variability and is higher in the samples of Musical Theater and Jazz singers. A novel
model – 4 parameter logistic s-curve regression – is proposed as a representation of such multi-phasic
vibrato with complex shapes.
A perceptual survey using samples most representative of each genre’s average CV% was distributed to
seven vocal pedagogue judges, confirming that Jazz and Musical Theater singers’ vibrato variability is
more perceivable and accurately categorized when compared to Opera singers’ vibrato.
Such novel, perceptually-correlated vibrato models may be employed to examine and evaluate complex
vibrato patterns, style-specific performance, in turn promoting more genre-inclusive voice training.
42
David MEYER, Sajan Goud LINGALA, Jarron ATHA, David M. HOWARD, Eric A. HOFF-
MAN and Ingo R. TITZE
Pilot Study - High Resolution Hybrid CT+MRI Vocal Tract

Imaging

presented by David Meyer
Janette Ogg Voice Research Center, Shenandoah Conservatory, Winchester, VA, USA
In singing voice pedagogy, 3-D printed vocal tract models based on MRI data are an emerging tool with
multiple applications. they are a powerful tool for teaching the principles of vocal tract resonance and
source/filter theory (Meyer, et al., 2019). However, vocal tract models based on MRI have considerable
spatio-temporal limitations as regards recording time and MRI voxel size. In addition, MRI does not
capture the bony structures of the vocal tract (e.g. teeth), reducing the fidelity of MRI modelled
oropharyngeal spaces. In contrast, computed tomography (CT) is excellent at visualizing bony structures,
but is not typically used for vocal tract modeling due to the risk of ionizing radiation. This risk can be
mitigated but not eliminated, and the minimum necessary dosage has not been determined. If a single,
extremely low-dose CT scan of the bony structures (which do not significantly change over time) could
be combined with high-resolution MRI scans of the soft tissues, a hybrid CT-MRI vocal tract model may
be constructed.
Here, we present a method to more accurately represent the structures used in speech and singing. We
apply a novel accelerated model combining both MRI and CT data acquisition using a deep learning
reconstruction approach to enable both a high spatial resolution (1mm3 ) and a short scan time (5 secs).
This exploratory study used a donor cadaver from the University of Iowa Deeded Body Program to explore
the following: (a) the minimum CT dosage in milliSieverts (mSv) needed to maintain clear bone contours
and air-tissue boundaries; (b) a new model-based deep learning MRI reconstruction algorithm enabling
1mm3 MRI resolution, and (c) the feasibility of blending CT and MR scans to construct a high-resolution
hybrid model of the vocal tract. The data collected in this proof-of-concept study demonstrated that
low-dose hybrid CT-MRI vocal tract models with 1mm3 spatial resolution are feasible.
43
Gláucia LAÍS SALOMÃO, Johan SUNDBERG and Klaus R. SCHERER
Expressivity in singing. A study of physiologically related

parameters underlying vocal expression of emotions

presented by Gláucia Salomão
Stockholm University, Sweden
Emotional expressivity is an important aspect of a singing performance but there has been little research
on physiologically related parameters underlying vocal expression of emotions. In this study, two highly
experienced professional male singers sang scales on the syllable /pa/ while portraying 9 emotional colours
(Sadness, Tenderness, Calm, Joy, Contempt, Fear, Pride, Love, and Anger). The audio signals were
analysed with respect to subglottal pressure, derived from oral pressure during /p/-occlusion; glottal
resistance, derived from inverse filtering the audio signal; and traditional LTAS parameters. Results
show that Anger and Sadness were diametrically opposite along these physiological parameter continua,
Anger being associated with high values and Sadness with low values. Love and Happiness were located
between these extremes. Our findings are in good agreement with Scherer’s (1986) predictions that
affective processes differentially affect physiologically related parameters.
44
Marie KÖBERLEIN, Matthias ECHTERNACH, Laila HERMANN, Sophia GANTNER, Bo-
gac TUR, Gregor PETERS, Caroline WESTPHALEN, Tobias BENTHAUS, Liudmila KURA-
NOVA, Michael DÖLLINGER and Stefan KNIESBURGES
The effects of singers‘ masks on the impulse dispersion of

aerosols during singing

presented by Marie Köberlein
Group singing activities have been restricted worldwide during the Covid-19 pandemic, as a result of
observed super-spreading events during choir rehearsals and the finding that SARS-CoV2 can be trans-
mitted by exhaled aerosols. In the search for safety concepts which reduce transmission risks during
singing activities, not only the distance between singers has been considered, but also masks designed
particularly for singers have been developed. Our study aimed to evaluate 5 different types of mask with
regard to (1) their ability to hinder the impulse dispersion of aerosols, (2) the damping influence on the
sound spectrum by the materials and (3) the practicability in use.
Twelve professional singers were asked to sing the melody of the ode to joy from Beethoven’s 9th sym-
phony "Freude schöner Götterfunken, Tochter aus Elysium" in D-major, after inhaling the base liquid
from e-cigarettes. For comparison they sang first without masks and afterwards with the different singers’
masks, which were distinct in material and construction. The escaping vapor clouds were measured as a
function of time in the three spatial dimensions. The acoustic properties of the masks were measured on
a 360◦ rotatable head phantom emitting sine sweeps and white Gaussian noise. The subjects additionally
sang the task with all masks but without vapor and answered questionnaires on practicability.
All masks reduced the distance of the aerosol spread to the front. However, the vapor showed increased
distances to the sides and to the top. The acoustic evaluation showed damping effects by the cloth
materials and amplification effects by masks including plastic materials. Most of the subjects rejected
the use of any and all of the masks presented.
Although the tested singers’ masks showed potential for decreasing the radius of aerosol expulsion, further
improvements for practical implementation seem necessary.
45
Michaela MAYR, Kate EMERICH, Markus KOFLER, Christian KREMSER, Ansgar RUDISCH,
Helena TALASZ and Christian T. HERBST
Time-synchronized observation of pelvic floor, abdomen, and

thorax during singing using MRI – a feasibility study

presented by Michaela Mayr
The pelvic floor (PF) plays a crucial and often-mentioned role in many pedagogical treatises of singing. In
contrast, surprisingly little empirical evidence about the PF’s actual contribution to respiration in singing
is available. In particular, it is unknown to date in which fashion movement of the PF is synchronized
with that of the abdomen and the thorax.
Addressing this issue, a series of studies currently pursued by our group investigates the possibility of
synchronized quantitative assessment of the movement of the PF, the abdomen, and the thorax during
breathing, speech, and singing. For this purpose, a cohort of thirteen female singers performed a number
of phonatory tasks during dynamic magnetic resonance imaging (MRI) recordings in a 1.5-Tesla whole
body MR-scanner. Here, we present the prospective data analysis approach, applied to a limited pilot
data set.
Within the DICOM time-series of a sung phrase, anatomically determined scan lines were used to generate
kymographic data of the thoracic diaphragm, the thorax diameter, the pelvic floor, the anterolateral
abdominal muscle thickness, and abdominal diameter at the umbilical level. The respective structures
were then traced with manually determined Bézier curves. These Bézier curves were then algorithmically
converted to time-varying displacement offsets of the structures of interest, and the resulting data were
calibrated in time and space using information from the MRI frame rate and voxel size. Due to the
quasi-sinusoidal nature of the structure displacements during the analyzed phonatory task, simple sine
waves could be fitted to the calibrated displacement data with a Bayesian-enhanced linear regression
method. The resulting sine wave phase data enables quantitative assessment of the phase differences in
the movement of the structures of interest, allowing further data aggregation and statistical comparison
across participants and phonatory conditions.
The results from our series of studies are expected to corroborate known and produce novel insights into
the synchronized movement of the various sub-systems of the breathing apparatus during speaking and
singing, in particular adding novel and dearly needed knowledge about the contribution of the pelvic
floor.
46
Mauro B. FIUZA and Filipa M. B. LÃ
Rock and Metal Singers: Are they really loud and powerful? An
overview of rock voice production

Madrid, Spain
Rock/metal singing is usually reported as loud, powerful, constricted and hyper functional type of singing.
Such idea is perpetuated among teachers of singing, speech language pathologists, laryngologists, classic,
music theatre, CCM and even rock singers. The misleading idea that rock and metal singing are only
loud and yelled types of singing creates a vicious cycle where singers are encouraged to use hyperfunction
as a habitual behaviour. In addition, teachers of singing and speech and language pathologists focus their
approaches only on (re)habilitating such kind of voice production.
However, voice professionals who specialize their practices and investigations on such genres understand
that rock and metal singing are very broad terms that should be comprehended as a wide number of
voice strategies and behaviours. These kinds of singing embrace every possible phonation type, voice
mechanism, resonance strategy, pitch range, loudness, music ornaments and intentional vocal distortions.
In this presentation, famous and successful rock and metal singers will be presented to illustrate voice
use through the perspective of the three different subsystems of voice production (i.e., power generation,
voice source and resonance/articulation). Its relation to the history and development of rock and metal
cultures and the advances of audio technology will be discussed.
47
Krzysztof IZDEBSKI, Joanna ZIMMER-NOWICKA, Michal TYC, Anna RACINO and Marcin
JUST
Singing without a larynx

presented by Michal Tyc
Pacific Voice & Speech Foundation; Diagnova Technologies, Wroclaw, Poland
Purpose: To document singing by a laryngectomee female fitted with an indwelling voice prosthesis
(Provox-Atos Medical, Sweden), at the most comfortable range and loudness levels.
Technique: Sound, basic acoustic analysis, high-speed digital phonoscopy (HSDP) videos, and kymo-
grams are presented studied with DiagNova ALIS R (Wroclaw, Poland). Neo-glottic vibrations were
recorded at a speed between 2000 and 2400 frames per second. Neo-glottic (N-G) activity was studied
with high-speed digital phonoscopy (HSDP) during sustained phonation only.
Results: Acoustic analysis showed her N-G singing voice ranged between 100 to 280 Hz and almost 1.5
octaves during the singing of the common children song. Loudness ranged within 25 dB.
Physiology: The configuration of her N-G closure was similar to the standard normal true glottis ap-
proximation. N-G wave amplitude was bilateral. The width of the opening amplitude was approximately
20% of its length and was remarkably symmetrical. Approximation was almost complete and amplitude
varied as a function of emotional vocal intent.
References: Corina J. van As, MSc; Monika Tigges, MD; Thomas Wittenberg, PhD; Bas M. R. Op de
Coul, MD; Ulrich Eysholdt, MD, PhD; Frans J. M. Hilgers, MD, PhD. High-Speed Digital Imaging of
Neoglottic Vibration After Total Laryngectomy. Arch Otolaryngol Head Neck Surg. 1999; 125(8):891-
897. doi:10.1001/archotol.125.8.891
48
Calvin Peter BAKER
CPPS and Singing-Voice Analysis

presented by Calvin Baker
University of Auckland, New Zealand
In recent years smoothed cepstral peak prominence (CPPS) has become increasingly researched and
utilised in attempts to determine the extent of overall dysphonia in voice signals. Yet, few studies have
extensively examined how specific voice-source parameters affect CPPS values and none have examined
singing-voice specific variables. Using a range of synthesised tones, this exploratory study systematically
analysed the effect of fundamental frequency (fo ), vibrato extent, source-spectrum tilt, and the amplitude
of the voice-source fundamental on CPPS values.
A series of scales were synthesised using the freeware Madde. Fundamental frequency, vibrato extent,
source-spectrum tilt, and the amplitude of the voice-source fundamental were systematically and in-
dependently varied. The tones were analysed in PRAAT, and statistical analyses were conducted in
SPSS. CPPS was significantly affected by both fo and source-spectrum tilt, independently. A nonlin-
ear relationship was seen between vibrato extent and CPPS, where CPPS values increased from 0 to
0.6 semitones (ST), then rapidly decreased approaching 1.0 ST. No relationship was seen between the
amplitude of the voice-source fundamental and CPPS.
Singers are sensitive to nuanced and subtle changes in vocal function and present with voice complaints
unique to professional voice users. These should be met with sensitivity and understanding of singing
vocal function, and the singing voice should be specifically analysed using tools robust to singing voice-
source parameters. If using CPPS to analyse sung phonation, the large fo effect should be taken into
account. This is particularly relevant when comparing pre- and post-treatment or inter-subject CPPS
data.
49
Kristen MURDAUGH, Oliver PERROTIN, Bruno GINGRAS and Christian T. HERBST
Correlating Perceptual and Spectral Aspects of Chiaroscuro in

Singing – A Pilot Study

presented by Kristen Murdaugh
University of Music and Performing Arts Vienna (mdw), Vienna, Austria; Universität Mozarteum
Salzburg, Salzburg, Austria
Vocal pedagogy terms rooted in perception have been employed in voice literature and training for cen-
turies. One such traditional, tried and true concept is chiaroscuro (chiaro = bright; scuro = dark).
Research observations suggest that chiaroscuro can be examined on two levels: the physiological (physi-
cal) level and the perceptual (psychoacoustic) level. Yet to date, no empirical studies have been conducted
to investigate what exactly is being altered or modified physiologically to create chiaro and scuro and
where exactly these tone qualities exist within the spectrum of the radiated sound wave. To fill this
gap, a multipart study with an overarching goal of potentially relating acoustical and spectral sound
characteristics at various perceptual levels of chiaroscuro to the respective underlying physiological voice
production gestures is being conducted, with the first part detailed in this presentation investigating
whether certain aspects of the radiated spectral composition of the voice are systematically relevant for
the perception of chiaroscuro and chiaro and scuro, respectively.
Informal listening experiments have a priori identified four potential acoustic and spectral features that
may be relevant to the perception of chiaroscuro: (a) overall sound level; (b) global frequency shifts of
formant frequencies; (c) spectral slope; and (d) singers’ formant cluster level. In this study, a cohort of
twelve experienced singing voice pedagogues were asked to rate the effect of these four sound modification
classes vis-a-vis their perception of 1) the degree of chiaroscuro as a Gestalt principle (task 1); and 2)
the degree of chiaro and scuro individually within each presented sound sample (task 2).
The perceptual ratings of chiaroscuro as a Gestalt principle and chiaro and scuro individually varied
drastically from participant to participant, with correlations and trends in the data being largely inde-
terminable, with the exception of global frequency shifts of formant frequencies and negative spectral
slope shifts. It can be theorized, within the context of the limitations of this pilot study and its data
set, that singing voice pedagogues have drastically varying perceptual definitions of chiaro, scuro, and
chiaroscuro as a whole, highlighting the importance of further chiaroscuro related research.
50
Joana MARIZ, Zuleica CAMARGO and Gláucia LAÍS SALOMÃO
Preliminary findings on the application of the VPA for

perceptual assessment of voice quality in singing

presented by Joana Mariz
Faculdade Santa Marcelina, São Paulo, Brazil
Introduction: The Vocal Profile Analysis (VPA) is a phonetically grounded instrument for the perceptual
assessment of the voice quality. It proposes a descriptive system that correlates the perception with
articulatory and acoustic levels of analysis that are capable of instrumental verification; thus, it paves
the way for the development of more objective descriptions of voice qualities. The model was designed for
speech and encompasses the perceptual assessment of vocal tract configurations, vocal fold adjustments
and muscular tension; different configurations and adjustments are described in terms of their relation to
a standard reference, called the neutral setting. The model has not yet been adapted for different singing
phenomena. Aim: This study aims to explore the applicability of the VPA for the perceptual evaluation
of singing voices, which typically present larger variations in pitch range as compared to speech. Method:
target vowels [a], [i] and [u] were inserted in phonetically balanced words (these vowels were positioned on
the stressed syllable and preceded and followed by dental/alveolar consonants), which were then used as
lyrics for a simple melodic phrase ranging a major third. The melody was sung by 05 female professional
singers that presented an easy production of the neutral setting in their habitual speaking voice, in three
different keys: low, medium and high. The singers were instructed to keep the neutral setting as reference
when raising pitch, but were allowed to make minor adjustments on articulation to convey comfort when
singing. Simultaneous audio signals and ultrasound images were recorded. Judges familiar with the use
of the VPA assessed the singing productions. The images were compared to the VPA description of the
perceived voice quality. Results: Preliminary findings suggest that there are important challenges to be
overcome in respect to the use of VPA for the description of the singing voice quality. This study points
out some possible future research topics that should be investigated to contribute to an adaptation of the
VPA for singing. It also highlights the importance of developing a suitable tool for perceptual assessment
of singing by teachers and voice therapists.
51
Manuel BRANDNER and Alois SONTACCHI
Vowel intelligibility analysis in classical singing using voice

directivity features

presented by Manuel Brandner
Institute of Electronic Music and Acoustics, University of Music and Performing Arts Graz, Austria
Intelligible pronunciation is an important aspect in classical singing. However, the alteration of vowels in
classical singing is used to achieve better resonance and ease at high pitches. This can lead to diminished
vowel intelligibility, which has been reported in literature especially for sopranos and tenors. It does
not seem possible to determine unambiguously up to which pitch vowel intelligibility is most likely to be
possible and there exist contradictory results. Common signal analysis approaches to vowel identification
use linear prediction coefficients or mel-frequency cepstral coefficients. For both, the accuracy is reported
to be pitch-dependent and to decrease with increasing pitch. We present a novel approach to vowel
identification that uses features of voice directivity. The size and shape of the mouth opening affects
voice directivity. We define two metrics (ii) the directivity index and (ii) the beamwidth of the energy
vector to analyse voice directivity properties. Preliminary results show that a discrimination between
back vowels and front vowels is possible based solely on features of voice directivity up to a pitch of
d"/D5.
52
Filipa M. B. LÃ
Evidence-based voice pedagogy – where is the evidence?

Research resulting from meta-analysis and systematic reviews has been regarded as highest evidence
quality for best guidance into medical practice. Over the past years, efforts have been made to apply
this evidence-based practice (EBP) also to the fields of speech-language pathology and voice pedagogy.
Can this framework be directed extrapolated to singing education or is this still somewhat premature?
The rationale for this question is three-fold. First, studies assessing outcomes of pedagogical interventions
often lack true experimental research designs, using control groups, randomized trials, and a representa-
tive sample of singers and singing genres. This, together with the heterogenous nature of voice metrics
to assess voice quality, hampers statistical pooling and, consequently, the high quality evidence in which
EBP is rooted. Second, normative datasets on what should be the ‘norm’ in singing are still inexistent
to provide a gold standard approach. Third, to create an “artistic fingerprint” and succeed in a highly
competitive music industry of multiple singing genres, a singer must become a creator instead of an im-
itator. This is possible when teachers encourage student’s independence, self-correction, self-evaluation
and appraisal skills. These are qualities that can be promoted through peer learning, peer assessment
and the provision of meaningful feedback. The latter means to be: (i) adaptive – tailored to the
individual needs of the student – (ii) discursive – involving plenty of exchanged dialogues – (iii) inter-
active – task and goal oriented – and (iv) reflective – facilitating reflection on the goal-action-feedback
learning cycle. So, here it is therefore proposed, based on earlier reflections (Lã, 2017), that teachers
of singing pursue the development of evidence-based through what now is available: a set of teaching
tools promoting meaningful feedback besides their individual experience-based knowledge (which has a
great potential for distortion as everything is bound to a specific context). This can be develop through
reflection, continuous evaluation of self-beliefs, being acquainted with scientific literature and repertoire,
questioning assumptions and hypothesis against existing scientific knowledge and against other plausible
interpretations of that knowledge, being acquainted with other teaching approaches and techniques used
in voice (re)habilitation.
53
Kari RAGAN

presented by Kari Ragan
University of Washington Laryngology Program (Performing Voice Clinic)
Since the induction of the term “Evidence-Based Voice Pedagogy (EBVP)” some voice professionals have
erroneously inferred that the term is synonymous with science-based, pedagogy, function-based, or fact-
based voice pedagogy. There is a precedent for defining Evidence-Based Voice Pedagogy with a broader
understanding since its origins are found in the field of medicine. In the early 1990’s, Evidence-Based
Medicine (EBM) came to be defined as the integration of individual clinical expertise with the best
available external clinical evidence. In 2018, the Journal of Singing published an article by Kari Ragan
outlining for the first time a framework for EBVP that includes three essential components: 1) Voice
Research, 2) Voice Teacher Expertise and Experience, and 3) Student Goals and Perspectives. Modeled
after EBM, the EBVP framework provides a context for an inclusive perspective of what constitutes
evidence in the field of voice training. The gold standard for any voice teacher is to achieve efficacy
in the form of vocally efficient and artistic performances. Tools necessary to be an effective teacher
are acquired through a broad continuum of resources. EBVP is further defined “as the integration of
voice teacher expertise and experience, student goals and perspectives, and relevant research into voice
science and production to effectively evaluate and identify technical inefficiencies to guide students toward
vocally healthy and efficient, stylistically accurate, and artistic performances.” EBVP is a framework that
acknowledges the importance of both scientific and anecdotal evidence, along with consideration of the
experience acquired by a teacher, and the importance of individual student needs.
54
Mauro B. FIUZA

Madrid, Spain
Evidence-based voice pedagogy (EBVP) derived from studies mainly focusing on classical singing. Thus,
one may argue to what extent such knowledge can be directly applied to the teaching of other singing
genres. Voice use in non-classical singing styles is diverse, especially when concerning styles that require
voice amplification. The use of microphones allows a wide range of timbral and pitch range variations.
Some of these may fall outside the realm of what is consider as an efficient use of voice, i.e., greater
aerodynamic to acoustic energy conversion with less vocal effort. However, especially for amplified
singing, voice efficiency should be related to the ability of adequate voice to style and not necessarily
with generated acoustic energy. In addition, the reduced vocal intensity promoted by voice amplification
may well counteract the risk of developing voice alterations when hyperadduction and over articulation
are used in combination with loud singing. Voice function has been compared between classical with non-
classical styles of singing; however, the latter embraces a wide variety of voice qualities, and thus voice
function may vary substantially between singers. A deeper understanding of singers’ individualities
provides a more valuable information than describing amplified singing genres as a whole. Research
should focus on different voice function possibilities for a given genre, so that EBVP in amplified singing
genres can be promoted.
55
Ian HOWELL

presented by Ian Howell
New England Conservatory, Boston, MA
This topic, and the wording of our round table session title, may be interpreted in a number of ways.
If I react as a voice teacher, my evidence is that the set of practices I have refined over time allows
students to quickly achieve lasting changes in line with their goals. It is the fact that students keep
paying for this guidance and that those singers are out in the world singing. Is it because I teach with
perfect efficiency in every minute of a lesson? No. But it is sufficient to be good enough, to consider
voice teaching as a heuristic, rather than scientific pursuit. If I react as a scientist, there are obvious
issues with this kind of study design. Most (all?) variables are uncontrolled, and there is no way to test
these pedagogical approaches with a test group and a control group. One cannot run the same voice
lesson in two different ways and compare the outcomes. Is an experienced voice teacher likely to help
any randomly selected student? In my experience, maybe? Teachers tend to be best at teaching the
students best able to receive their particular kind of instruction. That may be a large percentage of all
possible students, or a very narrow sample. Where does this leave us? I think we have to acknowledge
that the approaches and techniques that might be considered applied evidence-based voice pedagogy are
generally not falsifiable, and that falsifiability has never been required to evaluate whether an approach
to teaching is effective. Does this mean we know nothing? Absolutely not. Should this moderate our
confidence that a given voice teacher’s approach caused a specific outcome? Absolutely. In this respect,
I can reconcile a practitioner view and a voice scientist view with ease. What those views should share
in common is doubt and empiricism. If a voice teacher pivots away from an approach that generally
works but fails to get results with a specific student, is this not adapting to new evidence? Is this not
evidence-based? So then, does being an evidence-based voice teacher mean that one only teaches ideas
derived from the scientific literature? Absolutely not. Much of what transpires in voice lessons is not well
suited to that type of inquiry. As someone who both teaches voice pedagogy courses, and also teaches
students to teach voice to others, my lived experience suggests that more information transfer in a voice
lesson rarely allows students to achieve their goals. Should teachers have a knowledge base free from
inaccurate information? In principle, yes. But characterizing an approach as inaccurate is challenging if
it is also effective. Doubly so if explaining the truth engages the student’s intellect but accomplishes none
of their musical goals. Evidence-based voice pedagogy, as put forward by Kari Ragan (2018), honors
that many ways of knowing can inform effective teaching. As we move these conversations forward in the
overlapping communities of voice scientists, voice teachers, medical professionals, and voice pedagogy
researchers, we must be mindful not to project our own discipline’s standards of evidence onto another.
56
Index
Ardura, Diego, 32 Laís Salomão, Gláucia, 44, 51
Atha, Jarron, 43 Laukkanen, Anne-Maria, 6, 23
Lehoux, Hugo, 19
Baker, Calvin, 49 Lingala, Sajan Goud, 43
Baker, Calvin Peter, 49
Benthaus, Tobias, 45 M. B. Lã, Filipa, 7, 17, 32, 40, 47, 53
Bishop, Laura, 29, 30 Manternach, Brian, 24
Bock, Michael, 15, 16 Mariz, Joana, 51
Bozeman, Joanne, 35 Mastrian, Stacey, 14
Bozeman, Kenneth, 11 Mateos, Ana, 32
Brandner, Manuel, 12, 52 Maxfield, Lynn, 24
Mayr, Michaela, 46
Camargo, Zuleica, 51
Meyer, David, 43
Chen, C. Julian, 20
Murdaugh, Kristen, 50
D’Amario, Sara, 29, 30, 34
Döllinger, Michael, 25, 45 Nestorova, Theodora, 12, 42
Daffern, Helena, 5, 41 Niemand, Anna-Maria, 30
Echternach, Matthias, 5, 15, 16, 25, 37, 45 Pabon, Peter, 28

Emerich, Kate, 46 Perrotin, Oliver, 50
Peters, Gregor, 45
Fischer, Johannes, 15, 16 Popeil, Lisa, 19
Fiuza, Mauro, 5, 17, 47, 55
Fiuza, Mauro B., 17, 32, 47, 55 Racino, Anna, 48
Fleischer, Mario, 15, 16 Ragan, Kari, 7, 54
Richter, Bernhard, 15, 16
Gantner, Sophia, 45 Riedler, Monika, 13
Gautereaux, Kayla, 31 Roesch, Angi, 29
Gellrich, Donata, 25 Rudisch, Ansgar, 46
Gilbert, Joel, 31 Rummel, Stefanie, 15, 16
Gilbert, Josh, 42
Gingras, Bruno, 12, 50 Salomão, Gláucia, 44
Goebl, Werner, 29, 30 Saus, Wolfgang, 26
Graf, Simone, 13 Scherer, Klaus R., 44
Guthridge, Lauren, 31 Schidbauer, Harald, 29
Schutte, Harm K., 20
Henrich Bernardoni, Nathalie, 6, 10
Sontacchi, Alois, 52
Henrich, Nathalie, 10
Story, Brad, 25
Herbst, Christian T., 12, 25, 46, 50
Stritt, Fiona, 15, 16
Hermann, Laila, 45
Sundberg, Johan, 8, 21, 44
Hoffman, Eric A., 43
Svec, Jan G., 8, 19, 20
Howard, David, 18
Howard, David M., 18, 43
Talasz, Helena, 46
Howell, Ian, 6, 31, 42, 56
Ternström, Sten, 34, 38
Hoyer, Patrick, 13
Titze, Ingo R., 8, 20, 22, 43
Izdebski, Krzysztof, 48 Traser, Louisa, 9, 15, 16, 36, 39
Trenström, Sten, 9, 34, 38
Just, Marcin, 48 Tur, Bogac, 45
Tyc, Michal, 48
Köberlein, Marie, 25, 45
Kervin, Sarah, 33 Vurma, Allan, 27
Kniesburges, Stefan, 45
Kofler, Markus, 46 Westphalen, Caroline, 45
Kremser, Christian, 46
Kuranova, Liudmila, 45 Zimmer-Nowicka, Joanna, 48
57

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7th International Physiology and Acoustics of

Instituto de Formação Faculdade Novo Universidad Nacional de

14:50–16:20 Oral presentations

17:30–19:10 Special Session: MyoElastic-AeroDynamic Theory

14:05–14:45 Oral presentations

15:00–17:20 Oral presentations

18:40–19:40 Special Session: Gender

14:05–15:25 Oral presentations

15:50–17:30 Oral presentations

18:30–19:30 Special Session: Evidence-Based Voice Pedagogy

10 years since the last PAS. What has happened in the

Keynote – 13:15 CET

The Case for Acoustic Registers

Posters – 14:15 CET

Vocal vibrato characteristics in Opera, Operetta, and Schlager

Posters – 14:15 CET

Vocal Folds as Acoustical Barrier between Subglottal Region and

Posters – 14:25 CET

Franklin Method for Voice: The Art of Change – Enhancing Our

Posters – 14:30 CET

Vocal tract configurations derived from 3D MRI Data of

Oral presentations – 14:50 CET

Resonance properties derived from 3D MRI Data of different

Oral presentations – 15:10 CET

Distorted Singing: an overview on its history, forms of

Oral presentations – 15:30 CET

Oral presentations – 15:50 CET

Laryngeal and acoustic analysis of chest and head registers

Oral presentations – 16:10 CET

Integrative Insights into the Myoelastic-Aerodynamic Theory

Special Session – 17:30 CET

Experimental studies of source-filter interaction

Special Session – 17:30 CET

The Case for Strong or Weak Source-Airway Interaction

Special Session – 17:30 CET

SOVTE – Pros and Cons, Dos and Don’ts

Keynote – 13:05 CET

Using Semi-Occluded Vocal Tract Exercises as a Vocal Tract

Oral presentations – 14:05 CET

Non-linear source-tract interactions in classical singing

Oral presentations – 14:25 CET

Singing Phonetics Diagram - The Quantization of Sung Vowels

Oral presentations – 15:00 CET

Pitch induced passive "covering" of the singing voice

Oral presentations – 15:20 CET

How different voices can be from each other. The case of

Oral presentations – 15:40 CET

Impact of the empathic trait of piano-singing duos on

Oral presentations – 16:00 CET

Respiration Synchronization in Lied-Duo Performances

Oral presentations – 16:20 CET

Assessing Attention and Distraction in Voice Lessons

Oral presentations – 16:40 CET

Development and Validation of The Singing Voice Function

Oral presentations – 17:00 CET

Posters – 17:40 CET

The relationship between individual voice matching preferences

Posters – 17:45 CET

Women Singing Through Midlife and the Menopausal Transition

Posters – 17:50 CET

Gender bias in voice science and voice pedagogy

Special Session – 18:40 CET

Sex related differences in vocal tract modifications in singing