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How Does the German Educational Science ›Tick‹ and What Does It Do? Pedagogical perspectives on the one hand and perspectives of educational science perspectives on the other have different motives, objectives and forms of legitimation. It makes little sense to conceive them as opposites, nor is it convincing to try to reconcile them. The article is intended as an essay, parts of it are speculative and some passages seem to lack decency, this is especially true of the third part, which is entitled »Family Feuds and Family Resemblances«. Educational science can be seen as a large family. As in every family, its members are preoccupied with themselves and sometimes have nothing to say to each other, or they argue for a long time without any winners emerging. Do we need to worry about this family? Yes, in almost every respect, except for its existence. [ABSTRACT FROM AUTHOR]

This article examines the changes in casting of the role of Komponist in Richard Strauss' Ariadne auf Naxos. The aim of the article is to establish the timeline when this originally soprano role became a staple of the mezzo-soprano category. The research involves an examination of the historical archives of international opera houses such as the Metropolitan Opera in New York, the Vienna State Opera, the Teatro alla Scala in Milan, and the Royal Opera House in London. The conclusion reveals that the shift in voice type took place gradually between the 1960s and 1970s. The conclusion also proposes that the reason for this change lies in the development of the mezzo-soprano's subcategories, which coincides with this period in the late 20th century. [ABSTRACT FROM AUTHOR]

Introduction: A singer's or speaker's Fach (voice type) should be appraised based on acoustic cues characterizing their voice. Instead, in practice, it is often influenced by the individual's physical appearance. This is especially distressful for transgender people who may be excluded from formal singing because of perceived mismatch between their voice and appearance. To eventually break down these visual biases, we need a better understanding of the conditions under which they occur. Specifically, we hypothesized that trans listeners (not actors) would be better able to resist such biases, relative to cis listeners, precisely because they would be more aware of appearance-voice dissociations. Methods: In an online study, 85 cisgender and 81 transgender participants were presented with 18 different actors singing or speaking short sentences. These actors covered six voice categories from high/bright (traditionally feminine) to low/dark (traditionally masculine) voices: namely soprano, mezzo-soprano (referred to henceforth as mezzo), contralto (referred to henceforth as alto), tenor, baritone, and bass. Every participant provided voice type ratings for (1) Audio-only (A) stimuli to get an unbiased estimate of a given actor's voice type, (2) Video-only (V) stimuli to get an estimate of the strength of the bias itself, and (3) combined Audio-Visual (AV) stimuli to see how much visual cues would affect the evaluation of the audio. Results: Results demonstrated that visual biases are not subtle and hold across the entire scale, shifting voice appraisal by about a third of the distance between adjacent voice types (for example, a third of the bass-to-baritone distance). This shift was 30% smaller for trans than for cis listeners, confirming our main hypothesis. This pattern was largely similar whether actors sung or spoke, though singing overall led to more feminine/high/bright ratings. Conclusion: This study is one of the first demonstrations that transgender listeners are in fact better judges of a singer's or speaker's voice type because they are better able to separate the actors' voice from their appearance, a finding that opens exciting avenues to fight more generally against implicit (or sometimes explicit) biases in voice appraisal. [ABSTRACT FROM AUTHOR]

IntroductionA singer’s or speaker’s Fach (voice type) should be appraised based on acoustic cues characterizing their voice. Instead, in practice, it is often influenced by the individual’s physical appearance. This is especially distressful for transgender people who may be excluded from formal singing because of perceived mismatch between their voice and appearance. To eventually break down these visual biases, we need a better understanding of the conditions under which they occur. Specifically, we hypothesized that trans listeners (not actors) would be better able to resist such biases, relative to cis listeners, precisely because they would be more aware of appearance-voice dissociations.MethodsIn an online study, 85 cisgender and 81 transgender participants were presented with 18 different actors singing or speaking short sentences. These actors covered six voice categories from high/bright (traditionally feminine) to low/dark (traditionally masculine) voices: namely soprano, mezzo-soprano (referred to henceforth as mezzo), contralto (referred to henceforth as alto), tenor, baritone, and bass. Every participant provided voice type ratings for (1) Audio-only (A) stimuli to get an unbiased estimate of a given actor’s voice type, (2) Video-only (V) stimuli to get an estimate of the strength of the bias itself, and (3) combined Audio-Visual (AV) stimuli to see how much visual cues would affect the evaluation of the audio.ResultsResults demonstrated that visual biases are not subtle and hold across the entire scale, shifting voice appraisal by about a third of the distance between adjacent voice types (for example, a third of the bass-to-baritone distance). This shift was 30% smaller for trans than for cis listeners, confirming our main hypothesis. This pattern was largely similar whether actors sung or spoke, though singing overall led to more feminine/high/bright ratings.ConclusionThis study is one of the first demonstrations that transgender listeners are in fact better judges of a singer’s or speaker’s voice type because they are better able to separate the actors’ voice from their appearance, a finding that opens exciting avenues to fight more generally against implicit (or sometimes explicit) biases in voice appraisal.

This article expands our knowledge of the inception of the opera, L'amour de loin, by introducing primary documents from the as-yet uncatalogued Kaija Saariaho Sammlung (KSS) at the Paul Sacher Stiftung in Basel, Switzerland. It then focuses on the development of the vocal part for Clémence that resulted in two versions of the role, one for coloratura and one for a lyric soprano, and situates the revision Saariaho undertook with soprano Dawn Upshaw in the historical tradition of operatic collaboration. Finally, I interpret the two versions of Clémence through the lens of operatic vocal Fach to determine how those different characterizations might affect an audience member's experience of the opera. I argue that the iterations of Clémence's two largest set pieces are so different that one could speak of two discrete versions of L'amour de loin in which different heroines are envoiced. [ABSTRACT FROM AUTHOR]

Monocarboxylate transporters 1-4 (MCT1-4) are involved in several metabolism-related diseases, especially cancer, providing the chance to be considered as relevant targets for diagnosis and therapy. [18F]FACH was recently developed and showed very promising preclinical results as a potential positron emission tomography (PET) radiotracer for imaging of MCTs. Given that [18F]FACH did not show high blood-brain barrier permeability, the current work is aimed to investigate whether more lipophilic analogs of FACH could improve brain uptake for imaging of gliomas, while retaining binding to MCTs. The 2-fluoropyridinyl-substituted analogs 1 and 2 were synthesized and their MCT1 inhibition was estimated by [14C]lactate uptake assay on rat brain endothelial-4 (RBE4) cells. While compounds 1 and 2 showed lower MCT1 inhibitory potencies than FACH (IC50 = 11 nM) by factors of 11 and 25, respectively, 1 (IC50 = 118 nM) could still be a suitable PET candidate. Therefore, 1 was selected for radiosynthesis of [18F]1 and subsequent biological evaluation for imaging of the MCT expression in mouse brain. Regarding lipophilicity, the experimental log D7.4 result for [18F]1 agrees pretty well with its predicted value. In vivo and in vitro studies revealed high uptake of the new radiotracer in kidney and other peripheral MCT-expressing organs together with significant reduction by using specific MCT1 inhibitor α-cyano-4-hydroxycinnamic acid. Despite a higher lipophilicity of [18F]1 compared to [18F]FACH, the in vivo brain uptake of [18F]1 was in a similar range, which is reflected by calculated BBB permeabilities as well through similar transport rates by MCTs on RBE4 cells. Further investigation is needed to clarify the MCT-mediated transport mechanism of these radiotracers in brain.

Voice classification constitutes an important part of singers' vocal identity, development and careers. The issue of inconsistent terminology within classification therefore has repercussions on singers' livelihoods. The main aim of this paper is to identify a functional and consistent way in which the term Zwischenfach can be used in the operatic industry. The materials presented illustrate the ongoing issues of the voice- and roleclassification systems, contextualising therefore the main topic of Zwischenfach's meaning and use. As part of the conclusion regarding the integration of the term, my research supports that its addition as a new category would not render the Fach system more functional. Instead, I am proposing integrating the term as a description of timbre; such a meaning would encourage its further use without changing the categorisation system. [ABSTRACT FROM AUTHOR]

Introduction: A singer's or speaker's Fach (voice type) should be appraised based on acoustic cues characterizing their voice. Instead, in practice, it is often influenced by the individual's physical appearance. This is especially distressful for transgender people who may be excluded from formal singing because of perceived mismatch between their voice and appearance. To eventually break down these visual biases, we need a better understanding of the conditions under which they occur. Specifically, we hypothesized that trans listeners (not actors) would be better able to resist such biases, relative to cis listeners, precisely because they would be more aware of appearance-voice dissociations., Methods: In an online study, 85 cisgender and 81 transgender participants were presented with 18 different actors singing or speaking short sentences. These actors covered six voice categories from high/bright (traditionally feminine) to low/dark (traditionally masculine) voices: namely soprano, mezzo-soprano (referred to henceforth as mezzo), contralto (referred to henceforth as alto), tenor, baritone, and bass. Every participant provided voice type ratings for (1) Audio-only (A) stimuli to get an unbiased estimate of a given actor's voice type, (2) Video-only (V) stimuli to get an estimate of the strength of the bias itself, and (3) combined Audio-Visual (AV) stimuli to see how much visual cues would affect the evaluation of the audio., Results: Results demonstrated that visual biases are not subtle and hold across the entire scale, shifting voice appraisal by about a third of the distance between adjacent voice types (for example, a third of the bass-to-baritone distance). This shift was 30% smaller for trans than for cis listeners, confirming our main hypothesis. This pattern was largely similar whether actors sung or spoke, though singing overall led to more feminine/high/bright ratings., Conclusion: This study is one of the first demonstrations that transgender listeners are in fact better judges of a singer's or speaker's voice type because they are better able to separate the actors' voice from their appearance, a finding that opens exciting avenues to fight more generally against implicit (or sometimes explicit) biases in voice appraisal., Competing Interests: The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest., (Copyright © 2023 Marchand Knight, Sares and Deroche.)

Summary: Objectives/Hypothesis: Singing-voice classification is often considered the cornerstone of a classical singer’s identity. Traditionally, classification has been a highly subjective, nonstandardized process. As a result, misclassification of the singing voice is thought to be common, especially in young singers. Long-term average spectrum (LTAS) average is an objective measurement that could be used to classify a singer’s voice. The purpose of this study was to determine the relationship of LTAS with singing-voice classification. Study Design: Descriptive between-subject study. Methods: Nine professional classical male singers performed the “Star Spangled Banner” in a comfortable key of their choice. LTAS was calculated for the first two phrases, the remainder of the song, and the entire song. The overall LTAS averages of each sample as well as the physiological and singing ranges were compared with self-reported singing-voice classification. Results: Voice classification and overall LTAS average were moderately correlated, but the strength of the correlation varied with each sample. The strongest correlation was with the entire song. Voice classification and singing range were strongly correlated. Conclusions: LTAS remains a promising tool to aid in singing-voice classification. However, how to best use LTAS in classification remains unclear because of the influence of sample length and phonetic and pitch content on LTAS. [Copyright &y& Elsevier]

Monocarboxylate transporters 1-4 (MCT1-4) are involved in several metabolism-related diseases, especially cancer, providing the chance to be considered as relevant targets for diagnosis and therapy. [18F]FACH was recently developed and showed very promising preclinical results as a potential positron emission tomography (PET) radiotracer for imaging of MCTs. Given that [18F]FACH did not show high blood-brain barrier permeability, the current work is aimed to investigate whether more lipophilic analogs of FACH could improve brain uptake for imaging of gliomas, while retaining binding to MCTs. The 2-fluoropyridinyl-substituted analogs 1 and 2 were synthesized and their MCT1 inhibition was estimated by [14C]lactate uptake assay on rat brain endothelial-4 (RBE4) cells. While compounds 1 and 2 showed lower MCT1 inhibitory potencies than FACH (IC50 = 11 nM) by factors of 11 and 25, respectively, 1 (IC50 = 118 nM) could still be a suitable PET candidate. Therefore, 1 was selected for radiosynthesis of [18F]1 and subsequent biological evaluation for imaging of the MCT expression in mouse brain. Regarding lipophilicity, the experimental log D7.4 result for [18F]1 agrees pretty well with its predicted value. In vivo and in vitro studies revealed high uptake of the new radiotracer in kidney and other peripheral MCT-expressing organs together with significant reduction by using specific MCT1 inhibitor α-cyano-4-hydroxycinnamic acid. Despite a higher lipophilicity of [18F]1 compared to [18F]FACH, the in vivo brain uptake of [18F]1 was in a similar range, which is reflected by calculated BBB permeabilities as well through similar transport rates by MCTs on RBE4 cells. Further investigation is needed to clarify the MCT-mediated transport mechanism of these radiotracers in brain. [ABSTRACT FROM AUTHOR]